
Check Your Head
Upon the release of their massively successful 1986 debut album, the Beasties were raunchy frat boy-meets-B-boys playing punk & metal with rap clothing on top. With 1989’s Paul’s Boutique, they defied notions of them as a bunch of obnoxious punks with its stunningly ambitious tapestry of psychedelic sampling & found sound, creating in the process their undoubted masterpiece. The third time around in 1992, as the Gen-X audience raised on Licensed to Ill in ‘86 turned college-aged, they had reinvented themselves yet again as a much funkier, Meters-inspired alt-rock groove band, although rap wasn’t abandoned and they had created a gumbo stew of hip-hop, hardcore punk, trashy 80’s arena metal, hard rock, soul jazz and the hardest, dirtiest funk around in ‘92. They reverted to playing their own instruments, as opposed to the heavily hip-hop based Paul’s Boutique in which the samples, true to the purest of hip-hop, constructed the album rather than actual played instruments, but rather than going back to their humorous, all-aggro era of the mid-80’s they not only have turned here into an intelligent, wittily funny yet still serious funk-rock band, but they also even take time out to revisit their hardcore past with the Black Flag/Bad Brains/Minor Threat pastiche “Time for Livin’”. In doing this on Check Your Head, the Beasties have arguably crafted a far more impressive album than its predecessors in terms of sheer stylistic diversity and sustained power, depending on who you’re talking to, as they move from soul-jazz mambo instrumentals to heavy rockers to intelligent yet still streetwise New York rap over twenty tracks and less than an hour in length. They sample everything from the opening announcement for Cheap Trick’s “Surrender” on their live album At Budokan to open things up on “Jimmy James”, to their sampling of a bit of stage banter from a bootleg of a 1986 performance by the black metal band Venom, to sampling Bob Dylan’s “Just Like Tom Thumb’s Blues” towards the end of “Finger Lickin’ Good” whilst sampling 5th Dimension’s “Aquarius” and Sly & the Family Stone’s “Dance to the Music” in that very same song, and sampling Led Zeppelin’s “When the Levee Breaks” alongside a sample from Big Daddy Kane & Biz Markie’s “Just Rhyming With Biz” on “So What’cha Want”. Pooling together all their disparate influences into a cohesive, distinctive sound all their own that no one in rock or rap had the guts to attempt in the early 90’s, simultaneously bringing in a newfound political consciousness to go along with all of it, Check Your Head is a perfect finale to the Beastie Boys’ trio of mostly perfect albums.
- Release Date: 1992
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TRACK PICKS: “Jimmy James”; “Pass the Mic”; “Finger Lickin’ Good”; “So What’cha Want”


San Francisco, summer 1967. We the American public think of long-haired kids with flowers in their hair dancing in the grass, going to see Janis Joplin, Jefferson Airplane, The Doors, Blue Cheer, et al. We think of this era as one totally separate from punk rock, which came a decade later, thinking of the two as unrelated enemies, who wouldn’t connect with eachother if doing so meant life or death. But the ‘Frisco rock scene, which included the aforementioned future mainstream stars, also included a number of bands like Moby Grape & Love who never attained significant commercial success, but who were just as important as the Jefferson Airplane, Joplin, The Doors and all the big names of the late 60’s in San Francisco. And one aspect of the scene which is rarely discussed in this cultural separation of punks & hippies is the fact that many of these bands, both mainstream and underground in their sound and attitude, predated punk in a number of ways. The Airplane’s “Somebody to Love” possesses a fiendish, mid-tempo attack that predated The Sex Pistols’ “Anarchy in the U.K.” by an entire decade. Moby Grape’s “Omaha”, frequently described rather accurately as “The Beatles on speed”, is a three-guitar onslaught that may’ve conveyed Californian values & hippie consciousness, but it simultaneously was much harder than The Beatles themselves, as well as most of the rock ‘n’ roll coming out in 1967, and it’s impossible not to cite it as proto-punk in that sense.
And then, when talking about proto-punk in California circa 1967, one inevitably arrives at The Doors, the most proto-punk of all these bands mentioned here. Jim Morrison was more confrontational than any other performer rock had ever seen beforehand, and one whose seductively terrifying power has rarely been matched since despite a wave of imitators, and it was ten years before John Lydon sneered at his audience & challenged them to think like they’d never thought before. They may’ve had a huge hit with “Light My Fire” and been, indeed, a commercial band at heart, but there was nothing else quite like the song on the radio, and there was nothing quite like their epochal self-titled 1967 debut out that year either. In retrospect, it’s actually rather surprising they got so much attention in their short existence, seeing as their music was far more cerebral, artier, more intense and far less compromising than anything else on the radio, on television or in the stacks of record shops in the 1960’s, except for such seldom-heard underground proto-punk bands as The Velvet Underground or The Stooges. If that ain’t punk according to you, the reader, than I don’t know what is.