Review of “Paul’s Boutique” by the Beastie Boys

The Beastie Boys

My drawing of the Beastie Boys. From left to right: Ad Rock, Mike D, and MCA. Source:

So this drawing happened ages ago, but the review took a lot longer, so this is only coming out in the early hours of New Years 2016 instead of November 2015. Well, it’s here now anyway. As there were three people instead of just one to draw, I don’t think it’s as good as my drawing of James Murphy and I didn’t actually *finish* colouring in Mike-D’s clothes. Even still it looks OK, even if Ad Rock looks a little like Tom Hanks.


Paul’s Boutique is the Beastie Boys’ magnum opus. Though not as successful as their brilliantly juvenile (and catchy) rap-metal debut, this warm, multi-faceted sprawl of an album is something smart to shake your rump to.

The album was the perfect meeting of the beat-making brilliance of the Dust Brothers, whose eclectic but carefully selected samples (including a live ping pong match) made the album such a rich tapestry of music to rap against, and the easy flow of words between Ad-Rock, MCA and Mike D, sometimes cringy but always affectionate and startlingly clever. Their lyrics matured with the music (they bring alive New York and the world at large with a few deftly chosen words) but they never take themselves too seriously, so thankfully we still get lines like ‘My man MCA’s got a beard like a billy goat’ without any sense of guilt.

The Beastie Boys begin their album by dedicating the album ‘To All the Girls’ around the world, Ad-Rock listing, in a stoner drawl, women from all walks of life over a breezy soul-jazz sample. Then the group get down to business on ‘Shake Your Rump’, their bare-faced tribute to dancing, as well as the album’s first single. If that was it, the song would be fairly standard, but the boyish teasing (‘What’s up with your bad breath onion rings’, they ask Mike-D), the vocal tics (like the way MCA spits out the last syllable of ‘Shake Your Rump-a’) and the samples used (from genres ranging from funk to old-school hip hop to metal) elevate it to a classic.

From here, the song subjects are as kaleidoscopic as the music, ranging from parties to science experiments, New York to not New York, chicken dinners to car thieves. Scattered over the whole album are sly pop-culture references that don’t discriminate between the kitsch and the sophisticated and are all the better for it, seasoning over an already vibrant meal.

The world of Paul’s Boutique is populated with characters straight out of a bar joke: gangsters (in ’Looking Down the Barrel of a Gun’) inspired by every macho film from ‘Clockwork Orange’ to ‘Die Hard’, getting paid and getting rich; holy men straight from the book of Daniel in ‘Shadrach’, a maelstrom of funk, Biblical allusions, and pop culture references; cowboys from spaghetti films in ‘High Plains Drifter’; a serial egger in the song ‘Egg Man’, which has menacing music, sampled from ‘Psycho’, ‘Jaws’, and Elvis Costello, if not menacing subject matter; famous scientists in ‘Sounds of Science’; and a charming old rocker called ‘Johnny Ryall’ who wrote ‘Blue Suede Shoes’ but has still somehow fallen into homelessness (even if he does have a Gucci watch).

‘Hey Ladies’ finds the Beastie Boys on the prowl, using “cowbell” as an aphrodisiac in one of the best songs on the album. On the other hand, ‘Car Thief’ is concerned with MCs who steal rhymes from the Beasties (or maybe cars) over one of the funkiest beats on the album (probably because of that Funkadelic sample), and ’What Comes Around’ mentions everything from the Flinstones to baseball players to the blaxploitation film ‘Dolemite’, while also coming down on domestic violence.

The album is held together using two song fragments, both on the second side. While these are probably the worst tracks on the album, they both have a purpose. ’5-Piece Chicken Dinner’, which starts the second side, is nothing more than a 23-second fragment sampled directly from ‘Shuckin’ the Corn’ (there’s a lot of banjo, as the name would suggest), but it only adds to the wild diversity of the album, as well as being quite a funny, raucous way to open the second side of an album. You expect a rap song and BAM here’s some twangy bluegrass and some Texans. The second fragment ‘Ask for Janice’, serves a similar purpose; it is the short ad break before the epic finale, the calm before the storm, and it too adds some levity to the occasion.

However, the album’s best use of song fragments is in the final track, B-Boy Bouillabaisse, a glorious 12 minute medley of nine song fragments which range in length from less than a minute to two and a half minutes. The track concentrates everything great about the preceding fourteen songs into one cohesive suite. There’s the banter between Mike, Adam and Adam in ‘Get on the Mic’. There are the references to New York in ‘Stop That Train’ and in ’Hello Brooklyn’, which, by the way, features not only the dirtiest beat on the album, but also a wonderful, Johnny Cash, who pops up at the end of the song in the best sample on the album. And then there’s the raucous dance-ability and pop culture references we’ve come to expect from the Beastie Boys.

