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About The Pixies' Doolittle
Product Description The Pixies have had a career unlike any other in alternative rock, disappearing as not-quite-the-next-big-things only to become gods in absentia. Doolittle is their knotty masterpiece, the embodiment of the Pixies' abrasive, exuberant, enigmatic pop. Informed by exclusive interviews with the band, Sisario looks at the making of the album and its place in rock history, and studies its continued influence in light of the Pixies triumphant reunion. About the Author Ben Sisario writes about music and culture for The New York Times, teaches at the Tisch School of the Arts at New York University, and is a commentator on the New York public radio station WFUV. He lives in New York City. Excerpt. © Reprinted by permission. All rights reserved. Doolittle is, on one hand, among the most violent pop albums ever recorded, if not in body count then in the starkness of its calamities. It features rape, mutilation of the eyes, vampirism, suffocation, smothering by tons of garbage, and the chaos of blind gunfire; for the punchline, everybody gets crushed to death. When not killing or maiming, the album turns to depraved sexual loathing and visions of apocalypse. And yet, even with its screams and its squalls, it is one of the most tuneful and lovable albums in the canon of alternative rock, and Charles Thompson, aka Black Francis, aka Frank Black, has spent the better part of two decades insisting to journalists that there is no real meaning to all the horror and dread, that the lyrics are just words that fit together nicely. "There is no point," he says. "The point is to experience it, to enjoy it, to be entertained by it."
