Pixies - Doolittle (CD, 1989)

This was definitely where it all started for me. I was in a band in high school, and for some beginning-of-the-year assembly thing, we teamed up with these other kids who were in a different band to try and cover a few songs. (This would have been the summer before my sophomore year.) They had a cassette of songs they wanted to cover, and the ones I was sent home with that I can remember are "Pictures of Matchstick Men" by Camper Van Beethoven, and "Monkey Gone to Heaven" and (I think) "Hey" by the Pixies. I acted cool like I had heard the band before, but I hadn't. And I loved it.

I ended up somehow pussing out of the gig (I think my girlfriend didn't want me to do it or something - I've always felt like an idiot about that), but I wanted to hear more of this band, and I went out and bought the cassette of Doolittle. And that was that: I was hooked. This was the coolest music I'd ever heard.

Doolittle has gone on to be the defining Pixies album, and though I could never say that it's their best (though I have felt that way at certain points), I do understand why it's their most popular. It's got their most accessible song ("Here Comes Your Man"), and is generally a little bit easier to swallow than their other material. I still love this record, though these days I'm probably more likely to grab my copy of Bossanova when I'm walking out the door than this one. But I listened to Doolittle so much when I was a teenager that every single lyric and nuance is still imprinted in my brain. Let's break it down.

"Debaser" - If ever a song defined the Pixies, this was probably it. It's melodic, angry, gross and beautiful all at the same time. Still an incredible song.

"Tame" - This one takes the quiet-to-loud thing to extremes: it literally goes from a whisper to a scream and then back again. If this song were longer than two minutes it might not work, but they wisely keep it short. And the breathing thing at the end is legendary.

"Wave of Mutilation" - Somewhere along the line, the "UK Surf" version (the slower one) of this song became the preferred choice of Black Francis, but I still love the original. Some of the best lyrics Black Francis ever wrote.

"I Bleed" - Kim Deal really gets the job done on this one, not only plodding out the bass line, but also steadily chiming the melody from way in the background. A fantastic song.

"Here Comes Your Man" - Pixies sounding like, I don't know - Paul Simon? Black Francis wrote this song when we was a teenager, and that is really impressive. The song is catchy as shit, and though it's easily the poppiest Pixies song, it's still dark if you scratch the surface.

"Dead" - One of my top three favorite songs on this record, right up there with "Mr. Grieves" and the incomparable "Gouge Away." The verses to this song are just flat-out brilliant.

"Monkey Gone to Heaven" - Easily my least-favorite Pixies song. Still great live because Joey Santiago is consistently awesome on it.

"Mr. Grieves" - The song that contains the lyric from which the album title is derived, and like I said, one of the best songs on this whole thing. Try to find the chorus in this song. I'm not sure there is one.

"Crackity Jones" - A perfect song to come after "Mr. Grieves." The band always had at least one minute-and-a-half wacko track on their albums, and this is one of 'em.

"La La Love You" - David Lovering sang a couple of songs with the Pixies, but this is the only one that ended up on a proper album. Could have just as easily been a b-side, but I think it's great for this record. Remains one of the more random Pixies songs. Listen to it on headphones - there's some weird shit going on in the background.

"No. 13 Baby" - This song always feels to me like it should have been on Bossanova, but it's great on this record. The longest song of the bunch, and it features sweet lyrics and sweet drum breaks by Lovering.

"There Goes My Gun" - What a chorus on this one. The verses just seem like placeholders waiting to get to it.

"Hey" - The favorite Pixies song of people who don't really listen to the band. That sounds asshole-ish. But I think I mean it. Still a great song, though I prefer the more straightforward stuff on this record these days for some reason.

"Silver" - Along with "La La Love You," the other random-ass song on this record. Slide guitar by Kim Deal, bass by Lovering, and a fantastic melody. The last time Kim Deal would get a co-writing credit.

"Gouge Away" - This song has lost a little of its power for me over the last twenty years, but barely. "Missy aggravation/Some sacred questions" remains a great group of words. Just a phenomenal song, and a perfect one to end this record.

Black Francis did an interview in January with the guys from Chicago Public Radio, dissecting Doolittle and providing some pretty cool stories about the album's origins and recording process. Nerd out, podcast style, here.

Still need to get this one on vinyl...

