Doolittle (album)

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Doolittle
Studio album by
Pixies
ReleasedApril 17, 1989
RecordedOctober 31 – November 23, 1988
StudioDowntown Recorders (Boston)
GenreAlternative rock
Length38:38
Label
ProducerGil Norton
Pixies chronology
Surfer Rosa
(1988) 		Doolittle
(1989) 		Bossanova
(1990)
Singles from Doolittle
  1. "Monkey Gone to Heaven"
    Released: March 20, 1989
  2. "Here Comes Your Man"
    Released: June 1, 1989
  3. "Debaser"
    Released: July 21, 1997

Doolittle is the second studio album by the American alternative rock band Pixies, released in April 1989 on 4AD. Doolittle was the Pixies' first international release, with Elektra Records as the album's distributor in the United States and PolyGram in Canada. The album's offbeat and dark lyrics contains references to surrealism, Biblical violence, torture and death.

Pixies released two singles from the album: "Here Comes Your Man" and "Monkey Gone to Heaven", both of which were chart successes on the Billboard Modern Rock Tracks chart in the US, while tracks such as "Debaser" and "Hey" have also received praise. The album itself reached number eight on the UK Albums Chart, an unexpected success for the band.

As well as being considered the Pixies' most accessible album, Doolittle is often regarded as the band's strongest and greatest work,[1] and has continued to sell consistently well in the years since its release, being certified Gold in 1995 and Platinum in 2018 by the Recording Industry Association of America. The album has been cited as inspirational by many alternative artists, while numerous music publications have ranked it as one of the most influential albums ever. A 2003 poll of NME writers ranked Doolittle as the second-greatest album of all time,[2] Rolling Stone placed the album at 141 on its 2020 list of "The 500 Greatest Albums of All Time"[3] and Pitchfork ranked it as the fourth best album of the 1980s.[4]

Background

Following their highly regarded but commercially unsuccessful 1988 album Surfer Rosa,[failed verification][5] the band embarked on a European tour with fellow Bostonians Throwing Muses, before beginning a tour of North American states. During this time, Black Francis, the group's frontman and principal songwriter, began to work on songs for their next future album, including the tracks "Dead", "Hey", "Tame" and "There Goes My Gun".[6] Versions of the newly composed songs were recorded during several sessions for John Peel's radio show in 1988, while a live recording of "Hey" appeared on a free EP circulated with a 1988 edition of Sounds.[7]

Doolittle's lyrics contain several biblical references—principal Pixies songwriter Black Francis nicknamed the album Whore, like the biblical Whore of Babylon.[8]

In mid-1988, the Pixies began to record demo sessions while on breaks from touring. The band headed to the Boston recording studio Eden Sound, which at the time comprised a small room in the basement of a hair salon. They recorded at the studio for a week, in circumstances similar to the previous year's Purple Tape sessions. Francis gave the demo tape and upcoming album the provisional title of Whore, though he later claimed his natural father had originally suggested the name. Francis has clarified that he was thinking of the word "in the more traditional sense ... the operatic, biblical sense, ... as in the great whore of Babylon".[8] After completing the demo tape, band manager Ken Goes suggested two producers for the album: Liverpudlian Gil Norton and American Ed Stasium. The band had previously worked with Norton while recording the single version of "Gigantic" in May 1988. Francis had no preference, although Ivo Watts-Russell, head of the band's label 4AD, wanted Norton to produce the next album.[9]

Norton arrived in Boston on October 31, 1988, and first visited Francis' apartment to review the album's demos. The two spent two days analyzing the song structures and arrangements. They spent a further two weeks in pre-production while Norton familiarize himself with the Pixies' sound.[10]

Recording and production

Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, which was at the time a professional 24-track studio. 4AD allotted the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, Surfer Rosa. Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23,[11] with "nearly a song a day" being recorded.[12]

Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks.[13] Norton recruited Steven Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracked vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun", which was originally intended as a much faster, Hüsker Dü-style song. However, at Norton's advice, Francis slowed down the tempo.[9]

Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the frontman's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of a Buddy Holly greatest hits album, in which most of the songs are around two minutes long.[14] He told Norton, "If it's good enough for Buddy Holly ..."[15] In a Rolling Stone interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy".[16] Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.[17]

