Pod (The Breeders album)

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Pod is the debut studio album by American alternative rock band the Breeders, released by 4AD records on May 29, 1990. Engineered by Steve Albini, the album features band leader Kim Deal on vocals and guitar, Josephine Wiggs on bass, Britt Walford on drums, and Tanya Donelly on guitar. Albini's production prioritized sound over technical accomplishment; the final takes favor the band's spontaneous live "in studio" performances.

The Breeders formed in 1988 when Deal, bass player for Pixies, befriended Donelly of Throwing Muses during a European tour. They recorded a country-infused demo in 1989, leading to 4AD co-founder Ivo Watts-Russell funding an album, Pod, recorded that year at the Palladium studio in Edinburgh, Scotland. The cover art was designed by Vaughan Oliver and portrays a man performing a fertility dance while wearing a belt of eels.

Due in part to Deal's work with the Pixies, the album was widely anticipated, particularly in Europe. It became a critical and popular success, reaching number 22 in the UK. Critics praised its dark, sexualized lyrics, and compared it favorably to the Pixies. Nirvana's Kurt Cobain said it was one of his favorite records, and Pitchfork ranked it number 81 on its list of the best albums of the 1990s.

Background

Kim Deal performing in 2008
Kim Deal performing in 2008

In 1988, Kim Deal of the Pixies became friends with Tanya Donelly of Throwing Muses when their respective bands undertook a joint tour of Europe.<ref name=Aston318>Template:Harvnb</ref> Deal and Donelly spent time together playing guitar, drinking beer,<ref name=Donelly72>Donelly, Tanya in Template:Harvnb</ref> and sharing musical ideas.<ref name=Deal132>Deal, Kim in Template:Harvnb</ref> They often went clubbing together in the bands' hometown of Boston.<ref name="Erlewine">Template:Harvnb</ref><ref name=Donelly132>Donelly, Tanya in Template:Harvnb</ref> While attending a Sugarcubes concert, the two drunkenly decided to write and record dance songs.<ref name=Aston318/><ref name=Murphy131>Murphy, John in Template:Harvnb</ref> Their first attempt to work together was based around the idea of an "organic dance band" consisting of Deal on bass, Donelly on guitar, and two drummers.<ref name=Donelly72/> They recorded Donelly's "Rise" with Throwing Muses' David Narcizo,<ref name=Aston318/> and planned more originals, as well as a cover of Rufus and Chaka Khan's "Tell Me Something Good".<ref name=Donelly72/>

Tanya Donelly singing in a microphone
Tanya Donelly (shown in 1991) and Kim Deal started the Breeders after becoming friends in 1988.<ref name=Aston318/>

A year and a half passed without the pair recording new material.<ref name=Aston318/> During this time, they decided their attempt at dance music was not working,<ref name="Donelly132" /><ref name="Murphy131" /> and resolved to repurpose their songs for a different genre.<ref name=Deal132/> Deal became more serious about her work with Donnelly when the Pixies' Black Francis announced he was undertaking a solo tour. She decided that if he could be active outside of the Pixies, then she could too.<ref name=Aston319>Template:Harvnb</ref>

Journalists have speculated that Deal felt motivated to start a new band because of her diminishing role and lack of creative input in the Pixies, which Deal has often denied.<ref name="Aston320">Template:Harvnb</ref><ref name="Taylor1993">Template:Harvnb</ref><ref name="DealinMico">Deal, Kim in Template:Harvnb</ref><ref>Deal, Kim in Template:Harvnb</ref> However, in one interview she complained angrily about Francis singing lead vocals in almost all of the band's songs and said that if she could not sing more in the Pixies, she would sing in another band instead.<ref>Deal, Kim in Template:Harvnb</ref> Pixies' guitarist Joey Santiago later recalled that Deal had a strong desire to contribute songs to the group to express her creativity, but eventually resigned herself and begrudgingly accepted Francis as the band's sole singer and songwriter.<ref name="Santiago">Santiago, Joey in Template:Harvnb</ref> According to Francis, Deal had once offered several new songs to the group that were not accepted because they sounded too different from the band's repertoire;<ref>Francis, Black in Template:Harvnb</ref> in Santiago's view, Francis’ own rejection of the songs reflected his attitude that the group "made pizzas, not cookies".<ref name="Santiago"/> Francis admitted in the mid-1990s to not especially liking Deal's non-Pixies music, due to "personal taste".<ref name="rienmenschneider">Francis, Black in Template:Harvnb</ref>Template:Refn

