Pixies 2005 Tourdates

[Pixie Punk]

Ya comenzo la nueva gira de Pixies 2005 y siguen cosechando exitos.



05-26 Portland, OR - Roseland Theater
05-27 Portland, OR - Roseland Theater
05-28 George, WA - The Gorge (Sasquatch! Festival)
05-30 San Francisco, CA - Warfield Theater *
05-31 San Jose, CA - Civic Auditorium *
06-02 Los Angeles, CA - The Wiltern LG
06-03 Los Angeles, CA - The Wiltern LG
06-05 Morrison, CO - Red Rocks #
06-07 Indianapolis, IN - Murat Theatre
06-08 Cleveland, OH - CMJ Rock Hall
06-08 Cleveland, OH - Scene Pavilion *
06-09 Pittsburgh, PA - Chevrolet Amphitheatre at Station Square
06-11 Atlanta, GA - Music Midtown Festival
06-12 Raleigh, NC - The Ritz
06-13 Washington, DC - Merriweather Post Pavilion $
06-14 Wantagh, NY - Jones Beach %
06-15 Boston, MA - Agannis Arena
07-23 Chicago, IL - Grant Park (Lollapalooza)
08-17 Paredes de Coura, Portugal - Paredes de Coura Festival
08-18 Hasselt, Belgium - Pukkelpop
08-19 Biddinghuizen, Netherlands - Lowlands Festival
08-23 Dublin, Ireland - Landsdowne Road ^
08-25 Saint Cloud, France - Festival Rock en Seine Domaine National de Saint Cloud
08-26 Reading, England - Reading Festival
08-27 Leeds, England - Leeds Festival
08-28 Edinburgh, Scotland - T on the Fringe * with Bellrays
# with Bellrays and Violent Femmes
$ with Bellrays and Bloc Party
% with Interpol, LCD Soundsystem
^ with Kings of Leon

[Pixie Punk]

Long breakup only made the Pixies more popular


By Alan Sculley
Special to The Herald





The time the Pixies were split up was a blessing for the band.

In 1993, the band had slowly built enough of a fan base to headline theaters and large clubs. But for the most part, the Pixies' reputation among other musicians and music critics far outweighed their popularity with music fans.

Sasquatch! Festival: With Modest Mouse, Kanye West. Wilco: 11 a.m. Saturday, Gorge Amphitheatre, George. $55, 206-628-0888.One key supporter was Kurt Cobain, the late lead singer of Nirvana, who touted the Pixies' kinetic and inventive blend of punk, rock and surf music as a major inspiration for Nirvana's brand of punkish grunge rock. A host of other acts, such as Wayne Coyne of the Flaming Lips, Radiohead and Weezer, have also sung the praises of the Pixies.

The result has been a mushrooming fan base that discovered the Pixies after the fact, a larger-than-life image for the band and plenty of clamoring for a reunion that seemed unlikely given the acrimonious circumstances that surrounded singer-guitarist Frank Black's decision to disband the group and start a solo career in 1993.

Against that backdrop, it was no wonder last year's Pixies reunion was greeted with surprise, delight and huge expectations.

It was a classic case of a legend becoming bigger than the band itself, and the sell-out arena-size crowds that bought tickets for Pixies shows were tangible evidence of how popular the group had become during their 11 years apart.

Black, in a recent interview, said he and his Pixies bandmates - bassist-singer Kim Deal, guitarist Joey Santiago and drummer David Lovering - dealt with the anticipation surrounding the reunion the only way they knew how, by ignoring it.

"We didn't make a big deal out of the band the first time around. We just did what we did," Black said. "We just hoped that everybody was right as far as the big myth was concerned, and we just did what we did again. We didn't analyze it. We didn't make a big deal out of it. We just did our little schtick and everyone seemed satisfied."

The fact the Pixies are returning to the road this summer is a good indication that last year's reunion tour was both an artistic and commercial success.

Black, who went by the name Black Francis during the Pixies' original run (his real name is Charles Thompson), said the four band members get along fine these days.

"I think we always did get along, even when there was stress," Black said. "Now that stress really isn't there, so we're able to be cozy and friendly. We used to be cozy and friendly too, when we first started. But eventually things get messed up ... and people start to focus on the stress." At this point, the Pixies appear to be taking their future one step at a time.

[Pixie Punk]

Pixies 2005 Tour Pics
http://i7.photobucket.com/albums/y294/scruvs/frank_4.jpg

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[chupamelaverga]

deberian traerlos pa pr!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[Pixie Punk]

Pixies stir up nostalgia
http://www.indystar.com/graphics/clear.gif
http://www.indystar.com/graphics/clear.gifhttp://cmsimg.indystar.com/apps/pbcsi.dll/bilde?Site=BG&Date=20050608&Category=ENTERTAINMENT04&ArtNo=506080419&Ref=AR&Profile=1081&MaxW=200&Q=80&Border=0 (javascript:NewWindow(750,475,'/apps/pbcs.dll/misc?url=/misc/photos_single.pbs&IDato=20050608&IKategori=ENTERTAINMENT04&ID=506080419');)http://www.indystar.com/graphics/zoom_photo.gif (javascript:NewWindow(750,475,'/apps/pbcs.dll/misc?url=/misc/photos_single.pbs&IDato=20050608&IKategori=ENTERTAINMENT04&ID=506080419');)With feeling: Pixies lead singer Frank Black belts out a tune during the band's Murat show. -- Mpozi Mshale Tolbert / The Star

The Pixies
• Where: Murat Theatre.
• Bottom line: A fantastic showing in any year.




By David Lindquist
david.lindquist@indystar.com (david.lindquist@indystar.com)



It took a handful of songs before the Pixies fulfilled the promise of a thrilling reunion show Tuesday at the Murat Theatre.

But the ecstatic moment arrived when the Boston-based band performed "Debaser," the opening song from 1989's "Doolittle" album -- a recording that, along with Jane's Addiction's "Nothing's Shocking" and Faith No More's "The Real Thing," helped set the stage for the "alternative" music explosion of the early '90s.

By welding metal's volume and velocity to college rock's quirky thinking, "Debaser" created common ground for all kinds of listeners.

Onstage 16 years later, the Pixies don't betray those constituencies.

Vocalist Frank Black howls his appreciation of "An Andalusian Dog," the experimental film made by Luis Bunuel and Salvador Dali years before Black was born.

Bass player Kim Deal echoes Black's cry of "debaser" a half beat later than your mind anticipates, in a monotone voice that's angelic and Stepford all at once.

Meanwhile, guitarist Joey Santiago hammers out sweet riffs.

The Pixies -- on hiatus for more than a decade before regrouping last year -- explored these contrasts on several of their underground classics.

Sweeten the formula and it yields the winning pop of "Allison," the opening number of Tuesday's show. Remove the sugar and the menacing "I Bleed" emerges.

Much has been written and said about Kurt Cobain aiming for the Pixies sound in his loud-quiet-loud hits for Nirvana.

But the Pixies didn't alternate or segregate their key ingredients. The pristine and powerful rang out as equals on "Caribou," where Black crooned in falsetto and Santiago held nothing back.

The musicians kept mum between songs, but Black did pause to joke about a Pixies show that may or may not have happened in Fort Wayne in 1987.

It's hard enough to believe the band made it to Indianapolis in 2005 (it took Chicago-based Jam Productions to make the concert happen).

Audience members did their part, rallying for sing-along moments in a set list that arranged songs in alphabetical order -- an oddity that wasn't obvious until Black mentioned it in the H's.

What couldn't be missed was the onslaught of selections from "Doolittle," as well as 1988's "Surfer Rosa" album and 1987's "Come On Pilgrim" EP.

The 1990 "Bossanova" and 1991 "Trompe Le Monde" releases mostly were ignored.

But who's to argue with the Pixies circa 1989? They were/are a band with smarts, humor and melodies to burn.

[Pixie Punk]

From the Cleveland Plain Dealer:

Pixies' sell-out concert at Rock Hall gets music fest off to rockin' start

Thursday, June 09, 2005

John Soeder
Plain Dealer Pop Music Critic

I am un chien Andalusia! singer-guitarist Frank Black of the Pixies howled Wednesday night at the Rock and Roll Hall of Fame and Museum.

The tune was "Debaser," a hard-charging ditty about lust and surreal cinema.

And the occasion was opening night of the first CMJ/Rock Hall Music Fest.

The College Media Journal Network and the Rock Hall are bringing 100 bands from across the country and abroad to Cleveland for the festival. It runs through Saturday.

Wednesday night brought double duty for the Pixies, a seminal alternative-rock quartet formed in Boston in the mid- 1980s. Besides Black, the group includes Joey Santiago on guitar, Dayton native Kim Deal on bass and David Lovering on drums.

Following the sold-out Rock Hall gig in front of 1,000 fans who packed the museum lobby, the band headlined a late show at Scene Pavilion in the Flats.

"Everybody is very excited," Rock Hall President and CEO Terry Stewart told VIPs at a Music Fest launch party before the early Pixies concert.

CMJ and the Rock Hall hope to make the festival an annual event, Stewart said.

"I'm not a native Clevelander, but . . . I've fallen in love with your city," said Bobby Haber, CEO of New York City-based CMJ.

"We've been talking for years about a music festival in Cleveland," said Brian Ratner, chairman of the Rock Hall's local board. "It feels great finally to make a start."

The festival roared to life to the tune of "Monkey Gone to Heaven," "Gouge Away," "Where Is My Mind?" and other passive- aggressive Pixies favorites. In the middle of the uptempo "Vamos" (sung partly in Spanish by Black), Lovering tossed a drum stick to Santiago, who used it to coax a sci-fi solo from his guitar.

After closing their 45-minute Rock Hall set with "Gigantic," a catchy love song from Deal, the Pixies boarded a van for the short ride to Scene Pavilion. Instead of indulging in "Behind the Music"-worthy debauchery, they made small talk about a Bruce Willis movie.

En route, Black was asked how it felt to rock the Rock Hall's glass pyramid.

"It felt like an in-store appearance," he said, gazing out a window at the Warehouse District scenery.

The Pixies will be eligible for induction into the hall in 2012, 25 years after the release of the group's debut recording, "Come On Pilgrim."

Are they looking forward to such an honor?

"I'll take it," Black deadpanned. "I'll take whatever I can get."

The Pixies got a hero's welcome when they took the stage at Scene Pavilion around 10:20 p.m., kicking off their second gig with "Is She Weird?"

In the background loomed the lit-up Cleveland skyline, with plenty more wonderfully weird music on the horizon for Music Fest's next three days and nights.

[Pixie Punk]

Pixies Live 2005:smash: !!!http://i6.photobucket.com/albums/y210/poison21mtv/2005103.jpg

[Pixie Punk]

More Pixies 2005http://i6.photobucket.com/albums/y210/poison21mtv/2005107.jpg

[Pixie Punk]

I LOVE KIM DEAL!!!http://i6.photobucket.com/albums/y210/poison21mtv/2005105.jpg

[*.*+Circotika+*.*]

que cool!:smash: si vienen a Puerto Rico Pixie sera el primero alli!!:D :wavey: solo he podido ver una foto, todavia las otras van por la mitad....:p

[Pixie Punk]

Black's magic spears Pixies' beach landing

BY RAFER GUZMÁN
STAFF WRITER

June 18, 2005

Fifteen years ago, Pixies' live shows were Hobbesian affairs: nasty, brutish and short. Hammering out one rage-filled song after another, they didn't try to entertain their audience - they tried to obliterate it.

Tuesday night, Pixies added another adjective to that list: fun.

The Jones Beach show was part of a reunion that began with a few tentative warm-up dates last April and has blossomed into a world tour. A short-lived cult band in the late 1980s and early '90s, Pixies' stature and influence has grown in their absence (thanks largely to Nirvana, who copped the band's dynamic chords and loud-soft-loud constructions). Now the band finds itself headlining amphitheaters and even such festivals as last year's Coachella festival in California.

Pixies' breakup was less than amicable, but during this tour they've rekindled their mutual affections. They are, and always were, an unlikely group of art-punk heroes: a painfully shy but fierce guitarist (Joey Santiago), a rock-solid drummer (David Lovering), a tough-chick bassist with a vulnerable voice (Kim Deal) and hefty front man Black Francis (now known as Frank Black), whose inhuman screams give Pixies their strange power. Tuesday night, these oddball personalities found the humor that runs underneath their howling songs.

The 90-minute show began with "Is She Weird," a typical Pixies mix of spooky chords, a self-devouring rhythm and utter nonsense ("Is she weird? Is she white? Is she promised to the night?"). Black's lyrics, for the most part, aren't as important as how they're delivered. During an astonishingly aggressive version of "Stormy Weather," he repeated the song's only line ("It is time/For stormy weather") until it sounded like an oncoming apocalypse. On "Tame," he screamed that word as if it represented a childhood nightmare.

Black's latest solo disc, "Honeycomb" (due next month on Back Porch) may surprise Pixies fans: It borders on country, with Black singing in a plain, intimate voice. He took a similar approach with a trio of Pixies songs that served as the concert's centerpiece. "Nimrod's Son," "Mr. Grieves" and "The Holiday Song" all began as frenetic, galloping workouts - but the band also played them slowly and deliberately, turning them into Southern Gothic ballads. "You can cry, you can mope," Black sang while strumming an acoustic guitar, "but can you swing from a good rope?"

Just as surprising were the occasional sloppy notes and impulsive moments, which gave the show an enjoyably loose feel. On "La La Love You," Black and Deal almost missed their opening lines - "Kick-a butt!" "Not too hard" - then gave the song to Lovering, who crooned like Elvis while punching at his kit. On "Vamos," Santiago tweaked his guitar to match Black's short vocal squawks. And at the close of "Gigantic," Deal urged the musicians to do something truly uncharacteristic: They smiled and, one by one, said good night.

PIXIES. New and improved.

