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I recently bumped upon a Christgau talk where, talking about the task to compile a list for Rolling Stone and why he didn’t publish his list of 90s albums, he said he re-listened “Exile”and found it rather thin production-wise. I’m not that fond of that phase of Phair although she deservedly had a semi-hit with this. Toby Keith – You Shouldn’t Kiss Me Like ThatĪnd this is where I first mistook Liz for Sheryl. Sixpence None The Richer – There She Goes Keep Sixpence On the Dole’s La’s cover away from me. In other words: she wrote about “Culo” when Pitbull already did. Rock and roll depends on a decades-long excusal of older men fucking younger woman the same colleagues who forgave Weezer, Jagger, get in line, could not get past Liz Phair thinking about fucking a younger guy better acquainted with his Xbox than Liz Phair.
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The guitars are louder (power chords!), the drum loops as thwackety as Matchbox 20’s, and on “Red Light Fever” Phair relies more than necessary on her singsong - as trademark as Michael Jackson’s hiccups - to make an impression. Where the previous album’s arrangement choices complemented the writer’s quiet curiosity, Liz Phair gives the impression that the artist wrote to scale. I wrote a few years ago:Ĭollaborating with The Matrix worked for Phair in some ways, not for others. Kids, you can’t imagine the twaddle written about Liz Phair eighteen years ago for co-writing tunes with Avril Lavigne’s writing team. Where “Changes” looms in the late Tupac Shakur’s legend no one doubts would that “Why Can’t I” also dominate thinking. Reflecting a weird era when record companies yanked singles for the sake of selling albums, 2Pac’s “Changes” peaked at a pitiful #32 despite its classic lyric and absorption of a Bruce Hornsby sample as assuredly as PM Dawn did Spandau Ballet’s “True” for “Set Adrift on Memory Bliss.” After “California Love,” a #1 hit a couple years earlier, “Changes” is what the average person remembers about 2Pac besides his formidable post-death reputation.