Category Archives: Michael “Mike D” Diamond

THE DEMISE OF THE MASK (VOL. 8)__Bread & Circus ___

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Hello All.

Welcome to Volume Eight of the MixTape series: The Demise Of The Mask. –(Volume One here)__(Volume Two here)__(Volume Three here)__(Volume Four here)__(Volume Five here)__(Volume Six here)__(Volume Seven here)-

I’ve got quite a treat MixTape here for you as this one features a triple-play by Hamilton Leithauser: first there’s “We Can’t Be Beat” from the last album by his always fantastic group The Walkmen, 2012’s Heaven; then there’s a selection from Leithauser’s 2014 debut solo studio album, Black Hours; and finally there’s the song “When The Truth Is…” from last year’s stunning record I Had a Dream That You Were Mine, which is a collaborative work with Rostam Batmanglij (the former multi-instrumentalist and producer of Vampire Weekend).

You’ll also hear Aretha Franklin, some Beastie Boys, the lovely “Rainbows In Gasoline” by the duo of Sean Lennon and Charlotte Kemp Muhl who record together under the moniker of The Ghost of a Saber Tooth Tiger (or GOASTT), and a fine example of why John Lennon was one of the greatest of rock ‘n’ roll vocalists with The Beatles‘ tune “All I’ve Got To Do.”

As well, there are two selections from the Parliament-Funkadelic collective: first there’s a cover of The Beatles by incendiary yet so sweet guitarist Eddie Hazel from his 1977 solo debut Game, Dames and Guitar Thangs, which features incredible vocals by The Brides of Funkenstein (the duo of Dawn Silva and Lynn Mabry, who prior to joining the P-Funk collective were members of Sly and the Family Stone); later on you’ll catch the revolving, kaleidoscopic groove of “Supergroovalisticprosifunkstication” from Parliament‘s 1975 masterpiece, Mothership Connection.

Oh and I can’t forget to mention the rendition of Magic Sam‘s All Of Your Love” done with grit and precision by The Rolling Stones and taken from their joyous record of blues covers released at the end of last year, Blue & Lonesome.

Among a whole bunch of other great sounds this mix also features two figures who are perhaps the most poetic recording artists of Uruguayan music: Jaime Roos and Eduardo Mateo. The song “Viviendo” is from Roos’ third record, Aquello released in 1981. There is a translation done by my father below for those that are interested:

Viviendo (Living) by Jaime Roos [translated by Julio Calero]
I remember you
You’re the One
Who could understand  it
No big deal
That we do not love each other
You could understand it
.
Friend, where abouts may you be?
What seas may you be sailing?
Soon we’ll cross paths
And I’ll find you
Living
You’ll find me
Living
.
You’ll hear
The world was
And will be a marvel, I already know
It could be
My voice
Coming out of a nightmare that’s gone
.
Friend, where abouts may you be?
What seas may you be sailing?
Soon we’ll cross paths
And I’ll find you
Living
where abouts may you be?
Living
Alone, perhaps
Living

Throughout his long career Jaime Roos has continued to make an interesting mix of rock and folk with the more traditional sounds of Uruguay like candombe, milonga, tango and murga. He’s still out there performing and I highly recommend that if you ever have the opportunity you should definitely catch his show!

 Eduardo Mateo‘s “Niña” is a sweet tune done by a pure musician, and its recording comes with an interesting story. By the time Mateo’s phenomenal band El Kinto had officially disintegrated in the early part of 1970 most of Mateo’s friends and associates were already convinced that he had gone completely insane. Despite the fact that these same people viewed him as a musical genius, they did not know what to make of his habits of disappearing for days at a time, either to lock himself up somewhere in a rented room to explore new realms on his instrument while searching for spiritual enlightenment through chemicals, or to wander the streets with nothing but pajamas and a guitar—there was always a guitar, a rare constant in this man’s unhinged life. Once, my uncle saw him walking the streets at night with one foot aligned with the curb, the other with the gutter, so that he was forced to maintain an awkward and drastic limp to his gait—how’s that for a metaphor?!

Speaking of this period in Mateo’s life, Uruguayan singer Verónica Indart had this story to tell:

“The last time I saw him was in the first years of the 1970s. I was

with Héctor, my husband, and Mateo arrived. He entered, he took

up the guitar, and he sat down to play by the window, looking at the

sea for a long while. We listened to him. When he finished, he got up,

he set down the guitar and he went out the door without a greeting.

That was Mateo. He arrived, gave us his music and went on without

greeting us, because it was not necessary” (Lion Production, 2006).

In 1971, for those who were fortunate to have heard Mateo play there was no doubt of that man’s overwhelming talent—mental illness or not; however, beyond a handful of tracks there existed little recorded evidence of it. This would soon change due to the influence of talented singer Diane Denoir, and through the dedication and passion of producer Carlos Píriz. Píriz, a recording technician who had worked for the live, music television show Discodromo had recently started the record label De la Planta along with Jorge “Coyo” Abuchalja, guitarist for the group Los Delfines. The ethos behind this venture was to maintain a Uruguayan label that was dedicated to Uruguayan musicians, providing them with better production, recording techniques, and better distribution than the then norm. Fortunately, through Píriz’s connections, they were able to secure regular studio time at ION Studios in Buenos Aires, Argentina, where the recording technology was far superior to that found in their native country (four tracks as opposed to two at most, for example).

In October of 1971 one such artist they chose to present to the public was the singer Diane Denoir. As she was recording a fair amount of Mateo’s material for her De la Planta debut, she felt it was only appropriate that the artist himself accompany her on some of the tracks. Having convinced Mateo to take the trip, Píriz quickly took advantage of the rare opportunity by persuading him to stay and record a solo LP for the label. However, in spite of Píriz’s optimistic plans to complete the recording in one week, he soon found that dealing with this erratic artist would be an ultimate test of endurance and patience.

The sessions went like this: Mateo had an alphabetic notebook,

and stuck in each page he had bar napkins upon which his songs

were written. If he knew the first letter of the title of the song he

wished to play, he would find the correct napkin, which would help

him remember the melody, so that he could recreate the original idea

he had envisioned when he had composed the song in the first place.

Remembering the songs was only the first obstacle […]. Mateo

would record songs one day, and erase them the next. “The first day

he recorded three or four things,” Píriz recalled. “The following day

he came in and said, ‘erase them. For Mateo, they are all wrong.’

We erased them. And that process of erasing the previous day’s work

continued for four or five days. At that moment, I understood that this

would be the system for the whole disc […]. I decided that I will be the

person who says what was well-recorded, or not, and I began to keep

all the material.”

On other days, Mateo went to ION studios only to say that he was not

inspired, and would return the next day. Then there were the days that

he appeared at the studio, and asked, “What time do we record tomorrow?”

“The same as today, at four o’clock,” Píriz would say. “Okay I am going,

until tomorrow,” was Mateo’s only reply (Lion Production, 2006).

 –

This whole arduous process continued for two months, until one day when Mateo said to the producer that he was stepping out of the studio to buy a pack of cigarettes, and never came back. He had returned to his streets in Montevideo. Píriz was left holding hours of recordings of these fragmented sessions—the only proof that Mateo had even been there. A labor of love, Píriz would then spend the better part of a year assembling these into the album that would be released in December of 1972: Mateo Solo Bien Se Lame.

One of the thirteen brilliant compositions that Píriz extracted from the chaos is the twisted beauty that is “Niña.” Through his dedication, Píriz was able to capture on this record the complex sensitivity of this troubled artist. Seeing as how, other than a rare background vocal here and there, Mateo created every sound on this album himself, his essence truly shines through each composition. There is a translation of the lyrics done by me below:

Niña (Little Girl) by Eduardo Mateo [translated by Bobby Calero]
Little girl that always has a light
showing you what you do not want.
Do not fear the birds
if they say your life with their trills.
It should be that you understand;
that’s why what comes next is what has gone.
Always in a white dress,
you go but beware;
The devils in the guise of angels
will notice you talking.
Does it shame you that you don’t care
what has been soiled?
Yuu…yu-le-lé yu-lé.
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If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

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—————–======ENJOY YOURSELF____———–

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 8)__Bread & Circus ___
  • Pick Pocket – Andy Votel
  • I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)
  • All I’ve Got To Do – The Beatles
  • Rock Steady – Aretha Franklin
  • Secondary Modern – Elvis Costello & The Attractions
  • Church On Tuesday – Stone Temple Pilots
  • Been & Gone – Annette Peacock
  • Royal Cream / I Am Fire – The Afghan Whigs
  • I Wish I Could Hear My Mother Pray Again – The Staple Singers
  • Medicine For A Nightmare – Sun Ra
  • Supergroovalisticprosifunkstication – Parliament
  • Kissing My Love – Afrique
  • Dub The Mic / Gratitude – Beastie Boys
  • All Of Your Love – The Rolling Stones (Magic Sam cover)
  • Viviendo – Jaime Roos
  • We Can’t Be Beat – The Walkmen
  • Alexandra – Hamilton Leithauser
  • When The Truth Is… – Hamilton Leithauser + Rostam
  • Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger
  • Que Tristeza – Cal Tjader
  • Niña – Eduardo Mateo
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bread-circus-1
bread-circus-2
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[Pick Pocket - Andy Votel]

[Pick Pocket – Andy Votel]

[I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)]

[I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)]

[All I’ve Got To Do – The Beatles]

[All I’ve Got To Do – The Beatles]

[Rock Steady – Aretha Franklin]

[Rock Steady – Aretha Franklin]

[Secondary Modern – Elvis Costello & The Attractions]

[Secondary Modern – Elvis Costello & The Attractions]

[Church On Tuesday – Stone Temple Pilots (photo by Mick Hutson)]

[Church On Tuesday – Stone Temple Pilots
(photo by Mick Hutson)]

[Been & Gone – Annette Peacock (photo by Richard Davis, 1972)]

[Been & Gone – Annette Peacock (photo by Richard Davis, 1972)]

[Royal Cream / I Am Fire – The Afghan Whigs (photo by Piper Ferguson, 2014)]

[Royal Cream / I Am Fire – The Afghan Whigs (photo by Piper Ferguson, 2014)]

[I Wish I Could Hear My Mother Pray Again – The Staple Singers]

[I Wish I Could Hear My Mother Pray Again – The Staple Singers]

[Medicine For A Nightmare – Sun Ra (art by Oliver Barrett)]

[Medicine For A Nightmare – Sun Ra (art by Oliver Barrett)]

[Supergroovalisticprosifunkstication – Parliament]

[Supergroovalisticprosifunkstication – Parliament]

[Kissing My Love – Afrique]

[Kissing My Love – Afrique]

[Dub The Mic / Gratitude – Beastie Boys]

[Dub The Mic / Gratitude – Beastie Boys]

[All Of Your Love – The Rolling Stones (Magic Sam cover) (photo by Kevin Winter, 2016)]

[All Of Your Love – The Rolling Stones (Magic Sam cover) (photo by Kevin Winter, 2016)]

[Viviendo – Jaime Roos]

[Viviendo – Jaime Roos]

[We Can't Be Beat - The Walkmen]

[We Can’t Be Beat – The Walkmen]

[Alexandra – Hamilton Leithauser]

[Alexandra – Hamilton Leithauser]

[When The Truth Is… – Hamilton Leithauser + Rostam]

[When The Truth Is… – Hamilton Leithauser + Rostam]

[Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger]

[Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger]

[Que Tristeza – Cal Tjader]

[Que Tristeza – Cal Tjader]

[Niña – Eduardo Mateo]

[Niña – Eduardo Mateo]

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___________________))))))))))))))))

All the best to you and yours!—  –   ————-______-________ ->BOBBY CALERO[—+=-_________________If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom.

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A Mouthful Of Pennies Presents: HOMEBREAKER

Hello All,

Here’s a MixTape I wanted to post up before it got away from me. Just a little fun something I slapped together a couple of months back for my house-warming party; best enjoyed when accompanied by alcohol & laughter.