[Lyrica]

Me hubiese gustado verlos en la fecha que compartieron tarima con The Violent Femmes...

[Pixie Punk]

PIXIES GO ACOUSTIC
From www.newportfolk.com (http://www.newportfolk.com/):

http://images.jambase.com/festivals/newportfolk/logo2.jpg Festival Productions, Inc. is proud to announce that PIXIES (http://www.jambase.com/search.asp?bandID=23652) have joined the Saturday, August 6th lineup of the 2005 the Dunkin' Donuts Newport Folk Festival (http://www.jambase.com/search.asp?venueID=154), for their first-ever :cool: live acoustic set.

"I hope that Pete Seeger doesn't go after the Power supply with an axe, for us going acoustic," says Pixies' front man Frank Black.

Pixies formed in Boston in 1986 and quickly gained a cult following and critical acclaim for their signature blend of punk, indie guitar rock, classic pop, and surf rock riffs mixed with unique melodic hooks and lyrics about everything from UFOs to religion and metaphysics. The band's influence is far-reaching: David Bowie called their work "just about the most compelling music of the entire '80s:D " and U2's Bono considers them "one of America's greatest bands ever:smash: ."

Pixies disbanded in 1992 after recording five albums, but reunited in 2004 in what SPIN magazine called the "Comeback of the Year." The eight-month-long tour shattered sales records around the world, and their live performances were, as The Times in London put it in a 5-star review, "musically spellbinding."

Pixies - Frank Black (vocals, guitar), Kim Deal (bass, vocals), Joey Santiago (guitar), David Lovering (drums) - come to Newport ACOUSTIC for the first time ever.

"This is history in the making, for any Pixies fan and for anyone who loves live music," said associate producer Nalini Jones. "Pixies are a huge force in American music. To be there when they go acoustic for the first time, to have this chance to hear their songs in a whole new way-that's just unbelievable."

And Newport is the right place for it, she added. The festival has a history of championing artists who break new ground, and this year is no exception, with ELVIS COSTELLO & THE IMPOSTERS (http://www.jambase.com/search.asp?bandID=11066), BRIGHT EYES (http://www.jambase.com/search.asp?bandID=19891), JIM JAMES (http://www.jambase.com/search.asp?bandID=12263), M. WARD (http://www.jambase.com/search.asp?bandID=23487), PATTY GRIFFIN (http://www.jambase.com/search.asp?bandID=11622), RAY LAMONTAGNE (http://www.jambase.com/search.asp?bandID=24795), RICHARD THOMPSON (http://www.jambase.com/search.asp?bandID=29675), EMMYLOU HARRIS (http://www.jambase.com/search.asp?bandID=12810) (and many others!) also on the daytime shows at Fort Adams State Park, August 6 & 7.

Tickets are still available for these shows and for the Friday night August 5th concert with ARLO GUTHRIE (http://www.jambase.com/search.asp?bandID=3973) and NANCI GRIFFITH (http://www.jambase.com/search.asp?bandID=30929) at the International Tennis Hall of Fame; and the Thursday August 4th screening of Murray Lerner's Festival, a film with rare footage of the landmark Newport Folk festivals in the sixties. For more information about the Dunkin' Donuts Newport Folk Festival, including the full line-up of all three stages and the evening programs, please visit: www.newportfolk.com (http://www.newportfolk.com/).

[Pixie Punk]

Frank Black Talks About The Pixies' Present And Future
Friday July 08, 2005 @ 12:00 PM
By: ChartAttack.com Staff


The Pixies

Considering the epic early-'90s demise of The Pixies, it comes as a bit of a surprise that not only is the band's reunion still going strong, but they're actually having a great time.

To hear Frank Black tell it, the reformed group are having more fun now than ever before. And why not? They're making tons of cash and winning new fans around the globe. But to Black, it's more than that. To him, The Pixies really are back.

"It feels really natural," he says during a short break in the band's summer tour schedule. "It feels like, yeah, this is who I am. This is my band. This is the way that it should be. It doesn't feel awkward. There's a lot more camaraderie in the band than I realized and it's a mysterious camaraderie.

"It's not like we sit around high-fiving each other in the dressing room and we sit around and talk endlessly. It's more mysterious. It's all about the music we made in our little band one day that worked out. That's what it all revolves around. It doesn't feel fake."

Not that the money thing hurts. It took years of clamouring and rumours to get Black and Kim Deal to talk to one another again. When they finally made the plunge in early 2004, the response was deafening.

They sold out shows from Winnipeg to Slovenia, sold out live recordings of the shows at every stop and were properly celebrated for their influence on the alternative bands who followed in their footsteps.

Then came year two. Realizing that it had all been pretty good, The Pixies just kept going.

"I would say that the reunion, per se, is over, that we're in another phase," Black says. "We're in a phase where the audience is giving us a little more grace time — so we can go out and make a few more bucks — without saying, 'Alright guys, c'mon. This reunion thing is getting a little old.' So we're being somewhat selective. We're not going out and playing everywhere."

The Pixies play Toronto and Montreal this weekend with Weezer. If you're going to see this tour, expect few changes from their last batch of Canadian shows, though there have been some setlist additions, notably fan favourites "Alex Eiffel" and "Stormy Weather."

The question on everybody's lips, both this year and last, has been whether or not the band will go back into the studio and try to recreate their late-'80s brilliance. There hasn't been a solid decision on whether or not it will happen, but the members have obviously talked about the issue and seem to be leaning toward it.

"I think the only concept that we have is that we don't want to spend too much money on it," Black says. "We want to be confident with our material. So it's just a matter of saying, 'Should we go practise and make some new songs for the people?' It doesn't really get any bigger than that, other than, who is going to be the producer.

"It'll probably get recorded in L.A. because two of the guys live in L.A., Kim works a lot in L.A., I work a lot in L.A. We're not going to go record in the Bahamas. We don't really generate the kinds of sales where we all have millions and millions of dollars in our bank account where we can go, 'Sure, let's spend a couple million!' We're successful, but we don't want to piss money away. That's not very rock 'n' roll to us, pissing money away on extravagance. It doesn't really go with our aesthetic.

"A new album will really be determined by the tour. We'll be like, 'We've played there and there and over there, there's nowhere left to play. Better make a record.'"

If you want to hear new material by Black, you're in luck — his new solo record, Honeycomb, is out on Back Porch (EMI) this Tuesday.

The album was recorded just before The Pixies got back together last year. Black recorded in Nashville with a handful of Music City's legendary session musicians, including Spooner Oldham.

Considering Black usually has at least one, if not two records out every year, why did it take so long to get this one into stores?

"I think mostly because we wanted to release it through a different record label," he says. "Not to say anything negative about our other label, SpinArt, because we enjoy a nice relationship with them. We just felt like we'd released a lot of records over the last few years and we wanted to, you know, sometimes you just don't want to put all your eggs in one basket."

After planning to do a recording like this for about 10 years, Black enjoyed the process so much he's already recorded another record that could see the light of day as soon as January.

"I went back when I was on tour," he says. "I had a day off in Nashville and it was sort of a one day session. We did an album's worth of material on the second session, we're just trying to decide if it's THE record or if it needs more work, more songs."

[Pixie Punk]

Ahora si que parece va en serio el disco mas esperado del planeta "Indie". http://www.nme.com/media/images/Pixies_040504_M.jpgPixies - New album on the way then...Pixies Extrashttp://www.nme.com/media/extras/shop_extras.gif (http://microsites.nme.com/php/shoptracker/index.php?location=extras&artist=Pixies)
http://www.nme.com/media/extras/ebay_extras.gif (http://www.nme.com/cgi-bin/EbaySearch.pl?Name=UGl4aWVz)
http://www.nme.com/media/extras/ringtones_extras.gif (http://nme.ringtones.co.uk/search.asp?searchstring=Pixies&type=Ringtones&Search=Find)
function ScrapbookPopup( url ) { // Add news Item to Scrapbook. var today = new Date(); today = Date.parse(today); win = window.open(url, "" + today, "width=360,height=400,toolbar=0,menubar=0,scrollbars=0,resizable=0,status=0, location=0,directories=0,copyhistory=0" ); } function setCookie (name, value, expires) { if (!expires) expires = new Date(); document.cookie = name + "=" + escape (value) + "; expires=" + expires.toGMTString() + "; path=/"; } function getCookie (name) { var dcookie = document.cookie; var cname = name + "="; var clen = dcookie.length; var cbegin = 0; while (cbegin < clen) { var vbegin = cbegin + cname.length; if (dcookie.substring(cbegin, vbegin) == cname) { var vend = dcookie.indexOf (";", vbegin); if (vend == -1) vend = clen; return unescape(dcookie.substring(vbegin, vend)); } cbegin = dcookie.indexOf(" ", cbegin) + 1; if (cbegin == 0) break; } return null; } // Depending on whether or not the cookie 'userID' is set, create the appropriate link. if(getCookie("userID")) { // We have a User ID stored in our cookie so attempt to add the item and launch a pop-up window. document.write("/media/extras/scrapbook_extras.gif (#)"); } else { // We do not have a User ID stored in our cookie so display login form in current parent window. document.write("/media/extras/scrapbook_extras.gif (#)"); } http://www.nme.com/media/extras/scrapbook_extras.gif (http://www.nme.com/news/113023.htm#) PIXIES TO MAKE FIRST ALBUM IN 14 YEARS





Reformed alt-rock legends PIXIES (http://www.nme.com/news/“http://www.nme.com/artists/68681.htm”) are planning to record their first album in 14 years.

The band’s frontman Black Francis has confirmed the band, who got back together last year to huge acclaim, are preparing to make their first studio album since 1991’s ’Trompe Le Monde’.

He told contactmusic: “It's all hugs and kisses, I'm pleased to report.

"We have been discussing recording a new album lately. As happy as we are with the success of the reunion tour, we really want to make a record for the right reasons, whether it is successful commercially or not."

He added: "We would be satisfied if it played like our other records, never chart-topping but always in print."

Since the band got back together they have recorded two songs - ’Bam Thwok’ - which was rejected for the ’Shrek 2’ soundtrack and then released as a download-only single, and a cover of Warren Zevon’s ’Ain’t That Pretty At All’, which appeared on ’Enjoy Every Sandwich’, a tribute album to the late singer.

Pixies (http://www.nme.com/news/“http://www.nme.com/artists/68681.htm”) headline this year’s Carling Weekend: Reading and Leeds Festivals between August 27 and 29.

Black Francis releases a new solo album under the name Frank Black next week (July 18). ’Honeycomb’ is the first record he’s done alone since 1996’s ’The Cult Of Ray’.

[Chocky]

deberian traerlos pa pr!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
secundo esto

[blongo roosters]

break my body hold my bones . frank black palabras para deja el whopper

[Pixie Punk]

PIXIES ANNOUNCE EUROPEAN TOUR DATES

Pixies have just a handful of U.S. tour dates left before they head to
Europe for two weeks worth of concerts. Before they cross the pond, Pixies
will headline the Lollapalooza festival in Chicago this Saturday, July 23,
and then headline the San Diego Street Scene on Saturday, July 30. On
August 6, the band will play its first-ever all-acoustic set at the Newport
Folk Festival in Newport, Rhode Island. As Pixies' front man Frank Black
said, "I hope that Pete Seeger doesn't go after the power supply with an
axe, for us going acoustic."

Remaining U.S. Dates, and the confirmed European Pixies tour follows:

JULY
23 Lollapalooza, Chicago, IL
30 Street Scene, San Diego, CA

AUGUST
6 Newport Folk Festival, Newport, Rhode Island
17 Paredes De Coura Festival, Paredes De Coura, Portugal
19 Pukkelpop, Hasselt, Belgium
20 Lowlands Festival, Biddinghuizen, Holland
21 Highfield Stadium, Erfurt, Germany
23 Lansdowne Road Stadium, Dublin, Ireland
25 Rock En Seine, Paris, France
26 Carling Weekender, Reading, England
27 Carling Weekender, Leeds, England
28 T on the Fringe, Meadowbank Stadium, Edinburgh, Scotland
30 Manchester Apollo, Manchester, England
31 Alexandra Palace, London, England

[Pixie Punk]

BLACK FEARS PIXIES COMEBACK ALBUM WILL BE A LONG TIME COMING

http://images.contactmusic.com/images/artist/pixiesap.jpgdocument.write(''); http://ads.contactmusic.com/advertpro/servlet/view/banner/image/zone?zid=25&pid=1&position=1 (http://ads.contactmusic.com/advertpro/servlet/click/zone?zid=25&pid=1&lookup=true&position=1)
THE PIXIES reunion might be short lived because leader FRANK BLACK insists he can't justify touring next year (06) without having new material to play.

The GIGANTIC rockers feel like they're under pressure to record a new album, but Black is keen to return to his solo career after teaming up with soul session stars STEVE CROPPER and SPOONER OLDHAM for his acclaimed new CD HONEYCOMB.

He also reports that bandmate KIM DEAL is keen to return to the studio with her rock group the BREEDERS and drummer DAVID LOVERING is planning to return to his side job as a magician - so Pixies fans will have a long wait before the group, which reformed last year (04), returns to the studio - if at all.

Black says, "We don't want to overstay our welcome. If we were gonna go on tour next summer, for example, we feel under a little pressure to record a record or something.

"We haven't booked a session or anything. I've never had this much attention put on me... I feel like I'm in OASIS or something, or some really hot band. Maybe I am, I don't know."

Meanwhile, Black hopes to follow up his new solo album by piecing together another supergroup for his next recording - he'll team up with former FACES star IAN McLAGAN and the BAND's LEVON HELM.

