Beastie Boys

小簡(jiǎn)介
Beastie Boys樂(lè)隊(duì)是一支非常有爭(zhēng)議的三人組，雖然是說(shuō)唱組合，但是他們的朋克思想一直影響著這支樂(lè)隊(duì)，從音樂(lè)角度來(lái)說(shuō)，他們?cè)谡f(shuō)唱和朋克之間的混合成為了他們的另類(lèi)風(fēng)格，這張專(zhuān)輯也基本保持了這樣的特點(diǎn)。不過(guò)這張專(zhuān)輯的首周銷(xiāo)量卻比六年前他們的上一張專(zhuān)輯相差許多，首周36萬(wàn)張的銷(xiāo)量雖然仍夠他們坐上Billboard 200排行榜冠軍的位置，但是比六年前的68萬(wàn)2千張相比幾乎少了一半。 這是一張有著尖銳的語(yǔ)言，以及幾乎通篇政治玩笑的專(zhuān)輯。這是Beastie Boys樂(lè)隊(duì)一貫的特點(diǎn)，只不過(guò)這一次似乎他們又把最初成名時(shí)的激烈也些許的引入到這張專(zhuān)輯中。對(duì)于Beastie Boys樂(lè)隊(duì)這樣的把自己的音樂(lè)方式玩弄的爛熟于胸的樂(lè)壇老手來(lái)說(shuō)，保持風(fēng)格上的相對(duì)穩(wěn)定，以自己最熟練的技巧去錄制專(zhuān)輯是最穩(wěn)妥的一個(gè)辦法。Beastie Boys樂(lè)隊(duì)在這張專(zhuān)輯里就依然廣泛的使用自己的采樣技術(shù)，吸收了許多不同作品的曲調(diào)，這是他們保證專(zhuān)輯質(zhì)量的一個(gè)不錯(cuò)的手段。
大事記
Beastie Boys主要團(tuán)員包括Mike D、MCA和Ad-Rock三人。不過(guò)，若回顧Beastie Boys則先必須將時(shí)間推回80年代中期，當(dāng)美國(guó)還是保守的里根政府當(dāng)政的時(shí)代，而B(niǎo)eastie Boys則仍是在紐約街頭廝混的白人小孩。雖然他們幾位都是出身自家境不錯(cuò)的猶太家庭，但他們卻反而喜歡尋找一些與他們成長(zhǎng)環(huán)境非常不同的事物。組團(tuán)之后幾年，他們以首張專(zhuān)輯《Licensed to Ill》及一首單曲《Fight For Your Right》成為暢銷(xiāo)團(tuán)體，而且在當(dāng)時(shí)整個(gè)美國(guó)獨(dú)立音樂(lè)界面臨改革沖擊之際，他們亦變成了后朋克青年反英雄美學(xué)的代表團(tuán)體之一。此后，他們接連推出各方頗受好評(píng)的經(jīng)典專(zhuān)輯《Paul’s Boutique》、《Check Your Head》與《Ill Communication》而成為新學(xué)派饒舌樂(lè)風(fēng)的先驅(qū)人物，甚至間接影響了90年代中后期的新樂(lè)風(fēng)及電子拼貼手法
Beastie Boys樂(lè)隊(duì)是在后朋克時(shí)代美國(guó)流行音樂(lè)界具有重要地位和巨大影響力的一支樂(lè)隊(duì)，之所以稱(chēng)Beastie Boys樂(lè)隊(duì)為非常重要，不僅僅是因?yàn)樗麄兪堑谝粋€(gè)真正大牌的白人說(shuō)唱團(tuán)體，更重要的是由于他們促進(jìn)了兩種音樂(lè)流派的混合——朋克和說(shuō)唱。這支最初成立于1979年的樂(lè)隊(duì)原本是一支硬核朋克樂(lè)隊(duì)，在朋克音樂(lè)的巔峰過(guò)后，他們把B-boy，DIY等等hip-hop觀念融入到自己的音樂(lè)之中，從另一個(gè)方面也可以說(shuō)是把吉他演奏等搖滾樂(lè)元素加入到了說(shuō)唱音樂(lè)之中。盡管長(zhǎng)期的時(shí)間里一直以地下音樂(lè)的身份存在，但是他們充分的抓住了朋克音樂(lè)和說(shuō)唱音樂(lè)在文化層面的某些同源性，繼而形成了自己的音樂(lè)風(fēng)格。
雖然在初期，這支由硬核朋克樂(lè)隊(duì)轉(zhuǎn)型為說(shuō)唱樂(lè)團(tuán)的白人三人組合被hip-hop評(píng)論家們認(rèn)為是文化強(qiáng)盜，但是在之后的時(shí)間里，Beastie Boys樂(lè)隊(duì)漸漸的用自己的行動(dòng)向人們證明了在后朋克時(shí)代的地下音樂(lè)中，他們成為了這兩種音樂(lè)流派混合的先驅(qū)。雖然他們?cè)谏鲜兰o(jì)80年代發(fā)行的早期的作品，大多數(shù)在當(dāng)時(shí)都沒(méi)有引起足夠的重視，但在現(xiàn)在而言，從《Licensed to Ill》到《Paul's Boutique》，統(tǒng)統(tǒng)被看作是朋克與說(shuō)唱音樂(lè)混合的最早一批的經(jīng)典，從而寫(xiě)入史冊(cè)。而當(dāng)90年代初的時(shí)候，Beastie Boys樂(lè)隊(duì)從地下?tīng)顟B(tài)成為了排行榜的冠軍的時(shí)候，Beastie Boys樂(lè)隊(duì)自然而然的也被認(rèn)為是整個(gè)90年代中最有影響力的樂(lè)團(tuán)之一。
