Underneath their noise and weirdness, the
Pixies had a thorough knowledge of rock history, spanning '50s and '60s' surf-rock, '70s punk's menacing energy and '80s college rock's quirkiness. After dismantling the band,
Black Francis inverted his name, collaborated with
Captain Beefheart /
Pere Ubu sideman
Eric Drew Feldman and let his inner rock historian loose on
Frank Black. Much of the album nods to
Black's inspirations, but his own gifts still shine through. The chugging
Iggy Pop homage "Ten Percenter" borrows the
Stooges' primitive grind, while the arty, dissonant UFO convention tale "Parry the Wind High, Low" recalls
Bowie's Berlin era. However, "I Heard Ramona Sing" -- a
Ramones tribute -- is an airy, jangly pop number that sounds nothing like its subject; the
Beach Boys' "Hang On To Your Ego" gets a new wave makeover with crunchy guitars and shiny keyboards. Despite his efforts to escape the
Pixies' sound, many of
Frank Black's songs would have fit on Trompe Le Monde. "Los Angeles" builds on that album's spacy, metallic feel; with its thrashy choruses and dreamy coda, it almost caricatures the
Pixies' extreme dynamics. However, whimsical vignettes like "Brackish Boy" and "Two Spaces" sound more like
They Might Be Giants -- one of
Black's favorite groups -- than his old band, while softer songs like "Adda Lee" and "Every Time I Go Around Here" reveal more emotional depth.
Frank Black also boasts an unabashedly big, polished sound; keyboards and brass embellish "Places Named After Numbers" and the epic surf-rock instrumental "Tossed." Just a few years later, new wave-inspired punk-pop bands like
Weezer,
the Rentals and even
No Doubt ruled alternative rock, proving that even if his solo career wasn't as influential as his
Pixies years,
Frank Black was still ahead of his time. ~ Heather Phares