"Dead"/"I Bleed"

Pixies - Interview Picture Disc (LP, 1989)

The only image I could find of this record was of one that had been turned into a clock. So that would explain the hands there.

I bought this LP while I was in high school, after randomly finding it in a record store and convincing myself that it was a highly collectible import that would one day be very valuable. (It says "Limited Edition" on it, after all.) It remains a rarity, but as far as I can tell, it's of little value to anyone except hardcore collectors. Still, I've always thought it was a pretty cool record, and I've held onto it for the past twenty-or-so years.

I sort of understand the making-a-clock-out-of-it thing, because it's definitely more fun to look at than it is to listen to. The interview itself is with Black Francis and a foreign journalist (Yugoslavian, maybe?), and the dude speaks dicey English and spends a lot of time either searching for words or talking about himself. Francis drops a few interesting gems here and there (he says he "doesn't read," preferring the "cinema"), but for the most part he sounds put out. It must have been done backstage at a show, because some other band is soundchecking during almost the entire thing, and it's really distracting.

But like I said, a cool record to have. I've always felt like I should just frame it or something. Songs from Doolittle are mentioned, but I'm not exactly sure when this interview was done. '89 is a guess.

Pixies - Surfer Rosa (LP, 1988)

I've been listening to Surfer Rosa for 20 years, and I still love it. I've listened to it four or five times in the last few days, and it still does it for me. You could probably find thousands of people to tell you the same thing. It's just that good.

We can skip all the Steve Albini/they played with steel picks production crap, because I've never really cared about any of that. This album does sound amazing, but it's the songs that do it. The style hasn't changed a whole lot since Come On Pilgrim, but if anything, the band sounds tighter and more assured. I read something recently that described Joey Santiago's guitar-playing as "haphazard" or "erratic" or something of the like, and I don't think that could be farther from the truth. He may not be technically perfect on this record, but none of 'em are. Santiago's role in this band cannot be downplayed. He was a huge part of the sound, and he really brings everything together on this record. And all the other ones.

Like the other Pixies records, I started listening to this one in high school, and the first time I heard it, I was hooked. My girlfriend bought me an import copy on vinyl (that I still have), and it has been one of the hearts of my record collection ever since. That was a great move on her part. Let's get to the songs.

"Bone Machine" - It's really tough to get across how much this song rules. "I make you break/You make me hard/Your Irish Skin/Looks Mexican" continues to be an incredible lyric. Perfect track to start this album off with.

"Break My Body" - Another song about bones, but this time it's about breaking them. An incredible chorus, and the "somebody get hurt" vamp at the end is sweet.

"Something Against You" - David Lovering just beats the shit out of the drums on this song. And it is awesome. Also awesome: the distorted vocals.

"Broken Face" - Another song about breaking things, possibly bones. I always forget that this song is only a minute and a half long. Short and nutso.

"Gigantic" - In high school, the story was that this song was about Kim Deal blowing a black Jesus. Pretty sure that's not true. This isn't one of my favorite songs on the record, but it's still a good one. Hoping for more songs with Kim Deal singing lead? Better check out the Breeders.

"River Euphrates" - This song never came across quite as good live, but it's an amazing track. Joey Santiago sounds menacing on this one, and the lyrics are bleak and confusing. Nothing wrong with that. One of my favorite songs on this LP.

"Where Is My Mind?" - I'm officially sick of this song, though I remember when I wasn't, and I really loved it. Somewhere along the line this became the trademark Pixies track (was it the Fight Clubfactor?), and it remains their show-closer.

"Cactus" - David Bowie's favorite Pixies song. And well it should be, because it's crazy-good. A slow sort of chugger, which is a cool change of pace at this point in the album. And the lyrics are insane.

"Tony's Theme" - This has always struck me as one of the more mysterious Pixies tunes, as it seems incongruous with the rest of their material, at least lyrics-wise. But Black Francis sounds great on this tune, sounding like he's screaming from the other room.

"Oh My Golly!" - This is the "Isla de Encanta" of Surfer Rosa and it is nuts. All the Spanglish you can handle, and the title for the record is tucked in there somewhere. This song will make your head split open.

"Vamos" - The version of "Vamos" on this LP is over a minute longer than the one on Come On Pilgrim, and as I said before, I think I prefer it. When the guitars kick in, it's just too much. And Santiago really nails it on this version.