Because the Pixies and Throwing Muses were signed to different American record labels,Template:Refn Deal and Donelly could not both be principal songwriters for their joint project.<ref name=Donelly133-134>Donelly, Tanya in Template:Harvnb</ref> They focused on Deal's compositions for what would become Pod, intending to use Donelly's songs for a subsequent album.<ref name="Aston320"/><ref name=Donelly133-134/> After PodTemplate:'s release, Deal and Donelly recorded a demo of the latter's songs in preparation for the Breeders' second album.<ref name=Donelly133-134/> Donelly left the group in 1991, and used her compositions for her new band, Belly.<ref name=Donelly136>Donelly, Tanya in Template:Harvnb</ref> Before parting, she contributed guitar and vocals to the Breeders' 1992 Safari EP,<ref name=Donelly136/><ref name=Safari>Template:Harvnb</ref> although none of her compositions appear on the record.<ref name=Safari/>

Demo

In 1989 the pair recorded a country music-influenced demo with violinist Carrie Bradley and bassist Ray Holiday.<ref name="Aston319" /><ref>Murphy, John in Template:Harvnb</ref> Paul Kolderie engineered several of the songs, but Deal found his production "too clean" and employed Joe Harvard of Fort Apache Studios to remix.<ref>Harvard, Joe in Template:Harvnb</ref> Deal called the project "the Breeders", a name she and her sister Kelley had used when performing as teenagers.<ref name="Donelly132" /> The name comes from a slang term used in the LGBT community to refer to straight people, which Kim found amusing.<ref name="Aston319" /> Ivo Watts-Russell, co-founder of the Pixies' and Throwing Muses' UK label 4AD, was enthusiastic about the demo and Deal's potential as a songwriter, and gave the band an advance of $11,000 to record an album.<ref name="Aston319" /><ref>Deal, Kim in Template:Harvnb</ref>

Although Deal played bass with the Pixies, she changed to guitar for the Breeders, finding it an easier instrument to manage while singing,<ref name="Aston319" /><ref name="Wiggs">Template:Harvnb</ref> and so recruited Josephine Wiggs of the Perfect Disaster on bass.<ref name="Wiggs" /> Deal asked Steve Albini, who had worked on the Pixies' Surfer Rosa, to engineer the album.<ref name="Aston320"/> Deal thought it would be fun to form an all-female band, "[like] the Bangles from Hell".<ref name="DealinMico"/> She wanted Kelley to be the Breeders' drummer, but Kelley could not get time away from her job as a program analyst.<ref name="Aston320" />Template:Refn As an alternative, Albini suggested they try Slint's Britt Walford,<ref name="Aston320" /><ref name=Albini135>Albini, Steve in Template:Harvnb</ref> who used the pseudonym Shannon Doughton for Pod because he did not want his contribution to the album to overshadow his role in Slint.<ref>Template:Harvnb</ref> Deal, Wiggs, and Walford rehearsed for a week at Wiggs' house in Bedfordshire, England, before joining Donelly in London for further rehearsals.<ref name="Wiggs" />

Recording

Steve Albini in front of a microphone
Steve Albini was the engineer of the Pod session.

Pod was recorded in January 1990 at Palladium studio, in Edinburgh, Scotland,<ref name="Podliner">Template:Harvnb</ref><ref name="Mico29">Template:Harvnb</ref> which had recording equipment on the first floor and bedrooms upstairs.<ref name=Wiggs/> During the sessions, the band sometimes wore pajamas, and more than once went to a local pub without changing.<ref name=Donelly135>Donelly, Tanya in Template:Harvnb</ref> Although 4AD booked the studio for two weeks, the band completed their recording in a single week. To use the remaining time, the label hired a television crew to film a music video, and the band recorded a session for John Peel's show on BBC Radio 1.<ref name=Albini135/>

Albini—who worked on thousands of recordings including albums by Nirvana, Page and Plant, and PJ Harvey<ref name="Tingen">Template:Harvnb</ref>—described his role as more technical than artistic, and preferred to be described as an engineer rather than producer.<ref name="Tingen"/><ref name="Bush">Template:Harvnb</ref> He had a preference for analogue recording techniques, and was noted for his careful placement of microphones in the studio to achieve a nuanced "roomy" sound. Further, in Albini's ethical approach to recording and to the mechanics of the music industry, he made a point of not attempting to influence the band's song arrangements.<ref name="Tingen"/><ref>Template:Harvnb</ref> He was known for his vocal and dim view of the music industry,<ref name="Tingen"/> and the press often depicted him as not easy to work with.<ref name="Tingen"/><ref name="Bush"/> He also sometimes had a reputation for being misogynist, in part from the name of his former band Rapeman.<ref>Template:Harvnb</ref>