 

–Enjoy Yourself—

 

HomeBreaker cover

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A Mouthful Of Pennies Presents:

HOMEBREAKER

  • A Peace Of Light – The Roots Feat. Amber Coffman, Angel Deradoorian & Haley Dekle
  • Fall In Love (Your Funeral) – Erykah Badu
  • Down Is Up – Moondog
  • Houses Of The Holy – Led Zeppelin
  • Refuse To Be Saved – Elvis Costello & The Roots
  • Drunken Praying Mantis Style – Beastie Boys (ft.Biz Markie)
  • Star – The Roots
  • Life Ain’t Ever Been Better Than It Is Now – Lenny Kravitz (ft. Trombone Shorty)
  • What Can You Bring Me – Charles Wright & The Watts 103rd Street Rhythm Band
  • Rockin It [edit] – The Fearless Four
  • Thank You Nation 1814 – Sly & The Family Stone/Janet Jackson (Dj Reset remix)
  • I Got A Stomach Ache – Junior Wells
  • Put On Train – Gene Harris
  • Ramble On – Led Zeppelin
  • “Your Blind Baby” – Flavor Flav
  • Can You Get To That? – Funkadelic
  • Bert’s Blues – Donovan
  • I’m A Ram – Al Green
  • Rent Party – Booker T. Jones
  • P. Control (Crystal Ball Club Mix) – Prince
  • Summertime – Bobby Womack & The Roots
  • Bold As Love – The Jimi Hendrix Experience
  • DillaTUDE: The Flight Of Titus (A.M.O.P. edit) – The Roots

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A Peace Of Light – The Roots Feat. Amber Coffman, Angel Deradoorian & Haley Dekle

Fall In Love (Your Funeral) – Erykah Badu

Down Is Up – Moondog

Houses Of The Holy – Led Zeppelin

Refuse To Be Saved – Elvis Costello & The Roots

Drunken Praying Mantis Style – Beatie Boys (ft. Biz Markie)

Star – The Roots

Life Ain’t Ever Been Better Than It Is Now – Lenny Kravitz (ft. Trombone Shorty)

What Can You Bring Me – Charles Wright & The Watts 103rd Street Rhythm Band

Rockin It [edit] – The Fearless Four

Thank You Nation 1814 – Sly & The Family Stone/Janet Jackson (Dj Reset remix)

I Got A Stomach Ache – Junior Wells

Put On Train – Gene Harris

Ramble On – Led Zeppelin

“Your Blind Baby” – Flavor Flav

Can You Get To That? – Funkadelic

Bert’s Blues – Donovan

I’m A Ram – Al Green

Rent Party – Booker T. Jones

P. Control (Crystal Ball Club Mix) – Prince

Summertime – Bobby Womack & The Roots

Bold As Love – The Jimi Hendrix Experience

DillaTUDE: The Flight Of Titus (A.M.O.P. edit) – The Roots

 

————————————–BOBBY CALERO———————————–

A MOUTHFUL OF PENNIES PRESENTS: TULPA HONEY (VOL. 1-3)

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thought-form of the Music of Gounod, according to Annie Besant and C.W. Leadbeater in Thought Forms (1901).

Music can take a man along the Path. Music is the image and the foreshadowing of the harmony that pervades the world and organizes its secret hierarchies. The motions of the spheres in the heavens are in conformity to harmony and proportion, so that, though their passage is made in perfect silence, that passage is musical. The Adept who seeks to make his life a work of art will comport himself in conformity with the harmony that is in all things. Even today’s debased popular ditties, redolent as they are of vaudeville shows and dance halls, speak of higher truths. As Sir Thomas Browne put it, music “is a Hieroglyphical and shadowed lesson of the whole World.”

—Dr. Felton in Satan Wants Me by ROBERT IRWIN (1999)

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HELLO ALL,

I’ve got quite a treat for you today! Emanating from and expanding upon the last mix—A Prayer For The New Year of The Tender HorseI present the triptych: Tulpa Honey. Bouncing upon that liminal spot where what-could-be and what-should-be converge with what-is, these three mixtapes also address a whole lot of what I’ve had rolling around in my head lately.

Be sure to snatch up all three for the full thought-form experience!

——–ENJOY YOURSELF!—–  —       –

TULPA HONEY COVER

A MOUTHFUL OF PENNIES PRESENTS:

TULPA HONEY (VOL.  1) —  –   ————-______________\/\/\/\/\/\/\/\/\/\/\/

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TULPA HONEY (VOL.  2) –   ————-______________\/\/\/\/\/\/\/\/\/\/\/

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TULPA HONEY (VOL.  3)—–
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[Cover Art: The Music of Gounod – a Thought Form from Thought-Forms, by Annie Besant & C.W. Leadbeater (1901).]

A MOUTHFUL OF PENNIES PRESENTS:

TULPA HONEY (VOL. 1)

  • Nightmare—Dispute & violence – Ravi Shankar & George Harrison
  • Volunteered Slavery/Bern’s Blues – Bernie Worrell
  • Drinkin’ Again [Interlude]/? – Outkast
  • I Don’t Wanna Be Called Yo Niga [edit] – Public Enemy
  • Don’t Call Me Nigger, Whitey – Sly & The Family Stone
  • If You Don’t Like The Effects, Don’t Produce The Cause – Funkadelic
  • “I’m Not Happy Here” – Alicia Keys (2Pac/DJ Vlad)
  • Down And Out In New York City – James Brown
  • The Pledge Of Resistance/Break Dance—Electric Boogie [A.M.O.P. remix] – Saul Williams/West Street Mob (A.M.O.P. remix)
  • Liberation – Outkast feat. Big Rube, Cee-Lo, and Erykah Badu
  • Bliss: The Eternal Now/Meditation [edit] – Carlos Santana & Bill Laswell
  • So Soon/For What It’s Worth – Staple Singers
  • All You Fascists Bound To Lose – Woody Guthrie
  • The War In Vietnam – The Five Blind Boys Of Alabama
  • “The News” – Bill Hicks
  • Vietnow – Rage Against The Machine
  • What’s The Ugliest Part Of Your Body? (A.M.O.P. reprise) – Frank Zappa
  • FCK THE BELIEFS – Saul Williams
  • Right On/ Wholy Holy [edit] – Marvin Gaye
  • Rock Star/Malcolm X/Roots Of A Tree/Come Together (feat. Zion I) – The Roots & J. Period
  • Come Together [edit] – Count Basie Orchestra
  • Every Grain Of Sand (demo) – Bob Dylan
  • Dawn—Peace & hope [edit] – Ravi Shankar & George Harrison

TULPA HONEY (VOL. 2)

  • “Do Not Be Stuck In Your Ignorance”/Greasy Legs – Charles Manson/George Harrison
  • Tomorrow Never Knows – Junior Parker
  • Maggot Brain – Funkadelic
  • What’s The Ugliest Part Of Your Body? – Frank Zappa
  • Let Your Lovelight Shine – Buddy Miles Express
  • Get Up, Get Into It, Get Involved – James Brown
  • “Dance With The Devil?” – The Joker (Jack Nicholson)
  • Infernal Dance of King Kastchei – Igor Stravinsky
  • “No Slack At All” – Charles Manson
  • Yaphet [edit] – Miles Davis
  • Revolution – Tupac ft. Busta Rhymes (DJ Green Lantern)
  • The Revolution (Brother–Gil) – Cinematic Orchestra ft. Gil Scott-Heron
  • “Same Old Monkey” – Charles Manson
  • Yaphet [edit] – Miles Davis
  • Have You Ever Seen The Blues – Yaphet Kotto
  • “Fighting For Peace” – Charles Manson
  • WTF! – Saul Williams
  • Illumination – Jonathan Wilson
  • Mala/Won’t You Come Home/Taurobolium – Devendra Banhart
  • In His Cell – Philip Glass & Kronos Quartet
  • His Holy Modal Majesty – Super Session (Al Kooper, Mike Bloomfield, Harvey Brooks, Eddie Hoh)
  • “A Reflection Of Somebody Else’s Mind” – Charles Manson
  • Shambala – Beastie Boys
  • Amazing Grace – Elvis Presley  

TULPA HONEY (VOL. 3)

  • Coniferae/Sonday/Point-Event – Mike Patton/Robert Calero
  • On The Bed – George Harrison
  • Amazing Grace Fragment – Bob Dylan
  • Amazing Grace – The Five Blind Boys Of Alabama
  • Mind Games (Demo) – John Lennon
  • Better Git It In Your Soul – Charles Mingus
  • Summer Trip – Bill Hicks
  • Something’s Got To Give – Beastie Boys
  • Hector – The Village Callers
  • Gimme (A.M.O.P. Extended Mix) – Beck
  • “Only Just Begun” – Bill Hicks
  • Season Of The Witch – Super Session (Al Kooper, Stephen Stills, Harvey Brooks, Eddie Hoh)
  • A Change Is Going To Come – Baby Huey and the Babysitters
  • Pedagogue Of Young Gods/No One Ever Does – Saul Williams
  • “Unhappy Stranger – Matt Dillon (Kerouac)
  • If There’s Hell Below (Don’t Worry) – Curtis Mayfield
  • “Who Will Survive In America – Gil Scott-Heron
  • “Final-Point” – Bill Hicks
  • Lighten Up – Beastie Boys

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———————————————BOBBY CALERO———————————————-

A MOUTHFUL OF PENNIES PRESENTS: BROKEN TAIL-FEATHERS

Hello all. Lately I can’t seem to peel myself away from some other projects I’ve got going so I’ve got to hold off a little longer on posting up part 2 to my mix, EL AMBIENTE BIEN BABES Y BEAN DE URUGUAY. But, I’ll be posting some other MixTapes for you to bump through this fading summer, and I’ve got something else here for you today!

For those looking to strut their feathers while throwing a house party, a little backyard boogie, or, to quote Redman, interested in “straight up getting your swerve on whether with a bitch or nigga,” here is two hours, thirteen minutes and twelve seconds of music designed to make you groove and boogaloo ’till you pukethe two-volume bootleg MixTape: BROKEN TAIL-FEATHERS.

—Enjoy yourself!

Broken Tail-Feathers Vol. I

BROKEN TAIL-FEATHERS: (vol. I) Get On

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If you download it, the playlist is listed under the “Lyrics” tab in itunes.

 

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Broken Tail-Feathers Vol. 2

BROKEN TAIL-FEATHERS: (vol. II) Get Off

————————(CLICK TO LISTEN & DOWNLOAD)—

If you download it, the playlist is listed under the “Lyrics” tab in itunes.

 

—————- – – – —– — — — – – – –       —– – – —- — –       –     –   –

Broken Tail-Feathers Vol. I

BROKEN TAIL-FEATHERS: (vol. I) Get On

by A Mouthful Of Pennies (Bobby Calero)

cover art by A Mouthful Of Pennies (Bobby Calero)

1)   “This is a journey into sound…”

2)   Body Baby – Pharoahe Monch

3)   Working Day & Night/P.Y.T./Wanna Be Startin Somethin – Michael Jackson (J.Period remix)

4)   B.I.G. Freestyle/Kane Freestyle – The Notorious B.I.G/Big Daddy Kane (J.Period remix)

5)   Amen, Brother [break] – G. C. Coleman

6)   Dracula’s Wedding – André 3000 (Feat. Kelis)

7)   Let’s Dance/Dancing Machine – Michael Jackson (J.Period remix)

8)   Ain’t No Fun – Snoop Dogg (feat. Nate Dogg, Warren G., Nanci Fletcher, and Kurupt)

9)   Gett Off – Prince

10)         Panic So Charming (What the Fuck Style) – J.U.F. (Gogol Bordello & Balkan Beat Box)

11)         Bulgarian Chicks – Balkan Beat Box

12)         Cocaine Blues – Escort

13)         Amen, Brother [break] – G. C. Coleman

14)         Lift Ya Skirt – Ol’ Dirty Bastard

15)         Vivrant Thing/Move/Breathe & Stop – Q-Tip (J.Period Remix)

16)         The loop of ’88 [break] – Simon Harris

17)         I Wanna Rock (Doo Doo Brown) – 2 Live Crew

18)         You Don’t Love Me (No No No) – Dawn Penn

19)         Get Ur Freak On [break] – Missy Elliott & Timbaland

20)         Shanty Town – Desmond Dekker (Diplo remix)

21)         Guns of Brooklyn – Santogold (Diplo remix)

22)         Iko Iko – The Dixie Cups (Diplo remix)

23)         Catembe [break] – Miles Davis

24)         Flava In Ya Ear (March 9 Remix) – The Notorious B.I.G (J.Period Remix)

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Broken Tail-Feathers Vol. 2

BROKEN TAIL-FEATHERS: (vol. II) Get Off

by A Mouthful Of Pennies (Bobby Calero)

Cover art by A Mouthful Of Pennies (Bobby Calero)

1)    “This is a journey into sound…”

2)    Make Some Noise – Beastie Boys

3)    Platinum Plus – Big L & Big Daddy Kane (J. Perdiod remix)

4)    Across The Sea Piano Noodles [snippet] – Weezer

5)    —Run-D.M.C Break—

6)    Big Belly Guns – Tony Matterhorn (Diplo remix)

7)    Get Busy – Sean Paul

8)    A Who Seh Ne Dun (Wake de Man)/Limb By Limb – Cutty Ranks

9)    Teach Me How To Bunny [Instrumental snippet] – Pop Levi & Bunny Holiday

10)  Murder She Wrote – Chaka Demus & Pliers

11)  If I Were A Rich Girl – Louchie Lou & Michie One

12) Fiesta-La – The Fugees (The Heatwave Refix)

13) Freaks – Lil’ Vicious & Doug E. Fresh

14) Action – Nadine Sutherland & Terror Fabulous

15) Tour Mix Part1 – Capleton (Grubson Mix)

16) As I Come Back – Busta Rhymes (Grubson Mix)

17)  Black Sweat – Prince

18)  Let’s Get High – Dr. Dre (feat. Hittman, Kurupt, & Ms. Roq)

19) Bump ‘n’ Grind (R. Kelly cover) – Beck

20) Ignition (Remix) – R. Kelly

21) Funky Drummer [break] – James Brown

22) Life ‘O’ the Party – Prince

23) In the Closet – Michael Jackson (J.Period remix)

24)  Ghetto Musick – Big Boi (feat. Andre 3000)

25)  Over Me – Tricky (feat. Ambersunshower & Hawkman)

26) Welcome To Jamrock – Damian Marley (Rob Dinero Remix Feat. The Notorious B.I.G.)

