Pixies | ||
| Allmusic Biography : Combining jagged, roaring guitars and stop-start dynamics with melodic pop hooks, intertwining male-female harmonies, and evocative, cryptic lyrics, Pixies were one of the most influential alternative rock bands. They were inventive, rabid rock fans who turned conventions inside out: On albums such as 1988s Surfer Rosa and 1989s Doolittle, they melded punk and indie guitar rock, classic pop, surf rock, and stadium-sized riffs with singer/guitarist Black Francis bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture. While the meaning of his lyrics may have been impenetrable, the music was direct, forceful, and laid the groundwork for the alternative explosion of the early 90s. From grunge to Brit-pop, Pixies shadow loomed large; its hard to imagine Nirvana without Pixies signature stop-start dynamics and lurching, noisy guitar solos. However, the bands commercial success didnt match its impact -- MTV was reluctant to play their videos, while modern rock radio didnt put their singles into regular rotation. By the time Nirvana broke the doors down for alternative rock in 1992, Pixies were effectively broken up. During the rest of the 90s and into the 2000s, they continued to inspire acts ranging from Weezer, Radiohead, and PJ Harvey to the Strokes and Arcade Fire. Pixies 2004 reunion was as surprising as it was welcome, and the bands frequent tours led them to record albums including 2016s Head Carrier, which continued the sound of their groundbreaking early work. Pixies were formed in Boston, Massachusetts in January 1986 by Charles Thompson and Joey Santiago, Thompsons suitemate while studying at the University of Massachusetts Amherst. Born in Massachusetts and constantly shuttling between there and California, Thompson began playing music as a teenager before he moved to the East Coast for good during high school. Following graduation, he became an anthropology major at the University of Massachusetts. Halfway through his studies there, he went to Puerto Rico to study Spanish, and after six months he decided to move back to the U.S. to form a band. Thompson dropped out of school and moved to Boston, managing to persuade Santiago to join him. Advertising in a music paper for a bassist who liked "Hüsker Dü and Peter, Paul and Mary," the duo recruited Kim Deal (who was billed as Mrs. John Murphy on the groups first two records), who had previously played with her twin sister Kelly in their band the Breeders in her hometown of Dayton, Ohio. On the advice of Deal, the group recruited drummer David Lovering. Inspired by Iggy Pop, Thompson picked the stage name Black Francis and the group named itself Pixies after Santiago randomly flipped through the dictionary. After a few months, Pixies had played enough gigs to land a supporting slot for fellow Boston band Throwing Muses. At the Muses concert, Gary Smith, an artist manager and producer at Bostons Fort Apache studios, heard the group and offered to record them. In March 1987, Pixies recorded 18 songs over the course of three days. The demo, dubbed The Purple Tape, was given to key players within the Boston musical community and the international alternative scene, including Ivo Watts, the head of Englands 4AD Records. On the advice of his girlfriend, Watts signed the band. After selecting eight of the demos songs and remixing them slightly, 4AD released them as Come on Pilgrim in September 1987. Named for a lyric from a song by Christian rocker Larry Norman -- whose music Francis listened to while growing up -- the mini-album peaked at number five on the U.K. indie album chart. In December 1987, Pixies began recording their first full-length album, Surfer Rosa, with Steve Albini at Bostons Q Division studio. Albini, who had pioneered the thin, abrasive indie guitar grind with Big Black, gave the band a harder-edged sound over the ten-day session, yet the group retained its melodic hooks. Released in March 1988, Surfer Rosa became a college radio hit in America (and was ultimately certified gold by the RIAA in 2005); in the U.K., the album reached number two on the Indie Chart and earned enthusiastic reviews from the British weekly music press. By the end of the year, Pixies buzz was substantial, and the group signed to Elektra. While touring in support of Surfer Rosa, Francis began writing songs for the bands second album, some of which appeared on their 1988 sessions for John Peels radio show. That October, the band entered Downtown Studios in Boston with English producer Gil Norton, with whom they had recorded the single version of "Gigantic" in May. With a budget of $40,000 -- four times the amount Surfer Rosa cost -- and a month of initial recording sessions, Doolittle was Pixies cleanest-sounding album yet. It received excellent reviews, leading to greater exposure in America. "Monkey Gone to Heaven" and "Here Comes Your Man" became Top Ten modern rock hits, clearing the way for Doolittle to peak at number 98 on the U.S. charts; meanwhile, it hit number eight on the U.K. Album Chart. Throughout their career, Pixies were more popular in Britain and Europe than America, as evidenced by the success of the Sex and Death tour in support of Doolittle. The band became notorious for Black Francis motionless performances, which were offset by Deals charmingly earthy sense of humor. The tour itself became infamous for the bands in-jokes, such as playing their entire set list in alphabetical order. By the completion of their second