Waking Ear

We have a pact, you and I. I write down what song I had in my head when I woke up in the morning. And, maybe, why. You click on "What's in your waking ear?" and tell me what's in your head right now. We discover new music and maybe learn something about how our minds work. Yeah?

Tuesday, June 15, 2004

 

Paz

So I came to music late-ish in my life. It was 9th grade before I started branching out from the unholy trinity of Blues Traveler, Dave Matthews Band, and Phish. For whatever reason, the Beastie Boys were the guiding force that drew me out of the HORDE Tour extended-solo mindset. In fact, they are probably the band most responsible for the rest of my musical development.

During the mid-'90s, it seemed to me that the Beastie Boys were *the* arbiters of "what's really good" in music, style, and politics. They had a unique aesthetic - slacker skaters that built their own studio, goofballs who wanted to free Tibet, equally adept with an 808 bass kick or hardcore guitar riffs...they were the smart dumb kids. They did experimental lo-fi hip-hop, played whatever the hell they wanted, and sold millions of records. They were cool, but didn't act like they were cooler than you.

The Beastie Boys used their mainstream acceptance to provide bridges to other forms of music using the various styles and sounds they incorporate into their own work. Sure, if I was cool in 9th grade I would have already been listening to Bad Brains or Lee 'Scratch' Perry or Jimmy Smith, or what have you. But I didn't have an older brother to hip me to this stuff. Instead, I had the Beastie Boys - and through them I discovered NYC hardcore, dub reggae, Biz Markie. I mean, I was that kid that heard "When the Levee Breaks" on the classic rock station and was like, "oh shit, Rhymin' and Stealin'!"

So on the day of the release of their sixth studio album in what I think is 20 years (damn slackers), I wonder if the B-Boys are still fulfilling that role for the kids today. From what I've heard of the new album, they seem to be returning to the minimalist, drum loops & stabs approach of their earliest work. Is this going to catch people's ears the way that the wall-of-samples in Paul's Boutique, or the live-instrument mixtape approach of Check Your Head and Ill Communication did? All I know for sure is that I'll be sneaking out of work today at lunch to buy it - after all this time, I'm still psyched to find out what they're going to do next.

Comments:
I always resented the kids who had older siblings. It's like having a cheat sheet to being cool.
 
While I certainly apprecitae your recommendation Paz, I think Chelle should start out old school and pick up "Licensed to Ill" and just burn the rest from Phant & Schmubb. That record's loud and immature, brash and chocked full of mid 80s apathy, something uniquely teenager that fades with age.
 
Yeah, but Licensed to Ill isn't the artistic peak by any means. I think Paul's Boutique is the most -- for lack of a better word -- important record in the BB discography in terms of influence and artistic merit. In terms of representing the overall Beasties discography, PB doesn't do very well, since it mostly avoids the punkier stuff and since they later disavowed the misogynism in the lyrics. But it's still the album that made everybody go, "Holy shit. They're actually talented, not a novelty act!"
 
I have to respond to the first post here, so Phantroll I wouldn't give older siblings all the credit. Did you ever consider younger siblings might be an inspiration for their "elders" to be cooler. Just think about it, that's all i'm saying...

a cool little sister; aka "nuthead"
 
Yeah, you're right. I'm so glad you inspired me to listen to Korn. :)
 
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