[Pixie Punk]

En este site podremos ver a Pixies y otros grandes grupos en vivo en nuestras computadoras desde el Reading Festival en Inglaterra!!! Tiscali are streaming all of the mainstage action from Reading Festival this year, that means the pixies set.

http://www.tiscali.co.uk/events/2005/reading/ (http://www.tiscali.co.uk/events/2005/reading/)

[Pixie Punk]

Pixies, Killers, Beck, Oasis Headline Renamed NY Fest


It's all about semantics in New York. According to Billboard.com, the music festival set to take place simultaneously in minor league ballparks in Staten Island and Brooklyn on October 1 and 2, formerly known as Across the Pond, has been more specifically renamed Across the Narrows. The Staten Island bill for October 1 includes the Killers, Interpol, New York Dolls, British Sea Power, Tegan & Sara, Lake Trout, and the Ordinary Boys. At the same time, the Pixies will be headlining in Brooklyn along with Gang of Four, Built to Spill, Rilo Kiley, Death From Above 1979, Nine Black Alps, and Mando Diao.

The next day, Beck will headline in Brooklyn, along with the Raveonettes, Gang Gang Dance, and Whirlwind Heat. The reunited Lemonheads will take the stage in Staten Island, along with headliner Oasis, Kasabian, Jesse Malin, and the Redwalls.

Ticketmaster.com lists an Internet presale for tickets kicking off on Thurs., August 11 at 9 a.m.; tickets are available to the general public starting at 10 a.m. on August 12. Click here for more info.

Killers Lead N.Y. Fest
Beck, Pixies, Oasis also to play inaugural Across the Narrows

The Killers, Beck, the Pixies and Oasis will headline the inaugural New York City Across the Narrows festival (formerly called Across the Pond) at the waterfront ballparks separated by the Narrows portion of the New York Bay.

The two-venue festival will take place on October 1st and 2nd, with acts performing simultaneously at Staten Island's Richmond County Bank Ballpark in St. George, home of the Staten Island Yankees, a minor league affiliate of the New York Yankees; and Brooklyn's Keyspan Park in Coney Island, home of the Brooklyn Cyclones, a minor league affiliate of the Mets.

Interpol, Jet, the New York Dolls, Gang of Four, Tegan and Sara, Doves, Rilo Kiley and Kasabian are also featured on the bill, with special guests expected to be announced closer to the event's kickoff.

Tickets will go on sale August 12th, with two-day pass options available.

Across the Narrows lineup:

Keyspan Park:

10/1:
Pixies
Gang of Four
Built to Spill
Rilo Kiley
Death From Above 1979
Mando Diao
Nine Black Alps

10/2:
Beck
Belle & Sebastian
The Polyphonic Spree
The Raveonettes
Gang Gang Dance
Whirlwind Heat

Richmond County Bank Ballpark:

10/1:
The Killers
New York Dolls
Interpol
British Sea Power
Tegan and Sara
The Ordinary Boys
Lake Trout

10/2:
Oasis
Jet
Doves
The Lemonheads
Kasabian
Jesse Malin
The Redwalls

[Pixie Punk]

Misfits that fit

The Pixies were a bunch of mavericks who in the late 1980s changed the face of modern rock before imploding - the band not big enough for its [two star] players. So what finally brought them back together 11 years later? They talk candidly to Laura Barton

Saturday August 20, 2005
The Guardian


In the sticky heat of two summers ago, former Pixies frontman Frank Black made an appearance on London's Xfm radio station. He played acoustic versions of Pixies classics Caribou and Monkey Gone To Heaven before Zoë Ball, the show's presenter, took the opportunity to ask Black about a possible band reunion. "I do dream about the Pixies' reunion, I do have to say," came Black's startling admission. "It's like those schoolboy dreams when you don't do your homework and you don't study for the test. I'm at the gig and we're hanging out, but it's an utter failure and I don't know the songs, and hardly anyone turns up and people walk out. That's what I'm afraid of, that it'd be a big, big failure."

And so, says Black, in his slow, dusty drawl, "the cat was out of the bag, kinda". We are sitting in the velvety plushness of a Chicago hotel: later this afternoon, the Pixies are to perform at the Lollapalooza festival, two months into their 2005 reunion tour. Next weekend they will be headlining at the Reading Festival. Black's wife, Violet, walks in and out of the room, ferrying the couple's six-month-old son, who, with his bald head and cherubic proportions, bears an uncanny resemblance to his father. Initially, Black says, he wasn't altogether serious about a band reunion. "But who knows what kind of psychology was going on? I haven't really analysed it. I made a joke, they took it too far, so it was in all the papers ... But I was for the first time psychologically open to playing with those guys again."
Certainly the Frank Black of 2003, at 38, was very different from the dour individual of 1993, the year the Pixies disbanded, when he was still known as Black Francis. (His real name is in fact Charles Michael Kitridge Thompson IV.) "I had been through the wringer emotionally," he says. "Got a divorce, moved to a different town." He also felt that it was a tangibly different time for his fellow Pixies - bassist Kim Deal, guitarist Joey Santiago, and drummer David Lovering. "I don't think that Kim would have been so agreeable [before]. She quit drinking, you know what I mean? So while that wasn't a prerequisite or anything, when I heard that I was kinda like, oh, well, that'll be nice - she wanted a dry tour, so that meant that we're going to be at our best, probably. People corking champagne and staying up all night ... I don't think any of us saw it as a big problem, but in hindsight, I realise that it probably was. Not just her, but everybody was partying, as you do when you're 25 and you're feeling real eternal and all that."

Between 1987 and 1993, the Pixies were one of the most influential bands in the world, creating a sound that would change modern rock, from their debut EP Come On Pilgrim to their death-throe record, Trompe Le Monde, via the critically acclaimed albums Surfer Rosa, Doolittle and Bossanova. An unorthodox marriage of surf music and punk rock, their sound was characterised by Black's bristling lyrics and hackle-raising caterwaul, Kim Deal's whispered harmonies and waspy basslines, Joey Santiago's fragile guitar, and the persistent flush of David Lovering's drums. In a world dominated by Madonna, Michael Jackson and Mötley Crüe, the Pixies were bewildering, unsettling, brilliant. Kurt Cobain once said that Smells Like Teen Spirit was his own attempt to write a Pixies song, while David Bowie believes they wrote some of the most "compelling" music of the 1980s.

By the early 1990s, however, band relations looked brittle enough to snap. There were reports of an increasing sourness between Black and Deal: just how much sourness Black will go on to admit. When the Pixies finally did split, in a flurry of bile and spat feathers, Black was rumoured to have informed the band of his decision by fax.

In the summer of 2003, after he had let the cat out of the bag, Black decided to get back in touch with Joey Santiago, who since leaving the Pixies had earned moderate success in a band with his wife, The Martinis, and composing television scores. "He called me on my cellphone and I was in Cape Cod visiting family," recalls Santiago. "He said in this coy voice, 'Hey Joey, uh, you been hearin' these rumours that we're getting back together? Gee, I wonder who started it?' I go, 'Charles, did you do that?' and he goes, 'Yeah.'"

Over the years, Santiago, now 40, had served as the linchpin of the band, staying in touch with all its members. He then called David Lovering, who had given up the drums and become a magician. "I remember I was on the way to the bank, and I was just bummed out - everything, financially, was really a mess for me," says Lovering, 43. "I was involved in this relationship that was absolutely terrible. I was bottoming out. And I'm on the way to the bank and my cellphone rings. It's Joe; he says, 'Guess what?' And I just jumped through the ceiling."

Santiago also telephoned Deal, who recalls the occasion between long draws on countless cigarettes. "I was visiting Kelley [her sister]. She lives about a mile away from ..." Deal, 44, leans in close to the cassette recorder, and says in a gravelly whisper: "I live with my parents, OK? I live with my mom and dad, I'm a loser." Another tug on her cigarette. "So I was visiting Kelley and Joe left a message. He just said, 'Hey, Kim, give me a call back.' It wasn't a 'Hey! I was wondering whether you were still in LA! Me and my wife are having a show ...' There was a point to his voice, he wanted something. And I was like ohhhhhuh." Deal makes a slow, groaning sound, as if she is desperately hungover and cannot countenance the idea of getting out of bed.

So it was a while before Deal called Santiago back, but by then she was aware of the Pixies reunion rumour. "He's like, 'David's into it.' And then I talked to Charles briefly. I said, 'Hey, I hear you're thinking about getting the gang back together.' Like we're bank robbers or something, doing another heist. And, in the meantime, me and Joe had already talked about: well, it wouldn't hurt to get in a room together. And if we started playing and it sounded like shit, then we'd just forget about it."

Around September, Deal put her belongings in her Volvo stationwagon and drove from her home in Dayton, Ohio, to LA, where Lovering and Santiago both lived. Black was touring in Europe, but the three Pixies began a tentative rerun of their back catalogue. "Monkey Gone To Heaven, Bone Machine, Isla de Encanta ... and it sounded pretty good," says Deal. "It was amazing that we sounded so much like we did then. Me and Joe made a joke about that - does it mean we have some sort of special thing, where we just make this beautiful music together? Or does it mean we've actually had absolutely no musical growth for 16 years? We stopped learning and growing at that moment?"

The story of the Pixies really begins in Boston, Massachusetts, where Black was at university studying anthropology in the mid-1980s. There, he met Santiago, by his own admission a "creepy-quiet" economics student. The pair shared a disdain for the heavy metal of the day, all frouffy hair and unwilting guitar solos. "He was a nice guy - jolly fellow," Santiago recalls of Black. "He would practise guitar in the bathroom, and I remember one time he just started spitting in the mirror. I thought, this guy is crazy."

Partway through his course, Black went on an exchange programme to Puerto Rico, a place which was to exert a lasting influence - from the somewhat warped imagery of his lyrics to the slightly mangled Spanish that crops up on several Pixies songs (Isla de Encanta, for example, is a mispronunciation of Puerto Rico's motto, Isla del Encanto, island of charm).

In 1986, still in Puerto Rico, Black was planning to travel to New Zealand to see Halley's comet, "but then something started to nag at me. I realised I wasn't being true to myself, and what I really wanted to do was be in a rock band, be a musician." He decided to write a letter to Santiago formally suggesting they drop out of college and form a rock'n'roll band. Back in Boston, the pair settled into a routine of sorts. "Joey got an apartment across the park from where I was. I'd write the songs, I'd walk over to Joey's. I'd show him the songs, he'd come up with guitar chords. I'd walk back over to my place."

"It was definitely not your standard stuff," says Santiago. "I think it might have been Levitate Me that I heard first - he came up with this riffy thing. I think we were trying to make it sound like [Blue Oyster Cult's] Don't Fear The Reaper. It doesn't sound anything like Don't Fear The Reaper, but whatever ..." Black's distinctive singing style was already established: legend holds that, while working in a flower shop, his employer's cousin, a minor Thai rock star, imparted the wisdom, "Scream it like you hate that bitch", which Black took to heart.

Over in Dayton, Ohio, Kim Deal was playing guitar with her sister, Kelley; the two would perform Hank Williams and Everly Brothers songs at truck stops. "But I wasn't ever in a band," she says, delivering the word with leaden gravitas. "Guys in Dayton don't like chicks in bands. You can play tambourine, backing singing, some keyboards, but you have to wear a lot of spandex. And even if you're doing that and you're really good and you're adding to the band musically, the guys would think, that's just a piece of ass up on stage there to get the guys to come in to look at the girl so they drink more beer ..." She rolls her eyes.

"So, obviously, I didn't play in a band in Dayton. I couldn't do that or else I'd puke. I mean, I would literally get physically sick." She sits frowning for a minute, as if contemplating a life made up of Dayton, spandex and tambourines. "I remember the bands in Dayton," she says, resurfacing suddenly, "changing the words to a Pat Benatar song they covered to 'Put another notch in my guitar case', instead of 'Put another notch in my lipstick case', so the guys - who were wearing spandex - can sing that song. It's just weird what extent they'll go to so there's no girls in the band. So they can keep it cool and rocking."

Deal got married and moved to Boston. "I'd lived in Boston for one week and I got this paper called the Boston Phoenix that had ads in the back. A lot of them are, like, 'Bring your chops [talent], must have own van.' Which means, basically, they're looking for someone with a van, because they don't have their own transportation." But one ad caught her eye. "It said: 'Looking for female bassist, high harmony, must like Hüsker Dü, Peter Paul & Mary, no chops.' I thought it was really cool. And I called the people. I'd never done this before. Or since. And I found out from Joe on this tour I was the only one who actually answered that ad."

Deal went to meet Black and Santiago, who supposedly didn't care how well she played. "I thought Joe was Mexican. He was quiet as hell. He's still like that. Charles was really friendly, really hospitable. Anyway, Charles had an acoustic. He played a song, A Brick Is Red. I liked it, and it was nice that they were so different to anybody in Dayton." The three started hanging out, going to gigs and inspecting one another's record collections: the Cure, Human Sexual Response, Iggy Pop, Sonic Youth. The only problem was that Deal did not own a bass, nor had ever played one, but she picked it up easily enough. "It's got four strings, pleeease!"

Deal's husband had a drummer friend called David Lovering. "David was an electrical engineering student who was really into [prog rockers] Rush," says Black. "But whatever's misfit about Dave fits in with the rest of us. We're kinda misfitty. Which is why I think people like us - because we're not real suave."

The Pixies' first gig was on a Wednesday night at Jack's Lounge in Boston, for which they were paid $17. Black says he was so nervous his legs shook. "I remember I wrote the lyric to this song called Break My Body a few hours before, on the steps outside a pizza place in Harvard Square. I hadn't finished it, but we knew how to play this music, so I wrote a quickie lyric. The lyric may, in fact, show that if you were to look at it today ..."

It was around this time that Black became Black Francis, and Deal took to calling herself Mrs John Murphy. "I was working at a doctor's office," she explains, "and I answered the phone, and it was a lady called Ethel Goldfarb. I said, 'Oh, hello, Ethel.' And she said, 'Don't. Call. Me. Ethel. My name is Mrs Harold Goldfarb.' And I thought that it was so cool that for me to show respect to her I would have to refer to her by somebody else's name. I thought, oh my God, I'm married, I'm going to be 'Mrs John Murphy'."