正是由于充分抓住了朋克音樂(lè)和說(shuō)唱音樂(lè)在文化層面的某些同源性，例如非主流青年群體自由的激進(jìn)政治理念，反叛尖銳的觀點(diǎn)，這類(lèi)弱勢(shì)群體的吶喊，以及音樂(lè)流派混合上的創(chuàng)造性成功，讓Beastie Boys樂(lè)隊(duì)逐漸從一支地下?tīng)顟B(tài)的樂(lè)隊(duì)成為了真正大牌的超級(jí)明星，他們贏得了這兩類(lèi)音樂(lè)風(fēng)格的眾多歌迷廣泛的支持，在商業(yè)上取得了巨大的成功。并且由于他們?cè)谝魳?lè)上取得的創(chuàng)造性成就，在黑人hip-hop音樂(lè)與朋克音樂(lè)在文化層面的成功把握，他們帶動(dòng)的音樂(lè)流派混合，注重采樣技術(shù)運(yùn)用對(duì)后來(lái)的音樂(lè)人的影響，Beastie Boys樂(lè)隊(duì)在音樂(lè)評(píng)論界也贏得了極高的贊譽(yù)。必須指出的是，由于該樂(lè)隊(duì)尖銳的西方政治觀點(diǎn)，因而經(jīng)常進(jìn)行一些影響別國(guó)的政治性活動(dòng)。
與人們的想象不同，Beastie Boys樂(lè)隊(duì)的成員并不是來(lái)自于美國(guó)社會(huì)草根階層，他們?nèi)慷际羌~約中產(chǎn)階級(jí)家庭的子弟。樂(lè)隊(duì)現(xiàn)有的三名成員分別是：Mike D原名Mike Diamond，出生于1966年11月20日；MCA原名Adam Yauch，生于1965年8月5日；Ad-Rock原名Adam Horovitz，出生于1967年10月31日，但是他們并不是樂(lè)隊(duì)最初的陣容。上世紀(jì)70年代末，80年代初的時(shí)候，這群只有十幾歲的少年就開(kāi)始混跡于紐約地下的朋克音樂(lè)圈子中。不久之后的1981年，Mike Diamond與Adam Yauch一起組建了最初的Beastie Boys樂(lè)隊(duì)，當(dāng)時(shí)樂(lè)隊(duì)的其他成員還包括了鼓手Kate Schellenbach以及吉他手John Berry。這支由十幾歲的年輕人組成的樂(lè)隊(duì)開(kāi)始在紐約的地下俱樂(lè)部演出，并且發(fā)行過(guò)一些內(nèi)容很少的EP唱片。而當(dāng)時(shí)Adam Horovitz也組建了一支樂(lè)隊(duì)，但是隨后就結(jié)識(shí)了Beastie Boys樂(lè)隊(duì)。1983年初，Beastie Boys樂(lè)隊(duì)的Kate Schellenbach和John Berry離隊(duì)，不久Adam Horovitz正式加入了Beastie Boys樂(lè)隊(duì)。人員的變動(dòng)讓Beastie Boys樂(lè)隊(duì)在音樂(lè)風(fēng)格上開(kāi)始了變化，1983年晚些時(shí)候他們發(fā)行了一首說(shuō)唱風(fēng)格的單曲《Cookie Puss》，并且隨即成為了紐約地下音樂(lè)市場(chǎng)的一首頗受歡迎的作品，或許是這首單曲的成功讓Beastie Boys樂(lè)隊(duì)下定決心與朋克音樂(lè)告別，1984年，Beastie Boys樂(lè)隊(duì)正式拋棄了朋克音樂(lè)，并投身到說(shuō)唱音樂(lè)當(dāng)中。
1984年，Beastie Boys樂(lè)隊(duì)認(rèn)識(shí)了制作人Rick Rubin，并且于1985年正式簽約Def Jam唱片公司。加入唱片公司不久，Beastie Boys樂(lè)隊(duì)就為電影《Krush Groove》的原聲推出了熱門(mén)單曲《She's on It》，一首采樣于著名的AC/DC樂(lè)隊(duì)的經(jīng)典單曲《Back in Black》的說(shuō)唱單曲。在1985年，Beastie Boys樂(lè)隊(duì)第一次在整個(gè)美國(guó)地區(qū)亮相，他們?yōu)楫?dāng)時(shí)大紅大紫的麥當(dāng)娜(Madonna)的巡演做開(kāi)場(chǎng)演出，但并不十分成功。在不久之后的1986年初，Beastie Boys樂(lè)隊(duì)又為著名說(shuō)唱樂(lè)團(tuán)Run-D.M.C.做開(kāi)場(chǎng)演出，隨后便開(kāi)始了首張專(zhuān)輯的發(fā)行工作。
