Four years would go by between the releases of Whip-Smart to Phair’s third album, whitechocolatespaceegg.
The wait was perhaps much longer than many had expected for Phair, but in the time before whitechocolatespaceegg‘s release, she had gotten married and had become a new mom to Nicholas, born in late 1996.
Once she was ready to begin recording for the album (whose title came to her in a dream while she was pregnant with her son), Phair tapped Scott Litt, known for his work with R.E.M, as the album’s producer. Scheduling conflicts and creative differences saw Litt bow out of the project, at which point, Phair took the reins with additional production help from Brad Wood and Jason Chasko.
The album went through a few iterations during its recording process, with some early song contenders ultimately being cut before the final sequencing. Early versions of whitechocolatespaceegg would eventually land in the hands of fans in 1999 when Chasko’s roommate shared demos and early studio cuts with Phair fan and Mesmerizing site owner, Ken Lee, who in turn, shared them with the members of the Support System fan forum (then known as 6’1″) (see: ’96 Shelved Demos and WCSE Sessions).
The final version of whitechocolatespacegg arrived in the summer of 1998 and was her first under a Matador/Capitol partnership.
I like to explore with my music. I write millions of songs. More each month. But the albums people know me by are only a snapshot, video, of me. And it’s a very selective snapshot. Thirty six songs were fully recorded for whitechocolatespaceegg, so what you hear is just a part of me at the time.
— Liz Phair
The Swirling Sphere, April 1999
During the latter half of 1998, Phair would embark on her first tour in three years. This time she was fully backed by a band which included drummer Ric Menck (aka Eric Menck, formerly of Velvet Crush), guitarist Buddy Judge, Jebin Bruni, and the late Janet Rains.
Phair would also join Sarah McLachlan’s Lilith Fair during the festival’s second year. It was during these performances that Phair truly began to break free from her noted stage fright and began to embrace performing live—citing her Lilith Fair experiences playing a huge role.
Performances would cross over well into 1999, where Phair supported Alanis Morissette during her Supposed Former Infatuation Junkie tour.
When I watched Sarah [McLachlan] and Natalie [Merchant] and Paula [Cole], I just sat there going, ‘I want to be that.’
— Liz Phair
The Baltimore Sun, May 4, 1999
whitechocolatespaceegg
Released: August 11, 1998
Label: Matador / Capitol
Format: LP, CD, Cassette
All songs written by Liz Phair except:
“White Chocolate Space Egg” lyrics by Liz Phair, music by Jason Chasko and Stoley, “Big Tall Man” by lyrics by Liz Phair, music Jason Chasko, and “Baby Got Going” lyrics by Liz Phair, music by Scott Litt.
Tracks 1-2 recorded at Chicago Trax. Tracks 3, 7, 11, 12, 16 recorded at Louie’s Clubhouse.
