Monkeys Gone to Heaven

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I love a hook. I'm a glutton for it, and I love '60s pop music. I just think some of the best songs ever were in so many different genres of music during that era. It's what I grew up with, and at the end of the day I'm a pop producer. That's what I want to do, and that term 'alternative producer' always used to freak me out, really, because I never set myself up to be an alternative record producer. I just want to produce good records, and I never knew what it meant to be alternative to whatever. All I wanted was for the Pixies to be the biggest band in the universe. I don't think we went into any of the stuff that we did thinking 'We want to be quirky and arty and not have anyone like us.' One thing I do is pay a lot of attention to detail. It's important to me to get these little things right, the things that other people might not think are important, and I think that sort of excites Charles in a certain way. He's got quite a weird mathematical brain and he likes things that excite him. He likes detail and he likes things that sound simple but are not. So, in a working situation we got on well together. I helped him bring out his pop sensibility to a certain extent, and he helped me on a quirky level as to where and how you choose to do things; how to avoid doing the obvious but do what you normally wouldn't do and make things more interesting. I just remember someone telling me of the supposed fact that in the Hebrew language, especially in the Bible, you can find lots of references to man in the 5th and Satan in the 6th and God in the 7th." Francis explained to Alternative Press. "I didn't go to the library and figure it out." Having engineered the whole record, towards the end I just thought it would be great to get a fresh pair of ears on this as well, because sometimes when you're producing and engineering it's nice to get a fresh perspective on the mix. So, I asked Steven Haigler to come in and help me with it, using the SSL at the Carriage House. At that point, I was used to mixing on SSL — I didn't mind what we recorded on, although I still don't really like recording on SSLs. I'd much rather be on a Neve or a Trident... or an MCI, or whatever, just to get another character in there, and then I do like mixing on SSL. To me, it's just like driving a car. It's very easy, you sort of know where you are, and I also quite like that sort of sound it gives at the end of it. If you've got all the bottom end and you've got what you want, it finishes it off nicely." By 1983, Norton was also producing, and soon he was being managed by John Reed, who takes care of his career to this day. Work with Throwing Muses in Boston led to Norton watching their support act, the Pixies, perform at a hip local punk club named The Rat (formerly the Rathskeller).

Pre-production took place in a rehearsal room normally used by singer-songwriter Juliana Hatfield, with the band set up in a circle. The Doolittle songs had mostly already been demoed with Gary Smith, the producer who had discovered the band in 1986 and taken them into his Fort Apache Studios to record what became the eight-song Come On Pilgrim mini-album. Monkey Gone To Heaven opens with a tale of an "underwater guy who controlled the sea" who comes a cropper from (presumably) the "Syringe Tide" and the other effluents that were being dumped into the Atlantic Ocean. "The man dying from the sludge in the water in New Jersey is just me getting mythological," said Francis. "It's Neptune that I picture dying from the pollution." The cover art to“Doolittle”features the image of a monkey (with a halo) as well as the numbers six and seven.The artist behind it, Vaughan Oliver, conceptualized the imageryafter listening to“Monkey Gone to Heaven”.Also as originally intended, Frank was going to entitle the album “Whore”.But after seeing the cover art which Oliver put together, he opted not to. Hence the need for 15 songs on the Doolittle album, only three of which make it past the three-minute mark. "We'd usually work on 22 or 23 songs for a Pixies album, and some of them would end up as 'B' sides and others would be scrapped halfway through," Norton states.By the following decade, however, it was becoming clear from research and data analysis that the world was hotting up. Issues such as the destruction of rainforests and the use of ozone layer-damaging CFC gases (chlorofluorocarbons) in industrial and commercial use became more commonplace and many celebrities and musicians began to bring wider attention to the problems the planet faced. Frank, Josh; Ganz, Caryn. Fool the World: The Oral History of a Band Called Pixies. Virgin Books, 2005. ISBN 0-312-34007-9. The connotationbehind it all is that the devil is superior to man, with God trumping both.And needless to say, such terminology can lead to a number of speculations as to why the Pixies would include such an idea in a song which appears to be primarily about the environment in the first place. Strings recorded on December 4, 1988, at Carriage House Studios, Stamford, Connecticut, United States Gil Norton and engineer Al Clay with Theremin player Robert Brunner, in a photo taken during the recording of the Pixies' later Bossanova album. Photo: Gil Norton

