![]() Īs well as MCA’s philosophical comparison of a bird planting seeds to the thoughts in your cerebral cortex on Putting Shame in Your Game and Ad-Rock’s iconic declaration of his love for sugar with coffee and cream on the hit single Intergalactic. It is impossible to forget to mention standout lyrics such as Mike D’s “fresh like a box of Krispy Kreme” on Three MC’s and One DJ. They use each song as a stage where they chew on the scenery and munch on anything in their path. Their charisma is felt in every single line. The boys return with their infectious energy that permeates throughout the entire tracklist. Operating on the same lyrical hive mind since their inception, there is no shortage of finishing each other’s sentences or sung-together choruses on Hello Nasty. The production on this album will give you an uneasy yet rhythmic feeling, like if you were falling down a rabbit hole but can’t stop breakdancing on your way down.Ī Beastie Boys album wouldn’t feel complete without the three originators refusing to lose their child-like wonder. Psychedelic vibrations are continued in The Negotiation Limerick File that introduces high-pitched chirping reverberations that stay stuck to the back of your ear from start to finish. Those moments on the first couple of instrumentals are only the tip of the iceberg as Remote Control introduces a smashing guitar riff soaked in psychosis which are only amplified by Mike D’s vocals being purposefully distorted. The Move begins with a beatboxing sample and techno sound effects backed up with female vocal chops and a beat switch full of smooth guitar plucks that wrap up with a sample from the 1970s El Rey Y Yo song Los Á ngeles Negros over an unsparing drum loop. Super Disco Breakin’ hits you with a flurry of abrasive 808’s and record scratches that were ripped straight out of a kangol hat, boombox-infused nightmare. Describing the album as anything but a fever dream would be doing it a disservice. On the contrary, Hello Nasty can be best explained by the cover art for the album, which depicts the three MC’s basking in the sun while being packed into a sardine can. That’s not to say the veteran trio was making it any easier for the average listener. ![]() The argument can be made that the Grammys have a flawed system when it comes to their hip-hop-oriented awards but one thing is clear, the Beastie Boys’ refusal to adapt to the sound of the late 90s was being rejected by the new guard. Why did they win under the alternative genre? What arouses even more suspicion is the fact that Hello Nasty did not receive a nomination for Best Rap Album. PHOTO COURTESY OF CAPITOL RECORDSīut there lies the problem hiding in plain sight. ![]() The album called attention to 80s hip-hop when it wasn’t popular anymore. A Decade Too Late: The Beastie Boy’s fifth studio album Hello Nasty was released on July 14, 1998. The album sold 681,000 copies in its first week, debuted at number one on the Billboard 200 and won two Grammy awards - Best Alternative Music Album and Best Rap Performance by a Duo or Group. Now, to say Hello Nasty was an overlooked album would be factually incorrect. They released their nastiest project - Hello Nasty - their fifth studio album on July 14, 1998. However, the culture didn’t account for the Beastie Boys. Hip-Hop had moved on from the music mentality of the 80s and traded idiosyncrasy for aggressiveness and social consciousness. ![]() In the summer of 1998, long gone were the days of rappers addressing the audience with jester-like enthusiasm and an unwavering commitment to shutting down Sucker M.C.’s. ![]()
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