——————————— —– —–

———– —– ——– – – – – -roll call roster— — —— – – –

Pharoahe Monch

Michael Jackson

The Notorious B.I.G.

Big Daddy Kane

J. Period

G. C. Coleman (w/ The Winstons).

André 3000

Kelis

Snoop Dogg

Nate Dogg

Warren G.

Nanci Fletcher

Kurupt

Prince

Gogol Bordello

Balkan Beat Box

Escort

Ol’ Dirty Bastard

Q-Tip

Simon Harris

2 Live Crew

Dawn Penn

Missy Elliott & Timbaland

Diplo

 

Desmond Dekker

Santogold

The Dixie Cups

Miles Davis (Poster designed by Roslaw Szaybo, 1989).

Beastie Boys

Big L.

Weezer

Run-D.M.C

Tony Matterhorn

Sean Paul

Cutty Ranks

Pop Levi & Bunny Holiday

Chaka Demus & Pliers

Louchie Lou & Michie One

The Fugees

Lil’ Vicious

Doug E. Fresh

Terror Fabulous

Nadine Sutherland

Capleton

Grubson

Busta Rhymes

Dr. Dre

Hittman

Ms. Roq

Beck

R. Kelly

James Brown

Big Boi

Tricky

Ambersunshower

Hawkman

Damian Marley

DJ Rob Dinero

 

———– – — —- —- –    –     –      —    —    – –     –

All the best to you and yours,

—————(BOBBY CALERO)————— —- — — – – – –  – –   – —   –    –

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A MOUTHFUL OF PENNIES PRESENTS: The Two Cent Spit: (Vol. I) Nah-Ah-Meen & (Vol. 2) Nah-Ahm-Shayun

Hello all. Lately I can’t seem to peel myself away from some other projects I’ve got going so I’ve got to hold off a little longer on posting up part 2 to my mix, EL AMBIENTE BIEN BABES Y BEAN DE URUGUAY. But, I’ll be posting some other MixTapes for you to bump through this fading summer, and I’ve got something here for you right now.

Today, real Hip Hop is over here at A Mouthful of Pennies! If you’re having a friendly cook-out this Labor Day weekend you can listen to the same ol’ feel-good-hit-of-the-summer or some one-tone nonsense rap rolling out your radio every twelve minutes, or you can listen to something other spit from A Mouthful of Pennies! Processed and sequenced for your consumption–my very own hip hop bootlegs–the two-volume set: The Two Cent Spit: (Vol. I) Nah-Ah-Meen & (Vol. 2) Nah-Ahm-Shayun

—Enjoy yourself!

Nah-ah-Meen

The Two Cent Spit: (Vol. I) Nah-Ah-Meen ——————(CLICK TO LISTEN & DOWNLOAD)—

If you download it, the playlist is listed under the “Lyrics” tab.

— – ————————— — — – –

Nah-ahm-Shayun

The Two Cent Spit: (Vol. 2) Nah-Ahm-Shayun —————(CLICK TO LISTEN & DOWNLOAD)—

If you download it, the playlist is listed under the “Lyrics” tab.

————————————– — – – – — –

Nah-ah-Meen

The Two Cent Spit:

(Vol. I ) Nah-Ah-Meen

by A Mouthful Of Pennies (Bobby Calero)

Bootleg cover art by A Mouthful Of Pennies (Bobby Calero)

1)   Assasination Day [beat] –RZA

2)   Work – Gang Starr

3)   “This is a jorney into sound…”

4)   Despicable (Freestyle) – Eminem

5)   Big Beat/Wallys & Pringles – Raekwon

6)   Guns Blazing – UNKLE, feat. Kool G Rap

7)   Got My Mind Made Up – 2Pac, feat. Dat Nigga Daz, Kurupt, Redman, & Method Man

8)   Intoxicated – Ol’ Dirty Bastard, feat. Raekwon, Method Man, & Macy Gray

9)   Deadly Combination (March 9 Remix) – The Notorious B.I.G., Feat. 2Pac & Big L (J.Period & G. Brown remix)

10) Superlyrical  – The Roots, feat. Big Pun (J.Period remix)

11) Give Up the Goods – Q-Tip f. Nas & Mobb Deep (J.Period Remix)

12) Gangsta B*tch – Apache & Q-Tip (J.Period Remix)

13) N.Y. State Of Mind part 1&2 – Nas(A Mouthful of Pennies Manson remix)

14) Whar – RZA, feat. Ghostface Killah, Kool G Rap, & Tash Mahogany

15) Welcome To Jamrock – Damian Marley (Rob Dinero Remix Feat. The Notorious B.I.G.)

16) Welcome 2 My Block – Damian Marley, feat. 2Pac, Nas, & Scarface (Clinton Sparks remix)

17) Spit Yo Game (March 9 Remix) – The Notorious B.I.G., feat. Twista (J.Period & G. Brown remix)

18)  May 23rd Freestyle – Eminem

19) Wildflower [beat] – RZA

20) Channel Zero – Lost Boyz

21) Life Could Killer Bee – Rotary Connection/RZA (A Mouthful of Pennies remix)

————————

Nah-ahm-Shayun

The Two Cent Spit:   

(Vol. II) Nah-Ahm-Shayun

by A Mouthful Of Pennies (Bobby Calero)

Bootleg cover art by A Mouthful Of Pennies (Bobby Calero)

1) “This is a jorney into sound…”

2) Make Some Noise – Beastie Boys

3) Platinum Plus – Big L & Big Daddy Kane (J. Perdiod remix)

4) Across The Sea Piano Noodles [snippet] – Weezer

5) On My Block – 2Pac, feat. Scarface (DJ Vlad remix)

6) Lift Ya Skirt – Ol’ Dirty Bastard, feat. Missy Elliot

7) Turn My Teeth Up! – Baby Elephant (Bernie Worrell, Prince Paul, Don Newkirk)

8) Samurai Showdown [beat] – RZA

9) Alicia Keys Interlude – Alicia Keys (DJ Vlad remix)

10) What’s Beef (March 9 Remix) – The Notorious B.I.G., feat. Mos Def (J.Period & G. Brown remix)

11) Higher Level – KRS-One

12) Chops And Thangs – Beat Conductor

13) B.I.G. Freestyle/Kane Freestyle – The Notorious B.I.G/Big Daddy Kane (J.Period remix)

14) 2Pac Freestyle – 2Pac

15) Know The Ledge – Eric B. & Rakim

16) Scared Money – Saul Williams

17) Rock Star/Malcolm X/Roots Of A Tree/Come Together – The Roots, feat. Zion I (J.Period remix)

18) Wanna Get – Cam’ron

19) Next Time – Gang Starr

20) Same Song – Digital Underground

21) Audience Pleasers – Organized Konfusion

22) Bump ‘n’ Grind – Beck

23) I’d Rather Fuck You – Eazy-E

24) Banister Fight – RZA

25) New York Is Killing Me – Gil Scott-Heron, feat. Nas & Mos Def (A Mouthful of Pennies remix)

———– —– ——– – – – – -roll call roster— — —— – – –

RZA

Gang Starr

Eminem

 

Raekwon

UNKLE

Kool G Rap

Tupac

Daz

Kurupt

Redman

Method Man

Ol’ Dirty Bastard

Macy Gray

The Notorious B.I.G.

Big L

J. Period

The Roots

Big Pun

Q-Tip

Nas

Mobb Deep

Apache

Ghostface Killah

Tash Mahogany

Damian Marley

Scarface

Twista

Lost Boyz

Beastie Boys

Big Daddy Kane

DJ Vlad

Missy Elliott

Prince Paul

Bernie Worrell

Don Newkirk

Alicia Keys

Mos Def

G. Brown

KRS-One

Madlib

Eric B. & Rakim

Saul Williams

Zion I

Cam’ron

Digital Underground

Organized Konfusion

Beck

Eazy E

Gil Scott-Heron

———————————BOBBY CALERO—————————

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I’VE BEEN COMING TO WHERE I AM FROM THE GET GO: Part II: The 3-Pack Bonanza, or: Shadrach, Meshach, and Abednego in The Land of LA & Dust —SIDE A: THE INITIAL SPIN

ADAM YAUCH, MCA: AUGUST 5, 1964 – MAY 4, 2012; R.I.P.

[Before we begin I’d like to note that this past month state senator for the 25th district of the New York State Senate, Daniel Squadron, wrote up J4637-2011, which was a resolution that officially called for a pause of deliberations on the legislative floor to honor AdamMCAYauch. Text and video below:

WHEREAS, It is the sense of this Legislative Body to honor and pay tribute to those individuals whose commitment and creative talents have contributed to the entertainment and cultural enrichment of their community and the entire State of New York; and

WHEREAS, Adam Yauch, also known as MCA, the rapper, musician, activist, film director and founder of the pioneering New York hip-hop group the Beastie Boys, died on Friday, May 4, 2012, in Manhattan at age 47;and

WHEREAS, Adam Nathaniel Yauch was born on August 5, 1964, and raised in Brooklyn Heights; he was the son of Frances Yauch, a social worker, and Noel Yauch, an architect and painter, and attended Edward R. Murrow High School in Midwood; and

WHEREAS, Adam Yauch taught himself the bass guitar while growing up and joined the Beastie Boys, originally a hardcore punk outfit, playing his first show with the group when he was just 17 years old in 1981; and

WHEREAS, The Beastie Boys became well-known in the innovative music scene in Manhattan’s East Village and Lower East Side with a sound and a style all their own; and

WHEREAS, The album “Licensed to Ill” was the first hip-hop album to top the Billboard chart; and

WHEREAS, The music and message of the Beastie Boys evolved over the years, but they can’t, they don’t, they won’t stop changing the face of hip-hop, of music, and of our culture; and

WHEREAS, The Beastie Boys exemplified New York through a period in which grassroots creativity and a community of iconoclastic artists helped redefine and rejuvenate a city on the ropes, with iconic imagery from Brooklyn to Ludlow Street; and

WHEREAS, Having consistently produced multi-million selling albums and receiving Grammy awards, in April 2012 the Beastie Boys were inducted into the Rock and Roll Hall of Fame, but Adam Yauch was unable to attend due to deteriorating health; and

WHEREAS, In addition to his contributions to music, Adam Yauch was an activist and founder of the Milarepa Fund, a non-profit organization dedicated to promoting awareness about abuses in Tibet and against Tibetans, and later in life became a successful filmmaker, founding Oscilloscope Laboratories, an independent film distribution company; and

WHEREAS, A man of colossal talent and charisma, Adam Yauch is survived by his wife, Dechen Wengdu, and their daughter, Losel; he will be missed by his family, his fans and all who knew him; his dedication to his music, his activism, and his heritage leaves an indelible legacy of inspiration for all other artists; now, therefore, be it

RESOLVED, That this Legislative Body pause in its deliberations to mourn the death of famed rapper and activist Adam ‘MCA’ Yauch; and be it further

    RESOLVED, That a copy of this Resolution, suitably engrossed, be transmitted to the family of Adam Yauch.”

