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| Bloozehound |
I saw this Stone's tribute album the other day called Exile on Blues Street. It consists of blues artists redoing some of the tracks off Exile. Anyone have this album ? How do you think it stacks up to the All Blues'd Up! tribute disc ?
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| Some Guy |
I haven't seen it. |
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| Saint Sway |
do you have an artist or track listing?
personally, the House of Blues "Paint It Blue" disc is one of my all time favs |
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| scope |
I think Paint it Blue and All Blues'd Up is the same thing.
And I agree with Saint Sway that this one is pretty good. I just listened to a few sound bytes from Exile on Blues (check amazon.com music section) and it didn't impress me too much. |
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| Bloozehound |
I listened to the samples of Exile on Blues Street at Amazon before I posted, and I wasn't all that won over either. Sometimes it's hard to judge off those little samples.
Yeah All blues'd up and Paint it Blue are the same, I have "All Blues'd Up" and really dig it. |
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| Mottrush |
A friend of mine sent me a copy of this a few weeks ago. Certainly worth a listen. It features 10 of the 18 tracks off Exile.
Probably the standout for me is Lucky Peterson's version of "Ventilator Blues". Jimmy Thackery does a good "Rocks Off" and Jeff Lang has a completely different take on "Sweet Virginia".
Don't care much for the version of "Tumbling Dice" by some female singer who's name escapes me!
Cheers,
Mottrush |
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| glencar |
"Exile in Guyville" was a woman's answer to Exile. I only have heard two songs but they were pretty good. |
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| PolkSalad |
quote:
glencar wrote:
"Exile in Guyville" was a woman's answer to Exile. I only have heard two songs but they were pretty good.
haven't listened to that in a long time but found it overrated back then, two songs sounds about right |
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| Zack |
Flower
by Liz Phair (from Exile in Guyville)
Every time I see your face I think of things unpure, unchaste
I want to fuck you like a dog
I'll take you home and make you like it
Everything you ever wanted
Everything you ever thought of
Is everything I'll do to you
I'll fuck you and your minions, too
Your face reminds me of a flower
Kind of like you're underwater
Hair's too long and in your eyes
Your lips a perfect "suck me" size
You act like you're fourteen years old
Everything you say is so obnoxious, funny, true and mean
I want to be your blowjob queen
You're probably shy and introspective
That's not part of my objective
I just want your fresh, young jimmy
Jamming, slamming, ramming in me
Everytime I see your face I think of things unpure, unchaste
I want to fuck you like a dog
I'll take you home and make you like it
Everything you ever wanted
Everything you ever thought of
Is everything I'll do to you
I'll fuck you till your dick is blue
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| Saint Sway |
I wonder how much Hallmark offered Liz Phair for the rights to those lyrics?
[Edited by Saint Sway]
[Edited by Saint Sway] |
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| Bloozehound |
wtf is Exile in Guyville ? |
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| PolkSalad |
quote:
Bloozehound wrote:
wtf is Exile in Guyville ?
her take on the testosterone in the Chicago music scene awhile back
Review by Stephen Thomas Erlewine
If Exile in Guyville is shockingly assured and fully formed for a debut album, there are a number of reasons why. Most prominent of these is that many of the songs were initially essayed on Liz Phair's homemade cassette Girlysound, which means that the songs are essentially cream of the crop from an exceptionally talented songwriter. Second, there's its structure, infamously patterned after the Stones' Exile on Main Street, but not the song-by-song response Phair promoted it as. (Just try to match the albums up: Is the "blow-job queen" fantasy of "Flower" really the answer to the painful elegy "Let it Loose?") Then, most notably, there's Phair and producer Brad Wood's deft studio skills, bringing a variety of textures and moods to a basic, lo-fi production. There is as much hard rock as there are eerie solo piano pieces, and there's everything in between from unadulterated power pop, winking art rock, folk songs, and classic indie rock. Then, there are Phair's songs themselves. At the time, her gleefully profane, clever lyrics received endless attention (there's nothing that rock critics love more than a girl who plays into their geek fantasies, even � or maybe especially � if she's mocking them), but years later, what still astounds is the depth of the writing, how her music matches her clear-eyed, vivid words, whether it's on the self-loathing "Fuck and Run," the evocative mood piece "Stratford-on-Guy," or the swaggering breakup anthem "6' 1"," or how she nails the dissolution of a long-term relationship on "The Divorce Song." Each of these 18 songs maintains this high level of quality, showcasing a singer/songwriter of immense imagination, musically and lyrically. If she never equaled this record, well, few could.
[Edited by PolkSalad] |
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