A sign of just how much her career has nosedived in recent years, Liz Phair has resorted to putting out a 15th anniversary edition of her critically lauded debut “Exile in Guyville” this month with bonus tracks. Since when did 15 years become rehash time? She took it one step further by performing the album in its entirety over the past week in Chicago and in New York.

I came to appreciate Phair on later albums when she actually developed musical chops, especially “Whitechocolatespaceegg.” I even trumpeted her music after she proved to be a dim, bratty interview subject backstage at a Lilith Fair in the mid-90s. But then I came to completely loath her when she dressed up her sound with glossy production and undressed for her promo photos for 2003’s eponymous CD.

But through all that, my view on “Exile” never changed. It’s an example of what’s wrong with the world of rock criticism being heavily dominated by so many nerdy, pastey, homebound guys (how fitting that Pitchfork Media be a big modern purveyor of the album). Most critics were so turned on by Phair’s sexually explicit lyrics they didn’t get turned off by the fact that her singing is off-tune and awkward through much of the record. Who cares if she can’t sing worth a damn when she’s promising you terrific oral sex! They also ate up the album’s supposed tie-in to the Stones’ “Exile on Main Street,” which was mostly a bogus, hollow gimmick. “Guyville” had attitude and hip value, but it simply wasn’t an enjoyable listen. And it still isn’t. Don’t believe the hype… from 15 years ago, or today! Â

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