The band's absence of visible hipness was at odds with the fashion of the day. "It was '85 or '86," says Deal, "and in Boston there was something going round that was really weird - you would go to these stores where you could buy a $100 ripped T-shirt, because you were punk. And I just thought that was really funny. So at some of the shows, I would make sure not to change from my skirt and comfortable, sensible heels and the shirt with the bow on. Just to piss off the punks. And that's really thrilling. Because of course they hated it. That's a fucking secretary? Please."

With quite blinding speed the band found a manager, recorded a demo, and signed to cult UK indie label 4AD. They left town as soon as possible. "Between moving back to Boston and our first record coming out, I think it was almost a year. Within a year and a half we were gone," growls Black. "We were like, we want to go to England. We want to go to LA. We want to be real. We want to be on the radar. We were touring out of state well before there was any demand for us to be there."

Black's instincts were right, and the band's raw, sinewy sound found a more welcoming audience in Europe, particularly in the UK, than in the US. Accordingly, the band toured Europe extensively between recording albums: their first, Surfer Rosa, was followed by Doolittle in 1989, which, with its singles Monkey Gone To Heaven and Here Comes Your Man, entered the album chart top 10 in the UK (the top 100 in the US).

It was at this point that the first rumblings of discontent began to be heard, and the band elected to take a break: Black to pursue a solo career and Deal to form the Breeders, first with the Throwing Muses' Tanya Donelly, and then with her sister, Kelley. The Pixies reconvened to record Bossanova, although it was notable that, where the previous albums had housed some of Deal's work (the single Gigantic, a co-writing credit on Silver), the new record was entirely Black's work. Nevertheless, they succeeded in touring amicably, in 1991 headlining at the Reading festival. Trompe Le Monde, released the same year, received a lukewarm critical reception.

The split came soon after. Deal remembers the band's final live dates, supporting U2 on their Zoo TV tour, as an exhausting run of gigs, every night looking out at empty places in the crowd. The constant touring, living in close proximity, was also starting to pall. "At one point all four of us were in the same room," says Santiago. "It's like, ah man, I can't stand this. I just couldn't sleep. People were snoring. Some hotels I would sneak into the conference room and just sleep."

"If you've been on a tour bus," says Black, "after a while it's kind of like being on a submarine. Everything kinda turns into Das Boot. Whether there's dialogue, or lack of dialogue, there's a tension - because it's not natural." Black was finding the pressures and the unrelenting attention that went with being the frontman increasingly difficult. "The thing that wound me up the most was the presumption among journalists that there was a lot of in-fighting in the band, which there wasn't," he says, his voice growing a little gritty. "In 1988, that was the starting point of every interview." He lolls back in his chair, and his eyes acquire a snakey coldness. "And then the other presumption was that somehow I was like this big, bad, bossy guy, and I was" - Black adopts a diddums voice - "'Keeping Kimmy out of the band, not letting her sing.' Which was kinda nonsense. So that irritated me."

Is he suggesting that he in no way resembled this character? "Well, I mean, I was the guy that they were painting me [to be]," he admits, softening into a smirk, "but it was more as if they were questioning that it used to be different. Look," he says, wearily, as if throwing a punch too late, too slow, in the direction of 1991, "I totally love this band. I think that they're great, and they bring the best out of me etcetera, etcetera, etcetera. But it's really annoying to be the singer and the main writer of the songs, and then not really get the credit. You know what I mean? Because it's ego-driven. I've got an ego. So everyone's suddenly like, 'Well, whatever, fatboy, let's talk about this or that guy. Or her.'"

The "or her", of course, is the elephant in the room. The real wonder of the Pixies reunion is that Black and Deal ever got to speaking again. Black gazes steadily across the table and admits, "The thing is, what I didn't understand at the time was how charismatic Kim Deal is. And how attracted to her people are. On stage, when she's just standing there smoking a cigarette, she's not even playing, and people are going bananas. At the time that just played into the whole everything-rubbing-me-up-the-wrong-way thing. Now I recognise what an asset it is. I'm older and I'm, like, OK, I get it. There's some sort of star quality thing going on over there." He laughs, a slow, oozy chuckle.

The years between the split and the reunion have been somewhat kinder to Black and Deal than they have to Lovering and Santiago. Black has continued to tour and record, solo and with his band the Catholics. Deal enjoyed a hugely successful period with the Breeders in the 1990s, and says new Breeders' material is imminent. Deal has also been credited as "producer" on a number of records, from Guided By Voices to Brainiac, though she is quick to dismiss her involvement with most of these. "One time," she says, "I came to buy pot and the band credited me with production." Meanwhile Joey Santiago moved to LA, panicked for a while, then began making music for film and TV. Lovering embarked on his magic career, touring as the Scientific Phenomalist and opening for the Breeders. Of all the band, he seems the most elated to have the gang back together. "The saddest thing," he says, "is that when I sat down to rehearse for the Pixies, I couldn't believe that I had given up something that I loved. Now I hold the drum at night and I want to go to bed with it." He continues: "My yearbook in high school, they had this thing called Future Ambitions, you wrote when you were 17. And my future ambitions were: 1) to be an electronic engineer - I did do that; 2) to be a rock drummer - I did that; and 3) to tour with Rush. So Pixies and Rush touring together. Then that's it. It's all done."

The Pixies say that the reunion tour, which began in spring 2004, has been pretty similar to those they've done before, only there are fewer spats, the hotel rooms are plusher and they are all older, wiser, mellower. There are also fewer empty seats: this tour has been one of the fastest-selling in history and, with the exception of a heavy metal festival crowd in Vienna, the response has been rapturous. There are now also mutterings of new material from both Black and Deal for a sixth Pixies album.

After more than a decade in the wilderness, 10 years of side projects, soundtracks, magic tricks and pot-buying, it seems the Pixies are back in business. "It feels," Black says, "like we took two years off, not 11."

· The Pixies headline the Reading Festival next Friday and Leeds Festival next Saturday

[Pixie Punk]

http://www.tiscali.co.uk/events/2005/reading/ Recuerden que estos conciertos se transmitiran en vivo el proximo weekend desde Inglaterra,PIXIES y muchos mas!!!!

[Ivanroc]

¿Pixie Punk esta va ser online al pagar la mensulidad del servicio? o es que tu conoces otro medio o canal donde se va transmitir.

[Pixie Punk]

Sobre la transmision si hay que pagar por ella,ese detalle no lo se.He oido que otro site tambien va a transmitir pero no he visto la direccion.
http://img.photobucket.com/albums/v460/asjb070/raveweb.jpg

First things first. The Pixies will tour Australia early next year - you read it here exclusively. Lead singer, Frank Black or his Pixies persona, Black Francis, wants to get the message across. The only question is when.

Frank says the band has been approached to play the Big Day Out circuit, however he has resisted that idea. "It’s not that I’m against Big Day Out," the bald-headed 40-year-old says, "but as The Pixies have never played Australia I thought it would be cooler to do our own tour and not play in a great big field but in a room or a club or something where we are in people’s faces. You know, ‘This is The Pixies and we are here at last’. It isn’t always about the money for me or for The Pixies. We do have an aesthetic...

"Anyway we’ve left in the hands our agent. So Big Day Out or on our own tour, The Pixies will be in Australia early next year and you are the first person I’ve told, so tell everybody down there."

In the meantime we have a staggering Frank Black solo album, Honeycomb, to deal with. What a record. Hyperbole aside, this is a work of art. Americana fans will lap it up, Pixies fans will broaden their horizons, Frank Black and The Catholics fans will sigh and learn to like something else new. By the way, Frank has message for the latter: "Look for The Catholics on their reunion tour in 10 years time." That finished huh? "Well, they are all having babies and stuff - as I have." Turns out Mr Black has two boys and a girl, aged 5,7, and seven months - "And, maybe, a girl on the way."

Honeycomb finds Frank in Dan Penn’s Better Songs and Gardens studio in Nashville, Tennessee, with some of the most celebrated players in music: Steve Cropper, Buddy Miller and Reggie Young on guitars, drummers Chester Thompson, Anton Fig, Billy block and Akil Thompson, David Hood on bass, and Spooner Oldham on keyboards among others.

For Black it’s a journey into the past as well as a step into the future. Cropper co-wrote the first song he ever sang in front of an audience, In The Midnight Hour.

"I was 17 and it was at school on some sort of afternoon program." The details people know about your life in the Net Age, Frank. "Yeah, but information still gets so mish-mashed and it’s amazing how much manufactured stuff there is out there.

"For instance, somebody somewhere gave the wrong city as my place of birth. They put Long Beach, California - I’ve never even lived there and I was born 3000 kilometres away [in Boston, Massachusetts], but that single fact was subsequently reported everywhere.

At which points there is an odd lapping, make that slobbering, noise in the background. "My brother has all these dogs," Black explains. "Three of them, and they are wrestling at my feet. There’s two boxers and one is some kind of pug-nosed bulldog thing - it’s very ugly."

"There are a lot of dog bones, and I mean bones of dogs, buried in the backyard here."

His brother also lives in Massachusetts and Frank is visiting.

On another level Black has been revisiting some old – if not classic – songs. On Honeycomb amid the originals there’s a choice of three covers: Dark End Of The Street (written by Dan Penn and Chips Moman), Sunday Sunny Mill Valley Groove (Doug Sahm) and a most peculiar pick from the Presley songbook, Song Of The Shrimp (Roy Bennett and Sid Tepper) from the film Girls, Girls, Girls.

"It’s not about Presley, it’s about the song," Frank says. "I’d never heard the Presley version. Townes Van Zandt does a version on Abnormal, a collection of live recordings. He does a very good, very funny reading of it. I recently bought a copy of that Elvis movie so I could finally hear and see the song performed in the context of the film.

"Actually, I’m convinced that most of the people who have written about this record and mentioned this song, have no idea about it. How many people have ever heard of it? However, they mentioned it in the bio and suddenly everybody is on-board."

"When I first heard the song I didn’t go ‘You clever devil, pulling this out of obscurity from 1961’. And it’s not even written by Elvis. I just liked the song."

Okay, so Elvis worship theory out of the window, but Doug Sahm’s another matter.

A main mover in the Tex-Mex supergroup Texas Tornados and leader of the Sir Douglas Quintet (which had 1960s hits such as She’s A Mover and Mendocino), Dahm passed away in 1999 but his musical legacy has developed strongly.

Black says he’s "obsessed" by Sunday Sunny Mill Valley Groove: "I’ve been dying to do a version for years. The original is lot more whisky-soaked but after trying to do my own whisky-soaked take for years this ended up coming out much sweeter.

"The late Jimmy Griffin, who sings backing vocals, was originally in the group Bread. He was a very smooth singer. Between the musicians playing smoothly and him singing smoothly, I went with softer and smooth."

Of his own songs, Another Velvet Nightmare (co-written with Reid Plaley) and Go Find Your Saint stand out, not that there is a passenger here. Frank chooses I Burn Today as his favourite because "I sound sage-like, a little world weary, and the poetry of it. It’s the most Blonde On Blonde of all the tracks, not that it was goal to do so, but it was a reference."

As for playing with all those session gods, take it as read that things went well. They are all getting back together in a few weeks time for another session. "Perhaps to augment an album I’m already in the process of doing," Frank says, cryptically.

He remains just as oblique when it comes to the possibilities of a new Pixies album: "Someday I feel like we will record one, others I feel like we won’t. We might get a round to doing one." You can hear the silent chuckle.

You big tease, Frank Black, you big tease.


http://img.photobucket.com/albums/v460/asjb070/raveweb.jpg

First things first. The Pixies will tour Australia early next year - you read it here exclusively. Lead singer, Frank Black or his Pixies persona, Black Francis, wants to get the message across. The only question is when.

Frank says the band has been approached to play the Big Day Out circuit, however he has resisted that idea. "It’s not that I’m against Big Day Out," the bald-headed 40-year-old says, "but as The Pixies have never played Australia I thought it would be cooler to do our own tour and not play in a great big field but in a room or a club or something where we are in people’s faces. You know, ‘This is The Pixies and we are here at last’. It isn’t always about the money for me or for The Pixies. We do have an aesthetic...

"Anyway we’ve left in the hands our agent. So Big Day Out or on our own tour, The Pixies will be in Australia early next year and you are the first person I’ve told, so tell everybody down there."

In the meantime we have a staggering Frank Black solo album, Honeycomb, to deal with. What a record. Hyperbole aside, this is a work of art. Americana fans will lap it up, Pixies fans will broaden their horizons, Frank Black and The Catholics fans will sigh and learn to like something else new. By the way, Frank has message for the latter: "Look for The Catholics on their reunion tour in 10 years time." That finished huh? "Well, they are all having babies and stuff - as I have." Turns out Mr Black has two boys and a girl, aged 5,7, and seven months - "And, maybe, a girl on the way."

Honeycomb finds Frank in Dan Penn’s Better Songs and Gardens studio in Nashville, Tennessee, with some of the most celebrated players in music: Steve Cropper, Buddy Miller and Reggie Young on guitars, drummers Chester Thompson, Anton Fig, Billy block and Akil Thompson, David Hood on bass, and Spooner Oldham on keyboards among others.

For Black it’s a journey into the past as well as a step into the future. Cropper co-wrote the first song he ever sang in front of an audience, In The Midnight Hour.

"I was 17 and it was at school on some sort of afternoon program." The details people know about your life in the Net Age, Frank. "Yeah, but information still gets so mish-mashed and it’s amazing how much manufactured stuff there is out there.

"For instance, somebody somewhere gave the wrong city as my place of birth. They put Long Beach, California - I’ve never even lived there and I was born 3000 kilometres away [in Boston, Massachusetts], but that single fact was subsequently reported everywhere.

At which points there is an odd lapping, make that slobbering, noise in the background. "My brother has all these dogs," Black explains. "Three of them, and they are wrestling at my feet. There’s two boxers and one is some kind of pug-nosed bulldog thing - it’s very ugly."