————————————————————————————————————————————————

SIDE A: THE INITIAL SPIN

[It must be noted that this post would have been impossible to write without the invaluable resources of Dan Leroy’s Paul’s Boutique for Bloomsbury Academic’s 33⅓ series, and Soopageek’s website, http://www.beastieboysannotated.com/]

July 25, 1989: George H. W. Bush has just recently become president, Tim Burton’s Batman has just been released, the airwaves are being dominated by New Kids on the Block’s “Hangin’ Tough” as well as by a slew of songs off of Madonna’s Like a Prayer LP, and it’s been nearly three years since those NYC assholes and party animals the Beastie Boys released an album—and you’ve just acquired their follow-up to the #1 selling Licensed To Ill:

                                    Paul’s Boutique

The panoramic cover photograph of Ludlow Street by Jeremy Shatan

Insert Photo by Ricky Powell

You press the horizontal triangle on the play button (or drop the needle into the groove) and wait for the opening track “To All the Girls” to begin. And you wait, and wait, and wait…finally you hear faint drums and electric piano fading in on a slow, open, buoyant groove—it’s the moody intro to jazz drummer Idris Muhammad’s “Loran’s Dance” off of his ’74 LP Power Of Soul (keyboards supplied by Bob James[1]*) but most likely you don’t know that. You were maybe expecting a guitar riff supplied by Kerry King[2]* of Slayer, or something of that sort.

Loran’s Dance

——————————————–(Click To Listen)

Like it? Buy it.

[1]* Bob James is perhaps best known for the 1978 instrumental “Angela,” which was used as the theme music for the sitcom Taxi. He’s also the man behind ’74 track “Nautilus,” which has been sampled numerous times, most prominently in “Daytona 500” from Ghostface Killah’s 1996 solo debut Ironman.

[2]* Kerry King supplied guitar for the sixth single off Licensed to Ill: “No Sleep till Brooklyn.”

As the music grows louder you can begin to make out what the mumbling voice has been saying; it’s MCA doing a Barry White-like spoken paean to the ladies. This makes sense as, with his George Michael combo of stubble and black leather jacket, he’d been known as the ladies’ man of the Beastie Boys. Although, the latest magazines have shown that his stubble had now grown out to “a beard like a billy-goat.”

Yea…

To all the Brooklyn girls

To all the French girls

To all the Oriental girls

Chinese…

Japanese…

To all the Swiss girls

To the Italian women

To the upper east side nubiles

To all the Jamaican girls

And to the top-less dancers

Australian…

And Brazilian

To the southern belles

To the Puerto Rican girls

To the stewardesses flying around the world…

“Shake Your Rump,” released as the B-side on the Love American Style EP[3]*

———————————–(Click To Listen)
Then BAM! With “Shake Your Rump” the mood is abruptly shattered by the rapid, successive outburst of a tom-tom fill. The music that follows sounds like the B-side on some vintage vinyl, its the only record ever released by the greatest band that never made it/the music that follows sounds like four full-tilt funk bands all scheduled to play the same disco-themed house party, and they simply cannot wait their turn: you don’t know what it sounds like, but somehow it’s all right on time. The music twists and turns just out of reach, determined to keep you on your toes and your ass on the dance floor.

And then there are the vocals. You hear those three familiar voices: the two adenoidal whines of Ad-Rock and Mike D (although each inhabiting either end of that spectrum, with Ad-Rock pushing a hard sneer, Mike D’s voice richer) contrasted against MCA’s hoarse baritone. Yet, they’re different—looser. They no longer seem so rude, but happy. Line after sinuous line darts out every which way over the music, and the three play hot-potato with the rhymes—beginning and ending each others sentences, sometimes all three ganging up on one word. They seem so exuberant while hollering out these hilarious lyrics that are just flat-out ridiculous. A procession of images fly by: something about having a lava lamp inside their brain hotel[4]* and schlepping around a disco bag; driving around bare foot Like Fred Flintstone. If you are paying attention it will leave you “staring at the radio, staying up all night.” All together, it’s the sound of frantic precision. It’s unlike anything you’ve ever heard before, and you only wanted a Beastie Boys record.

The dense, lush vinyl sounds of “Shake Your Rump” were meticulously assembled, as with the rest of Paul’s Boutique, one layer and loop at a time, and culled from the massive record collections of seven audiophiles. An arduous labor of love, “[…] the team behind Paul’s Boutique was testing the absolute limits of still-embryonic technologies like computer recording and automation” (Leroy, 2006).  Co-producer (and one half of Grammy Award winning[5]* producers the Dust Brothers) “E.Z. MikeSimpson later recalled:

“Basically, we would find a groove, and we would loop it, and then

we would print that to tape, and we would go for five minutes on

one track of the tape. And then we would find another loop, and we

would spend hours getting that second loop to sync up with the first

loop, and then once we had it in sync, we would print that for five

minutes on another track. And we would just load up the tape like that.

And once we had filled up the tape with loops, we would go in, and

Mario [C.] had this early, early, mixing board that had this very primitive

form of automation. It was pretty complex, but if you knew which tracks

you wanted playing at any given time, you typed the track numbers into

this little commodore computer hooked up to the mixing board. And each

time you wanted a new track to come in, you’d have to type it in manually.

It was just painful. It took so long. And there was so much trial and error…

there was no visual interface to show you what was going on”

(Leroy, 2006).

[3]* In June of ’89, just prior to the album’s official entrance into the marketplace “Shake Your Rump” was released as the b-side to Paul’s Boutique’s first single “Hey Ladies.” The two tracks along with the remixes “33% God,” and “Dis Yourself In ’89 (Just Do It)” were released as a 12” EP entitled Love, American Style. The title was a throwback to the Garry Marshall produced ABC show from which Happy Days was a spin-off, and the cover art (credited to one Nathanial Hörnblowér) is a photo of the kitchen in Ad-Rock’s Los Angeles apartment. If you look close you’ll find three hidden women.

[4]* This image closely echoes those of “Epistle to Dippy,” the 1967 single by Scotland’s psychedelic-troubadour Donovan, with its line: “Elevator in the brain hotel.” At the time of Paul’s Boutique’s recording, Donovan’s daughter, Ione Skye was in the midst of leaving Red Hot Chili Peppers frontman Anthony Kiedis for Adam Horovitz, who she would go on to marry.

[5]* Oddly, despite the overwhelming merits of their other work they would win this award for their contribution to Santana’s 1999 album, Supernatural. Their contribution being a song featuring Eagle-Eye Cherry entitled “Wishing It Was.”

It all begins with that rapid roll on the tom-toms: snipped from the opening seconds of drummer Alphonze Mouzon’s “Funky Snakefoot” off his 1974 album of the same name for Blue Note. Mouzon had been the drummer for McCoy Tyner before joining the initial ’71 lineup (alongside Joe Zawinul, Wayne Shorter, Miroslav Vitous, and Airto Moreira) of jazz-fusion pioneers Weather Report.

Alphonze Mouzon’s “Funky Snakefoot”

———————(Click To Listen)

Drums – Alphonze Mouzon

Clavinet – Harry Whitaker

Piano – Leon Pendarvis[6]*

Saxophone – Andy Gadsden

Trombone – Barry Rogers

Trumpet – Randy Brecker

Like it? Buy it.

Then, as Ad-Rock informs you that he can “[…] rock a house party at the drop of a hat” the sample that will serve as the backbone beat for the majority of the song kicks in: 1979’s “Dancing Room Only” by soul vocalist, songwriter, and arranger Harvey Scales[7]*. Raised in Milwaukee, Scales spent the early ’70s recording singles for Stax and the Cadet Concept division of Chess Records before signing with Los Angeles based Casablanca Records. Taken from his second LP for that label, the disco-funky Hot Foot: A Funque Dizco Opera, the track’s drums supplied by Jeffrey Williamson serve to propel “Shake Your Rump” right on through to the other side of its dozen-plus samples, just as they urge the listener to comply with Scales’ command to “shake your you-know-what.”

[6]* Leon Pendarvis has been a member of the Saturday Night Live Band since 1980 and now works as Co-Musical Director as well.

[7]* Scales is noted as the first songwriter to have a single certified platinum by the Recording Industry Association of America (RIAA) for the ’76 hit by Johnnie TaylorDisco Lady,” which featured Parliament-Funkadelic members bassist Bootsy Collins, keyboardist Bernie Worrell, and guitarist Glen Goins (RIAA, 2012).

Dancing Room Only by Harvey Scales

———————(Click To Listen)

Produced, Arranged, and Written By – Harvey Scales, Melvin Griffin

Vocals – Harvey Scales

Bass – Robin Gregory

Conductor [Strings & Horns] – Melvin Griffin

Drums – Jeffrey Williamson

Guitar – Cedrick Rupert

Keyboards, Saxophone [Alto] – Melvin Griffin

Percussion – Shondu Akiem

Piano – William Scott Harralson

Saxophone [Baritone] – Ben Petry

Saxophone [Tenor] – Kenny Walker

Synthesizer – John Eidsvoog

Trombone – Kevin Lockett

Backing Vocals – L. C. Coney, Thomas Causey

– Harvey Scales, Melvin Griffin

With MCA’s emphasis on the word pimp in the line he shares with Mike D—“so like a pimp I’m pimpin’/I got a boat to eat shrimp in”—enters the cleverly sped-up and looped layer of Roland Bautista’s[8]* funk-scratch rhythm guitar from saxophonist Ronnie Laws’ 1975 instrumental rendition of Stevie Wonder’s “Tell Me Something Good[9]*” Released by Blue Note, the album from which this track originates—Pressure Sensitive—would be Laws solo debut.

“Tell Me Something Good” by Ronnie Laws

———————————(Click To Listen)

Producer – Wayne Henderson

Saxophone – Ronnie Laws

Guitar – Roland Bautista

Clavinet – Joe Sample, Mike Cavanaugh

Electric Piano – Mike Cavanaugh

Synthesizer – Jerry Peters

Bass Guitar – Clint Mosley

Synthesizer – Jerry Peters

Tambourine – Joe Clayton

Like it? Buy it.

[8]* Bautista was also a featured member on Last Days and Time, the 3rd studio album by American R&B group Earth, Wind & Fire, as well as playing on Tom WaitsBlue Valentine and Heartattack and Vine.

[9]* A year earlier, “Tell Me Something Good” had been a hit for the Chaka Khan incarnation of Rufus.

A clatter of cymbals and descending drum rolls spill into the frame as Ad-Rock and Mike D divvy up a single line, each taking only a few chunks out of the syllables before spitting it back and forth:

“Routines I bust and the rhymes that I write”

They then alley-oop the vocals over to MCA who steps up and rasps:

“And I’ll be busting routines and rhymes all night”

“Supermellow” by Paul Humphrey

“Super Mellow” by Paul Humphrey, Louis Bellson, Willie Bobo, and Shelly Manne

——————————————————–(Click To Listen)

The break-beat clatter that bestows the Beastie Boys’ rap with buoyancy has been clipped from the opening section to “Supermellow.” Composed and originally performed by Paul Humphrey as the title track for his ’73 solo debut released on Blue Thumb Records, the version utilized here however comes from 1975 when he rerecorded the song for The Drum Session LP, which featured a line-up partly comprised by three other all-star percussionists: drummer for Duke Ellington’s big-band, Louis Bellson; Spanish Harlem’s greatest conga player, Willie Bobo[10]*; and the man who has played with everyone from Dizzy Gillespie to Tom Waits, Shelly Manne. Humphrey himself was a renowned studio musician who played with preeminent jazz artists like Wes Montgomery and Charles Mingus, as well as on Frank Zappa’s Hot Rats LP of ’69 and on the seduction masterpiece that is Marvin Gaye’s Let’s Get It On. The Drum Session also features Chuck Domanico on bass, Mike Wofford on keys, Jerome Richardson on sax and flute, and the incredible trumpet player Bobby Bryant whose cover of “Happiness is a Warm Gun” I discussed here.