"I'm Amazed" - Not counting the field-hockey back-and-forth at the beginning of this song, it's not even a minute and a half long, which is perfect. Kim Deal makes it on this one with her backing vocals.

"Brick is Red" - The forgotten Pixies song, which is a shame, because it's so darn pretty. I've never seen footage of them playing this live, and never heard it on a bootleg. I'm sure they played it on the Surfer Rosa tour, but after that it seemed to fade away. A great, great song with a weird structure that they wouldn't visit again.

Trying to pick my favorite Pixies record is pointless, but this one is obviously right up there. But they all are, so that really makes no point at all. I love it - that's my point. One of the most important rock records ever, I'd say.

"Bone Machine"

Pixies - Come On Pilgrim (LP, 1987)

Here we go with the Pixies. Settle in: it's going be at least a week before this is over. At least.

The Pixies were such a part of my teenage years that it's hard for me to imagine being 16 without them. Strangely, the year I turned 16 was the same year they broke up. Frank Black had already put out two solo records by the time I was done with high school. I spent the time before they put out their last record (Trompe Le Monde) playing catch-up, and spent the time right after that record came out enjoying them while they lasted. We'll get to that.

For now, let's talk about this record. I was 11 in 1987, so clearly I didn't get in on the ground floor with the Pixies. I didn't hear them until my freshman year of high school, which would have made it 1990-ish. That's when I started listening to Doolittle, and eventually backtracked my way to this, their first EP. A lot of kids probably have the same story to tell. Surfer Rosa was around, but it was Doolittle that really got to the kids. I think. Me, at least.

Come On Pilgrim is eight songs, selected from the band's demo tape (the infamous "Purple Tape") and cleaned up for major release. It's often overshadowed by the crazy impact that Surfer Rosa had, and has sometimes been packaged with Surfer Rosa on CD releases, which is convenient, but I've always felt it should stand alone as it's own thing. Because it is. And it is fantastic. I'm going to have to song-by-song the Pixies, aren't I? Yes, yes I am. I'll regret it if I don't.

"Caribou" - The first Pixies song on the first Pixies release is really a perfect way to ease into the band: You get the wiry guitar tone right from the beginning, you find out that David Lovering can only play at one volume, and you realize you've never heard a voice like the one that's coming out of this yelping dude handling the vocals. And what a melody.

"Vamos" - I've always preferred the version of "Vamos" that's on Surfer Rosa to this one, but just barely. The quintessential early Pixies song. Joey Santiago just going nuts.

"Isla De Encanta" - The most rocking-est song on this release, and a great example of Black Francis' obsession with his own version of broken Spanish. I tried to get my best friend to use this song as his homecoming theme song in high school (he would have walked out to it in front of the whole school), but he wussed out. What a wimp. They've played this one here and there on their reunion tours, but not much.

"Ed is Dead" - As with most early Pixies songs, I have no idea what this one is about, but it is one of the first ones to mention surfing ("She's just looking for the perfect wave"), which would become a theme of sorts in their songs. I've always loved the "E.I.D." at the end.

"The Holiday Song" - Dark lyrics and a ultra-catchy chorus - the Pixies formula. They still play this song, and I've seen Frank Black do it solo, too. Must be a favorite. This would be stuck in my head for days in my youth.

"Nimrod's Son" - We loved this one when we first started listening to the Pixies for its foul-mouthed lyrics alone. Of course, it's also a fantastic song. The incest thing was not uncommon in early Pixies songs, strangely enough.

"I've Been Tired" - One of the more narrative songs that the Pixies ever did, and I've read recently that it's supposed to be poking fun at touring rock bands. In that context, it makes perfect sense. The "I wanna be a singer like Lou Reed" always seemed to make perfect sense to me, too. Black Francis' influences are great, because none of them sound anything like him.

"Levitate Me" - I have this fuzzy memory of sitting down at my mom's typewriter and click-clacking out the lyrics to this song in order to better understand it. It didn't work then, and I still don't think I get it. "They kick a baby"? This is also the song from which they took the title for this EP. Makes a great bookend for "Caribou."

Can't believe it's been 23 years since this came out. It still sounds amazing. I recently got a first pressing (import, yo!) of this, and I am very happy about that.