American tour for Doolittle at the end of 1989, the bandmembers had begun to tire of each other and decided to take a hiatus. During his time away from Pixies, Black Francis went on a brief solo tour. Meanwhile, Kim Deal re-formed the Breeders with Tanya Donelly from Throwing Muses and bassist Josephine Wiggs of Perfect Disaster. In January 1990, Francis, Santiago, and Lovering moved to Los Angeles to prepare for recording Pixies third album, Bossanova, while Deal worked on the Breeders debut album Pod in the U.K. with Albini; she joined the rest of the group in time to start recording in February. Working once again with Norton at Burbank, Californias Master Control studio, the band wrote many of the albums songs in the studio. More atmospheric than its predecessors, and relying heavily on Francis surf rock obsession, Bossanova was released in August of 1990; unlike Surfer Rosa or Doolittle, it contained no songs by Deal. Bossanova was greeted with mixed reviews, but the record became a college hit, generating the modern rock hits "Velouria" and "Dig for Fire" in the U.S. In Europe, the record expanded the groups popularity, hitting number three on the U.K. album charts and paving the way for their headlining appearance at the Reading Festival. Though the supporting tours for Bossanova were successful, tension continued to grow between Kim Deal and Black Francis -- at the conclusion of their English tour, Deal announced from the stage of the Brixton Academy that the concert was "our last show." While they canceled their planned American tour due to exhaustion, Pixies reconvened in early 1991 to make their fourth album with Gil Norton, recording in studios in Burbank, Paris, and London. Hiring former Captain Beefheart and Pere Ubu keyboardist Eric Drew Feldman as an auxiliary member, the band moved back toward loud rock, claiming to be inspired by the presence of Ozzy Osbourne in a neighboring studio. Upon its fall release, Trompe le Monde was hailed by some as a welcome return to the sound of Surfer Rosa and Doolittle, but closer inspection revealed that it relied heavily on sonic detail and featured very few vocals by Deal and, as on Bossanova, none of her songs. The band embarked on another international tour, playing stadiums in Europe but theaters in America. Early in 1992, Pixies opened for U2 on the opening leg of the Zoo TV tour; upon its conclusion, the band went on another hiatus, with Deal returning to the Breeders, who released the EP Safari that April. Francis began working on a solo album. As he was preparing to release his solo debut in January 1993, Francis gave an interview on BBCs Radio 5, announcing that Pixies were disbanding. He hadnt yet informed the other members; later that day, he called Santiago and faxed Deal and Lovering the news. Inverting his stage name to Frank Black, Francis released his eponymous debut that March. The Breeders released their second album, Last Splash, in August 1993. The album became a hit, going gold in the U.S. and spawning the hit single "Cannonball." Soon after, Deal also formed the Amps, who released their one (and only) album, Pacer, in 1995. Santiago and Lovering formed the Martinis in 1995 and appeared on the soundtrack to Empire Records. During the late 90s and early 2000s, 4AD issued archival Pixies releases, including Death to the Pixies 1987-1991, Pixies at the BBC, and Complete B-Sides. After releasing The Cult of Ray for American in 1996, Black shuffled between different labels and ended up on spinART for 1999s Pistolero, and several subsequent solo albums. Deal and the rest of the Breeders, meanwhile, suffered from problems ranging from substance abuse to writers block, and only surfaced intermittently, spending time in the studio but only having a cover of the Three Degrees "Collage" on the soundtrack to 1999s The Mod Squad to show for their efforts until they released Title TK in 2002. David Lovering left the Martinis and became the touring drummer for Cracker, and also appeared on Donellys Sliding and Diving, but found himself unemployed in the late 90s. Combining his studies in electronic engineering at Wentworth Institute of Technology and his years of performing experience, Lovering dubbed himself a "scientific phenomenalist," a cross between a scientist, performance artist, and magician, and warmed up the crowds at Frank Black, Breeders, Camper Van Beethoven, and Grant Lee Buffalo concerts. Santiago and his wife Linda Mallari continued the Martinis through the 90s, recording several demos and self-released albums. Santiago also began a career composing soundtracks and incidental music, beginning with the score for 2000s Crime & Punishment in Suburbia, to which Black also contributed a track. Hopes that Pixies would re-form remained unfounded until 2003, when Black revealed in an interview that he had considered reuniting the band and that he, Deal, Santiago, and Lovering occasionally got together to jam. In 2004, Pixies reunited for U.S. tours, an appearance at that years Coachella festival and gigs in Europe and the U.K. that summer, including performances at the T in the Park, Roskilde, Pinkpop, and V festivals. All 15 of the bands North American warm-up dates were recorded and released in limited editions of 1,000 copies, then sold online and at the shows. The week after the Pixies Coachella appearance, the DVD retrospective Pixies and revamped best-of Wave of Mutilation: The Best of Pixies were released by 4AD. The band also released two