{"album":[{"idAlbum":"2120443","idArtist":"112739","idLabel":null,"strAlbum":"Doolittle","strAlbumStripped":"Doolittle","strArtist":"Pixies","strArtistStripped":"Pixies","intYearReleased":"1989","strStyle":"Rock/Pop","strGenre":"Alternative Rock","strLabel":null,"strReleaseFormat":"Album","intSales":"0","strAlbumThumb":"https://www.theaudiodb.com/images/media/album/thumb/doolittle-4e3a8a18cb017.jpg","strAlbumThumbHQ":null,"strAlbumThumbBack":null,"strAlbumCDart":"https://www.theaudiodb.com/images/media/album/cdart/doolittle-4e73926514e07.png","strAlbumSpine":null,"strAlbum3DCase":null,"strAlbum3DFlat":null,"strAlbum3DFace":null,"strAlbum3DThumb":null,"strDescriptionEN":"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 newly hired producer Gil Norton. Doolittle was the Pixies' first international release, with Elektra Records acting as the album's distributor in the United States and PolyGram in Canada.\nPixies released two singles from Doolittle, \"Here Comes Your Man\" and \"Monkey Gone to Heaven\", both of which were chart successes on the US chart for Modern Rock Tracks. The album itself reached number eight on the UK Albums Chart, an unexpected success for the band. In retrospect, album tracks such as \"Debaser\", \"Wave of Mutilation\", \"Monkey Gone to Heaven\", \"Gouge Away\", and \"Hey\" are highly acclaimed by critics, while the album, along with debut LP Surfer Rosa, is often seen as the band's strongest work.\nDoolittle has continued to sell consistently well in the 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 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, and Rolling Stone placed the album at 226 on its list of \"The 500 Greatest Albums of All Time\".","strDescriptionDE":null,"strDescriptionFR":null,"strDescriptionCN":null,"strDescriptionIT":null,"strDescriptionJP":null,"strDescriptionRU":null,"strDescriptionES":null,"strDescriptionPT":null,"strDescriptionSE":null,"strDescriptionNL":null,"strDescriptionHU":null,"strDescriptionNO":null,"strDescriptionIL":null,"strDescriptionPL":null,"intLoved":"1","intScore":"9.4","intScoreVotes":"5","strReview":"If anything is likely to make you feel old, it's the grim realisation that some of your favourite ever records are over 20 years old. Take, for example, Pixies' Doolittle. Originally released in April 1989, it came in a year which had already given us New Order's Technique, Lou Reed's New York and was about to unleash astonishing debuts from both The Stone Roses and Soul II Soul alongside The Cure's last fully good album, Disintegration. A vintage year indeed. \n\nNow 20 years on, Doolittle's power and influence has barely been beaten. It was this album that inspired Kurt Cobain's vision for Nirvana, created the quiet/loud dynamic that Mogwai owe a career to, had everyone from Bowie to Radiohead, Blur to PJ Harvey awestruck and when they reformed \u2013 one of the first to do so in the last few years before it got silly \u2013 it was Doolittle that many middle-aged indiepeople were wanting to hear and howl and scream along to. \n\nIt's not hard to see why. After building themselves a nice reputation on the back of their 'proper' debut, Surfer Rosa, it was Doolittle that took them from being fawned over in Melody Maker into the actual charts to become one of 4AD's biggest successes of that time. With the key singles Monkey Gone To Heaven and Here Comes Your Man, Black Francis had distilled death, horror, whores, biblical imagery and undersea myths into a succession of short sharp chunks of immense catchiness. The unearthly howls of Debaser and Dead; the calm dead-eyed destroyer of Wave Of Mutilation; the warped southern soul of Hey; the controlled abandon and angles that Joey Santiago coaxed from his guitar throughout. Even drummer David Lovering got a song with La La Love You. And that's not to mention that the very presence of Kim Deal \u2013 a year away from inventing The Breeders - on this album consolidated her position as one of the coolest women on Earth. \n\nThere is little flab or room for negotiation with Doolittle, its 15 tracks could be released now and still wipe the floor of many of late noughties efforts. It's as perfect today as it was back then. Genuinely amazing.","strMood":"Gritty","strTheme":null,"strSpeed":"","strLocation":null,"strMusicBrainzID":"1aa41b19-5a72-341b-bd91-4cf61d1dab6b","strMusicBrainzArtistID":"b6b2bb8d-54a9-491f-9607-7b546023b433","strAllMusicID":"mw0000653196","strBBCReviewID":"g9jw","strRateYourMusicID":"doolittle","strDiscogsID":"16764","strWikidataID":"Q909006","strWikipediaID":"Doolittle_(album)","strGeniusID":null,"strLyricWikiID":null,"strMusicMozID":null,"strItunesID":null,"strAmazonID":null,"strLocked":"unlocked"}]}
