The pioneering alt-rock band Pixies rose to fame and disbanded well before I cared to get to know them. I was content in my rock, hair metal, and “grunge” ways and refused to explore past those extremely narrow boundaries. But in more recent years I’ve found myself forced to look elsewhere for good music. Today’s rock scene just isn’t doing it for me, but yesterday’s alternative/indie/college rock scene does it to me over and over again.
Throughout the late 1980’s and early 1990’s, the Massachusetts-based band Pixies could do no wrong. Their four full-length albums, various EPs, and live releases were consistently good and usually great. The Pixies rank among the most influential acts of their era. And not just because their music was challenging (it was) but also because it continues to be highly appealing. And as critically acclaimed as the band was, it was ironic that MTV almost wholly refused to support the band--though in the end I think that this worked in favor of the Pixies. They were never seen as selling out or as growing stale. And because of the not-quite-mainstream successes the band was never subject to too much as far as record label constraints. Therefore, with each successive album the Pixies were able to grow and change and tweak their already brilliant style.
From the start, the Pixies was led by the enigmatic singer-songwriter Black Francis (nee Charles Thompson and later Frank Black). Whether or not they were indeed accomplished as musicians is up for debate, but the band’s creativity, verve, and excitement are not. They combined with seamless ease the best elements of punk, pop, and rock into a unique sound. And with layers of creative harmonies, melodies, and intriguing lyrics the band carved out a niche. Black Francis was the most visible member of the Pixies, but there were three other very important members. Guitarist Joey Santiago was adept at noise while bassist and sometimes vocalist Kim Deal (later a part of The Breeders and The Amps) was a forceful creative figure. Rounding the foursome out was drummer David Lovering.
The Pixies made their debut in 1987 with the EP Come on Pilgrim. An album, Sufer Rosa, soon followed. Both were incredibly viable offerings, and most certainly impressed just about everybody who heard them. But even as I much appreciate those two discs, I find myself drawn to their 1989 release Doolittle more often than any other album. That also includes 1990’s Bossanova and 1991’s Tompe le Monde. Doolittle is hands down my favorite Pixies release—and it is the most appropriate place for new fans to start their fascination with the talented troupe.
Doolittle was a contrast to 1988’s Surfer Rosa. Whereas the earlier album was thick, challenging, and loudly abrasive Doolittle definitely had parts that were pop. But with that said, the band never let go of their experimental roots. From start to end, Doolittle is a wondrously entertaining and challenging affair. Even today, almost fifteen years later, the album still strikes a chord. It’s not at all dated, and in fact the influence of The Pixies can easily be seen in acts today. They are clearly part of the reason why “alternative” went “mainstream” during the past decade.
The Pixies are incredibly accessible throughout Doolittle. In fact, I believe that the album’s first half is one of the best of the last twenty years or so. Every song there is perfect, every song is fun, and every song can be appreciated by alternative and pop fans alike. This album really is a gift. And it is from start to finish something special and unique to behold. The songs are short and punchy, just the way I like it. In fact, the band differs quite a lot from song to song—my favorite offerings though are those that have pop leanings. Then again, I can’t help but like ‘em all. Doolittle is nothing short of a classic. And the songs that make it that way are not limited to but include Wave Of Mutilation, Here Comes Your Man, album opener Debaser, Tame, Gouge Away and Monkey Gone To Heaven. But those songs I’ve not mentioned aren’t bad—they just aren’t my favorites.
I think those songs that will prove most appealing to a wide audience are those based in pop. And I honestly don’t think that’s my bias showing—it’s just the way it is. But what I particularly enjoy is that the Pixies are a macabre band. Their songs are by no means average fare. They are dark with strange and surrealistic topics like those explored in Debaser (which I love) that is inspired by the classic Brunel/Dali short Un Chien Andalou. The movie itself is depicts seventeen minutes of indescribably dreamlike images meant to disturb, but not necessarily make sense. Debaser may be rooted in that bizarre film, but itself is upbeat and lovely and perfect. I can’t help but love every moment, even when Black Francis yelps about this crazy little movie that presents “slicing up eyeballs.”
From there, Doolittle takes off into the stratosphere. Tame is an off-kilter although completely wonderful kinky track most certainly inspired by sado-masochism. You gotta love a short, punchy sex song—especially when it contains the most memorable moans and heavy breathing and the line “got hips like Cinderella.” It is following that song that listeners are rewarded with the pop-laden sing-along masterpiece Wave of Mutilation. On so many levels that song strikes a chord. It’s easy on the ears and is probably one of the most appealing selections. But further investigation turns up the fact that the Pixies were singing and performing about the act of driving a car into the water. Gotta love those dark elements…I know I do. And it’s not just the macabre that draws me in, I adore the lyrics (as strange as they are):
I've kissed mermaids, rode the el nino
Walked the sand with the crustaceans
Could find my way to mariana
On a wave of mutilation
Weird but compelling, I Bleed is one of the weirdest offerings. But it fits perfectly, and I most definitely love Deal’s oh, oh, ohs and Black Francis’ throaty emoting. Until this point, listeners have probably resigned the fact that the Pixies are an incredible alt-rock act. But nothing can prepare a listener from the surf-rock swagger of the single best song on Doolittle--Here Comes Your Man. It isn’t the most challenging or intelligent song here, but it does something that marks any great song as such. It elicits a smile and a tapping toe, and has unbelievable replay value.
Continuing onward, there are a few songs that don’t rank as highly on scales as those already mentioned. I still love them, but when compared to the first five they come up slightly pale. But throughout the second half I’m reminded of the genius that the Pixies are. Monkey Gone To Heaven (a modest hit single) is as close to a “message” that the Pixies ever get. It’s about environmental issues, but the fact is that when presented by this band it is done so in a not-so-usual manner. Brilliant—I can’t help but use that word over and over again. Take for instance this description of global warming:
Now there's a hole in the sky
And the ground's not cold
And if the ground's not cold
Everything is gonna burn
Mr. Grieves on the other hand is round and rich and reminds me very much of the mid-1990’s band Presidents of the United States of America. It is clear where PUSA got their inspiration. The sharp, punk drums matched with a kinetic beat and memorable melody make the song pretty much perfect. Turning to the topic of love, listeners are gifted La La Love You, another surf-rock masterpiece but with a definite new wave twist. The minimal but the emotion is expansive. There’s just so much that the Pixies can do with sound and noise that no band will ever again be able to touch.
The trio of songs that closes Doolittle leaves me with a warm fuzzy feeling. Hey is challenging and very different than most everything else here. Black Francis and Deal trade on and off the heys while Deal’s bass guitar takes center stage. Deal gets lead vocals and writing credits on the dramatic, spaghetti-western tinged Silver. The song goes to prove that Deal had a place in the band, and actually in the end it was in part Black Francis’ inability to accept this that broke the Pixies up for good. And finally, Gouge Away wraps the festivities up in style.
Doolittle is very much an innovative album. The Pixies were unlike anything or anybody else of their era and this is definitely the reason why and how they inspired so many bands in the years that followed. If you think yourself to be a fan of “alternative” and you’ve not investigated The Pixies in depth, then do yourself a favor and pick up their catalogue beginning with Doolittle. This is the best kind of album, the kind that always has a place in the stereo.
Rating: 5/5 stars
Track Listing:
01. Debaser
02. Tame
03. Wave of Mutilation
04. I Bleed
05. Here Comes Your Man
06. Dead
07. Monkey Gone to Heaven
08. Mr. Grieves
09. Crackity Jones
10. La la Love You
11. No. 13 Baby
12. There Goes My Gun
13. Hey
14. Silver
15. Gouge Away
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