pixies doolittle full album download Pixies doolittle full album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 66c718280a317b1f • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Pixies doolittle full album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66c718281e871699 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Pixies – 4 Albums (1988-1991) Pixies – 4 Albums (1988-1991) EAC Rip | 4xCD | FLAC Tracks & Image + Cue + Log | Full Scans Included PS3 SACD Rip | 4xSACD | ISO @1bit/2.8224MHz, DSD64 | FLAC Tracks @24bit/88.2kHz | Stereo Total Size: 1.04 GB (CDs) + 6.15 GB (SACD-ISO) + 3.05 GB (SACD- FLAC) | 3% RAR Recovery Label: MFSL UltraDisc UHR | USA | Genre: Alternative Rock, Indie Rock. Combining jagged, roaring guitars and stop-start dynamics with melodic pop hooks, intertwining male-female harmonies, and evocative, cryptic lyrics, the Pixies were one of the most influential American alternative rock bands of the late ’80s. They weren’t accomplished musicians — Black Francis wailed and bashed out chords while Joey Santiago’s lead guitar squealed out spirals of noise. But the bandmembers were inventive, rabid rock fans who turned conventions inside out, melding punk and indie guitar rock, classic pop, surf rock, and stadium-sized riffs with singer/guitarist Black Francis’ bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture; while the meaning of his lyrics may have been impenetrable, the music was direct and forceful. ― Allmusic. [su_accordion] [su_spoiler title=”1988. Surfer Rosa (2007, MFSL, UDSACD 2032, USA)” icon=”plus-square-1″ style=”fancy”] 1988. Surfer Rosa (2007, MFSL, UDSACD 2032, USA) EAC Rip | FLAC Image + Cue + Log | Full Scans Included PS3 SACD Rip | ISO @1bit/2.8224MHz, DSD64 | FLAC Tracks @24bit/88.2kHz | Stereo. Tracklist: 01. Bone Machine – 03:03 02. Break My Body – 02:06 03. Something Against You – 01:48 04. Broken Face – 01:31 05. Gigantic – 03:56 06. River Euphrates – 02:33 07. Where Is My Mind? – 03:55 08. Cactus – 02:17 09. Tony’s Theme – 01:53 10. Oh My Golly! – 02:33 11. Vamos – 04:47 12. I’m Amazed – 01:19 13. Brick Is Red – 02:02. [su_spoiler title=”1989. Doolittle (2008, MFSL, UDSACD 2033, USA)” icon=”plus-square-1″ style=”fancy”] 1989. Doolittle (2008, MFSL, UDSACD 2033, USA) EAC Rip | FLAC Image + Cue + Log | Full Scans Included PS3 SACD Rip | ISO @1bit/2.8224MHz, DSD64 | FLAC Tracks @24bit/88.2kHz | Stereo. Tracklist: 01. Debaser – 02:52 02. Tame – 01:55 03. Wave Of Mutilation – 02:06 04. I Bleed – 02:36 05. Here Comes Your Man – 03:22 06. Dead – 02:21 07. Monkey Gone To Heaven – 02:56 08. Mr. Grieves – 02:06 09. Crackity Jones – 01:24 10. La La Love You – 02:44 11. No. 13 Baby – 03:51 12. There Goes My Gun – 01:50 13. Hey – 03:31 14. Silver – 02:25 15. Gouge Away – 02:48. [su_spoiler title=”1990. Bossanova (2008, MFSL, UDSACD 2035, USA)” icon=”plus-square-1″ style=”fancy”] 1990. Bossanova (2008, MFSL, UDSACD 2035, USA) EAC Rip | FLAC Image + Cue + Log | Full Scans Included PS3 SACD Rip | ISO @1bit/2.8224MHz, DSD64 | FLAC Tracks @24bit/88.2kHz | Stereo. Tracklist: 01. Cecilia Ann – 02:07 02. Rock Music – 01:53 03. Velouria – 03:46 04. Allison – 01:19 05. Is She Weird – 03:03 06. Ana – 02:11 07. All Over The World – 05:33 08. Dig For Fire – 03:04 09. Down To The Well – 02:35 10. The Happening – 04:22 11. Blown Away – 02:22 12. Hang Wire – 02:02 13. Stormy Weather – 03:29 14. Havalina – 02:35. [su_spoiler title=”1991. Trompe Le Monde (2013, MFSL, UDSACD 2066, USA)” icon=”plus-square-1″ style=”fancy”] 1991. Trompe Le Monde (2013, MFSL, UDSACD 2066, USA) EAC Rip | FLAC Tracks + Cue + Log | Full Scans Included PS3 SACD Rip | ISO @1bit/2.8224MHz, DSD64 | FLAC Tracks @24bit/88.2kHz | Stereo. Tracklist: 01. Trompe Le Monde – 01:46 02. Planet Of Sound – 02:06 03. Alec Eiffel – 02:50 04. The Sad Punk – 03:00 05. Head On – 02:14 06. U-Mass – 03:01 07. Palace Of The Brine – 01:34 08. Letter To