Dylan Masvidal | Staff Writer
30 years is a mighty long time. One second, the Knicks are making the NBA Finals; the next, it becomes a fashion faux pas to roll up one pant leg LL Cool J-style.
No matter the cultural zeitgeist, one thing is always self-evident. A universal truth responsible for keeping the space-time continuum in one piece: The Beastie Boys are rad! Radder than rad, I may add.
By 1994, they’d already proven on two separate occasions how much more multifaceted they were than just being the “white guys from Def Jam.” Embracing the noisy freedom of punk rock and rump-shaking funk stylings quietly made them the most eclectic trio in hip-hop.
But that cruel irony would receive a healthy serving of comeuppance as the Beasties’ fourth studio album, “Ill Communication,” bulldozed its way into the public airwaves. And I don’t mean solely through commercial success.
Sure, climbing to the top of the Billboard charts with an era-defining single like “Sabotage” is the quickest way to make a statement. Looking beyond the surface, you’ll notice an iconic trojan horse of charming buffoonery and personal growth.
“Sure Shot“—the ever so slick opening track to the record—is a confident artistic declaration of the group’s new philosophy. Ad-Rock and Mike D’s patented back-and-forth exchange packed with John Woo and Cheech Wizard references is then joined by MCA’s genuine expression of love for womanhood.
From this point forward, the tone has been set loud and clear. Pushing positivity as their musical modus operandi mimics the same feeling one gets reading a classic Spider-Man comic.
The Beastie Boys are now hip-hop’s version of modern-age superheroes. Maturity, badassery, and repartee all in one epic audio panel.
“B-Boys Makin’ with the Freak Freak” comes on shortly after and shakes things up with a super scuzzy muffle on the trio’s vocals, incorporated to perfection when verbally dismantling industry supervillains (“Got fat bass lines like Russell Simmons steals money”).
No one can resist the enticing groove of “Root Down,” commanded by funkalicious bass work and a swooping organ that can fix any person born with two left feet.
The Beasties had a natural aptitude for switching gears to a hardcore sound, even if it was never fully refined. “Heart Attack Man” continues the streak of catchy punk ditties in its quest to evoke a primal response from the audience with mega distortion and record scratches.
There is also no shortage of superb instrumental cuts, such as “Futterman’s Rule” and “Ricky’s Theme,” to improve upon the standards they set on their previous album.
Truthfully, “Ill Communication” doesn’t become a cornerstone of 90s hip-hop without including the song “Get It Together” featuring ATCQ’s legendary MC/beatsmith Q-Tip.
If aliens flew down to Earth today and asked me what rap music is in its purest form, I’d blast it through my speakers before they could finish the sentence.
Instant chemistry so palpable between each other, you’d think Q-Tip was the fourth member, making it almost impossible when word came out afterward of him hastily recording his verse on an entirely different day than the others. “One, two, oh my god” is the correct response indeed.
Q-Tip’s inclusion marks a guest rapper’s first appearance on a Beastie Boys album, a show of respect that must not be overlooked. Gone are the days of being under the radar or mentioned in passing. Most importantly, they knew it before everyone else did.
If you’re still not down with the Beastie Boys today, the lame-o convention is down the hall and to your right. Don’t let the door hit you on your way out.
CLASSIC/10