"There are a lot of dog bones, and I mean bones of dogs, buried in the backyard here."

His brother also lives in Massachusetts and Frank is visiting.

On another level Black has been revisiting some old – if not classic – songs. On Honeycomb amid the originals there’s a choice of three covers: Dark End Of The Street (written by Dan Penn and Chips Moman), Sunday Sunny Mill Valley Groove (Doug Sahm) and a most peculiar pick from the Presley songbook, Song Of The Shrimp (Roy Bennett and Sid Tepper) from the film Girls, Girls, Girls.

"It’s not about Presley, it’s about the song," Frank says. "I’d never heard the Presley version. Townes Van Zandt does a version on Abnormal, a collection of live recordings. He does a very good, very funny reading of it. I recently bought a copy of that Elvis movie so I could finally hear and see the song performed in the context of the film.

"Actually, I’m convinced that most of the people who have written about this record and mentioned this song, have no idea about it. How many people have ever heard of it? However, they mentioned it in the bio and suddenly everybody is on-board."

"When I first heard the song I didn’t go ‘You clever devil, pulling this out of obscurity from 1961’. And it’s not even written by Elvis. I just liked the song."

Okay, so Elvis worship theory out of the window, but Doug Sahm’s another matter.

A main mover in the Tex-Mex supergroup Texas Tornados and leader of the Sir Douglas Quintet (which had 1960s hits such as She’s A Mover and Mendocino), Dahm passed away in 1999 but his musical legacy has developed strongly.

Black says he’s "obsessed" by Sunday Sunny Mill Valley Groove: "I’ve been dying to do a version for years. The original is lot more whisky-soaked but after trying to do my own whisky-soaked take for years this ended up coming out much sweeter.

"The late Jimmy Griffin, who sings backing vocals, was originally in the group Bread. He was a very smooth singer. Between the musicians playing smoothly and him singing smoothly, I went with softer and smooth."

Of his own songs, Another Velvet Nightmare (co-written with Reid Plaley) and Go Find Your Saint stand out, not that there is a passenger here. Frank chooses I Burn Today as his favourite because "I sound sage-like, a little world weary, and the poetry of it. It’s the most Blonde On Blonde of all the tracks, not that it was goal to do so, but it was a reference."

As for playing with all those session gods, take it as read that things went well. They are all getting back together in a few weeks time for another session. "Perhaps to augment an album I’m already in the process of doing," Frank says, cryptically.

He remains just as oblique when it comes to the possibilities of a new Pixies album: "Someday I feel like we will record one, others I feel like we won’t. We might get a round to doing one." You can hear the silent chuckle.

You big tease, Frank Black, you big tease.

[Pixie Punk]

PIXIES BURY THE HATCHET AT READING

PIXIES’ BLACK FRANCIS and KIM DEAL buried the hatchet as they made a triumphant return to READING (August 26) for the first leg of their CARLING WEEKEND double bill – 15 years after they first headlined the same stage.

The band, who reformed in 2004 after 13 years apart, stormed through a greatest hits set on the Main Stage that had the devotional crowd singing along to every word.

But, despite all the talk of a new album from the band, there were no new songs played. The set stuck roughly to the songs the band were playing on the first leg of their comeback tour last year, aside from ’Stormy Weather’ and ’The Sad Punk’.

Before the encore, frontman Black Francis and bassist Kim Deal, who fell out during the band’s initial incarnation, embraced, with Francis asking her: “How’s your cold Kim? Do you wanna do THE song? (referring to 1988 indie classic ’Gigantic’), with Deal replying: “I’m not sure how I feel.”

Francis replied: “Well, we’ll play one more and see how you feel.” The band then played ’Hey’ from 1989’s ’Doolittle’ before finishing with THE song, to utter hysteria from the devotional crowd.

The set was:

’U-Mass’
’Head On’
’I Bleed’
’Crackity Jones’
’Dead’
’Bone Machine’
’Debaser’
’Tame’
’Gouge Away’
’Monkey Gone To Heaven’
’Broken Face’
’Isla De Encanta’
’Something Against You’
’Stormy Weather’
’Planet Of Sound’
’Caribou’
’The Sad Punk’
’Into The White’
’The Holiday Song’
’Nimrod’s Son’
’Vamos’
’Mr Grieves’
’Here Comes Your Man’
’Wave Of Mutilation (UK Surf)’
’In Heaven’/’Where Is My Mind?’

Encore:

’Hey’
’Gigantic’



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Pixies - In a make-up mood at Reading

[Pixie Punk]

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Pixies 'the man is 5, the devil is 6, Frank Black is 7' http://idata.over-blog.com/0/00/44/37/rock/pixies-logo.jpg (http://idata.over-blog.com/0/00/44/37/_gaga_arbo_biere.jpg)
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Pixies 'the man is 5, the devil is 6, Frank Black is 7'

[Pixie Punk]

manchester music

indie & rock
Email to a Friend | Your comments
Friday, 26th August 2005

The Pixies get Frank
Kevin Bourke

DAVID Bowie and Bono love them - "I found it just about the most compelling music of the whole eighties," opined Dame David, while Bono simply says they are "one of America's greatest ever bands".

Kurt Cobain loved them so much that he essentially ripped them off wholesale, although he did have the good grace to admit "I should have been in that band, or at least a Pixies cover band" and it's hard to imagine what Radiohead would have sounded like had Thom Yorke never heard them.

But the Pixies seemed destined to be one of the great "could have been" stories of modern rock, having split spectacularly acrimoniously at the beginning of the nineties.

Then, to everyone's utter astonishment they reformed in 2004 to play a series of shows that were not so much common-or-garden gigs as delirious scenes of rejoicing at the Second Coming.

The world, it seems, is finally ready for the Pixies. But are they ready for the world?

"It just comes flooding back," says Charles Thompson, aka Black Francis, who also has a new solo album to tout, recorded in Nashville with some of the legendary Muscle Shoals musicians.

"I'm very happy to be with these people (Kim Deal, Joey Santiago and Dave Lovering) again. I forgot how much I liked this.

"There was some apologising, some hugs," he matter-of-factly says of the most-unexpected band reunion this side of The Beatles. "It's not like it was in the beginning when people were going mental and freaking out in drunken mayhem.

"Nowadays people just stand there watching. It's definitely quieter, almost respectful. And as you play the more popular songs, you expect that everyone in the audience will know the lyrics inside out and sing along."

Pixies play the Apollo on Tuesday, August 30.

[Pixie Punk]

Nuevas pixiefechas para U.S.A.:smash: Thu-Sep-29 Charlottesville, VA Charlottesville Pavilion
Fri-Sep-30 Baltimore, MD Sonar
Sat-Oct-01 Brooklyn NY Keyspan Park
Sun-Oct-02 Kingston, NY Broadway Theater at UPAC

[Pixie Punk]

Unas fotos de esta semana en Inglaterra.(Teatro Apollo).
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[Pixie Punk]

Interesantisimo reportaje con el PIXIECREW!!!!Tour Profile: The Pixies

By Sarah Benzuly

Dec 1, 2004 12:00 PM

THEY GOT THE BAND—AND THE ENGINEERS—BACK TOGETHER



http://mixonline.com/email.gifE-mail this article (http://mixonline.com/email_article)

http://mixonline.com/mag/PIXIES-opener.jpg (Left to right) Guitarist/vocalist Black Francis, Bassist Kim Deal, Guitarist/vocalist Joey Santiago, Drummer David Lovering






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In 1987, Ronald Reagan was president, the Soviet Union was still a communist world power and “pop” was the prevailing musical trend. But that was also the year that Boston-based The Pixies was formed. With their wildly eccentric lyrics, explosive guitar riffing and a solid back line, The Pixies helped usher in the alternative music movement that came to symbolize the most adventurous side of '90s rock. (Nirvana, who would receive more credit for spreading alternative music, started around the same time in Seattle.)

But after making four studio albums, creating a huge fan base and earning an opening slot on U2's 1992 Zoo TV tour, guitarist/vocalist Black Francis (aka Frank Black, real name Charles Thompson) announced the band's breakup. Now, 12 years later, the band (bassist Kim Deal — who went on to play with The Breeders, another '90s cult fave — drummer David Lovering, guitarist/vocalist Joey Santiago and Francis) reunited for a slew of sold-out tour dates — while many pop acts were canceling shows on their 2004 worldwide tours. Mix caught up with The Pixies and crew at Berkeley, Calif.'s Greek Theater at the end of September.

OLD FRIENDS KEEP IT SIMPLE



Front-of-house engineer Mathew Yelton is no stranger to Francis' sound. He has been touring with the vocalist's solo act for many years, as well as ensconced in Francis' studio, working on the artist's 1994 album, The Cult of Ray. Yelton is using a Midas Heritage 3000 at FOH, and is carrying everything but mains and amp racks for mains, which are provided by the venue or the promoter. “FOH will also have BSS EQ, which I barely use because I do it all in processing, whatever the house processing is, which is usually a SIA Smaart. Or the V-DOSC system in San Diego that Rat Sound has, we were using XTA,” Yelton explains.

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Yelton puts Francis' and Deal's vocals through Summit tube compressors and has various catch-alls so that the show doesn't sound too “polished” and processed. As for outboard gear, Yelton relies on Drawmer DS201 gates, Yamaha SPX-990s and SPX-3000 reverbs, TC Electronic D2s, dbx 160X compressors “for warmth” and Lexicon PCM70s. “When I talk to Charles about the aesthetic, they have a particular sound,” Yelton says. “They're not trying to emulate their albums because they have so many with such varying tones. I use no VCAs — I constantly have my fingers on the faders because there is so much bleed of hi-hat in the monitors that you can hear the reverb, so I'm constantly riding vocals, hats and snare reverb. I'm using lots of delay and reverb on the vocals as the quickest way to convey to the audience the sound of each particular album. It's a pretty simple process and simple processing.”

While mixing during the show may be “simple,” tuning the many venues The Pixies are playing in takes a bit more careful thought. “I take the lead vocal mic and tweak the P.A.” Yelton says. “I take the oscillator on the Heritage and do rumble frequencies around the room.” With such a mixed bag of P.A.s — from the outdoor amphitheater's V-DOSC, a newly installed JBL VerTec at the Greek in L.A., a Rat Sound system in San Diego, and various EAW and d&B models — Yelton is forced to work with whatever he has each day and contend with each venue's SPL limits. “For this band, you need that dynamic range, so I use a little bit of stage sound — it's just reinforcement,” Yelton says. “I just make them sound loud and clear — and turn it up as loud as you can go without hitting the [local SPL] limit!”

MONITOR WORLD, SAME AS THE FIRST



Just like Yelton, monitor engineer Ben Mumphrey has long been familiar with Francis' sound — be it in the studio or onstage. As Mumphrey recalls, when The Pixies gig came up, he was “one of the guys” on Francis' list.

http://mixonline.com/mag/PixiesCrew.jpg L-R: front-of-house engineer Matthew Yelton, production manager/lighting designer/audio recording Myles Mangino, monitor engineer Ben Mumphrey and systems tech Kevin "Spike" Maloney.

At stage left, Mumphrey is also working on a Heritage 3000 with d&b M2 wedges, d&b C7 sidefills and amps; the band doesn't rely on in-ears. “There are no effects at all, just inserts: gates on kick and snare and that's it,” Mumphrey relates. “The mixes are sort of oddball; for instance, Kim doesn't take any vocals at all in any of her wedges or the sidefills and really just hi-hat is cranked, which is painful. The drummer, David, almost takes nothing, just the slightest hint of bass and kick drum and he'll occasionally ask for a vocal. Charles and Joe want nice, loud clear vocals. With the Midas board and d&b wedges, it's certainly the best-sounding system that I've come across. It's loud and clear, and if anything, they ask us to turn things down.” Mumphrey notes one unusual aspect on the position of the wedges: They're behind the band rather than in front. “Charles just thinks that it makes for a cleaner stage. I think he told me that he saw Danzig do it once and said, ‘Hey, I want to do that.’”

Par for the tour, Mumphrey's mixing techniques are straightforward and clean: “I just ride the snares during fast songs. With the system we have now, it pretty much stays the same every night. With Black's vocal, you're trying to get it loud enough to not feed back, but right in his ear. He doesn't wear earplugs, so you get it loud enough so that he can feel it.”

With minimal outboard gear — save Drawmer DS201B gates — no keyboards, no sampling and no instrument-switching, Mumphrey finds mixing for The Pixies a breeze: “They don't even move the microphones at all — they hardly move onstage at all as a band.”

FROM DISCLIVE TO MUSICTODAY



While The Pixies are rocking out onstage — albeit at a visual standstill — production manager/lighting designer Myles Mangino is recording each show to upload to Internet music site MusicToday.com. During the spring tour, The Pixies employed DiscLive (see “On-the-Spot CD Release,” May 2004 Mix for more info on DiscLive) to record each night's show, burn the audio files to CD http://images.industryclick.com/files/141/onlineextrastitle.gifand sell to eagerly waiting fans 15 minutes after the show closes. [b]According to Mangino, DiscLive has been sold to an unnamed company and no longer exists; sources at DiscLive could not be reached for comment (http://mixonline.com/online_extras/Immediatek_Acquires_DiscLive). “Unfortunately,” Mangino says, “[DiscLive] had a great thing going on: They were selling lots of CDs at the end of the show, they had a great package — everything about it was excellent. Even after all of the shows that we've done since, I've probably had 50 people come up to me asking, ‘Where are the CDs?’ They can't even believe they're not for sale. They think I'm not telling the truth.

“Even before the tour started and being a Pro Tools engineer,” he continues, “I really wanted to have a portable rig to play with demos, and when The [Pixies'] management asked me to start recording the show, they said, ‘Oh, you already have a rig.’ I walk out to the [FOH] board, set it up during the opening acts and it only takes 10 minutes. The whole rig fits into a laptop briefcase.”

