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Tunes

Best tunes of 1994: #25 Frank Black “Headache”

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Back in the early 90s, Toronto alternative radio station CFNY collaborated with music retailer extraordinaire HMV on a series of alternative music compilations. Fittingly titled “Free at last”, the radio station would hand them out as promotional items at events and the store would give them out free with purchases of music by at least one of the artists appearing on the compilation. There were five of them made (that I know of) from 1991 to 1995 and I’m pretty sure they were available both on cassette tape and compact disc, though the art work differed between the two.

I must have had friends that had a few of the volumes because I still have a couple of copies dubbed to cassette packed away in the basement. I also have stowed with them a legit one that I got myself from HMV: Volume 4, from 1994. Looking at the track listing, I figure I probably got a copy with Lush’s second album “Split”. Other artists that appeared on this volume included The Breeders, The Charlatans, Meat Puppets, The Tindersticks, and yes, you guessed it, Frank Black. The very track of focus today, the only single off his sophomore solo long player.

I had only just gotten into his band, the Pixies, a year or two before they announced their break up in 1993 and almost immediately, the frontman* appeared with his debut solo album. In truth, Black had been working on solo material for some time, recording some covers for a planned album as early as during the sessions for Pixies 1991 long player, “Trompe le monde”. The eventual self-titled debut only ended up with one cover on it** when it came out but had a banger of a single on it called “Los Angeles”, whose video I recorded one night from CityLimits and watched and rewatched and rewatched. The sophomore release, “Teenager of the year”, appeared the following year, including twenty two tracks, mostly of typical Pixie length, in and around the two to two and a half minute mark. I never really got into that album as a whole but man, did I love “Headache”, and this was mostly due to the compilation I spoke about above.

“This wrinkle in time, I can’t give it no credit
I thought about my space and I really got me down
Got me so down, I got me a headache
My heart is crammed in my cranium and it still knows how to pound”

Economical as ever, Black packs it all into three minutes. There’s no running start here, going from zero to a hundred, right from the get-go. Crashing drums and slacker guitars, feeling so free and loose. But it’s Black’s vocals and melody that are the star. There ain’t no time to sit and ponder one’s place in the universe and in history. You just gotta go for it. Live it and sing along with Frank. Back him up, screaming all the way. You’ll never be sorry.

*Adjusting his assumed moniker slightly from Black Francis to Frank Black.

**Which I loved.

For the rest of the Best tunes of 1994 list, click here.

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Tunes

100 best covers: #33 Yoav ft. Emily Browning “Where is my mind?”

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Fifteen years ago or so, I was going out to the cinemas semi-regularly with a group of guys from work. All four of us were happily married but the films we often went to were ones that our wives would likely not have been interested in seeing so they gladly allowed us these nights out with the guys. The movies were all big budget action pieces that exploded off the screen, many were part of this MCU group of films that were just starting to get off the ground. To be honest, I wasn’t super familiar with all of the comic books that these films were based off of, but for me the actual content of the films were secondary, I enjoyed the nights out, the laughs, the goofiness, the popcorn and junk food, and the joy of being in the cinema.

One such night, we went out to see the film “Sucker punch”. I’m not sure which of the other three suggested it, perhaps all of them, but I had no idea what I was getting into, having no idea that it was based off of a graphic novel, nor had I read anything about or seen any teaser trailers. Without the weight of any expectations, I had a blast watching the film and was surprised afterwards to find I was the only one of us that enjoyed it* and in truth, might’ve been the only one in the world that didn’t hate it based on all the critical panning it received.

As poorly reviewed as the film was, it did receive some kudos for its visual effects and of course, its soundtrack was also universally loved, which is why we are here today. The nine tracks are a mix of covers and mash ups and remixes (oh my). The songs were used at key points in the film to add another layer to the fantasies of the film’s characters, blasts of technicolor musical numbers akin to the music video for Björk’s “Oh so quiet”. Indeed, many of the songs included vocal performances by the film’s stars. It’s probably one of my favourite ever soundtracks for how creates a specific feeling and atmosphere, reinventing the songs used specifically for this purpose.

The seventh of the nine is our song for today’s list and it features the film’s star Emily Browning dueting with Israeli-Romanian singer/songwriter Yoav on the Pixies classic, “Where is my mind?”