songs, "Bam Thwok" and a cover of Warren Zevons "Aint That Pretty at All" in 2004. Despite consistent touring throughout the 2000s and 2010s, no more new music appeared until 2013, when the group went into the studio with longtime producer Gil Norton. During those sessions, Deal officially left the group. Former Fall bassist Simon Archer, aka Dingo, replaced Deal in the studio, and the band hired the Muffs Kim Shattuck for touring duties. "Bagboy," the first Pixies song in nine years, arrived in July 2013 and featured Bunnies vocalist Jeremy Dubs. That November, Shattuck was let go from the band; a few weeks later, Paz Lenchantin -- who also played with Zwan and A Perfect Circle -- was drafted as the Pixies bassist. EP2 arrived in January 2014, and EP3 was issued that March. The EPs were compiled as the album Indie Cindy for that Aprils Record Store Day. It reached number 23 on the Billboard 200 albums chart, making it the bands highest-charting album in the U.S. to date. Pixies began work on their sixth album late in 2015, working with producer Tom Dalgety at Londons RAK Studios. Released in September 2016, Head Carrier was the first album to include Lenchantin as a full-fledged member. Peaking at number 72 on the Billboard 200, the albums single "Classic Masher" debuted on the Adult Alternative Songs chart at number 30, marking Pixies first appearance on a Billboard airplay chart since 1992. | ||
 | Album: 1 of 15 Title: Surfer Rosa / Come On Pilgrim Released: 1988 Tracks: 22 Duration: 53:59 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Bone Machine (03:03) 2 Break My Body (02:05) 3 Something Against You (01:47) 4 Broken Face (01:30) 5 Gigantic (03:54) 6 River Euphrates (02:31) 7 Where Is My Mind? (03:53) 8 Cactus (02:16) 9 Tony’s Theme (01:52) 10 Oh My Golly! (01:47) 11 [untitled] (00:44) 12 Vamos (04:20) 13 I’m Amazed (01:42) 14 Brick Is Red (02:00) 15 Caribou (03:14) 16 Vamos (02:53) 17 Isla de Encanta (01:41) 18 Ed Is Dead (02:30) 19 The Holiday Song (02:14) 20 Nimrod’s Son (02:17) 21 I’ve Been Tired (03:00) 22 Levitate Me (02:37) |
| Surfer Rosa / Come On Pilgrim : Allmusic album Review : When Rough Trade reissued the Pixies seminal full-length debut album, Surfer Rosa, on CD, they added the terrific mini-album Come on Pilgrim as a bonus. While its nice to have these two records on one disc, the sequencing of Come on Pilgrim after Surfer Rosa is a little disconcerting, since the two albums each have distinctive sounds that clash slightly. Steve Albinis production of Surfer Rosa is metallic and spare -- its in black and white, with no shades of grey and no color. Come on Pilgrim, on the other hand, is filled with greys and colors, and while the contrast between the two is certainly interesting, it would be more enlightening if the mini-LP was placed before Surfer Rosa. Nevertheless, some fans might like having both albums on one disc, but buying them individually is a better move and, in any case, a little more cost-effective as well. | ||
 | Album: 2 of 15 Title: Surfer Rosa Released: 1988-03-21 Tracks: 13 Duration: 33:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Bone Machine (03:03) 2 Break My Body (02:05) 3 Something Against You (01:47) 4 Broken Face (01:30) 5 Gigantic (03:54) 6 River Euphrates (02:31) 7 Where Is My Mind? (03:53) 8 Cactus (02:16) 9 Tony’s Theme (01:52) 10 Oh My Golly! / [untitled] (02:32) 11 Vamos (04:20) 12 I’m Amazed (01:42) 13 Brick Is Red (02:00) |
| Surfer Rosa : Allmusic album Review : One of the most compulsively listenable college rock albums of the 80s, the Pixies 1988 full-length debut Surfer Rosa fulfilled the promise of Come on Pilgrim and, thanks to Steve Albinis production, added a muscular edge that made their harshest moments seem even more menacing and perverse. On songs like "Something Against You," Black Francis cryptic shrieks and non sequiturs are backed by David Lovering and Kim Deals punchy rhythms, which are so visceral that theyd overwhelm any guitarist except Joey Santiago, who takes the spotlight on the epic "Vamos." Albinis high-contrast dynamics suit Surfer Rosa well, especially on the explosive opener "Bone Machine" and the kinky, T. Rex-inspired "Cactus." But, like the black-and-white photo of a flamenco dancer on its cover, Surfer Rosa is the Pixies most polarized work. For each blazing piece of punk, there are softer, poppier moments such as "Where Is My Mind?," Francis strangely poignant song inspired by scuba diving in the Caribbean, and the Kim Deal-penned "Gigantic," which almost outshines the rest of the album. But even Surfer Rosas less iconic songs reflect how important the album was in the groups development. The "song about a superhero named Tony" ("Tonys Theme") was the most lighthearted song the Pixies had recorded, pointing the way to their more overtly playful, whimsical work on Doolittle. Francis warped sense of humor is evident in lyrics like "Bone Machine"s "He bought me a soda and tried to molest me in the parking lot/Yep yep yep!" In a year that included landmark albums from contemporaries like Throwing Muses, Sonic Youth, and My Bloody Valentine, the Pixies managed to turn in one of 1988s most striking, distinctive records. Surfer Rosa may not be the groups most accessible work, but it is one of their most compelling. | ||