During the show, Mangino records to Digidesign Mbox on his PowerBook into Pro Tools. Audio is provided by 2-track board mixes, which go straight into the Mbox. Mumphrey then takes the tracks to edit and EQ. “To me, it's a more realistic sound — it sounds like you're at the show. It's more live, you don't have to worry about strange levels happening as the engineer is moving faders. So far, everyone's liked the way it sounds.” Post-show, Mangino does a bit of mastering to the one audio file (although he does employ FireWire for backup), divides the files, puts phase in the beginning and end of each track, converts down to MP3 and uploads it to the site, where fans can download the whole show as one package.

While recording only one file may seem a bit risky, Mangino relies on his history with the band (he was with them in their original years, too) and as a producer/recording engineer to capture each nuance. “ I've been a record producer/recording engineer for the past 10 years,” (http://mixonline.com/online_extras/Planet_of_Sound); he relates, http://images.industryclick.com/files/141/onlineextrastitle.gif “so I kind of came out of retirement from the studio to do this tour. They really wanted me back as one of their original people and they are a very loyal band. So it was kind of bringing back the show that they had 13 years ago.”





Sarah Benzuly is Mix's senior associate editor.

Mic List



Drums: Shure 91 in the kick, SM81 (overheads), Beta 57 (snares); Beta 52 outside the kick, under the floor tom; MXL 603 for hi-hat to pick up the sticks: “It's kind of like the Neumann KLM 127: They sound old-school,” says Yelton; Sennheiser E604 for toms

Guitars: Beta 57, Sennheiser Evolution 609 on each cabinet

Bass: Sennheiser 421

Vocals: Shure Beta 58s

[Pixie Punk]

Una reseña reciente!!!In rock, all things are possible.

Led by newly reunited headliners the Pixies and Gang of Four, Day One of
the inaugural Across the Narrows festival was one of those indie-rock dreams
that would have seemed ridiculously unlikely only two years ago. Back in
1992, in the Pixies' heyday, it would have been inconceivable.

The fact that it happened - and, better yet, did not disappoint - shows how
far the alternative-rock revolution has come. It can be as powerful as the
mainstream, only much, much better.

Though the Pixies have been on their reunion tour for more than a year now,
it's still hard to believe that, after 12 years apart, they are actually
back, playing songs most fans had abandoned all hope of seeing performed
live.

The quartet powered through 30 of its best songs in 80 minutes, barely
pausing to acknowledge the huge ovations from the crowd packed in front of
the stage, leaving the rest of the stadium essentially empty.

Singer Charles Thompson (aka Black Francis) was a little more subdued than
usual in some of the band's most familiar songs: "Monkey Gone to Heaven" and
"Debaser," which oddly featured bassist Kim Deal's backing vocals sounding
incredibly British.

Thompson did turn up the intensity for alt-rock sing-alongs "U-Mass" and
"Bone Machine," providing a nice contrast to Deal's gorgeous vocals on the
set-closing "Gigantic."

Gang of Four's reunion may be even more unlikely than the Pixies', having
last played in its original incarnation 23 years ago. Add to that these
British post-punkers' staunch anticapitalist, highly political background
and a reunion seemed all but out of the question.

Yet, this British band that merges dance rhythms, punk guitars and radical
politics is back, with an album of new versions of its classic songs called
"Return the Gift," due out next week. It was good to see singer Jon King
still flailing his arms like a wild man, popping his body movements to
punctuate Dave Allen's driving basslines on "What We All Want" and
"Anthrax."

For its 8 1/2-hour maiden voyage, Across the Narrows had incredibly smooth
sailing - with acts starting on time and video feeds from the Staten Island
show running between sets. The general-admission standing and seating
arrangement added to the festival atmosphere.

Thanks to the lengthy sets - 65 minutes for Gang of Four, 70 for Built to
Spill and 80 for the Pixies - Across the Narrows felt more like a series of
concerts than the average radio show, where bands' sets are so short they
hardly get the chance to build any momentum.

At this show, all seven bands put their best foot forward.

Built to Spill piled on the blissed-out, Neil Youngish folk, but also threw
in some reggae and a version of George Harrison's "While My Guitar Gently
Weeps." Rilo Kiley was a delight in its last show supporting its "More
Adventurous" album, especially when Jenny Lewis rocked out to "Portions for
Foxes."

From the raucous prog-rock of Canada's Death from Above 1979 to the British
post-Nirvana whelp of Nine Black Alps, Across the Narrows showed that rock
songs don't have to be as laughably predictable as a Nickelback single.
Alternative rock is alive and well, and, despite recent setbacks, still is
beckoning musicians to dream up something different.

[Pixie Punk]

Aqui una entrevista con el gran Joseph Alberto Santiago!!!

The New Stuff: A Conversation with Joey Santiago

Interview by Stephen B. Armstrong





Excerpted from FSM Vol. 8, No. 4

In 1985, with his charismatic score for Pee-wee's Big Adventure, Danny Elfman -- the frontman for the band Oingo Boingo -- showed the entertainment industry that pop chart musicians, like their classical counterparts, can write effective film music, too. Nevertheless, Elfman has largely stuck to traditional scoring techniques over the last two decades, turning out symphonic arrangements that sound, with their reliance upon strings and winds, more romantic than rocking.

Recently, however, several composers with rock and roll backgrounds have appeared, musicians like Jeff Tweedy, Clint Mansell and Cliff Martinez, who write and record with guitars and synthesizers and other rock instruments. Joey Santiago -- the lead guitarist for the Pixies, a popular '80s punk band -- belongs to this group, as well. His music, which frequently juxtaposes hard and soft tones and fast and slow rhythms, has been winning hearts and minds in Hollywood since his film score debut in 2000, when he was hired to compose material for MGM's art house feature, Crime + Punishment in Suburbia.

FSM: You've been a musician for over 20 years. How old were you when you started playing? Which instrument did you first pick up and why?

Joey Santiago: I started out playing a Jordan Kitts 'mall' organ when I was eight years old. There was a craze back then when organs were everywhere. Just like NordicTracks now. Anyway, my father bought a Hammond. I had five other brothers I shared the instrument with, so I never got to play it without some kind of rift. I never took it seriously. We had instruction books that were broken down into grades and we would compete to see who could complete it the fastest. I remember going as far as "Games People Play," that Mel Torme song. About a year later, I noticed that my oldest brother had a classical guitar hung up on the wall as a decoration. I took it down and learned how to tune it. He also had the Velvet Underground's Loaded on his turntable. I played it and learned the song "Rock and Roll." It had this soaring guitar at the breaks, very simple, very effective. That hooked me.

FSM: You're well-known for the way you play guitar. How would you describe your style?

JS: I would describe my style as being 'angular and bent.' It's all derived from guitar moments that perk my ears up. My favorite song, when I was first learning, was "Savoy Truffle" on the Beatles' White Album. George Harrison played that bent note that I fell in love with and later milked it for all it was worth.

FSM: Who else would you claim as your most important musical influences?

JS: I listened to a lot of different music when I was growing up. Our public library let us take records out and I started listening to the ones that were not available at the bigger record stores. I listened to Les Paul, Chet Atkins, Joe Pass and Wes Montgomery. I would read the liner notes, which usually referred to other musicians who were influential or played similarly. If I liked the record, I would check them out. It was so refreshing to hear this music instead of the stuff that was getting played on pop radio. Later on I also listened to a lot of Hendrix.

FSM: When did you start writing music?

JS: I probably was fooling around with chords early on, but I did not start writing 'seriously' until I started my current band, the Martinis, with my wife Linda.

FSM: In 1995, a song by the Martinis called "Free" appeared in the teen comedy, Empire Records. How would you describe this song? Did the producers specify what kind of piece they wanted? Were you asked to write for a particular scene?

JS: The song "Free" is like Mazzy Star meets the Cranberries. It was already written and recorded on a 4-track, 'demoed' out. David Lovering [one of Santiago's band mates in the Pixies] used to drum for the Martinis and he knew Karen Glauber, a music supervisor at the time for the film Empire Records. She liked the song and thought it would be perfect for a scene in the movie, where the girl shaves her head. The 'basement tape' version was used for the scene in the movie and we later went into the studio to record the soundtrack album version with producer Matt Wallace.

FSM: How does writing score music differ from writing songs for a movie? And do you find much of a difference between writing music for movies and writing singles for record albums?

JS: Writing a song for a movie is almost the same as just writing a song, meaning that the structure of the song is for the sake of the song. The only requirement is that the lyric content fits in with the subject of the film. A score's structure is purely for the sake of the visual aspects of the film and its dramatic events. Many times the score is breaking all the rules of song structure. It's a very liberating process.

FSM: The Martinis continue to record music, and your wife Linda Mallari is in the band. Does she help you compose and perform the music you write for film and television?

JS: Linda is a classically trained pianist. She is very musical. I bounce ideas off her all of the time. It's hard to work in total isolation. It's good to have someone check your work before having it scrutinized by the director. I trust her opinion. She played the harmonica in the song "Damaged Little Fs" for Crime + Punishment in Suburbia. She also plays the piano when I need it.

FSM: When did you move to Los Angeles? Did you plan from the start to write music for television and film -- or is it something you fell into?

JS: Charles Thompson [another one of Santiago's band mates in the Pixies] was recording his first solo album and he called me up to play on it. I was visiting relatives in Florida when he called and rather than drive back to Boston to catch a flight, Linda and I decided that it would be fun to drive to L.A. I lived in Charles' old apartment when he was moving into a house he had just purchased. One day I bought a couch and that was it, I lived in L.A. I had no grand plans to get into the film/TV world.

It was years later, in 2000, that Charles got a call to do a film, Crime + Punishment in Suburbia. I helped him record the opening title at my studio, but for some reason Charles could not do the rest of the film. They then hired another composer, Michael Brook. Weeks went by and the music supervisor called me to help out on one scene they were having a tough time with. As I recall, I turned it in fairly quickly and was approved and they gave me three or four more scenes to do. This was the first time I did any type of scoring. By the way, later that year, the director, Rob Schmidt, invited me to attend the London Film Festival and discuss the music in his film. Through that experience, the Air-Edel agency became interested in representing me.

FSM: How would you describe the music you wrote for this picture?

JS: Atmospheric and organic. That was all due to the scenes I had to do. A lot of it was dialogue driven. I couldn't see doing something melodic over the dialogue. It's very hard for me to watch a movie and hum at the same time. Most of the sounds came from the guitar.

FSM: Did you have any say in how your music would be used in the film? Did you work with the sound editor at all?

JS: The music was discussed thoroughly before I played a note. The director and editor would come over and explain the mood they were after and that everything had to be written from the main characters' points of view. I jotted down as many adjectives as I could. From there, I would sketch some music out for them. We'd have another listening session and make revisions accordingly.

FSM: Where did you record this music and what equipment did you use? JS: I recorded it in my studio with a sampler, an Echoplex, a guitar-and-amp set-up and an assortment of stomp boxes all sequenced through Digital Performer [software].

[Pixie Punk]

The Pixies - Sell Out

The Pixies are not the average buncha punkers. Their music has always had that punk ferocity, of course – and some of their arrangements verge on metal – but they’re lyrics have always seemed, well, more lyrical than most.

‘Sell Out’ is the DVD that celebrates their reunion tour – and it is a sound and video testament to their unique status in rock/punk/whatever. Recorded live at the Eurockeennes Festival in Belfort France, The Pixies wend their way through twenty-eight songs [well, twenty-six – there’s a ‘UK Surf’ version of ‘Wave of Mutilation’ as well as a more straightforward version toward the end of the set – and a reprise of ‘Bone Machine’].

Like most live shows, this one has its share of false and missed notes, but the band is mostly as good as it’s ever been. From the opening chords of ‘Bone Machine’ to the last chord of ‘gigantic,’ The Pixies rock the house. Their trademark ferocity has not diminished – it even underscores their ballads. Check out ‘Dead’ for some insistent, pulsing nastiness – and note how ‘Gouge Away’ moves from relatively delicate to explosive. [These, and the opening ‘Bone Machine’ are my favorite numbers from the Belfort concert.]

Unlike a lot of punk/rock bands, The Pixies don’t bop or thrash around on stage. It’s almost like watching The Who – if all four had been John Entwhistle. It’s refreshing to watch a band that is confident [and good] enough to let its music stand on its own. The attempts to use cameras to provide drama are misplaced, but not ineffective. In the end, ‘The Pixies – Sell Out’ is all about the music – and that’s the way it should be.

Although there are no special features on ‘Sell Out,’ there are fifteen songs from other concerts in the 2004 tour – from Manchester, England’s ‘The Move Festival,’ to the ‘Austin City Limits Festival.’ Seven of the fifteen are represented in the Belfort concert, but who cares? Like any great band, The Pixies play every song just that little bit different every night so each time it is a unique experience. It should be noted that ‘Sell Out’ has incredibly clean sound, too.

There is an insert with ‘Sell Out’ – an eight-page booklet that lists the band members, playlist, and production credits, along with nine photos.

Grade: A

[Pixie Punk]

Varios pixiegoodies en la pagina de Rhino Video!!!