But then, out of the blue, appears ’A Year and a Day’, the most epic song on the album even though it lasts less than three minutes. MCA examines his inner most being over the same Isley Brothers sample that Kendrick Lamar uses in ‘i’, defining himself as an emcee, as one of the Beastie Boys, but also as an individual, the last bard, the king in his castle. And yet, despite his bragging, he sees that this can’t last for ever. Here he asks not for a Hollywood lifestyle but simply to be king every now and then. For now, he is content merely to look out a stained glass window and see the world in all it’s multi-coloured glory, and if that isn’t maturing, what is?

Paul’s Boutique was one of the best albums of the 80s, late though it was in the decade, and it wouldn’t be inappropriate to compare the Beastie Boys to the Beatles circa Abbey Road. Both have similar names (‘Beastie’ and ‘Beatle’ are both alliterative and assonant) and both ended their last albums of the decade with song fragment medleys. As well as this, the Beatles are sampled fairly heavily on Paul’s Boutique. In fact, according to Rolling Stone, the album is even named after Abbey Road, or Paul McCartney’s “boutique”; and in ‘Shake Your Rump’, Mike D even mentions being ’back from the dead’  after facing an eerily similar situation to that of Paul in the 60s.

And, most importantly of all, both pushed the boundaries of music. One was much more commercially successful than the other, but both Paul’s Boutique and Abbey Road have had a similar effect on music today, and, as I enter 2016 watching Pitch Perfect with my family, it’s a warm, comforting embrace that I’m sure I will cherish in years to come.

Happy New Year everyone!




Review of “Sound of Silver” by LCD Soundsystem

Drawing of James Murphy

My drawing of James Murphy

Deciding which album was going to be the subject of my first music review took me a shamefully long amount of time. I knew the album had to be something I really liked, even loved, but not something I was too emotionally attached to; something I’ve listened to at least twice, but also not something I would tire of after another listen; not too well known to avoid future embarrassment (I don’t wanna look back and see that I gave Pet Sounds 7.5/10 *ahem*), but also monumental to me in some way.

Inevitably this gave me a bit of a headache, so I just scrolled through my list of albums on Spotify and picked what came naturally. Hence, Sound of Silver, an album by LCD Soundsystem release in 2007 (a very good year for music indeed).

LCD Soundsystem, if you haven’t heard of them, was a dance-rock band headed by James Murphy that released three very good albums before breaking up in 2010 (completely happily I might add, with a huge blowout concert to finish). I was reluctant to choose this album because I’m a little biased, LCD Soundsystem being one of my favourite bands of all time. But why not?

The drawing was meant to be done just while I was listening to the album, but I didn’t finish the beard in the time; by the time the album was finished, I just ended up obsessively retouching the lips. So I cheated a little bit and drew the beard while listening to ‘Dance Yrself Clean’ (the namesake of my last post). But it was worth it for the drawing. Source was this picture by the way.

But now, on with the review.


Sound of Silver was made in lonely basement parties with the lights turned low, with all the attendees crying on the dance floor. It’s not quite a heartbreaking confessional, but neither is it a fun but faceless dance record. Murphy always walks the fine line between the two, turning from misanthropic to raucous to deadpan to solemn blindingly fast.

Murphy lets his guard down, but sometimes not all the way; in ‘Someone Great’, as Murphy mourns the loss of a friend over a Kraftwerk-esque beat, his singing never falters, even as he complains that the weather is too lovely and the coffee isn’t bitter enough, as if he’s trying to pull it together one last time.

Undoubtedly the most emotional song on the album is ‘All My Friends’, where the indelible keyboard riff builds to a roar of triumphant melancholy, as Murphy, an elder statesman on a dance floor surrounded by twenty-somethings, laments being a middle-aged hipster holding onto his impeccable music taste for dear life.

In fact, many of the songs have the hazy, intoxicated ambiance of a club; in ‘Get Innocuous!’, the words are hesitant and sleepy in the hazy prelude to the morning after, the chirpy voice that follows him like the peppy, unsolicited advice of an acquaintance. ‘Us v Them’ shares similar themes, as Murphy rallies against those who want to spoil his fun before breaking down into despair. It’s often unclear if it’s the people around him who are ‘lonely and drunk’ or whether Murphy is projecting his own feelings onto them.