“[…] rhymes all night”

MCA has hardly finished his sentence when Ad-Rock returns to the mic to rapidly deliver:

“Like eating burgers or chicken or you’ll be picking your nose

I’m on time, homey, that’s how it goes”

MCA and Mike D jump on the next line in unison:

“You heard my style I think you missed the point”

Then (extracted from Diana Ross & the Supremes’ ’69 single “No Matter What Sign You Are”) there’s the crude thap-thap-thap-thap-thap of a drum announcing The Bronx’s own Funky 4 + 1[11]*, their marathon nine-minute party jam here boiled down to the three essential words needed to conclude this verse: IT’S THE JOINT!

—————————–(Click To Listen)

[10]* WilliamBobo” Correa’s son, Eric, would end up joining the Beastie Boys’ touring line-up, as well as contributing percussion to their albums beginning with 1994’s Ill Communication.

[11]* Funky 4 + 1 are noted not only for having a female MC, (Sha Rock) way back in ’76, but also for being the first hip hop group to appear on a national television show: a Valentine’s day episode of Saturday Night Live in 1981, hosted by Deborah Harry.

“6 O’Clock DJ (Let’s Rock)” by Rose Royce

———————(Click To Listen)

Like it? Buy it.

Suddenly the whole song is swallowed up by one of the thickest (and certainly the most tweaked out) bass notes you’ve ever heard. It rolls its sinuous weight across the steady backbeat, writhing its attenuated tail end until it twitches directly into another roll of the drums, which transports the Beastie Boys right back to front-and-center. Fattened and warped, this bass note is the brief but ominous Moog intro to Rose Royce’s 1:14 long instrumental “6 O’Clock DJ (Let’s Rock)” on their debut double album, the soundtrack to the 1976 comedy Car Wash, which guest starred both Richard Pryor and George Carlin. Creatively helmed by legendary Motown producer Norman Whitfield[12]*, Rose Royce were in the process of recording their 1st album when Whitfield was hired to supply the score for director Michael Schultz’s follow-up feature to his “urban” high school comedy, Cooley High. Whitfield convinced the group to abandon their work-in-progress and allow him to compose new music for them that was closely tied to the film. They obliged and the world was rewarded with two discs of Rose Royce’s classy brand of funk.

[12]* Whitfield is the producer and co-writer behind what Bob Dylan once characterized on his radio show Theme Time Radio Hour as “a jumbo jet of a song”: The Temptations’ #1 epic soul/head-trip, “Papa Was a Rollin’ Stone.” A former coworker of mine, Ms. Walker, once turned to me half-speaking, half-singing the chorus “Papa was a rolling stone/Wherever he laid his hat was his home/and when he died, all he left us was alone,” before stating, “that’s some sad, fucked-up shit right there.” Really, who couldn’t help but agree.

As Mike D declares that he’s “back from the dead,” Rose Royce return with LequeintDukeJobe’s roundabout bass lick from another track on the Car Wash soundtrack: “Yo Yo.”

“Yo Yo” by Rose Royce

———————(Click To Listen)

Like it? Buy it.

The guitar groove of “Tell Me Something Good” reemerges as a series of parabolic frames for the clipped, rising and descending cadence of MCA’s insolent declarations of psychedelic independence despite the edicts of perception imposed by both the dollars behind him and the audience in front. Full to capacity with internal rhymes, the lines are all defiance with a smile:

A puppet on a string I’m paid to sing or rhyme

Or do my thing, I’m in a lava lamp inside the brain hotel

I might be freakin’ or peakin’ but I rock well

As the three recite a brief list of dance-steps the break-beat clatter alerts you that that monstrous Moog spawned bass is about to arrive, but first, to close MCA’s announcement that he’s “got the peg leg at the end of my stump,” comes the sample from which the songs takes its title: Afrika Bambaataa’s command that you “Shake your rump!”

In 1984, Afrika Bambaataa and James Brown released their six-part drum-machine-funk duet “Unity” for which the above video was made by Tom Pomposello, Marcy Brafman, and Peter Caesar by utilizing footage of the duo recording the song in Studio A at Unique Recording Studios, NYC.  However, the video is for “Unity (Part 1: The Third Coming)” while the “Shake your rump” sample is actually snipped from “Unity (Part 2: Because It’s Coming).”

When the trio returns it’s to shout out the song’s original title of “Full Clout,” when it existed only as a Dust Brothers’ audio experiment, never imagining anyone would ever attempt to place vocals atop this insane, dense mosaic of disco funk. The sound of a bong-hit supplied by co-producer Matt Dike then introduces the third contribution by Rose Royce, again from the Car Wash soundtrack: “Born to Love You.”

“Born To Love You” by Rose Royce

——————–(Click To Listen)

Like it? Buy it.

As Mike D states that he’s “running from the law, the press, and the parents,” a security guard at the Record Plant is brought in to ask, “is your name Michael Diamond?” to which he snidely replies, “No mine’s Clarence.” After the three share a hometown shout out of “downtown, Manhattan, the village,” the track is overwhelmed by the hoots and hollers of an entourage crowded vocal booth. Suddenly, save for the backbone drumbeat and the washtub-rub sounds of Afrika Bambaataa and the Jazzy Five’s “Jazzy Sensation” from 1981, the song becomes relatively quiet.

“Jazzy Sensation” by Afrika Bambaataa and the Jazzy Five

—————————————————————(Click To Listen)

Like it? Buy it.

Then, descending into the wind tunnel of “One of These Days” (the opening instrumental rave-up from Pink Floyd’s ’71 album Meddle), “Shake Your Rump” is just gone—. Dumped onto the folky strip-show swamp of David Bromberg’s “Sharon,” which serves as the primary musical element for Mike D’s tale of a washed-up rockabilly star now turned Manhattan vagrant by the name of “Johnny Ryall,” you’re still reeling from what you’ve just heard. You’ve just been gleefully bumped this way and that along the seamless series of dovetail joints that construct “Shake Your Rump” and now for you the art of music has been changed forever. “Changed into what?” You are not quite certain of the answer but you’re sure that something momentous had just occurred. Yet, the entire thing only lasted three minutes and eighteen seconds.

[I must note that after the completion of the writing of the above section, I came across this video in which Long Island’s DJ Funktual performs a similar vivisection, albeit a much more entertaining one:

]

As the album goes on until its full run-time of just seven minutes shy of an hour, your brain is delighted through a mosaic array of cultural references, associations, and intimations; both real and fictitious:

The “3-pack Bonanza” with its mysterious contents of three older pornographic magazines shrink-wrapped together and usually found in cheap bodegas and liquor stores.

the 7-Eleven chain convenience stores

Town drunk Otis Campbell (portrayed by Hal Smith) on The Andy Griffith Show.

The great Muhammad Ali

Adidas classic “Shell Toe” design.

Stanley Kubrick’s ’71 film adaptation of Anthony Burgess’ 1962 novel of sociopathic-social-commentary: A Clockwork Orange.

Australian rock band, AC/DC

Brooklyn’s annual street festival, The Atlantic Antic.

World champion racecar driver, Mario Andretti.

Sam the butcher and Alice from The Brady Bunch.

Travis Bickle, played by Robert De Niro in Martin Scorsese’s superb 1976 film Taxi Driver.

Ballantine Ale brand of beer.

The Band’s 1969 single, “Up on Cripple Creek.”

BMW

David Bowie, his addiction of choice, and the mirrors used to facilitate that addiction.

The Godfather of Soul, James Brown.

The Bible,

Particularly the tale of Shadrach, Meshach, and Abednego from Chapters 1–3 of the book of Daniel: The three young men who were tossed into a furnace by Nebuchadnezzar, the king of Babylon, because they refused worship the golden image. They would burn as they were protected by an angel of God.

Chicago Bears’ legendary linebacker (1965-1973) Dick Butkus .

Napoleon Bonaparte (1769-1821) [Napoleon Crossing The Alps by Jacques Louis David]

Actor Raymond Burr’s portrayal of a wheelchair bound detective on the 70s NBC television series Ironside. [1974 TV Guide Magazine cover by Robert Peak]

Cadbury Easter Eggs

The crucifixion of Jesus Christ [The Christ of Saint John of the Cross by Salvador Dali, 1951]

Vaughn Bodé’s underground comic strip character, and self-proclaimed “Cartoon Messiah,” Cheech Wizard, which, beginning in 1967, was often featured in National Lampoon magazine until Bodé’s death in ’75.

Creedence Clearwater Revival’s 1968 ode to a riverboat, “Proud Mary.”

Tom Cushman, Long-time friend and member of MCA’s ’87-’88 side-project Brooklyn, which also featured Daryl Jenifer of Bad Brains, and Murphy’s Law drummer, Doug E. Beans.

Fonzie’s cousin, the Scott Baio portrayed Chachi on the television series Happy Days, who the received his own ’82-’83 spin-off, Joanie Loves Chachi

Charles Turner a.k.a. Chuck Chillout, influential DJ at New York’s 98.7 KISS-FM, who later In 1992 became a VJ for “Uncle” Ralph McDaniels’ Video Music Box.

Colonel Sanders and his Kentucky Fried Chicken (comedian Jerry Lewis is also mentioned).

Coney Island

Johnny Cash [Hugh Morton’s famous image of Johnny Cash holding aloft a tattered American flag. –NC, 1974]

Fastnacht, 1888, by French Post-Impressionist, Paul Cézanne (1839–1906).

French, All-inclusive Club Méditerranée.

Cadillac’s Coupe De Ville model (1959 through 1993).

Rudy Ray Moore and his most famous performance as Dolemite, in the 1975 film of the same name.

John Hough’s 1974 Dodge Charger featuring chase-film Dirty Mary, Crazy Larry.

Clint Eastwood, and his “Dirty Harry” series of films, initially released in 1971.

Dragnet, the radio, television, and film crime drama about L.A. detective, Sergeant Joe Friday, starring, created, and produced by Jack Webb. The series will always be remembered for its famous opening narration: “Ladies and gentlemen: the story you are about to hear is true. Only the names have been changed to protect the innocent.”

El Diario, (literally “The Daily”) particularly El Diario la Prensa, with its offices at 1 MetroTech Center in Downtown Brooklyn, it is the largest and oldest Spanish-language daily newspaper in NYC, and the oldest Spanish-language daily in the United States.

“I’m just chillin’ like Bob Dylan.”

Bruce Willis and his reluctant-hero series of Die Hard films. The franchise, so far lasting over 20 years (with a new one to be released in 2013), all began in 1988 with Reginald VelJohnson’s (most famous for his portrayal as Carl Winslow on the sitcom Family Matters) shouts of “Shots fired at Nakatomi Plaza!”

Scottish psychedelic-troubadour and scenester Donovan

Victorian author and social critic Charles Dickens.

International doughnut and coffee retailer, Dunkin’ Donuts (with time-pressed mascot, Fred the Baker pictured).

George Drakoulias, A&R man at Def Jam who was involved in the signing of both L.L. Cool J and the Beastie Boys. He later went on to produce Shake your Money Maker, the debut album by The Black Crowes, and Dust, final album by Screaming Trees. Perhaps the most interesting trivia surrounding Drakoulias (other than the Beastie Boys claiming that they bought a hot-dog off him in “Stop That Train”) is that he was an inspiration for Billy Bob Thornton’s character “Big George Drakoulias” in the Johnny Depp starring, Jim Jarmusch directed “Psychedelic Western,” Dead Man.

[Stepping a little off-track here, this really is one of the finest films by all involved and is a must-see if you haven’t already.]

Theoretical physicist Albert Einstein.

Production team E.Z. Mike (Michael Simpson) and King Gizmo (John King), aka The Dust Brothers.

Cartoon series, The Flintstones (pictured here in a 1960s commercial for Winston Cigarettes).

Benjamin Franklin depicted harnessing the power of electricity in Benjamin West’s 1816 oil paniting, Benjamin Franklin Drawing Electricity from the Sky.

Footwear company Fila, which the Beasties claim they “never rock,” as they are in favor of Adidas.

Fundamentalist televangelist and co-founder of the Moral Majority, Jerry Falwell (pictured here with President Reagan). Upon Falwell’s death in 2007, friend (and courtroom opponent) Hustler Magazine founder Larry Flynt had this to say about the man: “My mother always told me that no matter how much you dislike a person, when you meet them face to face you will find characteristics about them that you like. Jerry Falwell was a perfect example of that. I hated everything he stood for, but after meeting him in person, years after the trial, Jerry Falwell and I became good friends. He would visit me in California and we would debate together on college campuses. I always appreciated his sincerity even though I knew what he was selling and he knew what I was selling.”

Fruit Striped Gum.

