Expectations ran extremely high for Liz Phair's follow-up to Exile in Guyville, one of the most critically acclaimed debut albums of all time.

If there are flaws in this generally first-rate follow-up, they mostly arise in comparison with Guyville, a record of such unexpected impact that most anything Phair could have done may have been found lacking.

She continues to explore sex and relationships with exhilarating frankness and celebration, employing her much-touted profanity to a conversational rather than a sensational effect.

The sound is somewhat more produced, though still pretty basic, and the compositions are by and large tuneful and lyrically intriguing.

It's not, after all is said and done, quite as striking as Guyville; like many sophomore efforts, it mines similar territory without making huge strides forward.

Several songs are reprised from her widely circulated Girlysound demo tapes, and in some instances the more heavily produced, self-consciously ingenious arrangements here suffer in comparison to their blueprints.

The title track, one of the highlights of those tapes, comes off as particularly gimmicky in its new incarnation, with the addition of all manner of superfluous animal noises.

There's no question that Phair is a major songwriter and artist, but this album is more a solidification of her talents than a breakthrough statement.