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Track Listings
| 1. Super Disco Breakin' | |||
| 2. Move | |||
| 3. Remote Control | |||
| 4. Song For The Man | |||
| 5. Just A Test | |||
| 6. Body Movin' | |||
| 7. Intergalactic | |||
| 8. Sneakin' Out The Hospital | |||
| 9. Putting Shame In Your Game | |||
| 10. Flowin' Prose | |||
| 11. And Me | |||
| 12. Three MC's And One DJ | |||
| 13. Can't Won't Don't Stop | |||
| 14. Song For Junior | |||
| 15. I Don't Know | |||
| 16. Negotiation Limerick File | |||
| 17. Electrify | |||
| 18. Picture This | |||
| 19. Unite | |||
| 20. Dedication | |||
See all 22 tracks on this disc
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Product Description
From Amazon.com
On their previous album, Ill Communication, the Beastie Boys expanded their parameters yet again, melding cutting-edge hip-hop with slinky jazz, butt-wiggling funk, weepy classical, and combustive punk rock. Four years down the line, the group's music isn't nearly as organic. They've all but abandoned the guitars and returned to the kind of old-school beats and rhythms that defined their groundbreaking 1989 disc, Paul's Boutique. But Hello Nasty isn't a regression, and it's anything but a cop-out: in addition to resurrecting the best elements from their past, the Beastie Boys have embraced the dopest high tech gizmos of the computer age. Hello Nasty gurgles like galactic sulfur pools, whizzes like a Sega game, and slurps and thumps like the best backward Hendrix loops. Add in a cavalcade of Latin percussion, calliope keyboards, and exotic samples (Stravinsky, Stephen Sondheim, Jazz Crusaders, Rachmaninoff), and you're left with one of the most creative and jubilant hip-hop records to date, even if you exclude witty lyrics like, "I'm the king of Boggle / There is none higher / I get 11 points off the word quagmire" ("Putting Shame in Your Game"). To paraphrase über-critic Robert Christgau, Paul's Boutique may have been the band's Pet Sounds, but Hello Nasty is the Beasties' Sgt. Pepper's. --Jon Wiederhorn
CD Description
On their fifth album and first proclamation in four years, the Beasties pledge allegiance to the next millennium while rocking out old-school stylee. Instead of pretentiously haphazard schizophrenia, Adrock, Mike D and MCA mold Run DMC boasts, Lee Perry dub freestyles, and introspective acoustic strumming into the best album-cum-mix-tape of the first half of '98. NASTY is the true successor to their sampledelic fantasia PAUL'S BOUTIQUE, as realised by craftsmen looking to domore than just get crazy with the sonic cheese whiz.
"Super Disco Breakin'", "Body Movin'", etc. are all first-rate party jams that the trio can probably come up with in their sleep. It's when the Beasties look towards the new school that the artistic flipping of the script begins. Not just in the lyrics, which are expansively conscious in nature and politically literate in content, but sonically as well. The jr.drum-and-bass of "Flowin' Prose" and MCA's acoustic singer/songwriter turn on "I Don't Know" point in directions at once completely incompatible and positively natural. Just like their mate Beck, it is the diversity of styles that the Beasties are prophesising as the key to the future--so long as that diversity's in the shadow of the old school.
"Super Disco Breakin'", "Body Movin'", etc. are all first-rate party jams that the trio can probably come up with in their sleep. It's when the Beasties look towards the new school that the artistic flipping of the script begins. Not just in the lyrics, which are expansively conscious in nature and politically literate in content, but sonically as well. The jr.drum-and-bass of "Flowin' Prose" and MCA's acoustic singer/songwriter turn on "I Don't Know" point in directions at once completely incompatible and positively natural. Just like their mate Beck, it is the diversity of styles that the Beasties are prophesising as the key to the future--so long as that diversity's in the shadow of the old school.
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