During the recording of Doolittle, tensions between Francis and Deal became visible to band members and the production team. Bickering and standoffs between the two marred the recording sessions and led to increased stress among the band members.[18] John Murphy, Deal's husband at the time, later recalled that, with Doolittle, the band dynamic "went from just all fun to work".[19] Exhaustion from touring and from releasing three records in two years contributed to the friction. This culminated at the end of the US post-Doolittle "Fuck or Fight" tour, where they were too tired to attend the end-of-tour party. Soon afterwards, the band announced that they were going on hiatus.[20]

Composition

Music

"Debaser"
"Debaser" is the opening track of Doolittle. This sample contains the first chorus and the bridge into the second verse.
"Monkey Gone to Heaven"
"Monkey Gone to Heaven" is the seventh track from Doolittle. This sample contains the chorus, bridge and start of the second verse.
Problems playing these files? See media help.

Doolittle features an eclectic mix of musical styles. While tracks such as "Tame" and "Crackity Jones" are fast and aggressive, incorporating the band's trademark loud–quiet dynamic.[21] With Doolittle, the band began to incorporate further instruments into their sound; for instance, "Monkey Gone to Heaven" features violins and cellos.[22]

"Tame"'s three chord bass progression is overlaid by Joey Santiago "Hendrix chord".[23] The following melodically simple "I Bleed" is based on a single rhythmical repetition. "Crackity Jones" has a distinctly Spanish sound and incorporates G♯ and A triads over a C♯ pedal, the song's rhythm guitar, played by Francis, starts with an eighth-note downstroke typical of punk rock music.[24]

Lyrics

The lyrical themes explored on Doolittle range from the surrealism of "Debaser", to the environmental catastrophe of "Monkey Gone to Heaven". The prostitutes of "Mr. Grieves", "Tame", and "Hey" share space with the Biblical analogies of "Dead" and "Gouge Away". Black Francis often claimed that Doolittle's lyrics were words which just "fit together nicely", and that "the point [of the album] is to experience it, to enjoy it, to be entertained by it".[25] Francis wrote all the material for the album with the exception of "Silver", which he co-wrote with Kim Deal.[26]

The album's opening track, "Debaser", references surrealism, a theme that runs throughout the album. "Debaser" alludes to Luis Buñuel and Salvador Dalí's 1929 surrealist film Un Chien Andalou, and the lyric "slicing up eyeballs" refers to an early scene in the film.[27] Surrealism heavily influenced Francis in his college years and throughout his career with the Pixies. In 1989, Francis expressed his interest in surrealism and its influence on his songwriting method to The New York Times by stating "I got into avant-garde movies and Surrealism as an escape from reality. ... To me, Surrealism is totally artificial. I recently read an interview with the director David Lynch who said he had ideas and images but that he didn't know exactly what they meant. That's how I write."[28] Another of the album's main themes is environmental catastrophe. The lyrics of the college radio hit "Monkey Gone to Heaven"[29] deals with man's destruction of the ocean and "confusion of man's place in the universe". As Francis put it: "On one hand, it's this big organic toilet. Things get flushed and repurified or decomposed and it's this big, dark, mysterious place. It's also a very mythological place where there are octopus's gardens, the Bermuda Triangle, Atlantis, and mermaids."[30]

Two songs on Doolittle are fashioned after Biblical stories: the story of David and Bathsheba in "Dead", and Samson and Delilah in "Gouge Away".[31] Francis' fascination with Biblical themes can be traced back to his teenage years; when he was twelve, he and his parents joined an evangelical church linked to the Assemblies of God. This background influenced Doolittle where the lyrics of "Monkey Gone to Heaven" refer to the Devil being "six" and God being "seven".[22]

Francis described "Wave of Mutilation" as being about "Japanese businessmen doing murder-suicides with their families because they'd failed in business, and they're driving off a pier into the ocean."[32] The song's themes of the sea and drowning also feature in "Mr. Grieves" and "Monkey Gone to Heaven".[33] Ben Sisario points out that the album begins ("Debaser") and ends ("Gouge Away") with songs about violence being done to eyes.[34] The track "Crackity Jones" details Francis' roommate during his student exchange trip to San Juan, Puerto Rico, whom he described as a "weird psycho gay roommate".[35]

The love song "La La Love You" was sung by the band's drummer David Lovering.[36] Its tongue-in-cheek vocal style and simplistic lyrics (including the line "first base, second base, third base, home run") has led to it being described as parody of the lyrical conventions of love songs.[37] Francis asked Lovering to provide vocals so it would be "a Ringo thing". Lovering initially refused , but according to Norton Francis was soon unable to "get him away from the microphone".[38]

Packaging and title

"As Loud As Hell" by Simon Larbalestier, from the Doolittle booklet. The image alludes to lyrics in "I Bleed".

