Doolittle is the second studio album from the American alternative rock band Pixies, released in April 1989 on 4AD. The album's offbeat and dark subject material, featuring references to surrealism, Biblical violence, torture and death, contrasts with the clean production sound achieved by the then newly hired producer Gil Norton. Along with Surfer Rosa, Doolittle is considered the band's strongest work. Doolittle has continued to sell consistently well in the nineteen years since its release, and in 1995 was certified gold by the Recording Industry Association of America. The album has been cited as inspirational by many alternative artists, while Read more on Last.fm.
I’ve been a fan of The Pixies since several of my favorite artists – PJ Harvey and Nirvana – cited them as a major influence on their music. As a huge fan of experimental recording and low-fidelty drumming in “Coming on Pilgrim” and “Surfer Rosa”, buying The Pixies’ next album “Doolittle” was a no-brainer. Released in 1989, “Doolittle” is considered one of the most important alternative rock albums ever created. “Doolittle” is essentially the more accessible version of The Pixie’s first full-length album, “Surfer Rosa.” Like “Rosa,” “Doolittle” combines college rock riffs, spurts of hard rock, cryptic lyrics, and just plain old weirdness. “Doolittle” purposely catches you off guard with uncomfortably flat guitar chords and sudden changes in mood. This unpredictability and distortion make “Doolittle” a challenge: it’s not easy to appreciate or get into, but its ability to constantly catch you by surprise is an amazing experience.
Diverging slightly from the rock ‘n’ roll era of “Surfer Rosa,” “Doolittle” has a greater electro-synth feel, evident in catchy tunes like “Monkey Gone to Heaven,” a passionate call to end pollution. The Pixies deliver their message without any hints of corniness, delving deep into metaphor to avoid using cliché “save the planet” phrases. Backed by a pulsing bass riff that orbits around the cacophony of guitars, drums, and strings, it feels like the rhythm “Monkey Gone to Heaven” matches the lyrical gymnastics!
Another highlight of the album, “Crackity Jones,” shows the darker, more raw side of The Pixies. At just 1:24 long, its high-paced punk tone sharply contrasts with some of the earlier artsy, slow tracks in the album. “Debaser” is one of the most memorable songs on the album. Although similar to “Monkey Gone to Heaven,” in its focus on a perpetual bass line, “Debaser” is faster-paced and poppy.
Musical roughness is usually considered a positive thing – but Debaser’s tight sound compliments The Pixies’ less refined tracks rather than straying away from them. This overall feeling of incompleteness and craziness are the main factors in “Doolittle’s” astonishing sound. Frankly, I was enticed to play the album over and over again. I loved it: “Doolittle” shows the Pixies’ revolution as artists from the underground to pundits of the alternative mainstream. If you’re into bittersweet anthems and randomness, The Pixies’ “Doolittle” is undoubtedly the album for you.