E-Card:

http://www.rhino.com/flashcards/pixies (http://www.rhino.com/flashcards/pixies)



Product Page:

http://www.rhino.com/store/ProductDetail.lasso?Number=970418 (http://www.rhino.com/store/ProductDetail.lasso?Number=970418)



Video Streams:

"Wave Of Mutilation"
Quicktime
http://www.rhino.com/VideoPlayers/Pixies/W...fMutilation.mov (http://www.rhino.com/VideoPlayers/Pixies/WaveOfMutilation.mov)
Real
http://www.rhino.com/VideoPlayers/Pixies/W...fMutilation.ram (http://www.rhino.com/VideoPlayers/Pixies/WaveOfMutilation.ram)
WindowsMedia
http://www.rhino.com/VideoPlayers/Pixies/W...ilation_low.asx (http://www.rhino.com/VideoPlayers/Pixies/WaveOfMutilation_low.asx)
http://www.rhino.com/VideoPlayers/Pixies/W...ilation_med.asx (http://www.rhino.com/VideoPlayers/Pixies/WaveOfMutilation_med.asx)
http://www.rhino.com/VideoPlayers/Pixies/W...lation_high.asx (http://www.rhino.com/VideoPlayers/Pixies/WaveOfMutilation_high.asx)

"Monkey Gone To Heaven"
Quicktime
http://www.rhino.com/VideoPlayers/Pixies/M...oneToHeaven.mov (http://www.rhino.com/VideoPlayers/Pixies/MonkeyGoneToHeaven.mov)
Real
http://www.rhino.com/VideoPlayers/Pixies/M...oneToHeaven.ram (http://www.rhino.com/VideoPlayers/Pixies/MonkeyGoneToHeaven.ram)
WindowsMedia
http://www.rhino.com/VideoPlayers/Pixies/M...oHeaven_low.asx (http://www.rhino.com/VideoPlayers/Pixies/MonkeyGoneToHeaven_low.asx)
http://www.rhino.com/VideoPlayers/Pixies/M...oHeaven_med.asx (http://www.rhino.com/VideoPlayers/Pixies/MonkeyGoneToHeaven_med.asx)
http://www.rhino.com/VideoPlayers/Pixies/M...Heaven_high.asx (http://www.rhino.com/VideoPlayers/Pixies/MonkeyGoneToHeaven_high.asx)

"Where Is My Mind?"
Quicktime
http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind.mov (http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind.mov)
Real
http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind.ram (http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind.ram)
WindowsMedia
http://www.rhino.com/VideoPlayers/Pixies/W...sMyMind_low.asx (http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind_low.asx)
http://www.rhino.com/VideoPlayers/Pixies/W...sMyMind_med.asx (http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind_med.asx)
http://www.rhino.com/VideoPlayers/Pixies/W...MyMind_high.asx (http://www.rhino.com/VideoPlayers/Pixies/WhereIsMyMind_high.asx)

[Pixie Punk]

Pixies (http://www.vh1.com/artists/az/pixies/artist.jhtml) - Sell Out (http://vh1shop.vh1.com/product.aspx?sku=40723446&search_store=4)

They said they were going to do what was previously considered impossible, and then all hell broke loose. Few Pixies fans figured their heroes -- one of the most innovative and influential bands of the late '80s -- would ever reconcile and reunite for anything, least of all a world tour. But 2004 they did, and their shows sold out as the band traversed the globe. This live DVD, a rumbling, rattling report from the front, helps explain why. The band's insidious mix of dissonance and hooks shows their sense of daring while still pressing all of pop's pleasure buttons, and as the concert blasts from your screen, it's kind of impossible not to be swept away by the Pixies' hard-driving power punk.

Recorded in France, the foursome's music seems tighter and more staid than it did in their heyday. From the speed thrash of "Something Against You" to the jumpy nonsense of "Crackity Jones" to the moody valentine of "Velouria," singer-guitarist Frank Black leads his team through 28 songs that seem to fly by. That's partially because the band doesn't stop to banter at all - all the personality of this performance comes from the music. This is mildly frustrating; you'd think after 15 or so years, they'd share a few quips with the fans. But mystique has always been crucial to the Pixies persona, surrealism an apt substitute for candor (guess that's why there are no interviews with the band in the extras department).

The band's secret weapon is drummer David Lovering. As "Debaser" and "Subbaculcha" explode, the vicious pummeling he gives his kit brings as much to the party as Black's wails, Joey Santiago's guitar schisms, and Kim Deals fat bass riffs. "Planet of Sound," indeed.

Watch "Gigantic," (javascript:launchVideo('vid=64392');) "Monkey Gone to Heaven," (javascript:launchVideo('vid=64229');) and "Where Is My Mind?" (javascript:launchVideo('vid=64408');) from Pixies Sell Out (http://vh1shop.vh1.com/product.aspx?sku=40723446&search_store=4).

[Pixie Punk]

(This VH1 review has clips from the DVD!)

http://www.vh1.com/news/articles/1512095/20051024/story.jhtml (http://www.vh1.com/news/articles/1512095/20051024/story.jhtml)

http://img427.imageshack.us/img427/8088/180x1807ll.jpg

[Pixie Punk]

http://img376.imageshack.us/img376/7149/pixiessellout4gu.jpg

Rhino presents
Pixies Sell Out (2005)

"Here are these legends in music who said they would never get back together."
- Myles Mangino (Production Manager/Lighting Designer)

Review By: Dan Heaton
Published: October 28, 2005

Stars: Frank Black, Kim Deal, Joey Santiago, David Lovering
Director: Fabien Raymond

MPAA Rating: Not Rated for (includes a few instances of adult language)
Run Time: 01h:22m:26s
Release Date: October 04, 2005
UPC: 603497041824
Genre: rock

Style Grade B
Substance Grade B+
Image Transfer Grade B+
Audio Transfer Grade B
Extras Grade B-
Member Comments 0

DVD Review

Since the early 1990s, countless devoted fans have dreamed of the day that the Pixies would reunite to show today's pretenders how to truly rock. This apparently futile hope actually became reality in 2004 when the group's original four members actually decided to return for a world tour. These shows consisted entirely of greatest hits from the past, but the excited crowds wouldn't have it any other way. Playing to venues much larger than during their past career, the Pixies earned loads of money while offering sets that covered all their memorable hits. Entering this ambitious concert schedule, two essential questions remained on fans' minds: Could the Pixies still gel musically, and would the once-feuding members get along?

Pixies Sell Out offers a complete 27-song concert from the Eurockeenes Festival in Belfort, France that occurred on July 3, 2004. Singer/guitarist Frank Black (or Black Francis), bassist/singer Kim Deal, guitarist Joey Santiago, and drummer David Lovering all return to rock a large outdoor crowd and obviously believe that the band can do no wrong. Considering the overall concert, they are correct, as the Pixies remain tight and on the ball during most of the songs. Highlights include such classics as Monkey Gone to Heaven, Where is My Mind?, and Wave of Mutilation along with less notable gems like River Euphrates and Broken Face. There are a few missteps, however, especially when Black strains his voice to carry songs that he once could voice easily (Tame, Hey). Some up-tempo tracks also lose steam and seem to fall short of the really crackling hooks that once pushed their melodies forward (Crackity Jones, Holiday).

For readers unfamiliar with the Pixies, here is a basic overview of their origins and career. The band initially formed in Boston in 1986 and quickly began to gain notice as a unique rock foursome. They release the EP Come on Pilgrim in 1987 and continued to build and underground following with each subsequent release. Their creative peak occurred in 1989 with the release of Doolittle, which included their most recognizable hit Here Comes Your Man. The group would go on to release two more albums, but they grew increasingly unhappy in the situation and pursued side projects. Following their breakup in 1993, Deal gained considerable success as the frontwoman of the Breeders, who earned a major alternative hit with Cannonball. Black released numerous solo albums over the years and reached a solid number of fans each year. Santiago worked on film scores, and Lovering actually became a musician. No one really expected the four talented individuals to actually play together again, but the announcement about the reunion tour was greeted with tremendous enthusiasm.

Here is the track list for the main feature:
1. Bone Machine
2. Wave of Mutilation (UK Surf)
3. In Heaven
4. Something Against You
5. River Euphrates
6. U-Mass
7. Bone Machine
8. Cactus
9. Ed Is Dead
10. I Bleed
11. Monkey Gone to Heaven
12. Hey
13. Levitate Me
14. Subbacultcha
15. Dead
16. Gouge Away
17. Velouria
18. Mr. Grieves
19. Crackity Jones
20. Broken Face
21. Isla De Encanta
22. Tame
23. Here Comes Your Man
24. The Holiday Song
25. Where Is My Mind?
26. Vamos
27. Wave of Mutilation
28. Gigantic

This concert film begins with an awkward version of Bone Machine that includes video and audio from numerous concerts. The sound changes make this an awkward beginning, as it varies considerably with each switch. The track is played again during the main concert, so its choice as the opener also seems strange. I would have preferred beginning with Debaser, which comes as close to encapsulating the band as any song. Viewers who prefer their live acts to jump around should also be warned—the Pixies rarely move on stage. Also, there is basically no banter of any kind, which allows the music to do all the talking. Few things have changed over the year for this act, who remain among the better rock acts to take the stage.

Rating for Style: B
Rating for Substance: B+

Image Transfer

One
Aspect Ratio 1.85:1 - Widescreen
Original Aspect Ratio yes
Anamorphic yes

Image Transfer Review: Pixies Sell Out utilizes a solid 1.85:1 anamorphic widescreen transfer that effectively presents the band rocking the stage in Belfort, France and other packed venues. The images are a bit dark, but this fact is mostly due to the lighting schemes chosen by the Pixies and the general concert atmosphere. This concert DVD does not offer the sharp clarity of the best releases, but it does give viewers a decent perspective on the show.

Image Transfer Grade: B+

Audio Transfer

Dolby Digital 5.1
Language English
Remote Access yes
PCM English yes

Audio Transfer Review: This disc falls considerably short of providing the crisp, pristine audio offered by the top-notch DVD concert releases. Two sound options are offered—a powerful, slightly muddled 2.0-channel stereo transfer and a quieter 5.1-channel track that is a bit clearer. I actually preferred the rougher stereo transfer, but both offer at least an acceptable listening experience. The lack of a truly booming audio choice is disappointing, but there are no major flaws with the included transfers.

Audio Transfer Grade: B


Disc Extras

Animated menu with music
Music/Song Access with 28 cues and remote access
Packaging: generic plastic keepcase
Picture Disc
1 Disc
1-Sided disc(s)
Layers: dual

Extra Extras:

1. 14 Bonus Performances (with interviews)
2. Mix Monkey's Choice (multi-angle views)
3. Collectible Booklet

Extras Review: Pixies Sell Out includes 15 additional performances from a wide array of concert locations that nicely complements the main feature. Certain tracks are doubles of songs already offered, but the versions usually offer something different this time. The major bonus is the inclusion of excellent tunes like Debaser, Planet of Sound, and Into the White that did not appear in the Belfort show. The concert sites range between a hometown show in Lowell, Massachusetts, headlining the Austin City Limits Festival, and an enthusiastic set at the Move Festival in Manchester, England. The performances are introduced with brief comments from Tour Manager Richard Jones and Production Manager/Lighting Designer Myles Magino. While it is unfortunate to receive no material from any of the Pixies themselves, these guys do offer notable insights concerning the extra tracks.

Extras Grade: B-

Final Comments

Pixies Sell Out showcases the triumphant return of the four-piece band that pre-dated the "alternative" movement and inspired such popular acts as Nirvana, Pearl Jam, and many others. This concert may not be the perfect release, but it should please viewers like this reviewer who were not able to catch them during the reunion tour. With plans for a new album in the works, the Pixies should remain a household name for years to come and draw many younger fans into the fold.
http://img376.imageshack.us/img376/7149/pixiessellout4gu.jpg

[Pixie Punk]

Reprinted from current issue of Boston Magazine

Top 50 Boston Songs

1. The Cars, Just What I Needed (1978)
2. Pixies, Debaser (1989)
3. Aerosmith, Dream On (1973)
4. Boston, More Than a Feeling (1976)
5. The Neighborhoods, Prettiest Girl (1991)
6. The Modern Lovers, Roadrunner (1976)
7. 'Til Tuesday, Voices Carry (1985)
8. Mission of Burma, That's When I Reach for My Revolver (1981)
9. The Lemonheads, It's a Shame About Ray (1992)
10. Throwing Muses, Delicate Cutters (1986)
11. Dinosaur Jr., Freak Scene (1988)
12. The Real Kids, All Kindsa Girls (1977)
13. Lyres, Help You Ann (1984)
14. J. Geils Band, Centerfold (1981)
15. The Mighty Mighty Bosstones, Where'd You Go? (1992)
16. Juliana Hatfield, My Sister (1993)
17. Donna Summer, Love to Love You Baby (1975)
18. Carly Simon, You're So Vain (1972)
19. James Taylor, Sweet Baby James (1970)
20. Tracy Chapman, Fast Car (1988)
21. Bonnie Raitt, I Can't Make You Love Me (1991)
22. Pixies, Where Is My Mind? (1988)
23. Dropkick Murphys, Barroom Hero (1998)
24. Boston, Rock and Roll Band (1976)
25. Robin Lane and the Chartbusters, When Things Go Wrong (1980)
26. Pixies, Gigantic (1988)
27. Extreme, More Than Words (1990)
28. Aerosmith, Mama Kin (1973)
29. James Taylor, Fire and Rain (1970)
30. Morphine, Cure for Pain (1993)
31. Buffalo Tom, Taillights Fade (1992)
32. Pixies, Dig for Fire (1990)
33. Human Sexual Response, Land of the Glass Pine Cones (1981)
34. The Atlantics, Lonelyhearts (bet. 1979-83)
35. Mission of Burma, Academy Fight Song (1981)
36. The Mighty Mighty Bostones, The Impression That I Get (1997)
37. Willie Loco Alexander, Mass. Ave. (bet. 1975-91)
38. Godsmack, Keep Away (1998)
39. SS Decontrol, How Much Art (1982)
40. Gang Green, Alcohol (1986)
41. Staind, It's Been Awhile (2001)
42. The Outlets, Knock Me Down (1999)
43. The Dresden Dolls, Coin-Operated Boy (2004)
44. J. Geils Band, Musta Got Lost (1974)
45. The Sheila Devine, Hum (1999)
46. Belly, Feed the Tree (1993)
47. Human Sexual Response, What Does Sex Mean to Me? (1980)
48. DYS, Wolfpack (1983)
49. La Peste, Better Off Dead (1996)
50. Letters to Cleo, Awake (1995)

[Pixie Punk]

Si no lo vieron la 1era vez pendientes al Canal 6 local que por lo visto pasaran nuevamente esta magnifica presentacion de Pixies (Noviembre 26).http://www.pbs.org/klru/austin/photos/acl1103567754a.jpghttp://www.pbs.org/klru/austin/photos/acl1103567754b.jpgPhotos by Scott Newton for Austin City Limits

Austin City Limits caputres one of the year's biggest rock 'n' roll reunions as legendary alt-rockers the Pixies perform. With vintage fire the band takes the stage to perform their classics filled with brutal noise and impressionistic lyrics. http://www.pbs.org/klru/austin/photos/acl1103568847.jpgPixies

(http://www.pbs.org/klru/austin/artists/artist708.html)

Here Comes Your Man
Where Is My Mind?
Wave of Mutilation
In Heaven
Vamos
No. 13 Baby
Cactus
Isla de Encanta
Monkey Gone to Heaven
Velouria
Gouge Away
Debaser
Tame
Hey
Gigantic
Caribou
Recorded: 10/18/2004

[Pixie Punk]

Aqui el calendario de la temporada del programa http://www.pbs.org/klru/austin/tvschedule/index.html (Franz Ferdinand y Elvis Costello tambien estan programados).