Doolittle was the first album where Simon Larbalestier, the Pixies' cover photographer, and Vaughan Oliver, the band's cover artist, had access to the lyrics. According to Larbalestier, this "made a fundamental difference".[39]

The surrealist and abstract images throughout the album booklet are linked to the album's content. "Gouge Away" is represented by a picture of a spoon containing hair, laid across a woman's torso; a direct pictorial representation of heroin, with the spoon and the hair being horses.[40] The image "As Loud As Hell" shows "a ringing bell", with a set of teeth; this alludes to the line "it shakes my teeth" in the song "I Bleed". "Walking with the Crustaceans" is a visual representation of the lyrics to "Wave of Mutilation". Larbalestier later commented that he was interested in "early Surrealist stuff" at this time.[39]

During the recording sessions, Whore was discarded as a potential album title, after Oliver changed the cover artwork idea to a monkey and halo cover. Francis later explained that he: "thought people were going to think I was some kind of anti-Catholic or that I'd been raised Catholic and trying to get into this Catholic naughty-boy stuff. ... A monkey with a halo, calling it Whore, that would bring all kinds of shit that wouldn't be true. So I said I'd change the title."[41]

Francis re-named the album Doolittle, picking from the "Mr. Grieves" lyric "Pray for a man in the middle / One that talks like Doolittle".[unreliable source?] [failed verification] [42]

Release

In the months following the release, the Pixies' management were approached by a number of major record labels. The band contracted to Elektra Records in 1989. Elektra released a live promotional album containing two songs from their forthcoming album—"Debaser" and "Gouge Away"—along with a selection of earlier material.[7] However, Elektra had not yet attained distribution rights to the forthcoming album. 4AD, a British independent record label, held worldwide distribution rights to Pixies, but did not have access to distribution outside of the United Kingdom; the band had had to import all its previous records from Europe. Pixies' management sought international distribution, and while negotiations with Elektra and other record companies began in the third quarter of 1988, they were only completed just two weeks before Doolittle's release, on April 2, 1989. PolyGram had already secured Canadian distribution rights by that time.[43]

Doolittle was released in the United Kingdom on April 17, 1989, and in the United States the following day. Throughout the States, helped by Elektra's major label status, retail displays were constructed for the record, and "Monkey Gone to Heaven", the first single from the album, was released to radio stations.[44]

Reissues

To celebrate the 25th anniversary of the album, 4AD announced that a deluxe edition of the album, titled Doolittle 25, was to be released January 12, 2015, containing unreleased B-sides, demos, and two full Peel sessions.[45] On December 9, 2016, a limited Pure Audio Blu-Ray version of the album was released containing a 5.1 surround sound mix of the album by Kevin Vanbergen and a high definition stereo mix by Mobile Fidelity Sound Lab.[46]

Reception

Commercial

Doolittles sales in the United States were unremarkable; the album entered the Billboard 200 at number 171. However with the help of college radio play of "Monkey Gone to Heaven", the album rose to number 98 and spent two weeks in the top 100.[47] In Britain, the record reached number eight on the UK Albums Chart.[48] This chart placing was an unexpected success for the band as their previous two records, Come On Pilgrim and Surfer Rosa, had failed to reach as high on the British charts.[49]

In June 1989, 4AD released "Here Comes Your Man" as the album's second single. It reached number three on the US Modern Rock Tracks chart and number 56 in the UK Singles Chart.[48][50] In 1997 "Debaser" was released as a single to promote the Death to the Pixies compilation.[citation needed] Doolittle sold steadily in America, breaking sales of 100,000 after six months. By early 1992, while the band were supporting U2 on their Zoo TV Tour, the album was selling 1,500 copies per week. By the middle of 1993—two years after the release of the band's last album before their initial breakup, Trompe le Monde—Doolittle saw sales average 1,200 copies per week. Doolittle was certified Gold by the Recording Industry Association of America in 1995 and Platinum in 2018.[51]

Ten years after their breakup, Doolittle was still selling between 500 and 1,000 copies a week, and their 2004 reunion tour saw sales creep back up to 1,200 copies per week. At the end of 2005, best estimates put total sales in America at between 800,000 and one million copies.[52] As of 2015, sales in the United States have exceeded 834,000 copies, according to Nielsen SoundScan.[53]