1986年，Beastie Boys樂(lè)隊(duì)的首張專(zhuān)輯《Licensed to Ill》正式發(fā)行，一張即帶有搖滾樂(lè)的吉他riff，又帶有黑人文化元素的專(zhuān)輯。但是這張專(zhuān)輯卻遭到了相當(dāng)一部分評(píng)論界人士和保守團(tuán)體的抨擊。不過(guò)這并不影響這張專(zhuān)輯在商業(yè)上的成功，單曲《Fight for Your Right (To Party)》的巨大成功首先為這張專(zhuān)輯的銷(xiāo)售打開(kāi)了市場(chǎng)，并且在評(píng)論界的爭(zhēng)議聲中專(zhuān)輯銷(xiāo)量節(jié)節(jié)攀升，輕松的成為了Billboard 200排行榜的冠軍，市場(chǎng)最終證明了這張專(zhuān)輯的價(jià)值——他是整個(gè)80年代銷(xiāo)量最好的一張說(shuō)唱專(zhuān)輯。不過(guò)面對(duì)這群玩著說(shuō)唱的白人青年，很多hip-hop忠實(shí)的歌迷和評(píng)論家都認(rèn)為他們只是黑人文化的強(qiáng)盜。如果說(shuō)當(dāng)時(shí)評(píng)論上的批評(píng)狂潮只能讓他們感到一些輿論上的壓力的話(huà)，那么警察和法官讓他們體驗(yàn)到了真正的麻煩。自從這張專(zhuān)輯出爐之后，由于歌詞中大量的暴力和男性至上主義觀點(diǎn)以及其中朋克音樂(lè)似的煽動(dòng)，讓他們?cè)诋?dāng)時(shí)受到了各界的批評(píng)。1987年，由于他們?cè)谘不匮莩獣?huì)上進(jìn)行了大量的有損女性尊嚴(yán)，以及類(lèi)似生殖器崇拜的表演和場(chǎng)景設(shè)置，煽動(dòng)性的表演和挑釁的動(dòng)作使他們?cè)谡麄€(gè)巡演中頻頻的往來(lái)于監(jiān)獄和法院，為了擺脫官司而忙碌。四處碰釘子的Beastie Boys樂(lè)隊(duì)在整個(gè)巡演的最后幾場(chǎng)中做出一些妥協(xié)，減少了煽動(dòng)性的場(chǎng)景和表演。
不過(guò)在經(jīng)歷了首張專(zhuān)輯的風(fēng)波之后，1988年，Beastie Boys樂(lè)隊(duì)馬上又陷入了和Def Jam唱片公司的沖突之中，并且在1988年底的時(shí)候徹底和唱片公司分道揚(yáng)鑣。Beastie Boys樂(lè)隊(duì)在這之后從美國(guó)東海岸前往了西海岸的加利福尼亞州，并且成功的與Capitol Records唱片公司簽約。在這里他們與唱片制作組合the Dust Brothers結(jié)識(shí)，并且立即展開(kāi)了新專(zhuān)輯的制作。Beastie Boys樂(lè)隊(duì)的第二張專(zhuān)輯《Paul's Boutique》在1989年正式發(fā)行，這張風(fēng)格不同于《Licensed to Ill》的專(zhuān)輯基本上確立了此后樂(lè)隊(duì)的跨流派綜合路線，這張?jiān)诋?dāng)時(shí)乍顯得風(fēng)格上不倫不類(lèi)的專(zhuān)輯受到了當(dāng)時(shí)一些評(píng)論文章的大肆稱(chēng)贊。然而這一次盡管Beastie Boys樂(lè)隊(duì)贏得了評(píng)論界的美譽(yù)，但是在商業(yè)上這張專(zhuān)輯卻遭到了失敗，缺乏像首張專(zhuān)輯那樣的熱門(mén)單曲支撐，使這張專(zhuān)輯被市場(chǎng)冷卻。而這張專(zhuān)輯的影響其實(shí)直到后來(lái)人們研究這段音樂(lè)歷史和Beastie Boys樂(lè)隊(duì)的時(shí)候被再次確立，不過(guò)在當(dāng)時(shí)，這張專(zhuān)輯所突出運(yùn)用的采樣技術(shù)就已經(jīng)受到了不少業(yè)內(nèi)人士的追捧。