Italian physicist, mathematician, astronomer, and philosopher Galileo Galilei (pictured here in Galileo facing the Roman Inquistion by Cristiano Banti, 1857).

The state of Arizona’s geological wonder, the Grand Canyon.

The Goodyear Tire and Rubber Company.

Bernhard Goetz, the controversial “Subway Vigilante” who on December 22, 1984, while riding the 2 Train, shot 4 teenage muggers. This incident occurred at a time when NYC had a reported crime rate over 70% higher than the rest of the U.S. In 1984, there were 2 homicides, 18 violent crimes, and 65 property thefts reported per 10,000 people.

The Beatles 1968 blister-inducing, proto-heavy-metal “Helter Skelter.”

Humpty Dumpty (ill. Here by John Tenniel), character from the famous nursery rhyme: Humpty Dumpty sat on a wall/Humpty Dumpty had a great fall/All the king’s horses and all the king’s men/Couldn’t put Humpty together again. However, more appropriately when discussing the general vibe of Paul’s Boutique, I present an excerpt from Lewis Carroll’s Through the Looking-Glass, and What Alice Found There:
“I don’t know what you mean by ‘glory,’” Alice said.
Humpty Dumpty smiled contemptuously. “Of course
you don’t—till I tell you. I meant ‘there’s a nice
knock-down argument for you!’”
“But ‘glory’ doesn’t mean ‘a nice knock-down argument’,”
Alice objected.
“When I use a word,” Humpty Dumpty said, in rather a
scornful tone, “it means just what I choose it to mean—neither
more nor less.”
“The question is,” said Alice, “whether you can make words
mean so many different things.”
“The question is,” said Humpty Dumpty, “which is to be master
—that’s all.”
Alice was too much puzzled to say anything, so after a minute
Humpty Dumpty began again. “They’ve a temper, some of them
—particularly verbs, they’re the proudest—adjectives you can do
anything with, but not verbs—however, I can manage the whole lot! Impenetrability! That’s what I say!”

Escape-artist and magician (and Queens resident), Harry Houdini (1874-1926).

American motorcycle manufacturer, Harley-Davidson.

Guitar savant, Jimi Hendrix (1942-1970) [photo by Gered Mankowitz, 1967]

The CBS produced Hawaii Five-O, which ran from 1968 to 1980.

Dr. Hfuhruhurr, portrayed by Steve Martin in Carl Reiner’s 1983 comedy The Man with Two Brains. Although, the reference is actually to a supposed brand of ale that bears his name.

The apparently multipurpose gelatin dessert, Jell-O.

NBC coming-of-age drama during the 1977-1978 season, James at 15.

“America’s most familiar law firm,” Jacoby & Meyers

Jamaica, Queens; where the Central Library of the Queens Borough Public Library and numerous stores like Young World and V.I.M are located.

Popular NYC mayor, Ed Koch, who held this office from1978 to 1989.

Kool menthol cigarettes.

the chain of discount stores, K-Mart

Literary figure, pioneer of the Beat Generation, and iconoclast inspiration for nearly every artist to develop after him, Jack Kerouac.

Commander of the USS Enterprise and intergalactic lover, Captain James T. Kirk (as played by William Shatner in the original Star Trek franchise).

Miss Crabtree (as played by June Marlowe) and the Little Rascals from the Our Gang shorts, which ran from 1922-1944.

Chuck Woolery, who hosted Love Connection from 1983 to 1994.

Psychologist, philosopher, and psychedelic advocate, Dr. Timothy Leary (photo by Pat York).

Lee Press-On Nails.

Rock‘n’roll spitfire, Jerry Lee Lewis.

Lee blue jeans and their famous patch.

World famous reggae and dancehall artist, Barrington Levy.

Mardi Gras parade floats (Photo by Grant L. Robertson).

1973 blaxploitation film, The Mack, starring Max Julien as “Goldie” and Richard Pryor as “Slim.”

North American chain of budget hotels, The Motel 6.

Fast-food empire, McDonald’s.

1960s British beat band, Manfred Mann, perhaps most famous for their 1964 #1 hit song “Do Wah Diddy Diddy.”

Hanna-Barberra cartoon character, Magilla Gorilla.

the New Orleans native of Creole ancestry who helped invent jazz music throughout the 1920s and 1930s, Jelly Roll Morton (1885-1941).

The world’s most famous reggae artist, Bob Marley (1945-1981).

The west coast’s Nix Check Cashing.

‘] `Zzw33x3xxEnglish physicist, mathematician, astronomer, philosopher, and alchemist, Sir Isaac Newton (1642-1727) (Illustration by Jean-Leon Huens, for National Geographic).

Naguals, the spiritual/scientific leaders and protectors of Mesoamerican cultures like the Toltecs.

Anglican clergyman and author the abolition hymn “Amazing Grace,” John Newton (1725-1807).

Mad magazine poster-boy and pictorial depository for cultural criticism, Alfred E. Newman. He’s pictured above physically relating his motto of “What, me worry?” on the June 1975 cover of Mad Magazine #175.

A favorite in 40oz., O.E.

OTBs, now banned within NYC.

Sadaharu Oh, who holds the world career home run record of 868, as well as holding Japan’s single-season home run record of 55, set in 1964.

The coast-to-coast chain of fruit drink beverage stores, Orange Julius, which has been in operation since the late 1920s.

The ABC sitcom that ran a total of 104 episodes from 1963 until 1966, The Patty Duke Show. Child star Patty Duke (born in Elmhurst, Queens) went on to shock audiences with her portrayal of the drug-addicted singer “Neely O’Hara” in Mark Robson’s 1967 film Valley of the Dolls:

The Puma brand of footwear.

Elvis Presley and his 1956 single for RCA, “Blue Suede Shoes.”

MCA is seen here during the Licensed to Ill Tour, hanging from the marquee of legendary Manhattan nightclub, Palladium. Located on the south side of East 14th Street between Irving Place and Third Avenue, it is now a dormitory for NYU students. (photo by Sunny Bak).

Spanish explorer Ponce De Leon (1474–1521), often associated with the legend of the Fountain of Youth, reputed to be in Florida. [Illustration by F. R. Harper].

George Clinton’s Parliament and their 1975 LP Mothership Connection.

One of the greatest films of all time, Robert Downey, Sr.’s Putney Swope from 1969.

Extraordinary NYC photographer Ricky Powell (pictured here with Andy Warhol). Often referred as the “fourth Beastie Boy,” his reputation was further cemented with their lines: “Homeboy throw in the towel/Your girl got dicked by Ricky Powell.”

Forest Hills’ own punk rock legends, The Ramones, seen here performing at CBGB’s March 31, 1977 in a photo by Ebet Roberts.

The hip hop trendsetters from Hollis, Queens, Run DMC; seen here in Paris during the “Together Forever Tour.” (Photo by Ricky Powell, 1987).

Robotron: 2084, the popular arcade game released in 1982.

Drake’s Cakes’ Ring Dings.

The celebration of American muscle and bullets that is the Sylvester Stallone featuring “Rambo” film franchise. Above is the poster for 1988’s Rambo III, wherein Rambo aids Afghan rebels, the Mujahideen, to fight the Soviet invaders.

The Brothers Grimm fairy tale of Rapunzel.

The November 3, 1988 episode of Geraldo Rivera’s talk show that involved a full-out brawl between white supremacists, anti-racist skinheads, black activists, and Jewish activists.

New York Yankees Hall of Famer Phil Rizzuto, and his TV ads for The Money Store.

Rolo, the chocolate candy with a caramel center.

The chain of seafood restaurants, Red Lobster.

Outlaw hero of English folklore, Robin Hood, who would steal from the rich to give to the poor.

Children’s book author and illustrator, Dr. Seuss (1904-1991); depicted here alongside his most famous creation at The Dr. Seuss National Memorial Sculpture Garden in his birthplace of Springfield, MA—which I had the good fortune to visit once. These statues were created by sculptor Lark Grey Dimond-Cates, who also happens to be Dr. Seuss’s step-daughter.

Looney Tunes’s iconic half-pint hot-head with the itchy trigger-fingers, Yosemite Sam.

Shea Stadium, baseball park for the New York Mets from 1964 to 2008.

The Starkist tuna company

Dave Scilken (the one with the Mohawk) who was a childhood friend of Adam Horovitz and member of Ad-Rock’s original group The Young and The Useless. Dying of a drug-overdose in 1991, the Beastie Boys 1992 album Check Your Head is dedicated to him.

David Berkowitz, better known as the serial killer Son of Sam. Between July of 1976 and until his arrest in August 1977, Berkowitz prowled New York City, killing six people and wounding several others in the course of eight shootings with a .44 Caliber handgun. Upon his arrest he claimed that he was commanded to kill by a demon that had possessed his neighbor’s dog.

St. Anthony’s Feast

Kew Gardens songwriter, Paul “Rhymin’”Simon.

80’s straight edge hardcore band, S.S. Decontrol.

Jonathan Swift (1667-1745), writer of Gulliver’s Travels, and A Modest Proposal, a satirical essay that suggests that impoverished Irish might ease their economic troubles by selling their children as food for rich gentlemen and ladies.

American author, J.D. Salinger (1919-2010) best known for the novel, The Catcher in the Rye, and my favorite, Franny and Zooey.

Pentecostal evangelist (and cousin to Jerry Lee Lewis), Jimmy Swaggart.

1973 film, Shamus, starring Burt Reynolds as the hard-nosed private detective Shamus McCoy.

Russell Simmons, co-founder of pioneering hip-hop label Def Jam, founder of the Phat Farm clothing company, and also owner of Rush Artist Management—referenced in the song “Car Thief” with the lines: “…I had to deal with a money hungry mieser had a ‘caine filled Kool with my man Russ Rush.”

tie dye t-shirts

American business magnate, and somehow celebrity, Donald Trump (pictured here on the night of June 27, 1988 for the Tyson Vs. Spinks Fight).

Gonzo journalist and author of Fear and Loathing in Las Vegas, Hunter S. Thompson (1937-2005).

Landlord Ralph Furley, as portrayed by Don Knotts on sitcom Three’s Company, which ran from 1977 to 1984.

English folklore character (and the first fairy tale printed in English) Tom Thumb. The name was appropriated by Charles Sherwood Stratton (1838-1883), who, as General Tom Thumb, achieved great fame under circus pioneer P.T. Barnum.

33rd President of the United States (1945–1953) Harry S. Truman (1884-1972). As it turns out, The “S” did not stand for anything, but was chosen as his middle initial to please both his grandfathers, Anderson Shipp Truman and Solomon Young.

1887 self portrait by Dutch post-Impressionist painter, Vincent van Gogh (1853-1890), who was completely disregarded during his lifetime but is now hailed as a true visionary of the art.

Raymond White, aka Runny Ray of Run DMC’s crew

Whippets: the recreational drug used by inhaling a steel cylinder or cartridge filled with nitrous oxide (N2O)—a popular recreation for the crew behind Paul’s Boutique.

A 1986 ad for French fashion house founded in 1854 by its namesake, Louis Vuitton.

ABC sitcom Welcome Back Kotter, which ran from 1975 to 1979 and launched the career of John Travolta.

All-star Hawthorne Wingo, who played for the New York Knicks from 1973-1976.

The Bronx based Major League Baseball team the New York Yankees.

Farmer, Max Yasgur, best known as the owner of the dairy farm in Bethel, New York at which the Woodstock Music and Art Fair was held between August 15 and August 18, 1969.

Houston, Texas rock group, ZZ Top, comprised of the phenomenal musicians, Billy Gibbons (guitar and vocals), Dusty Hill (bass and vocals), and Frank Beard (percussion).

And these are only some of the references made through the lyrics; the music itself floods your mind with a concurrent ribbon of references and associations. For a culturally inquisitive kid growing up in NYC, the album presented a map for certain chambers and corridors of your mind–and it presented signposts suggesting where to look next. Although steeped in nostalgia, the album utilizes this nostalgia as a platform with which to leap forward; and it compels you to laugh as you leap. It is in fact this sort of informational mosaic that is alluded to in the faux-erudition of this blog’s tagline: the product of an upright hominid with a palimpsest encephalon.

Furthermore, for the same snotty kids behind Licensed to Ill, the album is noticeably devoid of insults. Exuberant, the Beastie Boys are “cool,” but with none of the exclusivity that typically is associated with that label. They are still fighting for their right to party, but it is a party that they truly want you to attend with them.

“Every now and then a clear harmonic cry gave new suggestions of a tune that would someday be the only tune in the world and would raise men’s souls to joy.”