Despite his reputation, Donelly recalls being especially comfortable working with Albini,<ref name="DonellyinMico30">Donelly, Tanya in Template:Harvnb</ref> whom she found "sweet".<ref name="Donelly134">Donelly, Tanya in Template:Harvnb</ref> Wiggs and Donelly have both commented that although Albini often downplays his degree of influence on an album's quality, for Pod his contributions were considerable.<ref name=Thiessen>Wiggs, Josephine in Template:Harvnb</ref><ref name=Raible>Donelly, Tanya in Template:Harvnb</ref> Donelly has praised Albini for the input that he gave the band prior to recording.<ref name=Raible/> This included convincing the band to reduce the number of vocal harmonies and give more prominence to Deal's vocals. Donelly believes the removal of harmonies made the performances "more effective and sadder and ... focused".<ref name="Donelly134"/> Albini paid attention to capturing strong live performances in the studio.<ref name=Aston320/> His main concern was achieving the best sound, rather than seeking the best technical performances.<ref name=Wiggs/>

Albini had a policy of never doing more than two takes of each song. This led to confrontations with Donelly, who remembers: "For all the fights we had with him in the studio, for all the times I'd stomp upstairs in my pajamas screaming that I couldn't live with such-and-such a guitar part, the next morning I realized he was usually right."<ref name="DonellyinMico30"/> Deal also often fought with Albini. Wiggs was struck with how quickly Albini and the other musicians resolved issues through short, intense arguments, an ability she attributed to their being American.<ref>Wiggs, Josephine in Template:Harvnb</ref> Albini saw Walford's drumming as an integral part of the band's sound.<ref name=Albini135/> Then 19 years old, Walford was a confident and hard-hitting drummer who typically played one of his drums behind the beat.<ref name="Wiggs" /> Song tempos were faster than Wiggs had expected, which arose in part because Deal lacked the breath control to sing her lines in a slower manner.<ref name="Wiggs" />

Music and lyrics

Pod has sparse instrumentation.<ref name=Brackett>Template:Harvnb</ref><ref name=Lamacq>Template:Harvnb</ref> Music critic Colin Larkin likened the album to the Pixies for its threatening melodies and loud, resounding guitars.<ref name=Larkin>Template:Harvnb</ref> The New York TimesTemplate:' Karen Schoemer also found similarities to the Pixies, citing PodTemplate:'s "angular melodies, shattered tempos and screeching dynamics", but felt the album nonetheless had its own identity distinct from Deal's previous band.<ref name=Schoemer>Template:Harvnb</ref> Unlike the demo, the album does not have a country-influenced sound.<ref name=Aston320/>

Other writers have noted the album's sinister, sexual<ref name=Brackett/> and youthful feel.<ref name="Albini135"/> Matt LeMay of Pitchfork wrote that Deal's singing is spooky, and evokes a mythical siren or a young girl hiding a weapon.<ref name=LeMay/> Melody MakerTemplate:’s Ted Mico compared the tone of the songs to the innocent-looking girl in Poltergeist who dribbles blood.<ref name=Mico29/> Albini said that "there was a simultaneous charm to Kim's presentation to her music that's both childlike and giddy and also completely mature and kind of dirty ... [it had a] sort of girlish fascination with things that were pretty but it was also kind of horny. That was a juxtaposition that, at the time, was unusual. You didn't get a lot of knowing winks from female artists at the time."<ref name=Albini135/>

Songs

Template:Listen

Deal has said that many of the songs are sexual in nature.<ref name=DealinMico/> The slow-paced opening track "Glorious"<ref>Template:Harvnb</ref> describes an adult who has vague but pleasant memories of being molested as a child by an aunt.<ref name=DealinMico/> It and the next song, "Doe", were co-written by Ray Halliday.<ref name=Podliner/> "Doe" concerns a schizophrenic teenage couple losing their grip of reality after taking Thorazine; in a delusional state they plan to burn down their town.<ref name=DealinMico/> LeMay described this track as possessing a beautiful, gripping quality,<ref name=LeMay/> while NMETemplate:'s Steve Lamacq cited it as an example of using reduced instrumentation to good effect ("stripped down but punchy").<ref name=Lamacq/>