 | Album: 3 of 15 Title: Doolittle Released: 1989-04-17 Tracks: 15 Duration: 38:43 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Debaser (02:52) 2 Tame (01:55) 3 Wave of Mutilation (02:04) 4 I Bleed (02:34) 5 Here Comes Your Man (03:21) 6 Dead (02:21) 7 Monkey Gone to Heaven (02:56) 8 Mr. Grieves (02:05) 9 Crackity Jones (01:24) 10 La La Love You (02:43) 11 No. 13 Baby (03:51) 12 There Goes My Gun (01:49) 13 Hey (03:31) 14 Silver (02:25) 15 Gouge Away (02:44) |
| Doolittle : Allmusic album Review : After 1988s brilliant but abrasive Surfer Rosa, the Pixies sound couldnt get much more extreme. Their Elektra debut, Doolittle, reins in the noise in favor of pop songcraft and accessibility. Producer Gil Nortons sonic sheen adds some polish, but Black Francis tighter songwriting focuses the groups attack. Doolittles most ferocious moments, like "Dead," a visceral retelling of David and Bathshebas affair -- are more stylized than the groups past outbursts. Meanwhile, their poppy side surfaces on the irresistible single "Here Comes Your Man" and the sweetly surreal love song "La La Love You." The Pixies arty, noisy weirdness mix with just enough hooks to produce gleefully demented singles like "Debaser," -- inspired by Bunuels classic surrealist short Un Chien Andalou -- and "Wave of Mutilation," their surfy ode to driving a car into the sea. Though Doolittles 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 Pixies penchant for cryptic kink. But the album doesnt 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, Doolittles 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, its easy to see why the album made the Pixies into underground rock stars. | ||
 | Album: 4 of 15 Title: Bossanova Released: 1990-08-13 Tracks: 14 Duration: 39:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Cecilia Ann (02:06) 2 Rock Music (01:52) 3 Velouria (03:40) 4 Allison (01:17) 5 Is She Weird (03:01) 6 Ana (02:09) 7 All Over the World (05:26) 8 Dig for Fire (03:02) 9 Down to the Well (02:29) 10 The Happening (04:19) 11 Blown Away (02:20) 12 Hang Wire (02:01) 13 Stormy Weather (03:26) 14 Havalina (02:33) |
| Bossanova : Allmusic album Review : When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittles enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies weakest album -- though Francis has said its his favorite -- most of it finds the band in fine form. Gil Nortons spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones "Cecilia Ann" and the glorious, shimmering closer "Havalina" perfectly. On the theremin-driven "Velouria," science fiction imagery displaces Francis penchant for fetishistic lyrics; next to the token kinky song "Down to the Well"s tired sound, its a refreshing change. The similarly cryptic "All Over the World" and alien abduction tale "The Happening" add to the sci-fi feel. Quirky pop songs like "Allison," a tribute to jazz cool-cat Mose Allison, and "Dig for Fire," Francis self-professed Talking Heads homage, heighten Bossanovas playful, slightly off-kilter vibe, but rockers like "Hang Wire" and "Blown Away," fall flat. However, "Rock Music" is one of the groups most fiery outbursts, and "Is She Weird"s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanovas strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies work. | ||
 | Album: 5 of 15 Title: Trompe le Monde Released: 1991-09-23 Tracks: 15 Duration: 39:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Trompe le Monde (01:46) 2 Planet of Sound (02:06) 3 Alec Eiffel (02:50) 4 The Sad Punk (02:59) 5 Head On (02:14) 6 U‐Mass (03:00) 7 Palace of the Brine (01:34) 8 Letter to Memphis (02:39) 9 Bird Dream of the Olympus Mons (02:48) 10 Space (I Believe In) (04:18) 11 Subbacultcha (02:09) 12 Distance Equals Rate Times Time (01:24) 13 Lovely Day (02:05) 14 Motorway to Roswell (04:43) 15 The Navajo Know (02:19) |
| Trompe le Monde : Allmusic album Review : The title might be French for "fool the world," but with Trompe le Monde, the Pixies werent fooling anyone: this was essentially Black Francis solo debut. It focuses on Francis sci-fi fascination and lacks any Kim Deal songs; even her backing vocals are far and few between. Yet the band sounds revitalized on Trompe le Monde, as if it were planned as their last hurrah. The raucous "Distance Equals Rate Times Time" and the explosive cover of the Jesus and Mary Chains "Head On" are fairly straightforward, but the lyrics remain quirky on "Planet of Sound," a song about a Martian who lands on Earth, and "Palace of the Brine," a tribute to sea monkeys and Utahs Salt Lake. He even disses hipsters and pretentious students -- basically, the Pixies fan base -- with nasty little digs like "Subbacultcha"s "I was wearing eyeliner/She was wearing eyeliner" and "U-Mass" "Its eduuucaaationaal!" Musically, "Trompe le Monde"s psychedelic sheen and "Alec Eiffel"s atmospheric keyboards prove that the Pixies sound wasnt defined by Steve Albini-style rawness. Theres also more emotional depth: "The Sad Punk" features the strangely poignant bridge "And evolving from the sea/Would not be too much time for me/To walk beside you in the sun," and "Letter to Memphis" is a heartfelt, if cryptic, love song. Though Trompe le Monde doesnt sound quite like the Pixies other work, Come on Pilgrims spooky beginnings, Surfer Rosas abrasive assault, Doolittles deceptively accessible punk-pop, and Bossanovas spacy sonics helped make Trompe le Monde a rousing swan song and a precursor to alternative rocks imminent success. Whether that means their music remained pure or they missed their chance to cash in is debatable; either way, the Pixies are one of Americas greatest, most influential bands. | ||