[The Outsider]

Ayer estaba oyendo a The Breeders....Kim Deal con pelo recortao no le queda....

[Pixie Punk]

Ya tengo mi regalo de Reyes!!!!



http://www.emusic.com/img/album/108/892/10889232_155_155.jpeg (http://www.emusic.com/album/10889/10889232.html?fref=150257)So you've been waiting for a new Pixies album since the unthinkable happened two years ago and the reunion was announced? Then you may be mollified to learn that a new Pixies Live Double Album, entitled "Hey" is on the way for January 3, 2006.

But don't go striking it off your Christmas list yet, eMusic (http://www.emusic.com/album/10889/10889232.html?fref=150257) has an exclusive advance copy just waiting to be downloaded. The tracks are taken mostly from various UK and US shows from 2004 and 2005.

[Pixie Punk]

>>Disc One:

01 Planet of Sound (Manchester, England - 8/30/2005)
02 Debaser (Norfolk, VA - 12/6/2004)
03 Gouge Away (New York, NY - 12/16/2004)
04 Ed Is Dead (Washington, DC - 6/13/2005)
05 Bone Machine (Cleveland, OH - 6/8/2005)
06 No. 13 Baby (Leeds, England - 8/27/2005)
07 Holiday Song (Raleigh, NC - 6/12/2005)
08 I Bleed (London, England - 6/2/2004)
09 Is She Weird? (Leeds, England - 8/27/2005)
10 Caribou (New York, NY - 12/12/2004)
11 Crackity Jones (Norfolk, VA - 12/6/2004)
12 Something Against You (Washington, DC - 12/7/2004)
13 Into the White (Raleigh, NC - 6/12/2005)
14 Dead (New York, NY - 12/11/2005)

>>Disc Two:

01 La La Love You (Los Angeles, CA - 6/2/2005)
02 Cactus (Edinburgh, Scotland - 8/28/2005)
03 Wave of Mutilation (UK Surf) (Indianapolis, IN - 6/7/2005)
04 Mr. Grieves (Indianapolis, IN - 6/7/2005)
05 Nimrod's Son (Washington, DC - 12/8/2004)
06 Subbaculthcha (Leeds, England - 8/27/2005)
07 Monkey Gone to Heaven (Denver, CO - 6/5/2005)
08 Velouria (Toronto, Ontario - 7/9/2005)
09 Wave of Mutilation (San Francisco, CA - 5/30/2005)
10 U-Mass (Boston, MA - 12/9/2004)
11 Here Comes Your Man (Newport, RI - 8/6/2005)
12 Hey (Dublin, Ireland - 8/23/2005)
13 Vamos (Washington, DC - 12/7/2004)
14 Gigantic (Norfolk, VA - 12/6/2004)

[Pixie Punk]

Q: You recording a new album?

A: Yeah, but I need to write some good songs. These Pixies have gotten a little uppity. They're like, ''What if it's not as good as the old records?"

http://www.boston.com/ae/celebrity/articles/2005/12/19/here_comes_your_band/ (http://www.boston.com/ae/celebrity/articles/2005/12/19/here_comes_your_band/)
Here comes your band
December 19, 2005

The flack for eMusic checked in the other day and told us something interesting. In 1998, he said, eMusic -- then called GoodNoise -- was the first online music store to offer MP3s for sale, and the first two tracks in its catalog were by Frank Black, who has been a favorite of ours since he began fronting those post-punk progenitors, the Pixies. (The two songs were ''All My Ghosts" and ''King and Queen of Siam.") The friendly flack then informed us that today eMusic will add the one millionth track to its catalog, and the song is ''Here Comes Your Man," off the Pixies' new live CD ''Hey." All of this seemed a good excuse to get Charles Michael Kittridge Thompson IV -- a.k.a. Frank Black -- on the horn.

MARK SHANAHAN

Q: How are you?

A: Well, I was up all night, and I was just at the doctor's office with my son, who's got a cold and an ear infection.

Q: We call that a Tylenol deficiency in my family.

A: That's good. (Laughs.)

Q: So, it's true that your songs were the first offered for sale on the Internet?

A: Apparently. As it was explained to me, many artists -- bigger fish than myself -- couldn't for contractual reasons do a deal with eMusic, which, I think, had a dorkier name back then.

Q: You don't strike me as a big Web guy.

A: I'm not. I do download stuff but only if it's for sale. Not because I have high morals; I just don't know how to find stuff.

Q: Why'd you pick ''Here Comes Your Man"?

A: About six months after the ''Here Comes Your Man" video was on MTV, I was driving through El Paso, and I was pulled over by border patrol. It was 3 a.m., and they were very suspicious of my luggage, which included some piñatas I had brought from Boston. They were like, ''Have you been to Mexico, Mr. Thompson?" There were about eight of them standing around my car getting ready to do something when one of them said, ''Haven't I seen you on MTV?" Suddenly, the search was off, and 10 minutes later I was holding a shotgun and wearing night-vision goggles posing for pictures.

Q: That's a great story.

A: The point is that's the song Joe Blow knows me for.

Q: What's the status of the Pixies? Still enjoying the reunion?

A: We just got back from Japan. That was the last gig on the books. At one point during the last show, I was teasing Kim [Deal] about something, and she flipped me off. She was just fooling around, but I thought she was serious. It was the first time that'd happened the whole time, and I thought, ''Oh, man, she's mad at me. It's over."

Q: You recording a new album?

A: Yeah, but I need to write some good songs. These Pixies have gotten a little uppity. They're like, ''What if it's not as good as the old records?"

Q: Say, the Pixies were a Boston band, but you live out west. You still feel any attachment to this place?

A: Sure. It Boston. It's where I was born. It's New England. It's the other place in my life.

[Pixie Punk]

LISTENING POST

LIVE
The Pixies

By SUZANNAH TARTAN

Bono, Bowie, Kurt Cobain and Thom Yorke have all said that The Pixies are one of the most influential bands of the past two decades. But minutes before taking the stage for another sold-out show during the current Pixies reunion tour of Japan, leader Frank Black isn't having any of it.

"No, I don't hear it," he says commenting on the post-Pixies music scene, "though I can't say I've really listened either." He later concedes, however, that maybe some of The Pixies' albums "stand the test of time."

Judging by the delighted paroxyms of fans and critics that greeted news of The Pixies' reunion shows in 2004, 12 years after their break-up, the public agrees. So much of contemporary rock, or at least the interesting bits, owes something to the group's idiosyncratic mixing of surf rock guitar with darkly playful surrealistic lyrics, and their novel collision of noise and melody.

At their recent Tokyo show, the group displayed all of these facets, playing songs from throughout their brief, five-year recording career. The crowd was with them all the way from the darkly poetic "Nimrod's Son" (most unusual singalong lyric: "My sister whispered in my ear, you are the son of a motherf*@ker') and the fiercely anthemic "Holiday" to the over-the-top sweetness of "La La Love You."

If their music was a collision of opposites, "a potpourri" as Black describes it, so was their membership. Black is the moody, nervous intellectual of the group, penning the vast majority of the group's lyrics and belting out songs in a high-pitched, nasal yelp. Largely terse while performing (and a little large in the girth), he is a far cry from the usual rock hero material.

Joey Santiago's guitar, at turns slashing and twanging, is arguably the band's defining element. Drummer David Lovering, a magician when he is not on the road, is the "playful" one in the group, according to Black. While bassist Kim Deal, who plays with sister Kelly as The Breeders, is the cotton-candy voiced counterweight to Black's more neurotic persona.

"The biggest argument for Kim Deal, aside from her musical contribution, is that the audience loves her. She has a kind of charisma. I notice this much more now than before," says Black.

Indeed this tension between the four, arguably part of what made the band so unique, also ultimately helped lead to their eventual break-up in 1994.

"I didn't start the band with this knowledge, but with hindsight, I realized that the better bands, the better artists, tend to let their guard down more and let their personalities step forward no matter what it is," says Black.

The much-noted strain between Deal and Black was nowhere to be found at their recent Tokyo show. Black seemed happy to hang back and let Santiago and Deal -- who opened the show with the lovely David Lynch-penned Eraserhead theme song "In Heaven," and then closed it with "Gigantic," -- take the spotlight. Indeed once the group caught their groove during the middle of the 80-minute set, they played with the fluid tightness that belied their 12 year hiatus. "It really feels like we just took a short break," says Black.

[zerock]

jeje gracias por el thread muy informativo

[.*+Isabel+*.]

hola Pixie!!!!:wavey: nice, tu siempre dejandonos al tanto de la info de los Pixies!!!:D ;)

[Pixie Punk]

Fotos de los ultimos Pixieconciertos del 2005 en Japon!!!http://jakewalker.typepad.com/photos/pixiesjapan/ (http://jakewalker.typepad.com/photos/pixiesjapan/)

[Pixie Punk]

Pixies Week

12/20/05
.(Morris + King Company) eMusic, the number one independent music service, today announced the addition of the millionth track to its catalogue. The track is a live version of the Pixies’ classic “Here Comes Your Man,” off of their forthcoming digital-only album entitled “Hey,” and will be exclusively on eMusic until January. The significance of this digital music milestone is amplified by the fact that the first MP3s to be legally sold on the Internet were on eMusic in 1998 by Frank Black and the Catholics, whose frontman, Frank Black, was also a founding member of the Pixies. Those two MP3s, "All My Ghosts" and "King and Queen of Siam,” were the first in eMusic’s catalogue, which is now the largest collection of independent music in the world.



To celebrate the addition of the millionth track, eMusic has launched Pixies Week—a week celebrating the famed independent band and tracing the history of their music from their formation in 1986 through today. For Pixies Week, eMusic will post a new “Review of the Day” exploring a new Pixies title each day of the week; and its “New and Noteworthy” homepage will be loaded with the music of the Pixies and Frank Black.

Since its original inception in 1998, eMusic has claimed the number one position among independent music services—and today, it is second only to iTunes among all music services, selling more than four million downloads monthly. eMusic has consistently led the industry in features designed to enhance the consumer experience—compatibility, channels to discover great music and consumer ease-of-use, while striking groundbreaking content deals with leading independent labels across all genres.

· Innovation in Compatibility
eMusic’s commitment to compatibility is rooted in the fact that it was the first digital music service to deliver music in the universally compatible MP3 format. It remains the only major service to offer its entire catalogue in MP3s—without digital rights management (DRM), which limits consumer usage and listening behavior. eMusic’s flexibility allows its subscribers unlimited CD burning along with the ability to transfer MP3s to multiple computers and multiple devices. MP3s are the most popular and versatile digital file format and play on virtually all digital audio players—including Apple Computer®'s iPod®, along with, literally, hundreds of devices, including mobile phones, home stereos, PDAs, car stereos, DVD players, televisions and even cameras.

· Innovation in Discovery
eMusic’s commitment to pioneering innovative ways for users to discover music is one of its most unique features distinguishing it from other music services. With a team of award-winning music curators and critics producing a magazine with fresh, insightful editorial content updated daily, industry-leading search tools and a passionate community of music lovers consistently engaging in the eMusic community, subscribers are equipped with a set of unrivaled human and technological navigational tools to help guide them through the greatest independent music catalogue ever assembled.

· Innovation in Ease-of-use
eMusic’s success is underscored by a commitment to ease-of-use. To facilitate music discovery, eMusic has created the most powerful search and browse function of any music service. Subscribers can search for specific artists, albums, labels and song titles. In addition, subscribers can browse by genre, style, region, era, most-downloaded albums, live shows and much more. In addition, eMusic uses sophisticated personalization technology developed by ChoiceStream, to enable users to easily find other users who share their tastes and interests in music.

· Unparalleled Breadth of Content
eMusic’s matchless scope of independent content stems from its commitment to embrace the work of artists unwilling to compromise the integrity of their music just to meet the tastes of major labels interested only in producing a top-40 hit. Partnering with thousands of independent labels across all genres from has led eMusic to become the number one destination for consumers of independent music and music aficionados alike. From jazz, blues and hip-hop to classical, reggae and pop, eMusic’s collection of music is unparalleled. “No other online digital music service has one-million iPod-compatible MP3s,” said David Pakman, CEO of eMusic and a managing director of Dimensional Associates, the private equity arm of JDS Capital that owns eMusic, The Orchard and Dimensional Music Publishing. “Along with indie music luminaries like Frank Black and the Pixies, eMusic has pioneered the music space since the beginning of the digital revolution. Our catalog is the largest, most important, and most well-curated collection of independent music in the world. We’re honored to have the Pixies deliver our millionth track as we continue to innovate how digital music is discovered and enjoyed.”

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