Larkin believes that the band's cover of the Beatles' "Happiness Is a Warm Gun" achieves a friction that the original only hints at,<ref name=Larkin/> and Lamacq commented on its tight sound and prominent drum part.<ref name=Lamacq/> The Breeders recorded the song at the suggestion of Watts-Russell.<ref name="Aston320" /><ref>Murphy, John in Template:Harvnb</ref> "Oh!" has—according to writer Martin Aston—a slow tempo, restrained drumming, a sad violin performance by Carrie Bradley, and unexpectedly raw singing by Deal.<ref name=Aston320/> She had planned to use the title "The Insect Song" because its lyrics tell the story of one insect encouraging others, hoping they do not get stepped on.<ref name=DealinMico/>

Deal has said that "Hellbound" described a fetus that survives an abortion, and that the song is "kinda like a heavy metal hymnal, 'We're all hellbound.Template:'"<ref name=DealinMico/> She cited the line "It lives, despite the knives internal" as containing the most embarrassing lyrics she has written.<ref>Deal, Kim in Template:Harvnb</ref> Before recording, the other band members teased her about the line, but since she could not think of a better alternative, she kept the phrase but mumbled the line to make the words harder to understand.<ref name="WiggsDealMico">Wiggs, Josephine and Kim Deal in Template:Harvnb</ref> For Sasha Alcott, writing for the Boston Herald, the song contains elements of "fierce head-banging sing-a-long" as well as gentle whimsy.<ref>Alcott, Sasha in Template:Harvnb</ref> About "When I Was a Painter", the next track, Lamacq was struck by Deal's gruff vocals and praised its stop-start guitar riff.<ref name=Lamacq/> Critic Rob Sheffield named the song as a highlight of the album in the Spin Alternative Record Guide,<ref name=Sheffield>Template:Harvnb</ref> and Piers Clifton interpreted it as being about strange or otherwise unsatisfying sex.<ref name=Clifton>Template:Harvnb</ref>

Side 2 of the LP version starts with "Fortunately Gone", which Lamacq described as an appealing pop-flavored opening for the album's second half.<ref name=Lamacq/> Deal had originally practiced the song with Kelley several years previously.<ref name=DealinMico/> The lyrics concern a woman who has died but continues to obsessively watch over her lover, not able to give him up, even after death.<ref name=DealinMico/> "Iris" was interpreted by Larkin and critic Wif Stenger as being about menstruation.<ref name=Larkin/><ref name=Stenger>Template:Harvnb</ref> In a 1990 interview, Deal said the song related to something "like a pea pod flowering and then getting ripe and stinky", and connected it to the Surrealists' "associat[ing] women with fish".<ref name=DealinMico/> The writer Simon Reynolds described Deal's wolfish, staccato delivery of the repeated word "Oh!", as well as the "little gashes of gruelling, groiny feedback".<ref name=Reynolds/>

A recurring sexual dream of Walford's inspired the lyrics of "Opened".<ref name=DealinMico/> The track features a buoyant rhythm<ref name=Aston320/> and was described by Stenger as exhilaratingly bringing the listener somewhere between reality and the supernatural.<ref name=Stenger/> "Only in 3s", which Deal wrote with Donelly,<ref name=Podliner/> is about a ménage à trois sexual relationship.<ref name=DealinMico/> AllMusic's Heather Phares characterized the recording as "sensual" and said that it was more benign and friendly-sounding than the Pixies' work.<ref name=Phares/>

"Lime House" was described in a Billboard review as feeling "avant-garage".<ref>Template:Harvnb</ref> The song concerns Sherlock Holmes spending long and comfortable hours in an opium den.<ref name=DealinMico/> Wiggs co-wrote and played Spanish guitar on the final track, "Metal Man".<ref name=Podliner/> The song contains harmonies between her and Deal;<ref name=Lamacq/> Wiggs' spoken vocals were compared by Stenger to those of the group Wire<ref name=Stenger/> and by Reynolds to the vocal style of Sonic Youth's Kim Gordon.<ref name=Reynolds>Template:Harvnb</ref> Aston likened the melody to the Pixies' "Cactus".<ref name=Aston320/>

Release

Pod was released in the UK on May 29, 1990, by 4AD.<ref>Template:Harvnb</ref> Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.<ref name="Aston321"/> Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America.<ref name="Aston321">Template:Harvnb</ref> When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US.<ref name="BreedersDiscography"/><ref name="Aston346">Template:Harvnb</ref> Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.<ref name="Aston346"/>