 | Album: 6 of 15 Title: Death to the Pixies Released: 1997-10-06 Tracks: 38 Duration: 1:43:19 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Cecilia Ann (02:06) 2 Planet of Sound (02:06) 3 Tame (01:55) 4 Here Comes Your Man (03:21) 5 Debaser (02:52) 6 Wave of Mutilation (02:04) 7 Dig for Fire (03:02) 8 Caribou (03:14) 9 Holiday Song (02:14) 10 Nimrod’s Son (02:17) 11 U‐Mass (03:00) 12 Bone Machine (03:00) 13 Gigantic (03:13) 14 Where Is My Mind? (03:53) 15 Velouria (03:40) 16 Gouge Away (02:44) 17 Monkey Gone to Heaven (02:56) 1 Debaser (02:54) 2 Rock Music (01:51) 3 Broken Face (01:21) 4 Isla de Encanta (01:42) 5 Hang Wire (01:59) 6 Dead (02:30) 7 Into the White (03:30) 8 Monkey Gone to Heaven (02:58) 9 Gouge Away (02:53) 10 Here Comes Your Man (03:12) 11 Allison (01:15) 12 Hey (03:54) 13 Gigantic (03:26) 14 Crackity Jones (01:35) 15 Something Against You (01:46) 16 Tame (02:05) 17 Wave of Mutilation (03:05) 18 Where Is My Mind? (03:36) 19 Ed Is Dead (02:52) 20 Vamos (04:34) 21 Tony’s Theme (02:27) |
| Death to the Pixies : Allmusic album Review : Death to the Pixies has a difficult task -- distilling the highlights of a band that concentrated on albums, not singles. The Pixies catalog was remarkably consistent, which means that most wont agree with all the 17 selections that comprise the first disc of this retrospective, since there are so many strong songs on their records. While most of the usual suspects are here -- "Debaser," "Here Comes Your Man," "Bone Machine," "Gigantic," "Where Is My Mind?," "Velouria," "Nimrods Son," "Wave of Mutilation," "Monkey Gone to Heaven" -- many of the selections appear to have been made at random. As good as "Cecilia Ann," "Holiday Song," "U-Mass," and "Gouge Away" are, such essentials as "River Euphrates," "Cactus," "Hey," "Allison," "Vamos," "Ive Been Tired," "The Happening," "Letter to Memphis," and "Motorway to Roswell" could have easily taken their place. Some of these songs are on disc two, a 21-song live disc culled from a 1990 Dutch concert that has been heavily bootlegged. Its a terrific concert, but the pairing of a greatest-hits record with a live show is puzzling, since casual fans who want the hits wont need the live disc, and the hardcore fans only need the second disc. This pairing alone makes Death to the Pixies unnecessary for neophytes, but the hits disc itself also is an imperfect introduction, since its nonchronological sequencing distorts the Pixies impact. Still, theres so much great music on the collection that it isnt worthless, but the presentation is so ill-conceived that the very existence of Death to the Pixies is a little puzzling. | ||
 | Album: 7 of 15 Title: Pixies at the BBC Released: 1998-07-06 Tracks: 15 Duration: 35:17 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Wild Honey Pie (01:45) 2 There Goes My Gun (01:24) 3 Dead (01:29) 4 Subbacultcha (02:08) 5 Manta Ray (02:14) 6 Is She Weird (02:52) 7 Ana (02:14) 8 Down to the Well (02:31) 9 Wave of Mutilation (02:22) 10 Letter to Memphis (02:32) 11 Levitate Me (02:18) 12 Caribou (03:18) 13 Monkey Gone to Heaven (02:57) 14 Hey (03:17) 15 In Heaven (Lady in the Radiator Song) (01:49) |
| Pixies at the BBC : Allmusic album Review : Between 1988 and 1991, the Pixies performed six sessions at the BBC, playing on a variety of programs. For years, these sessions were hot bootleg items, especially since their first session for John Peel (on May 3, 1988) featured two otherwise unreleased covers -- the Beatles "Wild Honey Pie" and "(In Heaven) Lady in the Radiator Song," from Eraserhead. It took Elektra/4AD until 1998 to release the six sessions, and when the 15-track Pixies at the BBC did appear, it was a mixed blessing. Certainly, the music itself is pretty terrific -- none of the versions are radically different (although "Wave of Mutilation" is performed in its "UK Surf Arrangement" from the "Here Comes Your Man" single, not the Doolittle version), but each cut is raw and vital, and recasting "Wild Honey Pie" as pure primal dementia was brilliant. What is suspect is the presentation. Instead of keeping each session intact, the compilers have assembled individual tracks in seemingly random order so the disc bounces from 1989 to 1991 to 1988 to 1990. For an archival release, such tactics are infuriating -- the sessions make more sense in chronological order, as most bootleggers know. Still, not every hardcore fan can track bootlegs down, nor is he willing to shell out the cash, which makes Pixies at the BBC a welcome (and overdue) addition to the official Pixies catalog. (Be aware, though, that the full-price disc clocks in at about 35 minutes.) | ||
 | Album: 8 of 15 Title: Complete ‘B’ Sides Released: 2001-03-05 Tracks: 19 Duration: 48:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 River Euphrates (03:23) 2 Vamos (live) (03:28) 3 In Heaven (Lady in the Radiator Song) (01:46) 4 Manta Ray (02:40) 5 Weird at My School (01:59) 6 Dancing the Manta Ray (02:14) 7 Wave of Mutilation (UK Surf) (03:02) 8 Into the White (04:42) 9 Bailey’s Walk (02:23) 10 Make Believe (01:55) 11 I’ve Been Waiting for You (02:47) 12 The Thing (01:58) 13 Velvety Instrumental Version (02:04) 14 Winterlong (03:10) 15 Santo (02:16) 16 Theme From Narc (01:48) 17 Build High (01:42) 18 Evil Hearted You (02:38) 19 Letter to Memphis (instrumental) (02:43) |