Carriage House Studios in Connecticut, where the Doolittle album was mixed. Photo: Gil Norton"When I began working with the Pixies, I was never really given much information as to what they were looking for in terms of the sound or the direction. After I'd seen them live, they just wanted me to reproduce what they'd do to the best of my ability, and that's part of the job of a producer. It's a very ambiguous role, really, but it's definitely to bring out the best in a band, and on 'Monkey Gone To Heaven' I just wanted to capture the song's innocence and angelic beauty. That's why I wanted to use the strings — it had to be quite powerful, but there also had to be a purity to the power. What with the guitars and the dynamics, the song started with a mood and an impact, and then the guitars dropped out on the verses to make lots of room for Charles to start telling his story.While Steve Albini had captured the hard edges of the Pixies' sound in a fairly uncompromising way, Gil Norton and Steve Haigler retained some of this edge while using reverb and compression to smooth things out and place a little more emphasis on the band's pop sensibilities. These, after all, were sensibilities that Norton himself shared. They were from a local orchestra and they were really cool," remarks Norton, who in addition to producing and engineering the Pixies' two subsequent albums, Bossanova and Trompe Le Monde, has since worked with artists such as James, Del Amitri, Counting Crows, Foo Fighters and, most recently, Gomez. "They had just done a show and they were still in their tuxes and gowns. I sang to Arthur what I wanted to be played and he just sketched it out for me. Then we fine-tuned it, because without an arrangement we needed to find out if it was going to work or not, and the musicians began playing, and within two hours we had the bits that we wanted." To The Mix Mynamemyway from Not Tellin', VaIn biology class, we were talking about the pollution of the ozone layer and I was dissppointed to find that I was one of the few who believed in it. After the discussion, we took a test and, after I was done, I wrote down the 2nd verse of this song on the front and turned it in to my teacher. I thought it was witty. I think within every genre of music the best songs can be played on an acoustic guitar and they've got a great melody. That was the case with Doolittle. It was routined on an acoustic guitar and all of the songs work on an acoustic guitar. I think that's the way to start, and then how you shape things after that is the art of making a record, really, or being a good band. The song has to work on its own, it has to stand up, and you have to be able to play it. You can't rely on bells and whistles to make things work, it has to be already there within the structure of the song, and that was certainly the case with 'Monkey Gone To Heaven'. Dimery, Robert, ed. (2010). "Pixies: Monkey Gone to Heaven". 1001 Songs You Must Hear Before You Die. Octopus Publishing Group. p. 631. ISBN 978-1-84403-684-4.

Charles would have all of these little ditties — minute-and-a-half songs consisting of verse, chorus, verse, beat-beat-beat-bang, out, we're finished. I would go 'Uh, this is really short. Can we double this bit and can we do this again?' and he'd say 'Why? Within that minute and a half I've said everything I'm gonna say.' We had this ongoing thing when we first worked together, where I'd be trying to transform the raw material into song arrangements and he'd just go 'Look, I'm not going to play that twice.'" With the rhythm section set up in a live formation, Dave Lovering's kit was positioned at the far end of the studio. Standing nearby, Kim Deal's bass was DI'd and miked with a U47 on the cabinet, while the guitars were amped with Marshalls or Peaveys — sometimes a combination of the two, split and then mixed together — and miked with 57s or 414s. Since we had under three weeks to record, most of Doolittle was a song a day, and we managed to keep to that except for 'Monkey Gone To Heaven'. It was a case of 'Oh, it would be great just to try putting some strings on that,' and because we didn't have enough time in Boston, we had to wait until we got to the Carriage House in Connecticut." Going Downtown Not that Gil Norton had an arrangement when the string session took place at the Carriage House Studio in Stamford, Connecticut, with violinists Karen Karlsrud and Corine Metter, and cellists Arthur Fiacco and Ann Rorich. The second verse concerns the damage to the ozone layer, claiming that "everything is gonna burn, we'll all take turns, I'll get mine too."When Monkey Gone To Heaven was released as a single on 20 March 1989, the cover depicted a benign simian with a halo over its head. Rolling Stone: Monkey Gone to Heaven". Rolling Stone. 2004-11-04. Archived from the original on October 1, 2007 . Retrieved 2007-04-21. Some of the songs on Doolittle were newish and others they'd had for a while," Norton says. "For instance, they'd had 'Here Comes Your Man' for quite some time, and the version that appeared on the album was the third time they had recorded it. I listened to the different versions and came up with that arrangement of the song. I love pop music," he says. "People sometimes turn their noses up when they hear the words 'pop music', but popular music is what we're doing, and if you don't want people to like it then you should just do your own little thing and play it for yourself in your bedroom. Once you get to the point where you're putting things out for the world to hear, the reason to do that is hopefully people will get what you're doing and like it. The song peaks with the frontman screaming a nursery-rhyme style lyric that invoked some weird numerology: "If man is 5, then the devil is 6, and if the devil is 6, then God is 7!"