Last Splash

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Editorial Reviews

All Music Guide - Heather Phares
Thanks to good timing and some great singles, the Breeders' second album, Last Splash, turned them into the alternative rock stars that Kim Deal's former band, the Pixies, always seemed on the verge of becoming. Building on Safari's driving, polished sound, Last Splash is half-brilliant singles and half-unfinished, uninspired ideas. When it's good, it's very, very good: "Cannonball"'s instantly catchy collage of bouncy bass, rhythmic stops and starts, and singsong vocals; the sweetly sexy "Divine Hammer"; and swaggering "Saints" are among the Breeders' finest moments, and deserved all of the airplay they received. And the charming country-pop of "Drivin' on 9," "I Just ...
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Editorial Reviews

All Music Guide - Heather Phares
Thanks to good timing and some great singles, the Breeders' second album, Last Splash, turned them into the alternative rock stars that Kim Deal's former band, the Pixies, always seemed on the verge of becoming. Building on Safari's driving, polished sound, Last Splash is half-brilliant singles and half-unfinished, uninspired ideas. When it's good, it's very, very good: "Cannonball"'s instantly catchy collage of bouncy bass, rhythmic stops and starts, and singsong vocals; the sweetly sexy "Divine Hammer"; and swaggering "Saints" are among the Breeders' finest moments, and deserved all of the airplay they received. And the charming country-pop of "Drivin' on 9," "I Just Wanna Get Along"'s spiky punk-pop, and the bittersweet "Invisible Man" proved Last Splash had a bit of depth. But underdeveloped snippets such as "Roi" and "No Aloha" drag down the album's momentum; likewise, the band tries to stretch their range on the rambling, cryptic "Mad Lucas" and "Hag," but neither quite comes together as a full-fledged song. Though instrumentals such as "S.O.S." and "Flipside" showcase the Breeders' chops and some nifty production tricks, they feel like filler; worst of all, Last Splash features an inferior, plodding new version of Safari's soaring "Do You Love Me Now" that emphasizes the album's unevenness. One of the definitive alternative rock albums of the '90s, Last Splash is equally inspired and infuriating; that it was the Breeders' last album of that decade makes it even more frustrating.
All Music Guide - Heather Phares
Thanks to good timing and some great singles, the Breeders' second album, Last Splash, turned them into the alternative rock stars that Kim Deal's former band, the Pixies, always seemed on the verge of becoming. Joined by Deal's twin sister Kelley -- with whom Kim started the band while they were still in their teens -- the group expanded on the driving, polished sound of the Safari EP, surrounding its plentiful moments of brilliance with nearly as many unfinished ideas. When Last Splash is good, it's great: "Cannonball"'s instantly catchy collage of bouncy bass, rhythmic stops and starts, and singsong vocals became one of the definitive alt-pop singles of the '90s. Likewise, the sweetly sexy "Divine Hammer" and swaggering "Saints" are among the Breeders' finest moments, and deserved all of the airplay they received. Similarly, the charming twang of "Drivin' on 9," "I Just Wanna Get Along"'s spiky punk-pop, and the bittersweet "Invisible Man" added depth that recalled the eclectic turns the band took on Pod while maintaining the slick allure of Last Splash's hits. However, underdeveloped snippets such as "Roi" and "No Aloha" drag down the album's momentum, and when the band tries to stretch its range on the rambling, cryptic "Mad Lucas" and "Hag," it tends to fall flat. The addition of playful but slight instrumentals such as "S.O.S" and "Flipside" and a version of "Do You Love Me Now?" that doesn't quite match the original's appeal reflect Last Splash's overall unevenness. Still, its best moments -- and the Deal sisters' megawatt charm -- end up outweighing its inconsistencies to make it one of the alternative rock era's defining albums.
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Product Details

  • Release Date: 8/31/1993
  • Label: Elektra / Wea
  • UPC: 075596150828
  • Catalog Number: 61508
  • Sales rank: 34,832

Tracks

Disc 1
  1. 1 New Year (1:56)
  2. 2 Cannonball (3:33)
  3. 3 Invisible Man (2:48)
  4. 4 No Aloha (2:07)
  5. 5 Roi (4:11)
  6. 6 Do You Love Me Now? (3:01)
  7. 7 Flipside (1:59)
  8. 8 I Just Wanna Get Along (1:44)
  9. 9 Mad Lucas (4:36)
  10. 10 Divine Hammer (2:41)
  11. 11 S.O.S. (1:31)
  12. 12 Hag (2:55)
  13. 13 Saints (2:32)
  14. 14 Drivin' On 9 (3:22)
  15. 15 Roi (Reprise) (0:42)
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Album Credits

Performance Credits
The Breeders Primary Artist
Carrie Bradley Vocals
Josephine Wiggs Drums
Technical Credits
Kim Deal Composer, Producer
Mark Freegard Producer, Engineer
Daniel Presley Engineer
Josephine Wiggs Contributor
Kelley Deal Composer, Contributor
Jim MacPherson Contributor
Vaughan Oliver Art Direction
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Customer Reviews

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Sort by: Showing 1 Customer Review

  • Anonymous

    Posted October 1, 2010

    Kim Deal for President

    The Breeders are a strange band. Born when Kim Deal was on hiatus from her already successful band the Pixies, their first album "Pod" was met with cool commercial response, but enjoyed a positive underground buzz. After the Pixies split in 1993, Kim was left to pursue the Breeders full-time. Call it timing or luck, but the end of 1993 saw the breeders with a confirmed hit, the catchy and campy single "Cannonball". Soon the Breeders were all over MTV and the radio, and started opening for Nirvana. Those who bought the album just for the single may have been suprised at then albums depth, darkness, and complexity. Truly one of the best albums to come out of the early grunge movement, songs such as "No Aloha", and "Divine Hammer" showcase the bands' versatilty and musical diversity.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.
Sort by: Showing 1 Customer Review