On May 6, 2019, "Here Comes Your Man" was certified Gold in Canada.[54] On September 20, 2021, "Hey" was certified Gold in Canada.[54]

Critical

Contemporary professional ratings
Review scores
SourceRating
Chicago Tribune[55]
Los Angeles Times[56]
NME10/10[57]
Q[58]
Record Mirror4/5[59]
Rolling Stone[60]
Sounds[61]
The Village VoiceB+[62]

Reaction to Doolittle was positive in general, with the album garnering praise from several major music publications.[63] NME writer Edwin Pouncey commented that "the songs on Doolittle have the power to make you literally jump out of your skin with excitement".[57] Q critic Peter Kane said that Doolittle's "carefully structured noise and straightforward rhythmic insistence makes perfect sense".[58] Several other publications ran positive reviews of the album, including the British music weekly Record Mirror, The Philadelphia Inquirer, the Los Angeles Times, and the Chicago Tribune.[63] Robert Christgau of The Village Voice wrote, "They're in love and they don't know why—with rock and roll, which is heartening in a time when so many college dropouts have lost touch with the verities". However, he concluded that "getting famous too fast could ruin them", while suggesting the lyrics reflect somewhat of a disconnection with "the outside world".[62]

Some reviewers were more critical.[64] Time Out said that "Gil Norton's toy theatre production makes a drama out of what should have been a crisis". Spin ran a hundred-word review of the album, with critic Joe Levy finding "the insanity less surreal and more silly, and the songs themselves more like songs and less like adventures". Rolling Stone published "a tentative endorsement" of Doolittle, rating it three and a half stars;[64] reviewer Chris Mundy concluded, "The emphasis on more textured production has in no way taken away from the band's intensity. Francis is at all times in command of the album, quietly stringing us along before turning on us and screaming for attention."[60] Doolittle appeared on several end-of-year "Best Album" lists; both Rolling Stone and The Village Voice placed the album tenth, and independent music magazines Sounds and Melody Maker both ranked the album as the second-best of the year.[65] NME ranked the album fourth in their end-of-year list.[66]

Legacy

Retrospective professional ratings
Aggregate scores
SourceRating
Metacritic100/100[67]
Review scores
SourceRating
AllMusic[68]
Blender[69]
The Guardian[70]
Mojo[71]
Pitchfork10/10[1]
Q[72]
Rolling Stone[73]
The Rolling Stone Album Guide[74]
SPINA[75]
Uncut10/10[76]

The sudden loud to quiet dynamic present on Doolittle, most notably in "Tame", has been very influential on alternative rock. After writing "Smells Like Teen Spirit", both Kurt Cobain and Krist Novoselic of Nirvana thought: "this really sounds like the Pixies. People are really going to nail us for this."[77] Producer Gil Norton usually receives much credit for the album's dynamic, and is sought by bands seeking a similar sound.[78] The Smashing Pumpkins guitarist James Iha described Doolittle as less raw than Surfer Rosa but "more listenable" and "Here Comes Your Man" as a "classic pop record". Fellow alternative musician PJ Harvey was "in awe" of "I Bleed" and "Tame", and described Francis's writing as "amazing".[63] The album was also included in the book 1001 Albums You Must Hear Before You Die.[79] PopMatters included it in their list of the "12 Essential 1980s Alternative Rock Albums" saying, "Doolittle, captured the musicians at the top of their game when it was released in 1989."[80]

Accolades

A range of music magazines have since acclaimed Doolittle as one of the quintessential alternative rock albums of the 1980s. Rolling Stone, reviewing Doolittle again in 2002, gave the album a maximum score of five stars, remarking that it laid the "groundwork for Nineties rock".[73] Doolittle has received a number of international accolades and is consistently noted as one of the best albums of the 1980s in any genre.[65]

The information regarding accolades attributed to Doolittle is taken from AcclaimedMusic.net.[65]

Publication Country Accolade Year Rank
Hot Press Ireland Top 100 Albums[81] 2006 34
Juice Australia The 50 Best Albums of All Time[82] 1997 2
NME UK 100 Best Albums[2] 2003 2
Panorama Norway The 30 Best Albums of the Year 1970–98 1999 1
Pitchfork US Top 100 Albums of the 1980s[83] 2002 4
Rolling Stone United States The 500 Greatest Albums of All Time[84] 2003 226
2012 227
2020 141
SPIN US 100 Greatest Albums, 1985–2005[85] 2005 36
Slant Magazine US Best Albums of the 1980s[86] 2012 34

(*) designates unordered lists.

