Beastie Boys
1986 Beastie Boys - Licensed To Ill
1989 Beastie Boys - Paul\'s Boutique
1992 Beastie Boys - Check Your Head
1994 Beastie Boys - Ill Communication
1994 Beastie Boys - Some Old Bullshit
1995 Beastie Boys - Aglio e Olio
1996 Beastie Boys - The In Sound From Way Out
1998 Beastie Boys - Hello Nasty
2004 Beastie Boys - To the 5 Boroughs
Biography by Stephen Thomas Erlewine
As the first white rap group of any importance,
the Beastie Boys received the scorn of critics and
strident hip-hop musicians, who accused them of
cultural pirating, especially since they began as
a hardcore punk group in 1981. But the Beasties
weren\'t pirating -- they treated rap
as part of a post-punk musical underground, where
the do-it-yourself aesthetics of hip-hop and punk
weren\'t that far apart. Of course, the
exaggerated b-boy and frat-boy parodies of their
unexpected hit debut album, Licensed to Ill,
didn\'t help their cause. For much of the
mid-\'80s, the Beastie Boys were considered as
macho clowns, and while their ambitious, Dust
Brothers-produced second album, Paul\'s
Boutique, dismissed that theory, it was ignored by
both the public and the press at the time. In
retrospect, it was one of the first albums to
predict the genre-bending, self-referential pop
kaleidoscope of \'90s pop. The Beasties
refined their eclectic approach with 1992\'s
Check Your Head, where they played their own
instruments. Check Your Head brought the Beasties
back to the top of the charts, and within a few
years, they were considered one of the most
influential and ambitious groups of the \'90s,
cultivating a musical community not only through
their music, but with their record label, Grand
Royal, and their magazine of the same name.
It was remarkable turn of events for a group that
demonstrated no significant musical talent on
their first records. All three members of the
Beastie Boys -- Mike D (born Mike Diamond,
November 20, 1966), MCA (born Adam Yauch, August
5, 1965), and Ad-Rock (born Adam Horovitz, October
31, 1967) -- came from wealthy
middle-class Jewish families in New York and had
become involved in the city\'s punk
underground when they were teenagers in the early
\'80s. Diamond and Yauch formed the Beastie
Boys with drummer Kate Schellenbach and guitarist
John Berry in 1981, and the group began playing
underground clubs around New York. The following
year, the Beasties released the 7\" EP Pollywog
Stew on the indie Rat Cage to little attention.
That year, the band met Horovitz, who had formed
the hardcore group the Young and the Useless. By
early 1983, Schellenbach and Berry had left the
group -- they would later join Luscious
Jackson and Thwig, respectively -- and
Horovitz had joined the Beasties. The revamped
group released the rap record \"Cookie Puss\" as a
12\" single later in 1983. Based on a prank phone
call the group made to Carvel Ice Cream, the
single became an underground hit in New York. By
early 1984, however, they had abandoned punk and
turned their attention to rap.
In 1984, the Beasties joined forces with producer
Rick Rubin, a heavy metal and hip-hop fan who had
recently founded Def Jam Records with fellow New
York University student Russell Simmons. Def Jam
officially signed the Beastie Boys in 1985, and
that year they had a hit single from the
soundtrack to Krush Groove with \"She\'s on
It,\" a rap track that sampled AC/DC\'s \"Back
in Black\" and suggested the approach of the
group\'s forthcoming debut album. The Beasties
received their first significant national exposure
later in 1985, when they opened for Madonna on her
Virgin Tour. The trio taunted the audience with
profanity and were generally poorly received. One
other major tour, as the openers for
Run-D.M.C.\'s ill-fated Raisin\' Hell
trek, followed before Licensed to Ill was released
late in 1986. An amalgam of street beats, metal
riffs, b-boy jokes, and satire, Licensed to Ill
was interpreted as a mindless, obnoxious party
record by many critics and conservative action
groups, but that didn\'t stop the album from
becoming the fastest-selling debut in Columbia
Records\' history, moving over 750,000 copies
in its first six weeks. Much of that success was
due to the single \"Fight for Your Right (To
Party),\" which became a massive crossover
success. In fact, Licensed to Ill became the
biggest-selling rap album of the \'80s, which
generated much criticism from certain hip-hop fans
who believed that the Beasties were merely
cultural pirates. On the other side of the coin,
the group was being attacked from the right, who
claimed their lyrics were violent and sexist and
that their concerts -- which featured
female audience members dancing in go-go cages and
a giant inflatable penis, similar to what the
Stones used in their mid-\'70s concerts
-- caused even more outrage. Throughout
their 1987 tour, they were plagued with arrests
and lawsuits, and were accused of inciting
crime.