Despite its heavy subtext, the album is always witty and occasionally hilarious. Murphy screams and yelps through ‘North American Scum’, the goofiest song on the album, until he pleads “DON’T BLAME THE CANADIANS!” with a lack of inhibition more terrifying than I would care to admit. ‘Time to Get Away’ fits in lines such as ‘But me, I got a tiny tummy’ while still being delightfully misanthropic (not that they make much sense), and ‘Watch the Tapes’, if largely cryptic, is one of the most memorable songs on the album, with its back and forth opener getting stuck in your head even if you’re not entirely sure what it means. 

The last two songs are both about love, but they go about it in very different ways. The New Order-like title track features the same five lines repeated in a monotone clip, with the music built up and then stripped back for maximum, as the fond memories of adolescent music-listening are balanced against the less fond memories of adolescent emotion-having. On the other hand, ‘New York, I Love You but You’re Bringing Me Down’, fashioned as an acoustic break-up song and sung sincerely, denounces modern New York, with a sigh of reluctance, as being as scrubbed up and soulless as it was once dirty but full of life.

Underneath the slick, insanely danceable music lies deeply personal songs about longing and loneliness, about nostalgia for the sounds and cities of your youth, and, most of all, about aging and all the baggage that comes with it. LCD Soundsystem have sung about these things before, as in ‘Losing My Edge’, but never in such a beautifully understated way. And all while being musically irresistible. What’s not to love?


P.S. I’ve decided not to rate albums as I’m generally reviewing ones I like so there wouldn’t be much variation on 9/10 and 10/10, and I don’t want to gush too much about how great I find an album. Also, I need to wean myself off critic scores, so it’s probably best just to leave them out. Thank you for reading! :)

Post yrself clean

Spotify artists page

          My Spotify artists page at the moment.

By now this blog has lost a lot of its readers and I’ve lost a lot of my enthusiasm for blogging. It’s been a little under nine months since my last post, which detailed my (what I then thought was huge but now I think is ridiculously tiny) Spotify music… collection? Is that the word?

I haven’t been completely inactive on WordPress since, but that was my last proper post anyway. Quite a bit has changed since then. The school year ended, I had a birthday (yay!), my laptop crashed (along with all my files as I hadn’t made a back up), my older sister went to uni, and somewhere along the line I became even more obsessed with music, to the point where I almost considered taking it as a GCSE.

I didn’t in the end, but I’m still listening to at least an album a day, so that doesn’t reflect my views on music – in fact, I decided five, six or seven months ago that I might become a music journalist, even if the pay is reportedly abysmal. My music taste has expanded a lot from primarily indie rock to everything but metal, and I don’t like all the same bands as I used to. A lot of the music I listen to now is derived from various music sites and lists (as opposed to my friends and siblings) which I’ve become unhealthily obsessed with reading. Not that that’s a bad thing per se – it all adds up to my musical knowledge. :P

I doubt I’ll do a follow up to my previous post with an updated list of my music because it would take way too long… but I would like to make this blog music-oriented. I would like to have a general update post every now and then, but I would mainly be reviewing music – mainly older albums I like, because those will be more enjoyable to review, but also new albums every now and then. I might even draw as I’m listening and upload the drawings too?

Obviously this is quite a change, and I don’t know if any of my old followers will enjoy my music posts, so maybe I’ll mix in some general posts. It’ll be good having something concrete to write about and keep me writing on schedule – I’ll try and write at least one post a week.

I don’t know if this will last, but it would probably be a good idea to try actually *reviewing* music rather than just listening to it before I decide to be a music journalist. Hopefully reviewing music will help me listen to it more deeply, develop my own opinions about music rather, and rejuvenate my writing and maybe my drawing as well. Anyhow, this should be a steep learning curve. The first few reviews will undoubtedly be meh, but have faith, I should improve… No promises though. :P

See you soon (hopefully),

Joe :)

P.S. I’m not gonna

Tech Battle: iOS 7 vs iOS 6!

I haven’t done a Tech Battle for so long that most of you are probably scratching your heads at this point in time. Tech Battles are when I pit either a) technology against technology or b) technology against its non-technological counterpart. I have done three of these, the last one being in mid-July… so this is long overdue. As this blog turned from a technology blog (hence the name) to a more of a mish-mash kind of blog which has nothing to do with technology, I didn’t feel as compelled to do these as before.

Besides which, pretty much everyone has already reviewed iOS 7, so I’m kind of late reviewing this… but ah well. :P

(Usually in Tech Battles I state the case of each opponent in turn and then give a verdict, but that doesn’t really work here, so I’ll do it in terms of features. Also, this is written for those who already have an Apple device, so I use a lot of Apple terms in the post). Continue reading