| Complete ‘B’ Sides : Allmusic album Review : Like the rest of 4ADs Pixies retrospectives, Complete B-Sides is equally exciting and frustrating: Many of their B-sides are just as good as their album tracks, so its terrific to see them collected onto a single disc. But a number of factors make it somewhat disappointing, not the least of which is that Complete B-Sides is available only as a U.K. import due to U.S. licensing problems. That wont dissuade Pixies diehards from seeking it out, but many longtime fans probably already have these songs, either on the original singles or on the bootlegs that proliferated while 4AD inexplicably sat on them. At any rate, Complete B-Sides mostly delivers the goods, kicking off with a ferocious version of "River Euphrates" from the Gigantic single. Witty, spooky Doolittle B-sides like "Manta Ray," "Weird at My School," and "Into the White" are so good that its a shame they werent saved for Bossanova, when the band really could have used them. Meanwhile, the Neil Young cover "Winterlong," which also appeared on The Bridge tribute, reaffirms the Pixies ability to turn any artists songs into their own. Not every song here scales these heights -- "Baileys Walk" and "Dancing the Manta Ray" are slightly less inspired bits of Doolittle-era pop perversity, and the snappy, strutting "Santo" and demented cow punk of "Build High" werent quite ready for prime time, but theyre still more interesting than many other bands A-side material. Quirky cuts like "Make Believe," David Loverings strangely charming tribute to Debbie Gibson, give the collection extra personality. The album also features some fun, if not extremely informative, comments about each track from Frank Black, as well as the clips for "Here Comes Your Man" and "Allison," which will only make fans clamor for the next logical Pixies release: a video collection. Though it doesnt quite do justice to the bands legacy, Complete B-Sides does a good job of filling in the gaps in the Pixies body of work. | ||
 | Album: 9 of 15 Title: 2004-04-13: Fine Line Music Cafe, Minneapolis, MN, USA Released: 2004-04-13 Tracks: 25 Duration: 1:22:31 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Bone Machine (03:49) 2 Wave of Mutilation (02:05) 3 U‐Mass (03:00) 4 Levitate Me (02:21) 5 Broken Face (01:28) 6 Monkey Gone to Heaven (02:50) 7 The Holiday Song (02:46) 8 Winterlong (03:36) 9 Nimrod’s Son (03:20) 10 La La Love You (02:52) 11 Ed Is Dead (02:34) 12 Here Comes Your Man (03:54) 13 Vamos (04:50) 1 Debaser (03:03) 2 Dead (02:34) 3 No. 13 Baby (03:30) 4 Tame (02:06) 5 Gigantic (03:07) 6 Gouge Away (02:55) 7 Caribou (03:28) 8 Isla de Encanta / Something Against You (04:22) 9 Velouria (03:47) 10 In Heaven (Lady in the Radiator Song) / Wave of Mutilation (UK Surf) (05:26) 11 Where Is My Mind? (03:44) 12 Into the White (04:57) |
 | Album: 10 of 15 Title: 2004-04-14: Burton Cummings Theatre, Winnipeg, MB, Canada Released: 2004-04-14 Tracks: 24 Duration: 1:10:38 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Winterlong (04:03) 2 Nimrod’s Son (02:24) 3 The Holiday Song (02:13) 4 Here Comes Your Man (03:18) 5 Vamos (04:44) 6 Blown Away (02:12) 7 In Heaven (Lady in the Radiator Song) / Wave of Mutilation (UK Surf) (05:16) 8 Bone Machine (02:51) 9 Subbacultcha (02:21) 10 Cactus (02:47) 11 Monkey Gone to Heaven (02:46) 12 Is She Weird (02:56) 1 Debaser (02:54) 2 Gouge Away (02:46) 3 Crackity Jones (01:31) 4 Something Against You (01:37) 5 Isla de Encanta (01:43) 6 Broken Face (01:15) 7 Head On (02:06) 8 Tame (02:02) 9 Gigantic (04:26) 10 Into the White (04:14) 11 Where Is My Mind? (04:32) 12 La La Love You (03:29) |
 | Album: 11 of 15 Title: Wave of Mutilation: Best of Pixies Released: 2004-05-03 Tracks: 23 Duration: 1:06:58 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Bone Machine (03:03) 2 Nimrod’s Son (02:17) 3 Holiday Song (02:14) 4 Caribou (03:14) 5 Broken Face (01:30) 6 Gigantic (03:13) 7 Vamos (04:20) 8 Hey (03:28) 9 Monkey Gone to Heaven (02:56) 10 Debaser (02:52) 11 Gouge Away (02:44) 12 Wave of Mutilation (02:04) 13 Here Comes Your Man (03:21) 14 Tame (01:55) 15 Where Is My Mind? (03:53) 16 Into the White (04:42) 17 Velouria (03:40) 18 Allison (01:17) 19 Dig for Fire (03:02) 20 U‐Mass (03:00) 21 Alec Eiffel (02:47) 22 Planet of Sound (02:06) 23 Winterlong (03:10) |
| Wave of Mutilation: Best of Pixies : Allmusic album Review : 4AD tries, tries again with Wave of Mutilation: The Best of the Pixies, the second Pixies best-of theyve released since the band broke up in 1992 and the companion piece to the long-awaited, simultaneously released DVD Pixies. Lessons have been learned from 1997s half-baked Death to the Pixies: this compilations track listing is in more or less chronological order (although Surfer Rosas "Where Is My Mind?" pops up in the middle of the album, after a string of Doolittle tracks), which helps the flow of the collection; since each of the Pixies albums had its own distinctive feel, the cutnpaste approach of the previous best-of didnt always serve the songs it collected. More importantly, Wave of Mutilation boasts 23 songs, as opposed to the 17 on the best-of disc on Death to the Pixies. While, theoretically, 23 tracks should be enough to capture most, if not all, of the bands definitive moments, thats not quite the case here. The collection does a good job of compiling the bands singles, two excellent B-sides ("Into the White" and "Winterlong"), and many of their key album tracks, but those are so numerous that, for the second time, more than a few of the Pixies best songs have been left off of their best-of album. The picks from Doolittle are more or less perfect (although including the wonderfully creepy "I Bleed" certainly wouldve earned some extra credit), but several near-essential songs from each of their other albums are missing in action. Surfer Rosas "Cactus" and "River Euphrates are at the top of that list. Come On Pilgrims "Ive Been Tired" and "Levitate Me" are missed nearly as much, even though including them would bring the total songs from the eight-song mini-album that appear on Wave of Mutilation to five (making a case for Come On Pilgrim to be considered the Pixies most consistent -- if not best -- work). Not coincidentally, the albums that get the shortest shrift on the collection, Bossanova and Trompe le Monde, have also been downplayed in the set lists of the Pixies reunion concerts. Yes, those two albums arent quite as strong or immediate as what preceded them. And yes, "Velouria," "Allison," and "Dig for Fire," and "U-Mass," "Alec Eiffel," and "Planet of Sound" are good selections from Bossanova and Trompe le Monde. However, the best moments from these albums (that dont already appear on the compilation) reflect the atmospheric sound that made them so unique in the Pixies catalog. Bossanovas "The Happening" or "All Over the World" wouldve been apt nods to the bands sci-fi fetish, while "Letter to Memphis," "The Sad Punk," "Motorway to Roswell," or the title track from Trompe le Monde also wouldve worked well on the collection. One final, more minor flaw is the collections bright, shiny artwork, which recalls the mid-90s work that the design studio v23 did for 4AD artists like Belly and the Breeders. Its attractive, but a little faceless and lacking the dramatic surrealism of Simon Larbalastiers photos, which clothed the Pixies albums in what seemed like stills from the dreams and nightmares unspooling in the bands songs. In some ways, for die-hard Pixies fans its easier to miss what isnt here than to appreciate what is; then again, fans can (and probably have) made their own master mixes of what they consider the Pixies greatest hits. Even though the best way to experience the band is still devouring each of their albums, Wave of Mutilation: The Best of the Pixies is intended as a primer to their work, and -- fannish nitpicking aside -- its a far better overview than what was available before. | ||
 | Album: 12 of 15 Title: 2004‐11‐20: Fox Theatre, Detroit, MI, USA Released: 2004-11-20 Tracks: 28 Duration: 1:25:31 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Wave of Mutilation (UK Surf) (03:16) 2 In Heaven (01:59) 3 Here Comes Your Man (03:13) 4 Where Is My Mind? (03:28) 5 Bone Machine (03:03) 6 Subbacultcha (01:57) 7 Dead (02:27) 8 Cactus (02:41) 9 Head On (02:17) 10 Planet of Sound (03:06) 11 Caribou (03:33) 12 I Bleed (02:20) 13 No. 13 Baby (03:46) 14 Debaser (02:45) 1 U‐Mass (03:01) 2 Gouge Away (03:09) 3 Broken Face / Crackity Jones (02:55) 4 Tame (01:43) 5 Hey (04:20) 6 Monkey Gone to Heaven (02:50) 7 Velouria (03:49) 8 Mr. Grieves (02:12) 9 Nimrod’s Son (02:20) 10 The Holiday Song (02:04) 11 Vamos (08:07) 12 Gigantic (04:57) 13 Isla de Encanta (01:32) 14 Something Against You / Isla de Encanta, Pt 2 (02:41) |
 | Album: 13 of 15 Title: Minotaur Released: 2009-11-24 Tracks: 65 Duration: 2:51:29 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Caribou (03:14) 2 Vamos (02:53) 3 Isla de Encanta (01:41) 4 Ed Is Dead (02:30) 5 The Holiday Song (02:14) 6 Nimrod’s Son (02:17) 7 I’ve Been Tired (03:00) 8 Levitate Me (02:37) 1 Bone Machine (03:00) 2 Break My Body (02:05) 3 Something Against You (01:47) 4 Broken Face (01:30) 5 Gigantic (03:54) 6 River Euphrates (02:31) 7 Where Is My Mind? (03:53) 8 Cactus (02:16) 9 Tony’s Theme (01:52) 10 Oh My Golly! / [untitled] (02:32) 11 Vamos (04:20) 12 I’m Amazed (01:42) 13 Brick Is Red (02:00) 1 Debaser (02:52) 2 Tame (01:55) 3 Wave of Mutilation (02:04) 4 I Bleed (02:34) 5 Here Comes Your Man (03:21) 6 Dead (02:21) 7 Monkey Gone to Heaven (02:56) 8 Mr. Grieves (02:05) 9 Crackity Jones (01:24) 10 La La Love You (02:43) 11 No. 13 Baby (03:51) 12 There Goes My Gun (01:49) 13 Hey (03:31) 14 Silver (02:25) 15 Gouge Away (02:44) 1 Cecilia Ann (02:06) 2 Rock Music (01:52) 3 Velouria (03:40) 4 Allison (01:17) 5 Is She Weird (03:01) 6 Ana (02:09) 7 All Over the World (05:26) 8 Dig for Fire (03:02) 9 Down to the Well (02:29) 10 The Happening (04:19) 11 Blown Away (02:20) 12 Hang Wire (02:01) 13 Stormy Weather (03:26) 14 Havalina (02:33) 1 Trompe le Monde (01:46) 2 Planet of Sound (02:06) 3 Alec Eiffel (02:50) 4 The Sad Punk (02:59) 5 Head On (02:14) 6 U‐Mass (03:00) 7 Palace of the Brine (01:34) 8 Letter to Memphis (02:39) 9 Bird Dream of the Olympus Mons (02:48) 10 Space (I Believe In) (04:18) 11 Subbacultcha (02:09) 12 Distance Equals Rate Times Time (01:24) 13 Lovely Day (02:05) 14 Motorway to Roswell (04:43) 15 The Navajo Know (02:19) |
 | Album: 14 of 15 Title: Indie Cindy Released: 2014-04-19 Tracks: 14 Duration: 51:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 What Goes Boom (03:32) 2 Greens and Blues (03:47) 3 Indie Cindy (04:41) 4 Bagboy (04:53) 5 Magdalena 318 (03:26) 6 Silver Snail (03:29) 7 Blue Eyed Hexe (03:11) 8 Ring the Bell (03:35) 9 Another Toe in the Ocean (03:46) 10 Andro Queen (03:23) 11 Snakes (03:45) 12 Jaime Bravo (04:24) 13 Monkey Gone to Heaven (live in the USA 2014) (02:58) 14 Nimrod’s Son (live in the USA 2014) (02:36) |