Memphis – 02:40 09. Bird Dream Of The Olympus Mons – 02:48 10. Space (I Believe In) – 04:18 11. Subbacultcha – 02:10 12. Distance Equals Rate Times Time – 01:24 13. Lovely Day – 02:05 14. Motorway To Roswell – 04:43 15. The Navajo Know – 02:20. [su_spoiler title=”Labels Preview” icon=”plus-square-1″ style=”fancy”] DOWNLOAD FROM. Password: www.LosslessMA.net. If you encounter broken links or other problem about this publication, please let me know and write your comment below. I will reply and fix as soon as possible. Pixies doolittle full album download. The week commencing 1st December, Pixies and 4AD will celebrate the 25th anniversary of Doolittle with the release of Pixies: Doolittle 25 - an expanded edition of the classic album that brings together all the album's B-sides, Peel Sessions and demos for the first time, with nearly half of the tracks having not been commercially released before. The second studio album from Pixies - Black Francis, Joey Santiago, Kim Deal and David Lovering - Doolittle was to prove a pivotal moment for both band and the wider scene. Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, it was an instant hit, containing some of the band’s most memorable singles (‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Debaser’). Included among the many plaudits thrown Doolittle ’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and five years on, it’s now time to give it the deluxe release treatment it deserves. Pre-order from Pixies' webstore here. Pre-order from the 4AD webstore here (vinyl) or here (CD). Pre-order from Amazon here (MP3). Pre- order from iTunes here. The 3 CD Pixies: Doolittle 25 contains an impressive fifty tracks with the original album on disc one, two full Peel Sessions and six B-sides on disc two and the complete album in demo form plus seven bonus tracks on disc three. A gatefold LP version is also being released, with three pieces of 180g black vinyl being pressed - the album, the six B-sides and two full Peel Sessions and the album in complete demo form plus 3 bonus tracks. A download card is included, offering access to all LP tracks plus four more bonus tracks. The full tracklistings can be found below. Like all other Pixies sleeves before it, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork and Simon Larbalestier’s photographs to create two stunning new sleeves using metallic ink. Pixies: Doolittle 25 is being released on 1st / 2nd December and is available to pre-order now direct from the band. The band are offering an exclusive t-shirt bundle with both CD and LP pre-orders. The album can also pre-ordered from the 4AD store, with the opportunity for one buyer to win a white label of the record. Pixies: Doolittle 25 3CD Edition (CAD 3425CD) Disc One - Doolittle 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 (2.57), 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) Disc Two - Doolittle: Peel Sessions & B-Sides 1. Dead (Peel Session) (3.18), 2. Tame (Peel Session) (1.58)*, 3. There Goes My Gun (Peel Session) (2.18), 4. Manta Ray (Peel Session) (1.49), 5. Into The White (Peel Session) (4.11)*, 6. Wave of Mutilation (Peel Session) (2.31), 7. Down To The Well (Peel Session) (2.14), 8. Manta Ray (2.40), 9. Weird At My School (1.58), 10. Dancing The Manta Ray (2.14), 11. Wave of Mutilation (UK Surf) (3.02), 12. Into The White (4.43), 13. Bailey's Walk (2.24) Disc Three - Doolittle: Demos 1. Debaser (3.00), 2. Tame (2.10)*, 3. Wave of Mutilation (First Demo) (2.04)*, 4. I Bleed (1.46)*, 5. Here Comes Your Man (1986 Demo) (3.07), 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 Demo) (2.17)*, 12. There Goes My Gun (1.29)*, 13. Hey (First Demo) (3.22)*, 14. Silver (2.11)*, 15. Gouge Away (1.42)*, 16. My Manta Ray Is All Right (2.30)*, 17. Santo (2.17)*, 18. Weird At My School (First Demo) (1.53)*, 19. Wave Of Mutilation (1.30)*, 20. No. 13 Baby (3.07), 21. Debaser (First Demo) (3.37)*, 22. Gouge Away (First Demo) (2.08)* Pixies: Doolittle 25 3LP Edition ( CAD 3425 ) Side One - Doolittle: B-Sides 1. Manta Ray (2.40), 2. Weird At My School (1.58), 3. Dancing The Manta Ray (2.14), 4. Wave of Mutilation (UK Surf) (3.02), 5. Into The White (4.43), 6. Bailey's Walk (2.24) Side Two - Doolittle: Peel Sessions 1. Dead (Peel Session) (3.18), 2. Tame (Peel Session) (1.58)*, 3. There Goes My Gun (Peel Session) (2.18), 4. Manta Ray (Peel Session) (1.49), 5. Into The White (Peel Session) (4.11)*, 6. Wave of Mutilation (Peel Session) (2.31), 7. Down To The Well (Peel Session) (2.14) Side Three - Doolittle: Demos 1. Debaser (3.00), 2. Tame (2.10)*, 3. Wave of Mutilation (First Demo) (2.04)*, 4. I Bleed (1.46)*, 5. Here Comes Your Man (1986 Demo) (3.07)*, 6. Dead (1.35)*, 7. Monkey Gone To Heaven (2.52)*, 8. Mr. Grieves (1.42)*, 9. Crackity Jones (1.21)* Side Four - Doolittle: Demos 1. La La Love You (2.08)*, 2. No. 13 Baby - VIVA LA LOMA RICA (First Demo) (2.17)*, 3. There Goes My Gun (1.29)*, 4. Hey (First Demo) (3.22)*, 5. Silver (2.11)*, 6. Gouge Away (1.42)*, 7. My Manta Ray Is All Right (2.30)*, 8. Santo (2.17)*, 9. Weird At My School (First Demo) (1.53)* Side Five - Doolittle 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 (2.57) Side Six - Doolittle 1. Mr. Grieves (2.05), 2. Crackity Jones (1.24), 3. La La Love You (2.43), 4. No. 13 Baby (3.51), 5. There Goes My Gun (1.49), 6. Hey (3.31), 7. Silver (2.25), 8. Gouge Away (2.45) * Denotes previously unreleased The Peel Sessions were recorded on 18th October 1988 and 2nd May 1989 and originally broadcast on BBC Radio 1. Pixies: Doolittle 25 review – alt-rock milestone from US indie’s weirdest stars. T he Pixies proved so influential that it’s now almost impossible to imagine how bizarre they seemed on arrival in the late 80s. Their second full- length album, Doolittle, was released in April 1989, towards the end of a startling 18-month period for experimental US guitar rock. It had seen the release not just of Doolittle’s predecessor, Surfer Rosa, but Sonic Youth’s Daydream Nation, Mudhoney’s Superfuzz Bigmuff, You’re Living All Over Me and Bug by Dinosaur Jr, Bongwater’s Double Bummer, the Butthole Surfers’ Hairway to Steven, debut albums by Royal Trux and Fugazi, Soundgarden’s Ultramega OK and Galaxie 500’s Today; a few weeks after Doolittle came out, it was followed by Nirvana’s Bleach. It was all happening, but somehow the Pixies seemed apart from it all. They were not arty New York hipsters, nor part of the burgeoning Seattle scene, nor graduates from the punishing US hardcore circuit, although their songs occasionally careered along with the breakneck pace and lockstep rhythm of Hüsker Dü’s New Day Rising. Their other influences were hard to place, which was unsurprising, given that frontman Black Francis’s tastes ran to Christian rock pioneer Larry Norman, author of Forget Your Hexagram, No More LSD for Me, and Why Should The Devil Have All The Good Music? They didn’t look like a hip US alt-rock band with a penchant for screaming about weird sex and Biblical violence (like his love of Larry Norman, the latter was a legacy of Francis’s upbringing, in a Pentecostal household big on divine healing and speaking in tongues). Black Francis was chubby and balding, and the only member who looked like they belonged on stage was the bassist, who preferred to go under her married name of Mrs John Murphy. For reasons unexplained, their lyrics occasionally lapsed into Spanish and their promotional T-shirts read Death to the Pixies. Doolittle was an album audibly intended to push the Pixies into the big time, or at least as close to the big time as a US indie band could hope to get in 1989, an age when mainstream rock meant Phil Collins and Tina Turner. Out went producer Steve Albini, who’d recorded Surfer Rosa in 10 days, occasionally in the studio toilet; in came Gil