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* SongStyleShift: "Johnny Sunshine" starts off as a rousing midtempo rocker, then halfway through changes into a more anguished, minimalist ballad.
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* FaceOnTheCover: The album cover depicts a photo of a topless Phair striking a defiant pose; some releases crop the photo to remove most of her chest from view.
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Changed line(s) 5,6 (click to see context) from:
The album cover features Liz topless in a photo booth. Its lyrical themes mainly revolve around the sexual and intellectual independence of women, a direct contrast to the frequently sexist attitudes Liz faced while growing up. It's also a ConceptAlbum of sorts, where each song is supposed to be an AnswerSong to Music/TheRollingStones' ''Music/ExileOnMainSt'' (Liz has acknowledged that not all of the parallels may make sense to other people, but has said she was consciously thinking of the Stones album when writing the songs and constructing the album; she's also given interviews such as [[https://www.rollingstone.com/music/news/he-said-she-said-how-liz-phair-took-the-rolling-stones-to-guyville-20100521 this one]] in which she's elaborated more on some of the parallels.)
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The album cover features Liz topless in a photo booth. Its lyrical themes mainly revolve around the sexual and intellectual independence of women, a direct contrast to the frequently sexist attitudes Liz faced while growing up. It's also a ConceptAlbum of sorts, where each song is supposed to be an AnswerSong to Music/TheRollingStones' Music/{{The Rolling Stones|Band}}' ''Music/ExileOnMainSt'' (Liz has acknowledged that not all of the parallels may make sense to other people, but has said she was consciously thinking of the Stones album when writing the songs and constructing the album; she's also given interviews such as [[https://www.rollingstone.com/music/news/he-said-she-said-how-liz-phair-took-the-rolling-stones-to-guyville-20100521 this one]] in which she's elaborated more on some of the parallels.)
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Deleted line(s) 39 (click to see context) :
* ContemptibleCover: It's difficult to realize that Liz is supposed to be topless in a photo booth, but MoralGuardians nevertheless objected to it when they figured it out.
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Compositionally, Liz's voice is intentionally overshadowed by the surrounding music, giving a more full and production-heavy sound. For this reason, [[Magazine/RollingStone Rolling Stone Magazine]] has listed it as the #327 [[Music/RollingStone500GreatestAlbumsOfAllTime greatest album of all time]], due to its controversial lyrics and unique AlternativeRock sound. It wasn't a huge commercial success, but remains a widely influential album since it helped shatter the DoubleStandard against women singing sexual songs.
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Compositionally, Liz's voice is intentionally overshadowed by the surrounding music, giving a more full and production-heavy sound. For this reason, [[Magazine/RollingStone Rolling Stone Magazine]] has listed it as the #327 [[Music/RollingStone500GreatestAlbumsOfAllTime greatest album of all time]], due to its controversial lyrics and unique AlternativeRock sound. It wasn't a huge commercial success, but remains a widely influential album since it helped shatter the DoubleStandard against women singing sexual songs.
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Jail Bait is now a disambiguation. Deleting/replacing wicks as appropriate. Moved to discussion
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* JailBait: "Fuck and Run":
--> ''And I can feel it in my bones\\
I'm gonna spend another year alone\\
It's fuck and run, fuck and run\\
Even when I was seventeen\\
Fuck and run, fuck and run\\
[[WhamLine Even when I was twelve]]''
--> ''And I can feel it in my bones\\
I'm gonna spend another year alone\\
It's fuck and run, fuck and run\\
Even when I was seventeen\\
Fuck and run, fuck and run\\
[[WhamLine Even when I was twelve]]''
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Changed line(s) 5,6 (click to see context) from:
The album cover features Liz topless in a photo booth. Its lyrical themes mainly revolve around the sexual and intellectual independence of women, a direct contrast to the frequently sexist attitudes Liz faced while growing up. It's also a ConceptAlbum of sorts, where each song is supposed to be an AnswerSong to Music/TheRollingStones' ''Music/ExileOnMainSt'' (Liz has acknowledged that not all of the parallels may make sense to other people, but has said she was consciously thinking of the Stones album when writing the songs and constructing the album; she's also given interviews such as [[http://web.archive.org/web/20171021093708/https://www.rollingstone.com/music/news/he-said-she-said-how-liz-phair-took-the-rolling-stones-to-guyville-20100521 this one]] in which she's elaborated more on some of the parallels.)
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The album cover features Liz topless in a photo booth. Its lyrical themes mainly revolve around the sexual and intellectual independence of women, a direct contrast to the frequently sexist attitudes Liz faced while growing up. It's also a ConceptAlbum of sorts, where each song is supposed to be an AnswerSong to Music/TheRollingStones' ''Music/ExileOnMainSt'' (Liz has acknowledged that not all of the parallels may make sense to other people, but has said she was consciously thinking of the Stones album when writing the songs and constructing the album; she's also given interviews such as [[http://web.archive.org/web/20171021093708/https://www.[[https://www.rollingstone.com/music/news/he-said-she-said-how-liz-phair-took-the-rolling-stones-to-guyville-20100521 this one]] in which she's elaborated more on some of the parallels.)
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* GossipEvolution: "Never Said" is Liz denying having spoken something the other person in the conversation heard, which was possibly subject to this ("I don't know where you heard it\ Don't know who's spreadin' it 'round").
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* GossipEvolution: "Never Said" is Liz denying having spoken something the other person in the conversation heard, which was possibly subject to this ("I don't know where you heard it\ Don't know who's spreadin' it 'round"). She said the inspiration was how the Chicago music scene was very catty and upset about whatever was being spread about their bands.
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* PerishingAltRockVoice: "6′1″" runs on this, and a few other tracks also dip into low-energy singing.