雖然Beastie Boys樂(lè)隊(duì)遭遇商業(yè)上的打擊，但是他們建造了自己的錄音室，創(chuàng)辦了自己的唱片公司Grand Royal并且著手錄制下一張專(zhuān)輯。Beastie Boys樂(lè)隊(duì)的第三張專(zhuān)輯《Check Your Head》在1992年正式發(fā)行。這張專(zhuān)輯融合了多種跨流派的音樂(lè)風(fēng)格，但是整體仍然是一張說(shuō)唱專(zhuān)輯，不過(guò)令人意外的是，盡管這是一張說(shuō)唱專(zhuān)輯，但是其中的單曲但一些大學(xué)廣播和另類(lèi)搖滾電臺(tái)的播放量比在一些說(shuō)唱電臺(tái)的播放量更大。而這張專(zhuān)輯的銷(xiāo)量也較為可觀，再次進(jìn)入了Billboard 200排行榜的前十名，同時(shí)在評(píng)論界獲得了更為廣泛的稱(chēng)贊。
1994年，Beastie Boys樂(lè)隊(duì)把早期朋克時(shí)代的一些作品收錄為專(zhuān)輯《Some Old Bullshit》正式發(fā)行，不過(guò)銷(xiāo)量平平，勉強(qiáng)進(jìn)入了排行榜的前50名。同年，他們發(fā)行了樂(lè)隊(duì)的第四張專(zhuān)輯《Ill Communication》，這張專(zhuān)輯在發(fā)行首周就成為了排行榜的冠軍，最終銷(xiāo)量突破了200萬(wàn)張。在獲得了評(píng)論界持續(xù)的好評(píng)之后，Beastie Boys樂(lè)隊(duì)作品的商業(yè)成功也更為穩(wěn)定。從此時(shí)開(kāi)始，成軍已達(dá)十五年的Beastie Boys樂(lè)隊(duì)已經(jīng)開(kāi)始了持久、穩(wěn)定、廣泛的成功。除了音樂(lè)上的成就以外，Beastie Boys樂(lè)隊(duì)的Grand Royal唱片公司也開(kāi)始陸續(xù)的和其他一些藝人簽約并發(fā)行唱片，其中包括Luscious Jackson樂(lè)隊(duì)的首張專(zhuān)輯《Natural Ingredients》，當(dāng)年Beastie Boys樂(lè)隊(duì)的早期成員鼓手Kate Schellenbach在離隊(duì)之后就是加盟了這支樂(lè)隊(duì)。Beastie Boys樂(lè)隊(duì)甚至還創(chuàng)辦了自己的雜志，名字也叫做《Grand Royal》，并且也有著良好的業(yè)績(jī)。而此后的時(shí)間里，Beastie Boys樂(lè)隊(duì)的活動(dòng)范圍更多時(shí)候也已脫離了音樂(lè)的范疇，唱片公司和雜志等事務(wù)占據(jù)了更多時(shí)間。
1995年和1996年，Beastie Boys樂(lè)隊(duì)先后發(fā)行了EP專(zhuān)輯《Root Down》以及音樂(lè)合輯《In Sound From Way Out!》，也都進(jìn)入了排行榜前五十名。1998年，Beastie Boys樂(lè)隊(duì)發(fā)行了第五張專(zhuān)輯《Hello Nasty》并且再次成為了排行榜的冠軍，銷(xiāo)量突破380萬(wàn)張。憑借這張專(zhuān)輯，Beastie Boys樂(lè)隊(duì)獲得了第41屆格萊美獎(jiǎng)最佳說(shuō)唱組合獎(jiǎng)和最佳另類(lèi)音樂(lè)獎(jiǎng)。
此后在1999年，Beastie Boys樂(lè)隊(duì)又發(fā)行了雙CD早期作品和重新混錄作品合輯《Sounds Of Science》。2004年，Beastie Boys樂(lè)隊(duì)發(fā)行了第六張專(zhuān)輯《To the 5 Boroughs》。
by Stephen Thomas Erlewine
As the first white rap group of any importance, the Beastie Boys received the scorn of critics and strident hip-hop musicians, who accused them of cultural pirating, especially since they began as a hardcore punk group in 1981. But the Beasties werent pirating — they treated rap as part of a post-punk musical underground, where the do-it-yourself aesthetics of hip-hop and punk werent that far apart. Of course, the exaggerated b-boy and frat-boy parodies of their unexpected hit debut album, Licensed to