Track listing

All tracks were written by Black Francis, except where noted.

No.TitleWriter(s)Length
1."Debaser" 2:52
2."Tame" 1:55
3."Wave of Mutilation" 2:04
4."I Bleed" 2:34
5."Here Comes Your Man" 3:21
6."Dead" 2:21
7."Monkey Gone to Heaven" 2:56
8."Mr. Grieves" 2:05
9."Crackity Jones" 1:24
10."La La Love You" 2:43
11."No. 13 Baby" 3:51
12."There Goes My Gun" 1:49
13."Hey" 3:31
14."Silver"
2:25
15."Gouge Away" 2:45
Total length:38:38

Doolittle 25 bonus discs

Disc 2 / LP 2 – B-sides & Peel Sessions[87]

All tracks previously released unless otherwise indicated.

No.TitleNotesLength
1."Dead"Peel session, October 9, 19883:18
2."Tame"Peel session, October 9, 1988; previously unreleased1:58
3."There Goes My Gun"Peel session, October 9, 19882:18
4."Manta Ray"Peel session, October 9, 19881:49
5."Into the White"Peel session, April 16, 1989; previously unreleased4:11
6."Wave of Mutilation"Peel session, April 16, 19892:31
7."Down to the Well"Peel session, April 16, 19892:14
8."Manta Ray"B-side of "Monkey Gone to Heaven"2:04
9."Weird at My School"B-side of "Monkey Gone to Heaven"1:58
10."Dancing the Manta Ray"B-side of "Monkey Gone to Heaven"2:14
11."Wave of Mutilation (UK Surf)"B-side of "Here Comes Your Man"3:02
12."Into the White"B-side of "Here Comes Your Man"4:43
13."Bailey's Walk"B-side of "Here Comes Your Man"2:24
Disc 3 / LP 3 (tracks 1–18) – Demos

All tracks previously unreleased unless otherwise indicated.

No.TitleNotesLength
1."Debaser"Previously released3:00
2."Tame" 2:01
3."Wave of Mutilation"First demo2:04
4."I Bleed" 1:46
5."Here Comes Your Man"1986 demo; previously released3:07
6."Dead" 1:35
7."Monkey Gone to Heaven" 2:52
8."Mr. Grieves" 1:42
9."Crackity Jones" 1:21
10."La La Love You" 2:08
11."No. 13 Baby – VIVA LA LOMA RICA"First demo2:17
12."There Goes My Gun" 1:29
13."Hey"First demo3:22
14."Silver" 2:11
15."Gouge Away" 1:42
16."My Manta Ray Is All Right" 2:03
17."Santo"Previously released as B-side of "Dig for Fire"2:17
18."Weird at My School"First demo1:53
19."Wave of Mutilation" 1:03
20."No. 13 Baby"Previously released3:07
21."Debaser"First demo3:37
22."Gouge Away"First demo2:08

Personnel

Pixies

Additional musicians

  • Karen Karlsrud – violin ("Monkey Gone to Heaven")
  • Corine Metter – violin ("Monkey Gone to Heaven")
  • Arthur Fiacco – cello ("Monkey Gone to Heaven")
  • Ann Rorich – cello ("Monkey Gone to Heaven")

Technical

  • Gil Norton – producer, engineer
  • Dave Snider – assistant engineer
  • Matt Lane – assistant engineer
  • Steve Haigler – mixing
  • Vaughan Oliver – art direction, design
  • Simon Larbalestier – photography
  • Chris Bigg – calligraphy

Charts

Chart performance for Doolittle
Chart (1989) Peak
position
Dutch Albums (Album Top 100)[88] 53
New Zealand Albums (RMNZ)[89] 18
UK Albums (OCC)[48] 8
US Billboard 200[47] 98
French Album Chart (SNEP)[90] 66

Certifications and sales

Region Certification Certified units/sales
Canada (Music Canada)[91] Gold 50,000^
France (SNEP)[92] Gold 100,000*
United Kingdom (BPI)[93] Platinum 300,000*
United States (RIAA)[94] Platinum 1,000,000‡

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

References

Citations

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