The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work.<ref name=Lamacq/><ref>Template:Harvnb</ref> It reached number 22 in the UK,<ref name=ukcharts>Template:Harvnb</ref> where it was promoted by a full-page ad in Melody Maker,<ref>Template:Harvnb</ref> and number 73 in the Netherlands.<ref name=dutchcharts>Template:Harvnb</ref> Pod sold moderately well,<ref name="Taylor1993"/> although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993),<ref>Template:Harvnb</ref> which was certified platinum in the US and silver in the UK.<ref>Template:Harvnb</ref><ref>Template:Harvnb</ref>

Deal took the idea for the album's title from a painting that she saw in Boston;<ref name="Aston321"/> for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name.<ref name="WiggsDealMico"/> The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg.<ref name=Podliner/> Oliver, in an attempt to seduce Deal, who he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols.<ref>Template:Harvnb</ref><ref name=Manning2013>Oliver, Vaughan in Template:Harvnb</ref> He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve blurring and other visual effects.<ref name=Manning2013/>

Reception

Template:Music ratings

The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin.<ref name=Sheffield/><ref name=Kendell/><ref>Template:Harvnb</ref> Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal.<ref name=Sheffield/><ref name=Kendell/> In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.<ref name=Phares/>

The Rough Guide to RockTemplate:'s Piers Clifton and Melody MakerTemplate:'s Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding",<ref name=Clifton/> while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance."<ref name=Reynolds/> Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.<ref>Template:Harvnb</ref>

Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly constructed building.<ref name=Nolan/> Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band,<ref>Template:Harvnb</ref> and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.<ref name=Sandow/>

Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect".<ref name=Stenger/> NMETemplate:'s Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it.<ref name=Lamacq/> Karen Schoemer of The New York Times praised PodTemplate:'s intelligence and originality.<ref name=Schoemer/>

Legacy

Nirvana members Kurt Cobain and Krist Novoselic onstage
Kurt Cobain was an admirer of Pod.<ref name="Cobain1992">Template:Harvnb</ref>

Nirvana singer Kurt Cobain often described Pod as one of his favorite albums. He listed it as his seventh and then third favorite album in his private journals,<ref>Template:Harvnb</ref> and said it was his number-one favorite album in a 1992 Melody Maker article, in which he said: "The way they structure [the songs is] totally unique, very atmospheric."<ref name="Cobain1992"/> Cobain had wished to work with Steve Albini since first listening to his band Big Black in the 1980s.<ref>Template:Harvnb</ref> Cobain's special admiration of Pod and Surfer Rosa—as well as his desire for a similar drum sound, a "natural, powerful sound produced with canny microphone placement rather than phony sounding effects boxes", that he found reminiscent of Aerosmith's Rocks—then led him to select Albini as the producer of Nirvana's third studio album, In Utero.<ref>Template:Harvnb</ref><ref>Template:Harvnb</ref> Pod also influenced Courtney Love's songwriting on Live Through This, the second album by her band Hole.<ref>Template:Harvnb</ref> In 2018 critic Amanda Petrusich noted the enduring influence of Pod on contemporary indie rock musicians Courtney Barnett, Lucy Dacus, and Julien Baker.<ref>Template:Harvnb</ref>

In 2007, Albini said he felt Pod was among the best albums he had engineered;<ref>Template:Harvnb</ref> a 2015 article in Stereogum ranked it as Albini's eighth best album.<ref>Template:Harvnb</ref> Donelly described it as the "truest" of her albums and said that "it really feels exactly the way it was when we were doing it."<ref name=Donelly135/> Wiggs has spoken of her ongoing fondness for Pod, and recalls that everyone in the making of the album was dedicated and attentive;<ref name=Thiessen/> for Deal, the album is "just magic".<ref>Deal, Kim in Template:Harvnb</ref> In 2003 Pitchfork placed the album as the 81st best of the 1990s.<ref name=LeMay/> It was ranked number 463 in NMETemplate:'s 500 Greatest Albums of All Time list (2013) and included in The GuardianTemplate:'s 1000 Albums to Hear Before You Die (2007).<ref>Template:Harvnb</ref><ref>Template:Harvnb</ref> Separate articles in both publications have ranked the Breeders' version of "Happiness Is a Warm Gun" among the best cover versions of a Beatles song.<ref>Template:Harvnb</ref><ref>Template:Harvnb</ref>

Track listing

Template:Track listing

Personnel

The Breeders

Additional personnel

Charts

Chart (1990) Peak
position
Dutch Albums Chart<ref name=dutchcharts/> 73
UK Albums Chart<ref name=ukcharts/> 22

References

Notes

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Footnotes

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Citations

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