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Beastie Boys
Paul’s Boutique

Campus Correspondent CD review by Hunter Embry,
Indiana University Southeast

One of the most pivotal pop rap albums, Paul’s Boutique (Capitol), wasn’t well received when it was release in 1989. The Beasties used its sample crazy sophomore effort to develop an unusually large underground following and solidify its stance as one of rap and rock’s greatest pioneering groups. Fittingly, Paul’s Boutique has been reissued and consequently rediscovered by an idealistically and excited musical audience. While rap has reached its crossroads and weeded out the cookie-cut imitations, rap and hip-hop artists are now experimenting with new formats. There’s no better album to use as a how-to guide than Paul’s Boutique.

Coming off its Rick Rubin-produced debut, License to Ill (Def Jam), which introduced the hook-heavy hard rock punks and their obnoxious, but spirited lyrics to the major label community, the Beasties returned with a new label and a matured sound. Paul’s Boutique foreshadowed what would eventually become a sampling storm that still exists today. “Egg Man,” knocks at Curtis Mayfield with its soul-laying bass line and is modernized with it’s fast crisp, fast-paced drum beat, while “High Plains Drifter” shamelessly borrows from Don Henley. The three Jewish guys from middle-class New York, swap hip lyrics and street stories overtop chopped hooks and beats. Each song seems to breathe effortlessly, while the vocals are time and time again abrasively energetic.

Songs like “Sound of Science” experiment to the point of psychadelic fusion. Random street noise creeps through classic rock guitars alongside puzzle piece lyrics that only break for strange reggae samples. Album’s like Paul’s Boutique are rarely accepted upon first release or first listen, but capture the attitude and awareness of a certain time and place.