I first came across Yoav with his own cover of the track and liked the sound of it so much I checked out the rest of his debut album, “Charmed and strange”, which is similarly charming with his Cat Stevens vocals and use of acoustic guitar in inventive ways to create a sort of dance pop sound. I don’t know how he became involved with the “Sucker punch” soundtrack but it sounds as if his original cover became the springboard from which he and Emily Browning leapt, trading vocals over a miasma of industrial beats, feedback, and sonic screams. It builds from a place of quiet, an almost forgotten corner of the mind, each singer adding distinct voices from distinct experiences, and then the guitars kick in and the beat picks up, everything continuing to build until the machine guns fire, the full orchestra finale, and fireworks galore.

The Pixies original was featured on their debut album, 1988’s “Surfer rosa”, penned by frontman Frank Black (or Black Francis), a typically Pixie weirdo number that saw a resurgence went it was used at the end of the 1999 film, “Fight club”. It has become an anthem for the disaffected ever since and is a favourite at their live shows, which they perform in an unconventional way, kind of like a mix of “do I have to?” and “since I have to, I’m going to rock the hell out of it”.

The Pixies original exemplifies the eccentric punk edge of their early days and foreshadows where music will head in the 90s, slightly off-kilter guitar rock that was antithetical to the glam metal of the 80s. The cover is one and a half times longer and the mashup explosions exemplify what was popular at the beginning of the 2000s. Two very different sounds and each with very different moods and meanings, despite there being no change in the lyrics.

Both are fantastic and though the cover ‘gives’ just a little bit more** than the original and does everything a good cover should, I can’t in good conscience pick it over the Pixies’ original. Original being the operative word.

Cover:

Original:

*Interesting then, that this was the last film we would go out to see as a group, and often when we would see each other at work over the years, the film would be mentioned as a sort of inside joke.

**I always feel lyrics Pixies tracks could easily be longer but they always end just before they overstay their welcome.

For the rest of the 100 best covers list, click here.

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Live music galleries

Live music galleries: Pixies [2025]

Pixies live at Ottawa Bluesfest July 12 2025

Artist: Pixies
When: July 12th, 2025
Where: Lebreton Flats Park, Ottawa Bluesfest, Ottawa
Context: I’ve now seen Pixies live three times, each time the circumstances and setlists were quite different and each time they had a different bassist in their ranks. The first time was with the original lineup after reforming, Kim Deal was still on good terms with the group and happy to be playing bass with them again, and the band was touring in support of the anniversary of their classic album “Doolittle”. The second time was only a handful of years later when they were headlining the final night of the sadly now defunct Toronto Urban Roots Festival, this time featuring Paz Lenchantin on bass, and though I don’t remember* all the songs they played, am pretty sure it was a mix of some of their classics with some of their newer tunes. The most recent experience was just a few days ago at Ottawa Bluesfest where they were introduced as the ‘legendary punk band’, Emma Richardson had replaced Lenchantin on bass, and it seemed the quartet were determined to play as many of the songs from the period pre-breakup as they could fit in their hour and fifteen minute time slot. Given the majority of those tunes were less than three minutes in length and that they wasted no time bantering between songs, launching directly into the next tune even before the feedback from the previous had faded, they managed to squeeze practically** everything a long time fan would have wanted to hear. As you might tell from the photos, I managed to get myself pretty close to the front of the stage and was surprised at how many of the young folks that had joined me at the front were actually singing/screaming along to most of the tunes, just as loudly as I was. Amazing performance? Oh yes. Did I enjoy it? Silly question.
Point of reference song: Wave of mutilation

Emma Richardson on the bass
Joey Santiago guitars so good
Frank Black aka Black Francis, the frontman
David Lovering, drummer and magician
David and Emma
Joey and Frank
David driving the beat
Joey showing how its done
Emma taking the mic
Frank screams so good
Taking a final bow

*I might have had a few too many Boneshakers.

**Including “Wave of mutilation”, “Here comes your man”, “Debaser”, “Where is my mind”, and their cover of the JAMC’s “Head on”. Missing, of course, was “Gigantic”, co-written and perfectly voiced by their original bassist.