Ill, didnt help their cause. For much of the mid-80s, the Beastie Boys were considered as macho clowns, and while their ambitious, Dust Brothers-produced second album, Pauls Boutique, dismissed that theory, it was ignored by both the public and the press at the time. In retrospect, it was one of the first albums to predict the genre-bending, self-referential pop kaleidoscope of 90s pop. The Beasties refined their eclectic approach with 1992s Check Your Head, where they played their own instruments. Check Your Head brought the Beasties back to the top of the charts, and within a few years, they were considered one of the most influential and ambitious groups of the 90s, cultivating a musical community not only through their music, but with their record label, Grand Royal, and their magazine of the same name.
It was remarkable turn of events for a group that demonstrated no significant musical talent on their first records. All three members of the Beastie Boys — Mike D (born Mike Diamond, November 20, 1966), MCA (born Adam Yauch, August 5, 1965), and Ad-Rock (born Adam Horovitz, October 31, 1967) — came from wealthy middle-class Jewish families in New York and had become involved in the citys punk underground when they were teenagers in the early 80s. Diamond and Yauch formed the Beastie Boys with drummer Kate Schellenbach and guitarist John Berry in 1981, and the group began playing underground clubs around New York. The following year, the Beasties released the 7 EP Pollywog Stew on the indie Rat Cage to little attention. That year, the band met Horovitz, who had formed the hardcore group the Young and the Useless. By early 1983, Schellenbach and Berry had left the group — they would later join Luscious Jackson and Thwig, respectively — and Horovitz had joined the Beasties. The revamped group released the rap record Cookie Puss as a 12 single later in 1983. Based on a prank phone call the group made to Carvel Ice Cream, the single became an underground hit in New York. By early 1984, however, they had abandoned punk and turned their attention to rap.