——————— from On The Road by Jack Kerouac.

Art has many purposes, innumerable reasons for being, and The Beastie Boys here fulfilled a function like that of Louis Armstrong, or Charlie Chaplin—in the words of a master of this art, Mark Twain—they: “[…] excite the laughter of God’s creatures.”

Paul’s Boutique is a masterpiece of modern music, with a modern sense of acceptance and inclusion of both the high- and low-brow, both the stars and the intestines; and its poor reception would nearly end the Beastie Boys’ career.

TO BE CONTINUED

Stay tuned for Side B of I’VE BEEN COMING TO WHERE I AM FROM THE GET GO: Part II! Where we will further explore the creation of Paul’s Boutique and the architects behind the Sounds of Science!

REST IN PEACE

————————-BOBBY CALERO————-




[1]* Bob James is perhaps best known for the 1978 instrumental “Angela,” which was used as the theme music for the sitcom Taxi. He’s also the man behind ’74 track “Nautilus,” which has been sampled numerous times, most prominently in “Daytona 500” from Ghostface Killah’s 1996 solo debut Ironman.

[2]* Kerry King supplied guitar for the sixth single off Licensed to Ill: “No Sleep till Brooklyn.”

[3]* In June of ’89, just prior to the album’s official entrance into the marketplace “Shake Your Rump” was released as the b-side to Paul’s Boutique’s first single “Hey Ladies.” The two tracks along with the remixes “33% God,” and “Dis Yourself In ’89 (Just Do It)” were released as a 12” EP entitled Love, American Style. The title was a throwback to the Garry Marshall produced ABC show from which Happy Days was a spin-off, and the cover art (credited to one Nathanial Hörnblowér) is a photo of the kitchen in Ad-Rock’s Los Angeles apartment. If you look close you’ll find three hidden women.

[4]* This image closely echoes those of “Epistle to Dippy,” the 1967 single by Scotland’s psychedelic-troubadour Donovan, with its line: “Elevator in the brain hotel.” At the time of Paul’s Boutique’s recording, Donovan’s daughter, Ione Skye was in the midst of leaving Red Hot Chili Peppers frontman Anthony Kiedis for Adam Horovitz, who she would go on to marry.

[5]* Oddly, despite the overwhelming merits of their other work they would win this award for their contribution to Santana’s 1999 album, Supernatural. Their contribution being a song featuring Eagle-Eye Cherry entitled “Wishing It Was.”

[6]* Leon Pendarvis has been a member of the Saturday Night Live Band since 1980 and now works as Co-Musical Director as well.

[7]* Scales is noted as the first songwriter to have a single certified platinum by the Recording Industry Association of America (RIAA) for the ’76 hit by Johnnie TaylorDisco Lady,” which featured Parliament-Funkadelic members bassist Bootsy Collins, keyboardist Bernie Worrell, and guitarist Glen Goins (RIAA, 2012).

[8]* Bautista was also a featured member on Last Days and Time, the 3rd studio album by American R&B group Earth, Wind & Fire, as well as playing on Tom WaitsBlue Valentine and Heartattack and Vine.

[9]* A year earlier, “Tell Me Something Good” had been a hit for the Chaka Khan incarnation of Rufus.

[10]* WilliamBobo” Correa’s son, Eric, would end up joining the Beastie Boys’ touring line-up, as well as contributing percussion to their albums beginning with 1994’s Ill Communication.

[11]* Funky 4 + 1 are noted not only for having a female MC, (Sha Rock) way back in ’76, but also for being the first hip hop group to appear on a national television show: a Valentine’s day episode of Saturday Night Live in 1981, hosted by Deborah Harry.

[12]* Whitfield is the producer and co-writer behind what Bob Dylan once characterized on his radio show Theme Time Radio Hour as “a jumbo jet of a song”: The Temptations’ #1 epic soul/head-trip, “Papa Was a Rollin’ Stone.” A former coworker of mine, Ms. Walker, once turned to me half-speaking, half-singing the chorus “Papa was a rolling stone/Wherever he laid his hat was his home/and when he died, all he left us was alone,” before stating, “that’s some sad, fucked-up shit right there.” Really, who couldn’t help but agree.

REF:

Bambaataa, A., Brown, J., Pomposello, T., & Brafman, M. (Creators). (1984). Fredseibert (Poster) (2007, Jan. 3). Unity by James Brown & Afrika Bambaataa [Video] Retrieved March 22, 2012 from http://www.youtube.com/watch?v=b6hE5OmpKyc.

Bambaataa, A. & the Jazzy Five (1981). Jazzy Sensation [recorded by Afrika Bambaataa & The Jazzy 5] On Jazzy Sensation (12″) [Vinyl] Tommy Boy Music (1981).

Beastie Boys (1989). Shake Your Rump [recorded by Beastie Boys] On Paul’s Boutique [CD] Capitol (1989). Capitol (2009).

Carroll, L. (1872). Through the Looking-Glass. Raleigh, NC: Hayes Barton Press

Flynt, L. (2007, May 20). The porn king and the preacher. Los Angeles Times.

Funky 4+1 (1980). That’s The Joint [recorded by Funky 4+1] On That’s The Joint (12”) [Vinyl] Sugar Hill Records (1980).

Humphrey, P. (1973) Supermellow [recorded by Paul Humphrey, Shelly Manne, Willie Bobo, Louis Bellson] On Drum Session [Vinyl] Philips (1975).

Kerouac, J. (1957). On the Road. London: Penguin Books (2000)

LeRoy, D. (2006). 33⅓ Paul’s Boutique. Continuum: New York.

Mouzon, A. (1974). Funky Snakefoot [recorded by Alphonze Mouzon] On Funky Snakefoot [CD] Blue Note (1974). EMI (2002)

Muhammad , I. (1974). Loran’s Dance [recoded by Idris Muhammad] On Power Of Soul [CD] Kudu (1974). Sony (2002).

NY Senate. (2012) (Creators). NYSenate (Poster). (2012, May 15). Senator Squadron Speaks on the Death of Famed Rapper Adam “MCA” Yauch [Video] Retrieved March 22, 2012 from http://www.youtube.com/watch?v=bEz_iVmZkOo&feature=player_embedded

Scales, H. (1979). Dancing Room Only [recorded by Harvey Scales] On Hot Foot: A Funque Dizco Opera [Vinyl] Casablanca Records (1979).

Twain, M. (1865). Letter to Orion Clemens, October 19 and 20, 1865. Retrieved from http://www.twainquotes.com/Humor.html

Whitfield, N. (1976). 6 O’Clock DJ (Let’s Rock) [recorded by Rose Royce] On Car Wash (Original Motion Picture Soundtrack) [CD] Mca Records (1976). (1996)

Whitfield, N. (1976). Born To Love You [recorded by Rose Royce] On Car Wash (Original Motion Picture Soundtrack) [CD] Mca Records (1976). (1996)

Whitfield, N., & Rose Royce. (1976). Yo Yo [recorded by Rose Royce] On Car Wash (Original Motion Picture Soundtrack) [CD] Mca Records (1976). (1996)

Wonder, S. (1975). Tell Me Something Good [recorded by Ronnie Laws] On Pressure Sensitive [CD] Blue Note (1975). (1995).



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I’VE BEEN COMING TO WHERE I AM FROM THE GET GO: Part I: The New Style

ADAM YAUCH, MCA: AUGUST 5, 1964 – MAY 4, 2012; R.I.P.

Unfortunately, it seems that lately the only time I feel compelled to take time out of my busy schedule to post on this blog is under the solemn circumstances of needing to pay my respects to an artist who has recently passed.

 

“Born and bred Brooklyn U.S.A./They call me Adam Yauch but I’m MCA”

MCA

Today, I pay such tribute to hip-hop pioneer and founding member of the Beastie Boys, Adam Yauch, aka MCA, aka Nathanial Hörnblowér. After a three-year battle with a cancerous parotid salivary gland, Yauch died on Friday, May 4th in his hometown of N.Y.C. He was 47. Yauch is one of the few celebrities whose death has actually had a strong emotional impact on me (the death of another NYC artist, Jim Carroll on September 11, 2009 is one from recent memory). Sure, when an artist whose work you enjoy dies you likely take note, but rarely does it truly upset you; rarely does it feel like a personal loss.

However, with each member of this triad being responsible for 33% of the aggregate sounds, images, attitudes, costumes, and overall vibe that is the life-long art project known as the “Beastie Boys” (I’ll leave that final 1% to be assigned to whatever collaborators, inspirations, and spiritual beliefs the group might wish to credit) the loss of Adam Yauch’s intrinsic creative input has effectively put an end to their singular voice, and it is a voice that will be sorely missed.

Along with Mike D and Ad-Rock, MCA’s Beastie Boys have created a most remarkable and enjoyable body of work through a career that has improbably endured over three decades. At their best, the Beastie Boys represent limitless possibility, and the promise of a good time to be had when exploring all these possibilities.

Regarding the death of their “brother,” an obviously grieving Ad-Rock sent out this image…

…while Mike D issued a statement that could also serve to characterize and sum up my feelings towards the Beastie Boys as a whole:

He really served as a great example for myself and so many of what

determination, faith, focus, and humility coupled with a sense of humor

can accomplish (Dillon, 2012).

As modern music, particularly within the genres of Rap and Hip Hop, has increasingly become pessimistic and irate (with dour faced men earnestly either adopting the supposed postures of thugs and hard-cases or acting emotionally fragile, alternately boasting and whining how they are all alone in this world and all the while clenching their teeth to convince you of their sincerity) the Beastie Boys and their overwhelming sense of camaraderie and levity have always been received as a welcome breath of fresh air. Furthermore, beyond these distinctive emotional qualities, sonically the Beastie Boys has been one of the most innovative recording artists to ever emerge. Over the years they have consistently explored and redefined the outer limits of popular sound and song construction.

Formed at the dawn of the 1980s in New York’s downtown art scene, the Beastie Boys began as a hardcore punk band, which served as a supporting act for notable groups such as the Dead Kennedys, Bad Brains, the Misfits, and Reagan Youth  (Pollicino, 2009) at long-gone NYC venues like CBGB, A7, and Max’s Kansas City, and numerous other forgotten crawlspaces. Originally consisting of Manhattan-raised drummer/vocalist MichaelMike DDiamond, child of an interior designer and Harold Diamond, an eminent art dealer; Brooklyn-born bassist AdamMCAYauch, the only child of Frances, a social worker and a public school administrator, and Noel Yauch, a painter and architect (LeRoy, 2006); the band also featured friend John Barry as the guitarist; and Kate Schellenbach, who would go on to play drums for the first act signed to the Beastie Boys’ own Grand Royal label: Luscious Jackson.

Adam “MCA” Yauch & Michael “Mike D” Diamond

In 1982, this line-up would release the EP Polywog Stew on the local independent label, Rat Cage. Perhaps the most memorable track on this release of noisy, rapid punks songs is “Egg Raid On Mojo,” as it memorialized one of the Beastie Boys then favorite pastime pranks of terrorizing friends as well as strangers by tossing raw eggs at them. This theme, as well as some of the lyrics would later be revisited in 1989 for the track “Eggman.”

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Like it? Buy it.

This album also featured the track “Holy Snappers,” for which the following accompanying video was made:

Soon afterwards, John Barry (Berry? I’ve read both) and Kate Schellenbach would leave the group only to be replaced by AdamAd-RockHorovitz. Horovitz—born in South Orange, New Jersey and raised in Manhattan by his mother Doris and his father, playwright Israel Horovitz—was the singer/guitarist for the punk rock band The Young and The Useless, which would often perform alongside the initial incarnation of the Beastie Boys (LeRoy, 2006). With the addition of Ad-Rock, the creative core of the Beastie Boys was now complete.

In 1983 the trio would release the EP Cooky Puss, the title track of which would be their first experimentation with hip hop: the song relying heavily on sampled vocals, turntable scratching, and processed beats, techniques most commonly associated with the still burgeoning style of music. The song’s title is a reference to Carvel’s delicious (I just bought one for my wife’s birthday last month) ice cream cake “Cookie Puss,” which is made in the shape of a face, with ice cream sandwiches serving as the eyes and an upside down sugar cone as the nose. As an interesting aside, Cookie Puss is intended to be a space alien born on the planet Birthday and his original name was “Celestial Person.” These initials were maintained, and later came to stand for “Cookie Puss.” Those who grew up in the NY area might recall the really whacked-out low-budget commercials produced by Carvel that featured Cookie Puss floating in space and speaking in a tweaked, pitch-shifted voice that’s kind of terrifying in retrospect.