Tracks 3, 7, 9, 11, 12, 14, and 16 produced by Scott Litt
Tracks 4, 5, 8, 10, and 13 produced by Brad Wood
Tracks 6 and 15 produced by Liz Phair
Tracks 1 and 2 produced by Liz Phair and Jason Chasko
Mixed by Tom Lord-Alge, except track 3 mixed by Victor Janacua, track 10 mixed by Brad Wood, and track 16 mixed by Scott Litt
| No. | Title | Length |
|---|---|---|
| 01. | White Chocolate Space Egg | 4:35 |
| 02. | Big Tall Man | 3:49 |
| 03. | Perfect World | 2:15 |
| 04. | Johnny Feelgood | 3:22 |
| 05. | Polyester Bride | 4:05 |
| 06. | Love Is Nothing | 2:16 |
| 07. | Baby Got Going | 2:02 |
| 08. | Uncle Alvarez | 3:52 |
| 09. | Only Son | 5:09 |
| 10. | Go On Ahead | 2:53 |
| 11. | Headache | 2:53 |
| 12. | Ride | 3:04 |
| 13. | What Makes You Happy | 3:36 |
| 14. | Fantasize | 1:55 |
| 15. | Shitloads of Money | 3:39 |
| 16. | Girls’ Room | 1:46 |
“White Chocolate Space Egg”
Vocals: Liz Phair
Guitar, Bass, Drums: Jason Chasko
Keyboards: Randy Wilson
“Big Tall Man”
Vocals, Piano, Guitar: Liz Phair
Guitar, Bass, Drums, Piano, Backing Vocals: Jason Chasko
“Perfect World”
Vocals, Guitar: Liz Phair
Keyboards, Violin: Scott Litt
Guitar: Nathan December
“Johnny Feelgood”
Vocals, Guitar: Liz Phair
Guitar: Jason Chasko
Guitar, Bass, Drums, Organ, Handclaps: Brad Wood
Guitar, Handclaps: Ed Tinley
Keyboards: John Hiler
“Polyester Bride”
Vocals, Guitar: Liz Phair
Guitar: Jason Chasko
Bass, Drums, Backing Vocals: Brad Wood
Organ, Backing Vocals: John Hiler
“Love is Nothing”
Vocals, Guitar: Liz Phair
Bass, Drums, Organ: Scott Bennett
Guitar: Ed Tinley
“Baby Got Going”
Vocals: Liz Phair
Acoustic Guitar, Bass, Harmonica, Drums, Backing Vocals: Scott Litt
Electric Guitar: Nathan December
“Uncle Alvarez”
Vocals, Guitar: Liz Phair
Acoustic Bass: LeRoy Bach
Drums, Keyboards: Brad Wood
Guitar: Ed Tinley
Piano, Keyboards, Loops: John Hiler
“Only Son”
Vocals, Guitar: Liz Phair
Bass: Tommy Furar
Guitar, Drums: Jason Chasko
“Go On Ahead”
Vocals, Guitar: Liz Phair
Organ, Drum Machine: Brad Wood
“Headache”
Vocals, Guitar: Liz Phair
Drums: Jason Chasko
Guitar: Nathan December
Bass Keyboard, Keyboards: Scott Litt
“Ride”
Vocals, Guitar: Liz Phair
Guitar, Drums, Bass: Jason Chasko
Keyboards: Scott Litt
“What Makes You Happy”
Vocals, Guitar: Liz Phair
Bass, Drums: Brad Wood
Guitar: Ed Tinley
Guitar, Keyboards: John Hiler
“Fantasize”
Vocals, Guitar: Liz Phair
Bass: Mike Mills
Bongos: Bill Berry
Effects (Treatments): Scott Litt
Guitar: Nathan December
Guitar: Peter Buck
Guitar: Scott McCaughey
“Shitloads of Money”
Vocals, Guitar: Liz Phair
Accordion: Troy Niedhart
Guitar, Bass, Drums: Scott Bennett
“Girls’ Room”
Vocals, Guitar: Liz Phair
Other Versions
whitechocolatespaceegg (Advance CD)
Released: 1998
Label: Matador / Capitol
Format: CD
Country: US
Availablity: Rare
The advance CD for whitechocolatespaceegg was issued to bloggers, journalists, and other media outlets prior to the retail release of the album.
This version features the exact tracklisting as the official version, but was issued in a cardboard sleeve.
