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Doolittle
     

Doolittle

by Pixies
 

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After 1988's brilliant but abrasive Surfer Rosa, the Pixies' sound couldn't get much more extreme. On Doolittle, they reined in the noise in favor of pop songcraft and accessibility. Producer Gil Norton's sonic sheen adds some polish, but Black Francis' tighter songwriting focuses the group's

Overview

After 1988's brilliant but abrasive Surfer Rosa, the Pixies' sound couldn't get much more extreme. On Doolittle, they reined in the noise in favor of pop songcraft and accessibility. Producer Gil Norton's sonic sheen adds some polish, but Black Francis' tighter songwriting focuses the group's attack. Doolittle's most ferocious moments, like "Dead," a visceral retelling of David and Bathsheba's affair -- are more stylized than the group's past outbursts. Meanwhile, the band's poppy side surfaces on the irresistible single "Here Comes Your Man" and the sweetly surreal love song "La La Love You." The Pixies mix their arty weirdness with just enough hooks to produce gleefully demented singles like "Debaser" -- inspired by Buñuel's classic surrealist short Un Chien Andalou -- and "Wave of Mutilation," their surfy ode to driving a car into the sea. Though Doolittle's sound is cleaner and smoother than the Pixies' earlier albums, there are still plenty of weird, abrasive vignettes: the blankly psychotic "There Goes My Gun," "Crackity Jones," a song about a crazy roommate Francis had in Puerto Rico, and the nihilistic finale "Gouge Away." Meanwhile, "Tame" and "I Bleed" continue the band's penchant for cryptic kink. But the album doesn't just refine the Pixies' sound; they also expand their range on the brooding, wannabe spaghetti Western theme "Silver" and the strangely theatrical "Mr. Grieves." "Hey" and "Monkey Gone to Heaven," on the other hand, stretch Francis' lyrical horizons: "Monkey"'s elliptical environmentalism and "Hey"'s twisted longing are the Pixies' versions of message songs and romantic ballads. Their most accessible album, Doolittle's wide-ranging moods and sounds make it one of their most eclectic and ambitious. A fun, freaky alternative to most other late-'80s college rock, it's easy to see why the album made the Pixies into underground rock stars. [In 2014, Doolittle 25 celebrated the album's quarter-century anniversary with generous bonus features, including Peel Sessions, B-sides, and demos for all of the songs from the Doolittle era. While many of the extra tracks here were available either on bootlegs or on previous official releases, the way Doolittle 25 collects them makes it a fascinating, satisfying listen for Pixies geeks.]

Product Details

Release Date:
12/02/2014
Label:
4ad / Ada
UPC:
0652637342529
catalogNumber:
734252
Rank:
69882

Related Subjects

Tracks

Album Credits

Performance Credits

Pixies   Primary Artist
Kim Deal   Bass Guitar
Black Francis   Guitar,Vocals
Karen Karlsrud   Violin
David Lovering   Drums
Joey Santiago   Guitar,Background Vocals
Arthur Fiacco   Cello
Corine Metter   Violin
Ann Rorich   Cello

Technical Credits

Kim Deal   Composer
Black Francis   Composer
Dale "Buffin" Griffin   Producer
Paul Q. Kolderie   Engineer
Gil Norton   Producer,Engineer
James Birtwistle   Engineer
Chris Bigg   Calligraphy
Vaughan Oliver   Art Direction
Mike Walter   Engineer
Claude Fixler   Engineer
Gary Smith   Engineer
John Turner   Engineer

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