"I've Been Tired"

Pink Floyd - Wish You Were Here (LP, 1975)

I'm just going to come out and say it: I've never heard Dark Side of the Moon. I'm sure I've heard all the songs separately at some point in my life, but I've never sat down and listened to that record. Never owned a copy. Never even thought about it.

Never saw Laser Floyd. When I was 14 I owned a copy of The Wall on CD, but I never got into it and ended up giving it away to a friend. I really dug the song "Learning to Fly" when they played the video all the time on MTV in 1987, but I never picked up A Momentary Lapse of Reason.

Pink Floyd just never got through to me. And maybe I never disliked the band as much as I loathed the people who were fans of the group. Floyd has always struck me as music for dumb people who think they're smart (much like Tool does nowadays), or people who really like drugs. I don't care for either of those kinds of people. Maybe that explains why I'm proud to not be a Pink Floyd fan. (And yes, I realize how annoying that is.)

Yet, I still have my copy of Wish You Were Here. As a teenager I loved the mysterious album art, and the fact that there's only four songs on it. And really, that's still what I love about it. "Shine On You Crazy Diamond" is such a ridiculous exercise in bloat-rock that I've somehow come to embrace it. I've never been a huge fan of "Welcome to the Machine," but I think the title track is the best song I've ever heard from the band. And "Have a Cigar" ain't a bad one, either.

Still, this has never led me to seek out any of their other stuff, and it's much too late for that now. But I'll hold on to this LP, because I still find it enjoyable from time to time. And I still think the cover art is cool as shit.

"Wish You Were Here"

Phife Dawg - Ventilation: Da LP (2xLP, 2000)

I'm not the biggest Tribe Called Quest fan, but I got into their stuff for a while. Q-Tip had some solid lyricism, but for me, Phifey was always the one I looked forward to. He had some insane verses on all the Tribe records, with one of my favorites being, "And if I ever went solo my favorite MC would be me."

Phife Dawg did go solo, and while Q-Tip was wearing fur coats and rocking the idiotic "Vivrant Thing," Phife was keeping it realer than real. And I dug the shit out of it. This record never got the props it deserved, and that's probably because Phife made a point of calling out all the materialism in hip hop. Funny how that works. The beats on this LP aren't all winners, but they're solid, and the Five-Footer drops some serious knowledge.

It's a shame he hasn't put anything out since. I got really into this record for a year or two and then sort of lost track of it, but it's always nice to come back to when I want to hear some full-on MCing. It's good to have records like that around. Someone's got to keep these rappers in line.

"Flawless"

Liz Phair - whitechocolatespaceegg (CD, 1998)

I could have sworn I owned a copy of Whip-Smart on CD, but it's nowhere to be found. So, apparently we'll be skipping Liz Phair's awkward sophomore LP and moving on to her I'm-all-grown-up-now one.

whitechocolatespaceegg, once you set aside its dumb title (it came to her in a dream!) is a solid little record. It was released only five years after Exile in Guyville, so it's not completely removed from that era yet, but it's got one foot out the door. Tracks like "Polyester Bride" and "What Makes You Happy" tread dangerously close to Sheryl Crow territory, but they don't step quite that far. Which is good.

And though I haven't listened to this album in ages, I do remember liking it quite a bit when it came out. In fact, the one time I saw Liz Phair live was when she was touring on this record. It was at La Luna here in Portland and it was crazy packed with hardcore Phair devotees. This asshole in front of me and the girl I was with felt the need to scream every single lyric to every song while drunkenly slobbering all over himself and it drove me fucking nuts. Some other asshole also got a "Fuck and Run! Fuck and Run!" chant going that made me sad for humanity. But, otherwise it was a pretty great show. (Note to shitty concertgoers: People still remember how you ruined the show for them over a decade later. Get your shit together.)

Anyway, this is the last good Liz Phair album before she disappeared for five years and reappeared as a completely different artist. And coupled with her first two, it makes for a nice trilogy.

I actually got a copy of Liz Phair's 2003 self-titled CD from a friend when it came out, and I really gave it a go. I just couldn't do it. And I'll leave it at that, because the rest of the world has already said way too much about how shitty it is. Stick with her first three records. Whip-Smart, while no Exile, is a really good album. Wish I could find my copy...

"Polyester Bride"