photo & text by nacrowe
the BEASTIE BOYS fifth studio album HELLO NASTY (CAPITOL, 1998) was a seminal HIP HOP album as i experienced it the summer before my freshman year of high school. i knew of their existence before due to hearing various LICENSE TO ILL (DEF JAM, 1986) tracks out of context during my elementary school years in SOUTHERN CALIFORNIA, but i never had their records nor strangely did anyone i knew growing up there and in WEST AFRICA. its ODD in retrospect since other MAJOR HIP HOP artists like CYPRESS HILL, A TRIBE CALLED QUEST, THE NOTORIOUS B.I.G., WU-TANG CLAN and TUPAC all seemingly made the jump overseas, but for whatever reason not the BEASTIE BOYS.
regardless, the SEMINAL HELLO NASTY album was the first BEASTIE BOYS record i ever bought and i basically worked my way backwards shortly thereafter. by this point for years my family had relocated to NEW JERSEY during the summer months (in part to by a years worth of supplies that would shipped overseas to NIGERIA) and in the summer of 1998 "INTERGALACTIC" was a monster hit on both INFLUENTIAL NYC HIP HOP stations like HOT 97 and POWER 105.1 and the ALTERNATIVE ROCK juggernaut that was 92.3 K-ROCK. that level of UBIQUITY on the airwaves, not to mention the accompanying ADAM YAUCH-directed music video on MTV at the time, made that track a particularly UNIQUE cultural moment at the time.
HELLO NASTY was co-produced with MARIO CALDATO, JR who was involved with their previous three releases ILL COMMUNICATION (CAPITOL, 1994), CHECK YOUR HEAD (CAPITOL, 1992), and PAUL'S BOUTIQUE (CAPITOL, 1989) and sonically the record is high-energy and propulsive with a clever mix of DANCEHALL, DUB, LOUNGE, DRUM & BASS elements. this is also the first BEASTIE BOYS release to feature MIX MASTER MIKE as their effective house DJ (complete with his innovative wah-wah pedal inflected vinyl scratching), a role he would continue until their break-up in the wake of YAUCH's passing from salivary gland cancer. STANDOUT tracks include "REMOTE CONTROL," "THREE MC'S AND ONE DJ," "BODY MOVIN'" and "SUPER DISCO BREAKIN'" with guest performances by the likes of MIHO HATORI (CIBO MATTO) and legendary DUB producer LEE "SCRATCH" PERRY.
everyone has their favorite BEASTIE BOYS record (mine will always be ILL COMMUNICATION), but in effect they are all great. if you are unfamiliar with their work there is no bad place to start and HELLO NASTY is as GREAT an introduction to a nearly FLAWLESS discography as you will find. definitely worth checking out.
photo & text by nacrowe
the BEASTIE BOYS' fourth record ILL COMMUNICATION (CAPITOL, 1994) was a bit of an ARTISTIC and personal WATERSHED moment for the group as it showcased a newfound capacity for individual EXPRESSION unheard of on previous releases. when the group released LICENSED TO ILL (review linked HERE) some eight years before in 1986, HIP HOP was in its infancy and the three members were still in their early twenties. most of that record was created as an inside joke with SNARKY asides meant to lampoon types of people they grew up with and saw around them in NYC. even the tour with its SOPHOMORIC stage props and inflatable phalluses was meant as a joke rather than some huge political statement. but over time they came to understand that their crowd wasnt in on that joke and perception was becoming reality. if you act like a dumbass with CHAUVINIST lyrics ("BRASS MONKEY" especially), then people are going to assume you are a dumb MISOGYNIST.
what is so revolutionary about ILL COMMUNICATION is how the band owns their past mistakes and moves forward with GRACE and CONTRITION, something that is utterly unheard of before or since in the often crudely anti-female world of HIP HOP. right from the get-go on opening track "SURE SHOT," ADAM YAUCH memorably quips that "i want to say a little something that's long overdue / the disrespect to women has got to be through / to all the mothers and the sisters and the wives and friends / i want to offer my love and respect to the end," which is a completely TRANSFORMATIVE statement that altered their public persona for the rest of their career. this new understanding of the weight of their actions and the influence it had on their audience defined what causes (MILAREPA FUND, ASPCA, TIBET HOUSE US, FOOD BANK FOR NEW YORK CITY, HABITAT FOR HUMANITY, LUNCHBOX FUND, RATIONAL ANIMAL) and events (TIBETAN FREEDOM CONCERTS) they promoted and associated themselves with from here on out. in essence they transitioned to the role of engaged PROGRESSIVE activists. this legacy continues to this day as TRUMP supporters during the height of MAGA-dom in 2016 decided to use swastikas to desecrate a BROOKLYN park named in YAUCH's honor in his old neighborhood.
