The Pixies' Complete B-Sides: 1988-97 (Remaster) is a treasure trove for fans, offering a unique glimpse into the band's creative process and their ability to stretch and experiment with their music. This collection is not just a collection of leftovers; it's a testament to the band's versatility and their willingness to take risks. Personally, I think this remaster is a must-have for any Pixies fan, as it showcases the band's evolution and their impact on the alternative music scene.
What makes this album particularly fascinating is the way it highlights the band's ability to blend different genres and create something entirely their own. From the cosmic 'Into the White' to the tender 'Winterlong' cover, the B-sides showcase a range of emotions and musical styles. One thing that immediately stands out is the band's willingness to play with their sound, often re-recording and re-imagining their hits with a fresh twist. For instance, the full-bodied 'River Euphrates' is a swaggering re-recording of the Surfer Rosa track, while 'Wave of Mutilation (UK Surf)' is a slowed-down, twanged-up take on the Doolittle classic.
From my perspective, the B-sides are a microcosm of the Pixies' entire catalog. They offer a glimpse into the band's creative process, their influences, and their desire to push boundaries. What many people don't realize is that these B-sides are often just as memorable as their A-sides, if not more so. For example, 'Weird At My School' is a frantic rockabilly scramble that adds a dash of improbable musical theater, while 'Build High' is full-on cowpunk Pixies with a bone-dry sense of humor.
This collection is not just a nostalgia trip for long-time fans; it's a gateway to the Pixies' world for those who are new to their music. It's a chance to explore the band's influences, their evolution, and their impact on the alternative music scene. If you take a step back and think about it, the Pixies' B-sides are a testament to the band's artistic integrity and their desire to create something unique and memorable.
A detail that I find especially interesting is the band's choice of covers. Their take on Neil Young's 'Winterlong' is already an anthem, and their cover of 'I've Been Waiting for You' is almost as strong, thanks to Kim Deal's magically understated vocal. The band also injects 'Evil Hearted You' with telenovela passion and remodels the theme tune from a notorious '80s video game into a surf punk swirl on 'Theme From Narc'.
In conclusion, the Pixies' Complete B-Sides: 1988-97 (Remaster) is a must-listen for any fan of alternative music. It's a collection that showcases the band's versatility, their willingness to take risks, and their ability to create something unique and memorable. What this really suggests is that the Pixies' B-sides are not just leftovers, but a vital part of their musical legacy.