Norton, who’d worked with Echo and the Bunnymen and Del Amitri. The previous album’s biggest hit had been Gigantic, a song on which Mrs John Murphy, or Kim Deal as she was later known, spent four minutes admiring the size of an African-American man’s penis. By contrast, Doolittle’s lead single was Monkey Gone to Heaven, a richly melodic take on voguish environmental concerns, followed by Here Comes Your Man, a toothsome love song in which the size of anyone’s genitals went unaddressed. But the sheer weirdness of the Pixies still seeped through. You could tell from the tracklisting that their notion of a lunge for mainstream acceptance didn’t involve toning down Francis’s obsession with violence: Gouge Away, Wave of Mutilation, I Bleed. The album lasted approximately 20 seconds before confronting you with a reference to Luis Buñuel; Dead, meanwhile, offered a retelling of the saga of David and Bathsheba set to a one-note riff. Indie music of the time tended to avoid the more visceral aspects of sex in favour of yearning romantic longing: by contrast, the Pixies were, to borrow a phrase from their erstwhile producer, very obviously singing songs about fucking. You didn’t need to be an expert in musical semantics to work out what all the gasping and grunting that punctuated Francis and Deal’s vocals on Tame or Hey was meant to signify. When the topic of the Pixies comes up, you tend to hear a lot about Francis’s ability scream (heard to pretty devastating effect on Debaser) but less about his ability to leer, his way of delivering an apparently innocuous lyric – “fall on your face in those bad shoes”, “six-foot girl, gonna sweat when she digs” – in a way that suddenly made it sound like the filthiest thing imaginable. At its best, Doolittle was almost impossibly thrilling, packed with evidence of why alt-rock shifted in the Pixies’ wake. As Gouge Away roars into life, or during Tame’s series of barely-controlled explosions, or at the moment, 30 seconds before the song’s end, when I Bleed suddenly spins off on a completely unexpected melodic tangent, they seemed completely imperious: what rock band wouldn’t want to sound at least a little like that? Nevertheless, with the benefit of hindsight, you can hear the first seeds of the Pixies demise being sown. Everything that happened over the course of Surfer Rosa’s 32 minutes had seemed utterly gripping and essential; by contrast, Doolittle boasted an admittedly scant handful of longeurs. Some of them may have been a result of the burgeoning power struggles within the band. Kim Deal got only one co-songwriting credit on Doolittle, the parched and eerie country drone of Silver – in an act of astonishing pig-headedness, the Pixies declined to perform any of the Deal-penned songs that ended up on the Breeders’ fantastic debut album, Pod. Blessed with two fantastic songwriters, they made the demented decision to gag one of them, rather than accommodate them both, at precisely the point when Francis’ own writing showed the first signs of faltering: the sneaking suspicion that a song like La La Love You amounted to filler was hard to avoid. And as the extra discs of Peel Sessions and demos in this deluxe edition reveal, others stemmed from the band’s attempts to bridge the gulf between the way they actually sounded and something that might conceivably be acceptable to a mainstream audience. On Doolittle, There Goes My Gun sounded pleasantly inconsequential: taken at white-knuckle speed in the BBC studios, the guitars on the verge of chaos, it sounded vital. In fact, they would never sound quite as vital again. Doolittle’s push for the big time worked, at least in Britain: improbably enough, it made the top 10. There were fantastic songs afterwards, but also a feeling that diminishing artistic returns had set in. It was a shame, but as it turned out, the Pixies had already done all that they needed to do.