The Beastie Boys’ song contains recordings of various crank calls the group made to a local Carvel restaurant, and it would become a local, underground hit single.

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Like it? Buy it.

After this minor hit, the Beastie Boys—who seem to have always had an uncanny ability to absorb their influences, only to subsequently reproduce, or extrapolate them rather, into something not only unique, but visionary as well—began to alter their sound, reorganizing into the now familiar formula of “Three MC’s and One DJ.” It was at this time that they were signed to Def Jam Recordings, a fledgling record label that had been run out of founder Rick Rubin’s NYU dorm room in Weinstein Hall on University Place right off Washington Square Park. Raised in Lido Beach, Rubin, that odd, bearded figure of old-school hip-hop had recently partnered with concert promoter/artist manager (and older brother of Rev. Run of Run-DMC) Russell Simmons. Simmons, raised in the Queens’ neighborhood of Hollis, had spent the past few years managing Kurtis Blow as well as his younger brother’s group (Tomassini , 2006) when he was introduced to Rick Rubin (I have read alternately that this introduction was done by Zulu Nation’s DJ Jazzy Jay, and by that multi-talented artist and all-around weirdo, Vincent Gallo).

Russel Simmons & Rick Rubin

At the time of the Beastie Boys’ signing, Def Jam was in the process of recording and releasing the debut single by a 17 year-old LL Cool J: “I Need a Beat,” which was co-written by Ad-Rock.

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Like it? Buy it.

This music and its scene were still in its infancy. It was an exciting time to be at its foundation and it was not only possible for a group of middle-class white boys to be signed based on their potential, but for them to actually become one the most popular and respected acts of the genre too.

Beastie Boys & Run-DMC

Def Jam soon released the Beastie Boys’ 1985 Def Jam debut single; the Rick Rubin produced “Rock Hard.”

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The track prominently features a sample from the song “Back in Black” by AC/DC (a band I must admit I’ve always loathed). As these samples were used without obtaining legal permission, the record was soon withdrawn. In fact, when the Beastie Boys were compiling tracks for their 1999 career retrospective Beastie Boys Anthology: The Sounds of Science, Mike D reached out to AC/DC seeking permission for the inclusion of “Rock Hard” but was denied. As Mike D later stated: “AC/DC could not get with the sample concept. They were just like, ‘Nothing against you guys, but we just don’t endorse sampling.’” Ad-Rock then added, “So we told them that we don’t endorse people playing guitars” (NME, 1999). Ironically enough, around the same time as the Beastie Boys’ debut, the airline corporation British Airways created a commercial that illegally used a portion of “Beastie Revolution” off their Cooky Puss EP. The Beastie Boys successfully sued British Airways and used the money awarded them to rent a loft at 59 Chrystie Street in New York City’s Chinatown. This apartment was an ideal location for the group to rehearse loudly “into the wee hours, as it was conveniently located atop a sweatshop and a brothel” (LeRoy, 2006). This apartment was later memorialized as the title of the opening segment of their epic “B-Boy Bouillabaisse,” which closes the groups’ 1989 LP Paul’s Boutique, an album that would be simply impossible to create under today’s copyright and sampling laws as it uses an innumerable amount of samples.

Chinatown in the late ’70s

With its thick but bare-bones beats paired with heavy-metal guitar riffs, the steady measured delivery of which serve as a frame for the trio’s rapid, paroxysmal, and pinched approach to rhyming—the production formula for “Rock Hard” would serve as the basic template for the Beastie Boys’ 1986 debut LP, the Rick Rubin co-produced Licensed to Ill. It was an overwhelming success.

Licensed to Ill

They had spent the previous year building a fan base and a bad reputation with the release of “She’s on It” from the Krush Groove soundtrack, as well as supporting both John Lydon’s post-Sex Pistols project Public Image Ltd (PiL) and Madonna on her North American The Virgin Tour (apparently she and MCA were momentarily an item while on this tour). Now, with the release of their debut they were certified stars, as Licensed to Ill became one of the best-selling albums in history (Cameron, 2004).

Beastie Boys & Madonna: The Virgin Tour

A collection of juvenile fantasies—both rude and rudimentary—the album utilized samples from the likes of Led Zeppelin, Black Sabbath, and even Creedence Clearwater Revival crammed with misogynistic lyrics and delirious wordplay that seemed to scream, “don’t take this too serious!” However, ridiculous as it may seem now, the Beastie Boys and their purported message was taken seriously by the watchdog facet of the media and they were deemed a serious threat to the decency of American youth. To my mind equally ridiculous, Licensed to Ill became the first rap album to reach #1 (BBC, 2012). It’s important to note, however, that despite its success there were many who viewed the group and its music as just plain stupid. Originally to be titled Don’t Be a Faggot, the album’s cartoon tales about drinking, drugging, robbing, rhyming, vandalism, gun-toting, and scamming on chicks were delivered in the unapologetic sneer of privileged delinquents, or as they themselves say on “The New Style”:

Some voices got treble, some voices got bass

We got the kind of voices that are in your face

Although being at the very least an amusing album (and still a lot of fun to shout along to), Licensed to Ill and its smash hit single “(You Gotta) Fight for Your Right (To Party)” would leave one with the impression that the Beastie Boys were nothing but a one-trick-pony.

This single was further promoted (as the band’s image was further pigeonholed) with its now ubiquitous video, a quasi-riff on defiant party songs like Mötley Crüe’s cover of Brownsville Station’s “Smokin’ in the Boys Room” and the biker gang invasion scene of George A. Romero’s Dawn of the Dead:

Looking back on this era of their lives and the reactions to the album (particularly how their sense of humor and ironic parodies seemed to be lost on a majority of their audience), the Beasties were quoted as saying:

MCA: We were definitely getting drunk and acting really stupid and

trying to purposely be obnoxious because we thought it was funny—

but we were also talking in the lyrics about smoking crack and smoking

dust and all the type of stuff that we weren’t actually doing. It was all

just stupid exaggeration.

Ad-Rock: And the press, at that time, would have believed anything.

So we just made shit up. It was kind of a goof. We’d just build on each

other’s stories. Like, yeah, we flooded the bathroom at the hotel, and

we sawed a hole in the ceiling so that we could go from one room to the

other.

Mike D: But once it gets printed one place that establishes it as fact.

I think the thing that we weren’t prepared for was when the exaggeration

stopped coming from us—when it went to the tabloid level. It took the

whole thing into a completely negative and kind of frightening and

alienating area. It’s easy to look back on it now, in this context, and see

it all leading up to that point. But at the time, we really didn’t know what

was happening (NME,1999).

As they embarked on their first headlining world tour (a beer-chugging, fist-pumping mess that featured dancing ladies in cages, a giant hydraulic penis, and crowds populated by frat-boys) the Beastie Boys were beginning to feel that the joke was perhaps wearing thin if not turning on them; they were starting to fear that they were actually becoming their own parody. Above all, the excess of the tour was simply wearing them out. The three were roughly only 21-years-old.

Licensed to Ill Tour, 1987

Licensed To Ill Tour, 1987

To further embitter them, producer Rick Rubin was receiving a majority of the creative credit for not only the music, but also the entire “Beastie Boy” persona. Years later, Russell Simmons admitted, “they didn’t have the credit they deserved early on for being creative” (LeRoy, 2006). Interestingly, one of the few tracks from the album that deviates from the rap/rock mold is the sample-spastic “Hold It, Now Hit It” (interpolating: “Drop the Bomb” and “Let’s Get Small” by Trouble Funk; “Funky Stuff” by Kool & The Gang; “Take Me to the Mardi Gras” by Bob James; “Christmas Rappin’” by Kurtis Blow; “La Di Da Di” by Doug E. Fresh and Slick Rick; and “The Return of Leroy” by The Jimmy Castor Bunch, who I’ve discussed earlier, here ) which was produced by the Beasties themselves and without Rubin’s input.

Coupling this lack of artistic recognition with the fact that they had yet to be paid by Def Jam (Simmons) an estimated $2 million in royalties, as they came off tour the three were just about ready to quit: whether they would depart from their label or quit being Beastie Boys altogether, I’m certain that they themselves were not sure of at the time. If they had left the project there and then, the Beastie Boys today would most likely be remembered as a novelty act, relegated to a footnote for the golden age of hip hop and only discussed during nostalgia driven programming for the purposes of demonstrating how ridiculous the tastes of the ’80s were.

What followed, however, is one of the most inconceivable tales of artistic reinvention, personal development, and the evolution of music…

TO BE CONTINUED

Stay tuned for I’VE BEEN COMING TO WHERE I AM FROM THE GET GO: Part II! Where we will explore the creation of Paul’s Boutique and the architects behind the Sounds of Science!

REST IN PEACE

————————-BOBBY CALERO————

Ref:

BBC. (2012, May 4.). Beastie Boys star Adam Yauch dies aged 47. BBC. Retrieved from http://www.bbc.co.uk/news/entertainment-arts-17963855

Beastie Boys. (1982) Egg Raid On Mojo [recorded by Beastie Boys] On Polly Wog Stew [vinyl] Rat Cage. (1982). Re-released on Some Old Bullshit [CD] Capitol. (1994).

Beastie Boys. (1983) Cooky Puss [recorded by Beastie Boys] On Cooky Puss 12” [vinyl] Rat Cage. (1983). Re-released on Some Old Bullshit [CD] Capitol. (1994).

Beastie Boys. (1982) (Creators). Fiama22 (Poster) (2007, July 31). Beastie Boys – Holy Snappers punk [Video] Retrieved May 7, 2012 from http://www.youtube.com/watch?v=35YSM7zbV1w

Beastie Boys. (1986) (Creators). TheBeastieBoysVEVO (Poster) (2009, June 16). The Beastie Boys – Hold It Now, Hit It  [Video] Retrieved May 7, 2012 from http://www.youtube.com/watch?v=oB0NM6reiRE&ob=av2e%20%5Bvid%5D

Beastie Boys. (1986) (Creators). TheBeastieBoysVEVO (Poster) (2009, June 16). (You Gotta) Fight For Your Right (To Party) [Video] Retrieved May 7, 2012 from http://www.youtube.com/watch?v=eBShN8qT4lk

Beastie Boys. (1985) Rock Hard [recorded by Beastie Boys] On Rock Hard 12” [vinyl] Def Jam Recordings. (1985).

Burns, M. E., (2000). The Beastie Boys. Pendergast, S., & Pendergast, T. (Ed.). St. James Encyclopedia of Popular Culture, Vol. 1. 200-201. Detroit: St. James Press. Retrieved from Gale Virtual Reference Library.

Cameron, S. (2004). Beastie Boys. Wachsberger, K., & Laplante, T. (Ed.). Baker’s Biographical Dictionary of Popular Musicians Since 1990, Vol. 1. 47-49. Detroit: Schirmer Reference. Retrieved from Gale Virtual Reference Library.

Carvel. (1985) (Creators). 0816brandon (Poster) (2012, April 16). Carvel’s Cookie Puss commercial [Video] Retrieved May 7, 2012 from http://www.youtube.com/watch?v=vjQpGeXnuio

Dillon, N. (2012, May 7.). Adam Yauch remembered: Beastie Boys’ Mike D and Ad-Rock open up on death of their ‘brother.’ New York Daily News. Retrieved from http://www.nydailynews.com/entertainment/music-arts/adam-yauch-remembered-beastie-boys-mike-ad-rock-open-death-brother-article-1.1074007#ixzz1uI94udC4

Horovitz, A., Smith, J., Rubin, R. (1984) I Need A Beat (Remix) [recorded by L.L. Cool J] On Radio [CD] Def Jam Recordings. (1985).

LeRoy, D. (2006). 33⅓ Paul’s Boutique. Continuum: New York.

New Musical Express. (1999, November 11). AC/DC nix Beastie Boys sample. New Musical Express. Retrieved from http://beastieboys.tumblr.com/post/291070903/ac-dc-nix-beastie-boys-sample

Pollicino, R. (2009). Gigography. Retrieved from BeastieMania.com..

Tomassini, C. (2006). Simmons, Russell. Palmer, C. A. (Ed.). Encyclopedia of African-American Culture and History, Vol. 5. 2035. Detroit: Macmillan Reference USA. Retrieved from Gale Virtual Reference Library.

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