The rhymes are nothing to write home about. The Beastie Boys reintroduced themselves to the world in 1984 with a 12” single for “Rock Hard.” A colossal rudimentary drum beat lays the groundwork, and then the riff for AC/DC’s “Back in Black” comes in. The foundation of Def Jam Records was laid in Rubin’s NYU dorm room, and the Beastie Boys dressed the part, walking around town and showing up to gigs in Queens with matching jumpsuits and do-rags. Epic feature films couldn’t properly dramatize the next string of developments, and the scope of their impact forevermore on the pop music landscape. Rubin was digging “Cooky Puss” and cozied up to the band, and began producing their records and deejaying their gigs. At least they were amused, and so goes much of the three-decade story of the Beastie Boys.Īfter “Cooky Puss” was released, Schellenbach was kicked out of the band, right as the three about-to-be emcees befriended one Rick Rubin. I can picture them all laughing their asses off as they put the song together, entirely not caring about what the world at large would think of it. “Cooky Puss” is a record that only could have been made by kids with nothing to lose. When a record starts scratching, it sounds as if a teenager has gotten a hold of a turntable for the first time - eager, naive, oblivious as to what might happen to move the needle back and forth in the groove. Anarchy reigns throughout with samples of Steve Martin, and the prior Beastie releases “Transit Cop” and “Beastie Boys” chopped up and mixed in. ( Beastie Boys Book confirms this is actually Yauch playing bass!) There isn’t even a chorus. The four-note riff that plays on a loop might be a guitar, might be a keyboard. The beat doesn’t sound like a Roland TR-808, or any other notable synthesizer. There’s no rapping, just bored teenagers dialing up a Carvel ice cream parlor, harassing the person at the other end of the line and trying to find “Cooky Puss.” A silly, catchy, offensive inside joke - worthy of being examined endlessly. It was called “Cooky Puss.” More like a squirt of jism an embryonic cluster of cells holding the DNA of everything the Beastie Boys would produce afterward. With Horovitz’s new toy, the Beastie Boys forsook hardcore music and made a song that is as unclassifiable as much as their catalog. The fork was in the road, and he took it. As Horovitz tells it, he went to the guitar shop one day with an envelope of money, and instead of a Rickenbacker, bought a drum machine. Instead of Bad Brains, the Beastie Boys wanted to be the white man’s Treacherous Three. Horovitz played guitar and had his own band, The Young and the Useless, and joined the ranks, immediately shaking up the formula.īy now, the Beasties had released one hardcore EP, Polly Wog Stew, but the rich, creamy musical palette smeared across the city blocks of New York was drawing the band toward hip hop and reggae. Berry got hooked on drugs and quit the band in 1982, and a sixteen-year-old Adam Horovitz was waiting in the wings to replace him. The foursome didn’t last, but the name and modus operandi did. It was the guiding mantra for the band for the next thirty years.īoys Entering Anarchistic States Towards Internal Excellence.Īnarchy did reign, at least creatively. turned out to be a helluva lot more than a juvenile joke. Teenagers banging out chords and screaming over them, as they always will. Yauch held bass duties, Mike D was on lead vocals, John Berry was on guitar, and Kate Schellenbach was on drums.
The Beastie Boys formed on MCA Adam Yauch’s seventeenth birthday in August of 1981.
Sing along to it all you want, but here’s how it really went. I guess that foreshadowed the success of the song.NoooKing Ad-rock was lying in “Paul Revere.” There wasn’t once three. Yauch comes in and just starts playing something on his bass and we're kinda like - "wait, what is that? Is that somebody else's song?" And he's like "No, it's just something I thought we'd mess around with." And then I sat down and started playing the drums, and then the guy who, I think owned the studio or ran it - whatever - I wouldn't say he was feeling generally what we were making on that album! But for some reason when we started playing that song, we looked into the control room from the live room and he was like bopping his head and he was all excited. Mike: Anywho! Back to 'Sabotage', I just want to say, interestingly it became a top five Beastie Boys song - but when we were in New York, we were working on an album that would become 'Ill Communication'.
however many songs we have, it's close to the last one. Mike: Nah, 'Crawlspace' is not even top fifty!Īdam: No. Mike: Or is it 'Paul Revere'? I don't know what else, but those four - definitely. Adam: '(You Gotta) Fight For Your Right (To Party)', 'Sabotage', 'Intergalactic', right? 'So What’Cha Want'.
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