So why is Pixies’ Doolittle on this best 1,000 albums ever thing?
As a massive Pixies fan – and a Frank Black/Kim Deal obsessive – I’ve often wondered what truly makes this band so singular.
It comes down to several factors – including the band’s perfection of the “quiet/loud” dynamic that was much copied by alt rock bands in subsequent years – and particularly a layering in of pop sensibilities into the band’s sometimes caustic-sounding punk rock/noise rock mix.
Taken all together, it makes Doolittle an exquisite listen. It’s the studio album that captures one of the most influential and unique bands that the United States has ever produced at its very best.
I’ll start off with “No 13 Baby,” a relatively deep cut that I’ve become increasingly enamored with over the years. I’m convinced it’s a masterpiece of weird, booming, manic, and glorious punk/alt rock energy.
Its “quiet” verses aren’t really that quiet at all, actually, and they’re almost uncomfortable to listen to. At first. Then suddenly, it’s driving, picking up momentum and energy smoothly and seamlessly, leading to a glorious chorus.
Kim Deal’s bass is perfection, with Black’s guitar hooks gloriously crunchy and satisfying.
I’ve spent some time puzzling over the Pixies and Frank Black’s song lyrics over the years, and eventually just accepted them as wonderful word art collages that I’m able to pull into my own context and understanding as I like.
For example, I have no idea what Gotta tattooed tit say number 13 means, though it’s super specific and evocative. But then I can also relate to I’m in a state, I’m in a state in all kinds of ways and contexts that make me feel real feelings.
“Crackity Jones” is vintage Pixies thrashy bizarro punk rock, and I dig it in every groove and crevice of my being.
“Mr. Grieves” is the Pixies take on ska punk, which is just mind blowing for your humble narrator. I wish that they had produced 12 or 13 albums of just this kind of stuff.
And here I’ve gotten this far into this piece and I haven’t yet mentioned the most famous Pixies songs on Doolittle.
I think “Here Comes Your Man” is the first Pixies song I ever heard, and I still find something innately sweet and sincere about it, yet it’s also driving and propulsive. It’s really fun to think that this is yet another mode that the Pixies could have “just” played in musically had they wished and still be successful.
“Wave of Mutilation” is Pixies alt rock with a much more soothing and pop edge to it versus anything on Surfer Rosa (#109 of best 1,000 albums ever) or other Pixies albums. It’s also insanely catchy in the way that great rock songs can be.
Speaking of catchy: oh, that glorious bass line on “Tame.” Add in a classic quiet/loud dynamic – with Black going from weirdly whispery to howling over raging guitars – and it’s an all time smasher.
Some stats & info about Pixies – Doolittle
- What kind of musical stylings does this album represent? Rock Music, Alternative Rock, College Rock, Punk Rock, Boston Bands
- Rolling Stone’s greatest 500 albums ranking – #141
- All Music’s rating – 5 out of 5 stars
- When was Doolittle released? 1989
- My ranking, the one you’re reading right now – #76 out of 1,000
Pixies’ Doolittle on Spotify
A lyrical snippet from Pixies’ Doolittle that’s evocative of the album in some way, maybe
Drive my car into the ocean – you think I’m dead, but I sail away.
What does the “best 1,000 albums ever” mean and why are you doing this?
Yeah, I know it’s audacious, a little crazy (okay, maybe a lot cray cray), bordering on criminal nerdery.
But here’s what it’s NOT: a definitive list of the Greatest Albums of All-Time. This is 100% my own personal super biased, incredibly subjective review of what my top 1,000 albums are, ranked in painstaking order over the course of doing research for nearly a year, Rob from High Fidelity style. Find out more about why I embarked on a best 1,000 albums ever project.