The Beastie Boys made a masterpiece. And then they werefoiled by Donny Osmond.
Matt Dike introduced us to Mario Caldato, the engineer with whom he’d built a makeshift studio at Matt’s down-and-out apartment on Santa Monica Boulevard in Hollywood. They were recording instrumental tracks there with these two hip hop fanatics named John King and Mike Simpson, who recorded under the name the Dust Brothers. We loved the Dust Brothers’ shit the second we heard it and immediately wanted to work with them on our next record; their stuff had an entirely different vibe than the tracks on Licensed to Ill: funkier, jazzier, less classic rock, more R&B. It also pushed the boundaries of what we thought was possible with sample-based music.
We started working together and ended up recording most of the music and a fair number of vocals for Paul’s Boutique at Matt’s apartment. We really could have just recorded our entire album there, and in hindsight, I’m not exactly sure why we didn’t. Capitol may have started to get nervous that we were holed up in a shitty apartment in the middle of a drug-and-prostitution zone. Or maybe we were just insecure and thought that to make a “big time” record, we had to do it at some “big time” studio with dudes with mullets crouched and poised to set up a mic or coil a cable. Or maybe we thought it was funny to record where Debbie Gibson and Lionel Richie might have recorded.
Denne historien er fra October 15, 2018-utgaven av New York magazine.
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Denne historien er fra October 15, 2018-utgaven av New York magazine.
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A Wonk in Full- Ezra Klein, glowed-up and post-coup, was almost a celebrity at the convention.
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