In 1984, the Beasties joined forces with producer Rick Rubin, a heavy metal and hip-hop fan who had recently founded Def Jam Records with fellow New York University student Russell Simmons. Def Jam officially signed the Beastie Boys in 1985, and that year they had a hit single from the soundtrack to Krush Groove with Shes on It, a rap track that sampled AC/DCs Back in Black and suggested the approach of the groups forthcoming debut album. The Beasties received their first significant national exposure later in 1985, when they opened for Madonna on her Virgin Tour. The trio taunted the audience with profanity and were generally poorly received. One other major tour, as the openers for Run-D.M.C.s ill-fated Raisin Hell trek, followed before Licensed to Ill was released late in 1986. An amalgam of street beats, metal riffs, b-boy jokes, and satire, Licensed to Ill was interpreted as a mindless, obnoxious party record by many critics and conservative action groups, but that didnt stop the album from becoming the fastest-selling debut in Columbia Records history, moving over 750,000 copies in its first six weeks. Much of that success was due to the single Fight for Your Right (To Party), which became a massive crossover success. In fact, Licensed to Ill became the biggest-selling rap album of the 80s, which generated much criticism from certain hip-hop fans who believed that the Beasties were merely cultural pirates. On the other side of the coin, the group was being attacked from the right, who claimed their lyrics were violent and sexist and that their concerts — which featured female audience members dancing in go-go cages and a giant inflatable penis, similar to what the Stones used in their mid-70s concerts — caused even more outrage. Throughout their 1987 tour, they were plagued with arrests and lawsuits, and were accused of inciting crime.
While much of the Beasties exaggeratedly obnoxious behavior started out as a joke, it became a self-parody by the end of 1987, so it wasnt a surprise that the group decided to revamp their sound and image during the next two years. During 1988, they became involved in a bitter lawsuit with Def Jam and Rick Rubin, who claimed he was responsible for the groups success and threatened to release outtakes as their second album. The group finally broke away by the end of the year and relocated to California, where they signed with Capitol Records. While in California, they met the production team the Dust Brothers, and they convinced the duo to use their prospective debut album as the basis for the Beasties second album, Pauls Boutique. Densely layered with interweaving samples and pop culture references, the retro-funk-psychedelia of Pauls Boutique was entirely different than Licensed to Ill, and many observers werent quite sure what to make of it. Several publications gave it rave reviews, but when it failed to produce a single bigger than the number 36 Hey Ladies, it was quickly forgotten about.
Despite its poor commercial performance, Pauls Boutique gained a cult following, and its cut-and-paste sample techniques would later be hailed as visionary, especially after the Dust Brothers altered the approach for Becks acclaimed 1996 album, Odelay. Still, the record was declared a disaster in the early 90s, but that didnt prevent the Beasties from building their own studio and founding their own record label, Grand Royal, for their next record, Check Your Head. Alternating between old-school hip-hop, raw amateurish funk, and hardcore punk, Check Your Head was a less accomplished than Pauls Boutique, yet it was just as diverse. Furthermore, the burgeoning cult around the Beasties made the album a surprise Top 10 hit upon its spring 1992 release. Jimmy James, Pass the Mic, and So Whatcha Want were bigger hits on college and alternative rock radio than they were on rap radio, and the group suddenly became hip again. Early in 1994, they collected their early punk recordings on the compilation Some Old Bullshit, which was followed in June by their fourth album, Ill Communication. Essentially an extension of Check Your Head, the record debuted at number one upon its release, and the singles Sabotage and Sure Shot helped send it to double-platinum status. During the summer of 1994, they co-headlined the fourth Lollapalooza festival with the Smashing Pumpkins. That same year, Grand Royal became a full-fledged record label as it released Luscious Jacksons acclaimed debut album, Natural Ingredients. The Beasties Grand Royal magazine was also launched that year.
Over the next few years, the Beasties remained quiet as they concentrated on political causes and their record label. In 1996, they released the hardcore EP Aglio e Olio and the instrumental soul-jazz and funk collection The in Sound from Way Out! Also that year, Adam Yauch organized a two-day festival to raise awareness and money about Tibets plight against the Chinese government; the festival went on to become an annual event. The Beastie Boys long-awaited fifth LP, Hello Nasty, finally appeared during the summer of 1998, and became their third career chart-topper. A longer wait preceded release of their next album, To the 5 Boroughs, which appeared in mid-2004. In 2005, Capitol issued Solid Gold Hits, a 15-track survey of the Beasties lengthy career. In 2006, the band released theatrically the concert film Awesome: I Fuckin Shot That! The film was pieced together from footage shot by 50 DV and Hi-8 cameras that were distributed to fans with little more instruction than to keep shooting. The DVD version appeared in July of that year. In 2007 they released the all-instrumental album The Mix Up.