While much of the Beasties\' exaggeratedly
obnoxious behavior started out as a joke, it
became a self-parody by the end of 1987, so it
wasn\'t a surprise that the group decided to
revamp their sound and image during the next two
years. During 1988, they became involved in a
bitter lawsuit with Def Jam and Rick Rubin, who
claimed he was responsible for the group\'s
success and threatened to release outtakes as
their second album. The group finally broke away
by the end of the year and relocated to
California, where they signed with Capitol
Records. While in California, they met the
production team the Dust Brothers, and they
convinced the duo to use their prospective debut
album as the basis for the Beasties\' second
album, Paul\'s Boutique. Densely layered with
interweaving samples and pop culture references,
the retro-funk-psychedelia of Paul\'s Boutique
was entirely different than Licensed to Ill, and
many observers weren\'t quite sure what to
make of it. Several publications gave it rave
reviews, but when it failed to produce a single
bigger than the number 36 \"Hey Ladies,\" it was
quickly forgotten about.
Despite its poor commercial performance,
Paul\'s Boutique gained a cult following, and
its cut-and-paste sample techniques would later be
hailed as visionary, especially after the Dust
Brothers altered the approach for Beck\'s
acclaimed 1996 album, Odelay. Still, the record
was declared a disaster in the early \'90s,
but that didn\'t prevent the Beasties from
building their own studio and founding their own
record label, Grand Royal, for their next record,
Check Your Head. Alternating between old-school
hip-hop, raw amateurish funk, and hardcore punk,
Check Your Head was a less accomplished than
Paul\'s Boutique, yet it was just as diverse.
Furthermore, the burgeoning cult around the
Beasties made the album a surprise Top 10 hit upon
its spring 1992 release. \"Jimmy James,\" \"Pass
the Mic,\" and \"So Whatcha Want\" were bigger
hits on college and alternative rock radio than
they were on rap radio, and the group suddenly
became hip again. Early in 1994, they collected
their early punk recordings on the compilation
Some Old Bullshit, which was followed in June by
their fourth album, Ill Communication. Essentially
an extension of Check Your Head, the record
debuted at number one upon its release, and the
singles \"Sabotage\" and \"Sure Shot\" helped send
it to double-platinum status. During the summer of
1994, they co-headlined the fourth Lollapalooza
festival with the Smashing Pumpkins. That same
year, Grand Royal became a full-fledged record
label as it released Luscious Jackson\'s
acclaimed debut album, Natural Ingredients. The
Beasties\' Grand Royal magazine was also
launched that year.
Over the next few years, the Beasties remained
quiet as they concentrated on political causes and
their record label. In 1996, they released the
hardcore EP Aglio e Olio and the instrumental
soul-jazz and funk collection The in Sound from
Way Out! Also that year, Adam Yauch organized a
two-day festival to raise awareness and money
about Tibet\'s plight against the Chinese
government; the festival went on to become an
annual event. The Beastie Boys\' long-awaited
fifth LP, Hello Nasty, finally appeared during the
summer of 1998, and became their third career
chart-topper. A longer wait preceded release of
their next album, To the 5 Boroughs, which
appeared in mid-2004. In 2005, Capitol issued
Solid Gold Hits, a 15-track survey of the
Beasties\' lengthy career. In 2006, the band
released theatrically the concert film Awesome: I
Fuckin\' Shot That! The film was pieced
together from footage shot by 50 DV and Hi-8
cameras that were distributed to fans with little
more instruction than to keep shooting. The DVD
version appeared in July of that year. In 2007
they released the all-instrumental album The Mix
Up.
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