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“A SCATHING COMEDY!”
■mm Mnk. THE HEW YORK TIMES
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Starting Friday 7/24—9:05 Nightly
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From the director of “The Tying Came”.
‘Interview With The Vampire”and “Mona Lis
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. MARK WAHLBERB
M.0U DIAMOND PHILLIPS
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| Beastie Boys maintain the flow
Adam Horowitz and
Adams Yauch and Mike
D return with their most
experimental album yet
By Rob Moseley
Associate Editor
The Beastie Boys burst onto the
popular music scene with their
1986 album “Licensed to fll” and
the strength of the overplayed
first single, “Fight For Your Right
to Party.”
Exploiting an image of ultimate
immaturity in the face of confor
mity, Mike Diamond, Adam
J Horowitz and Adam Yauch
helped Run DMC and others
bring rap to the forefront of the
American musical spectrum.
Eschewing the formula that
was so successful on “Licensed to
111” for a more punkish, funky
style, the B-Boys released “Paul’s
Boutique” in 1989 and quickly
alienated most of their bandwag
on-jumping fans, which was more
likely than not their intention.
But with the release of the sin
gles "Pass the Mic” and “So
What’cha Want” off of 1992’s
“Check Your Head,” along with
the accompanying videos, the
Beastie Boys began their slow as
cent back to the apex of main
stream music.
The popularity of the video for
“Sabotage” from 1994’s "111 Com
munication" completed that as
cent, and the B-Boys are enjoying
the fruits of their success with
their latest release, “Hello Nasty,”
their most ambitious release since
“Paul’s Boutique.”
The experimentation on “Hello
Nasty” manifests itself on tracks
like “Three MC’s and One DJ”
w
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COURTESY
The cover art to the Beastie Boys ’ latest release, “Hello Nasty.
and “Intergalactic,” the album’s
first single. “Three MC’s” features
Mixmaster Mike on production,
along with the B-Boys and their
unofficial fourth member, Mario
Caldato Jr., who shows just how
effective a simple pair of turnta
bles can be behind the vocals of
the Beasties instead of a huge
bank of tapes.
The Beastie Boys do commit
what has become a common sin
in hip-hop lately by sampling
music made popular by artists in
other genres. You’ll not hear the
Police or Diana Ross on “Hello
Nasty,” however. “Intergalactic”
contains a sample from Rach
maninoffs Prelude in C minor,
while “Electrify” contains ex
cerpts from Igor Stravinsky’s
“Firebird Suite” and “Company,”
by Broadway music writer
Stephen Sondheim.
Combine those elements with
the B-Boys’ straight-ahead raps
like “The Move” and “Just a Test”
and their funkdafied jams like
“Sneakin’ Out the Hospital” and
“Song for Junior” and you get ex
actly what any Be^stie Boys fan
wants: an album that may resem
ble the last two in makeup, but
once again takes everything
they’ve been doing for the last 15
years to an even higher level.
toFfee
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