| Indie Cindy : Allmusic album Review : Unlike the slew of legendary acts -- including My Bloody Valentine, Boards of Canada, and Daft Punk -- who surprised fans with new albums in 2013, Pixies emerged from their lengthy recording hiatus more cautiously. By releasing a series of EPs that were eventually collected as Indie Cindy for 2014s Record Store Day, the band eased fans into their new material -- and, perhaps, gave them time to lower their expectations. Indie Cindy may be most notable for illustrating the pitfalls genre-defining artists face when attempting a comeback: Pixies had such an impact on how indie rock sounded in their wake that upon their return, its almost inevitable that they sound like theyre aping themselves. It doesnt help that the bands first new material in almost a quarter-century is also the first without founding bassist Kim Deal (her insistent eighth notes are mimicked by session player Ding). However, her absence is the least of Indie Cindys problems. "Bagboy," the reunited bands first single, features a collision of drum machines and surreal spoken word that suggests a failed collaboration between David Lynch and LCD Soundsystem -- but at least it shows some creativity. Its more worrying that much of Indie Cindy feels like it was written to fit specific niches: "Blue Eyed Hexe," a "U-Mass"-like rocker, proves Black Francis scream is still spine-tingling, but the song plods. Even if the album just isnt as nimble as the best work from Pixies or Frank Black, it feels like what the band would be doing two decades on from their peak even if they hadnt taken a break. Aside from "Snakes," which tempers the biblical post-punk of their early work into something resigned instead of vengeful, most of these songs continue the sci-fi riff rock of the bands later albums and Francis first two solo albums (producer Gil Norton even suggested that the bandmembers pretend that theyd spent their hiatus touring in outer space). "What Goes Boom" sounds like a beefier version of "Alec Eiffel," while "Indie Cindy"s mix of shouty, stream-of-consciousness verses and dreamy interludes recalls Frank Blacks "Los Angeles" more than his Pixies work. The least contrived songs are the best: "Magdalena" creates tension between its heavy guitars and soft vocals in a way thats less expected than the bands famed loud-quiet-loud dynamics. Meanwhile, "Greens and Blues" combines the albums spacy motif with heartfelt songwriting and lyrical guitar work from Joey Santiago, who also helps elevate "Jaime Bravo" and "Ring the Bell." Still, theres no escaping that Indie Cindy is an odd return. It plays more like a collection of B-sides than a true album, and its laced with goodbyes and a sense of sadness that feel more like closure than catching up. Arguably, it fares better as a decent Frank Black album than an anticlimactic Pixies album, and fans who can appreciate that these songs dont diminish the legacy of the bands previous music will probably enjoy it the most. | ||
 | Album: 15 of 15 Title: Head Carrier Released: 2016-09-30 Tracks: 12 Duration: 33:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Head Carrier (03:36) 2 Classic Masher (02:37) 3 Baal’s Back (01:53) 4 Might as Well Be Gone (02:47) 5 Oona (03:37) 6 Talent (02:11) 7 Tenement Song (02:57) 8 Bel Esprit (03:12) 9 All I Think About Now (03:07) 10 Um Chagga Lagga (03:00) 11 Plaster of Paris (02:06) 12 All the Saints (02:41) |
| Head Carrier : Allmusic album Review : Though they crafted a signature -- and endlessly copied -- style, Pixies music never stayed in the same place for long. During their early years, the band relished change, moving from Come on Pilgrims scrappy apocalyptic visions to Doolittles gleaming pop to Trompe Le Mondes riff-rock at a rapid pace. Indeed, it could be argued that part of the reason their 2014 comeback Indie Cindy underwhelmed was because it tried too hard to recapture the past. On Head Carrier, Pixies usher in more than a few changes, the biggest being bassist Paz Lenchantin. Replacing a member may be inconsequential for some bands, but for this one, its a big deal (pun intended): Founding bassist Kim Deal departed prior to Indie Cindy, and the use of a session player on the album only underscored that a vital part of the groups appeal was missing. Thanks to Lenchantin, Pixies sound like a full -- if slightly different -- band again, whether shes sweetening "Oona"s crunch with her harmonies or helping shape the albums character in general. The rest of the bands ease at having her in the fold is audible, and Head Carrier is a surprisingly nice album. "Classic Masher" and "Bel Esprit" recall the amiable jangle of "Here Comes Your Man" and the bands cover of "Winterlong," and the easygoing vibe continues on "All the Saints" slo-mo surf and "Plaster of Paris." However, the niceness turns strange on "All I Think About Now." A musical thank-you note to Deal written by Black Francis and sung by Lenchantin that shamelessly borrows from "Where Is My Mind?," it manages to be both jarring and overly nostalgic. As on Indie Cindy, when the band looks back too much, it feels forced; "Baals Back" is shrieky and Biblical, but lacks the true oddness of their best songs about fire and brimstone. Fortunately, the high-speed chase that is "Um Chagga Lagga" and the roaring title track are in the vein of Pixies classic rockers without feeling contrived. "Talent" is even better, a piece of satirical, snotty garage-rock that reaffirms Francis doesnt need to sing about the Bible or aliens to let loose. While it feels like Pixies are still figuring out how to continue their legacy, Head Carriers best moments suggest theyre heading in the right direction. | ||