whitechocolatespaceegg (Japanese Import)
Released: 1998
Label: Matador / Capitol
Format: CD
Country: Japan
Availability: Very Rare
| No. | Title | Length |
|---|---|---|
| 01. | White Chocolate Space Egg | 4:35 |
| 02. | Big Tall Man | 3:49 |
| 03. | Perfect World | 2:15 |
| 04. | Johnny Feelgood | 3:22 |
| 05. | Polyester Bride | 4:05 |
| 06. | Love Is Nothing | 2:16 |
| 07. | Baby Got Going | 2:02 |
| 08. | Uncle Alvarez | 3:52 |
| 09. | Only Son | 5:09 |
| 10. | Go On Ahead | 2:53 |
| 11. | Headache | 2:53 |
| 12. | Ride | 3:04 |
| 13. | What Makes You Happy | 3:36 |
| 14. | Fantasize | 1:55 |
| 15. | Shitloads of Money | 3:39 |
| 16. | Girls’ Room | 1:46 |
| 17. | Hurricane Cindy |
whitechocolatespaceegg (Limited Edition 2-LP)
Released: June 8, 2018
Label: Capitol Records (B0025958-01), UMe
Format: 2-LP
Country: US, UK, Europe
Availability: Very Rare
Part of me awakened that had been dormant since childhood. I had all these creative impulses. Things were happening to me that didn’t happen because I was doing it, they came of their own impetus. Feelings were coming up that I didn’t have a hand in. They were from a much deeper part of myself. I was dreamier.
Liz Phair on how pregnancy changed her songwriting.
Excite, July 12, 1998
Press Release
The below was posted on Matador’s site shortly after the release of whitechocolatespaceegg.
One of modern rock’s most cherished artists, credited with everything from Alanis Morissette to my love life, Liz Phair returns triumphantly to the world of music with her first new album since 1994’s half-million-selling Whip-Smart. whitechocolatespaceegg is at once her most interesting and assured record, full of all the candor, insight, and chunky riffage you’ve come to expect, along with some surprises.
Produced in separate but equal parts by Liz herself, Scott Litt (REM), and Brad Wood (the previous two Liz albums), whitechocolatespaceegg is something of a leap from the homespun intimacy of her other work. Its sweeping sound is fleshed out with liberal use of keyboards and organ, ranging from the sultry shimmy of the title track to “Polyester Bride,” perhaps Liz’s first perfect pop song. The lyrics, too, run the gamut from the conversational ramble for which she is perhaps best known (“What Makes You Happy”) to a less literal, more oblique approach (“Big Tall Man”). Fans of her honest, brash sexuality will of course be thrilled by hits like “Johnny Feelgood” (“I never realized I was so dirty and dry/’Til he knocked me down, started dragging me around in the back of his convertible car/And I liked it”), while songs like “Perfect World” have a longing and delicacy which Liz has rarely afforded herself in the past.
Liz Phair has been plenty busy in the four years since Whip-Smart, during which time she’s seen the creative and commercial climate for female artists flourish under her influence. The time between records allowed her to choose only the best from a wealth of material, as opposed to the more by-the-seat-of-her-pants attack of the previous two records. She still lives in her hometown of Chicago.
While in the past Liz has only toured sporadically, and even then often doing solo acoustic performances, she will be touring with a full band for this album, first on several Lilith Fair dates this summer (July 15 through mid-August), then full international touring beginning in September.
Singles
Polyester Bride
“Polyester Bride” was the album’s first single, was released on August 21, 1998 – a little over week from the release of whitechocolatespacegg.
Johnny Feelgood
Although originally selected by Matador to be the initial single for whitechocolatespaceegg, “Johnny Feelgood” was to be officially issued after “Polyester Bride.”
Reception
The album peaked at #35 on the Billboard 200 and received generally favorable reviews from critics and fans.
“whitechocolatespaceegg is the work of a craftsman, not an inspired work of brilliance like Exile. And while that may alienate some hardcore fans, that’s not necessarily a bad thing.” – Stephen Thomas Erlewine, AllMusic
“For all its self-consciousness and confusion, whitechocolatespaceegg is the most likable and consistent of Phair’s albums. That may not be enough to make it a masterpiece, but it will make it worth playing, again and again and again”
– J.D. Considine, The Baltimore Sun
“Recorded over the course of several years with different producers (including Phair cohort Brad Wood and longtime R.E.M. collaborator Scott Litt), the album features a subtle, but striking, sonic overhaul. Phair and company have cranked up the guitars and drums without becoming hammy or contrived.”
– David Browne, Entertainment Weekly
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