previous to the recording of ILL COMMUNICATION, YAUCH became a practicing BUDDHIST chose to make this new found perspective explicit on the upcoming album. famously all three members of the BEASTIE BOYS were raised JEWISH and it really says something about AD ROCK and MIKE D to embrace their friend and colleague at this moment. from what ive read and heard in interviews, their response was that of course their friend had found this new thing he felt passionately about and wanted to share and for them that was enough. they loved and supported their friend and in the end became ENRICHED with an education about BUDDHIST precepts, history and culture. this transformation can be best heard explicitly on the track (my favorite) "BODHISATTVA VOW." for the uninitiated, in the MAHAYANA BUDDHIST tradition one who attains enlightenment has the opportunity to avoid the cycle of rebirth as they have already attained a state of karmic purity. the bodhisattva vow is that they will voluntarily jump back into rebirth to assist all other sentient being in reaching that state first before they themselves depart. its a vow of complete SELFLESSNESS and service to all others before the self in the most profound manner possible. given this perspective, the ALEX GREY artwork GAIA prominently displayed in the middle of the liner notes furthers this profound sentiment of the INTERDEPENDENCE of humanity with the natural order. it really is quite the TRANSITIONAL record.
in addition to "SURE SHOT" and "BODHISATTVA VOW" other NOTABLE tracks include "ROOT DOWN," "SABOTAGE" and "GET IT TOGETHER." it would be criminal negligence to no mention that this is the second of three records co-produced by MARIO CALDATO JR, the other two being CHECK YOUR HEAD (CAPITOL, 1992) and HELLO NASTY (CAPITOL, 1992). as a TALENTED multi-instrumentalist and composer, his production duties were INVALUABLE to not just the SEAMLESS nature of these recordings (as such were often SAMPLE-HEAVY of varying quality source material), but to EMPOWERMENT of the group itself. often each member would record at home to their own devices that would be compiled and worked over by CALDATO, essentially streamlining the workflow process. i think that this one key reason that the album is such an ECLECTIC affair.
speaking for myself, ILL COMMUNICATION is the definitive BEASTIE BOYS record as it showcased a VARIED sonic aesthetic and MATURE, INCLUSIVE worldview that informed the second half of their career and ultimately their legacy as a group. one of my favorite HIP HOP records ever and most definitely required listening for anyone interested in anything from EAST COAST HIP HOP to ALTERNATIVE ROCK and beyond.
RIP ADAM YAUCH.
photo manipulations by nacrowe
i discovered the SHOW US YOUR JUNK! series on the EARTHQUAKER DEVICES youtube channel a few months back and what it does a great job of presenting is the gear used by musicians and producers in their studio setups.
obviously EARTHQUAKER DEVICES is a company and yes, their pedals are mentioned along with those of their "competitors," but what you learn very quickly is that the equipment on display is merely a canvas and that these producers, many of them prominent musicians from bands like SONIC YOUTH, DEVO, CONVERGE and DEERHOOF are the artists that contextualize these sonic textures in tapestry unique to their sound and aesthetic. if anything, the pedals here are useful in that they help bridge the gap between conception and execution. they are essentially a tool. but i have to say, there is equal if not vastly more time dedicated to non-EARTHQUAKER items in this series. just saying.
much like RIG RUNDOWN goes after the gear setup of a touring musician, SHOW US YOUR JUNK! is dedicated to the recording setup, which in my opinion is far more interesting having spent time around my cousin who is a recording engineer in our former studio at the KREISCHER MANSION. everyone has their own technique and philosophy regarding what makes a compelling sound, which is a topic of endless fascination for me. how does the producer engage with the artist and bring about their creativity. what microphones, preamps, boards do they tend to use? what is the room ambience like at their studio?
for me this series is a great introduction to what makes each of these producers tick, which only makes me dive back into their production discographies that much harder. maybe even make a radio show or two about them (cough, cough, KURT BALLOU and STEVE ALBINI, cough, shameless plug).
by all means check them out below or watch the rest HERE.