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Beastie Boys
"On Licensed to Ill, we didn't even have any samplers. So the stuff that's looped, we actually made tape loops. We'd record the 'When the Levee Breaks' beat onto a quarter-inch tape, and then we'd make a loop and that tape would spinning around the room, dangling on mic stands, going around in a big loop. And then, in order to layer that with something else, we'd have to actually sync it up, physically." - Adam Yauch, excerpted from The Skills to Pay the Bills (2005) by Alan Light
Press
"...the chanted raps are short, sharp, full of silly non sequiturs" - Newsweek, 1987
"[Beastie Boys] yowl about Betty Crocker and Colonel Sanders over samples of Led Zeppelin and Black Sabbath" - Spin, July 1994
"...cartoonish gangster visions unveiled" - Goldmine, May 1996
"...uses a mixture of deck techniques and drum machine programming to turn a sequence of sampled John Bonham drums into a slow, loping, lazy hip-hop rhythm" -
excerpted from Rhyming & Stealing: A History of the Beastie Boys by Angus Batey, 1998
"A massive slab of John Bonham's drumming is suffixed with grunting guitar riffs and sly, piss-taking raps. The track goes onto to play jocular homage to the Three Musketeers, The Clash, the Sex Pistols and The Arabian Nights. This time the Beastie Boys critique hip-hop's sonic pilfering of musical source material and base their imagery around pirates. It's a rich metaphor
for them to explore, as it allows them to merge their cartoon violence with a veritable treasure chest of easily assimilable references their audience can latch on to" - excerpted from
Rhyming & Stealing: A History of the Beastie Boys by Angus Batey, 1998
"John Bonham's drum break from Led Zeppelin's 'When the Levee Breaks' was almost a hip-hop cliche. But when the Beasties used it on 'Rhymin' & Stealin'', it was seen as a homage to the drugged-up, groupie abusing hard-rock lifestyle that Led Zeppelin personified thru the 1970's" - excerpted from Rhyming & Stealing: A History of the Beastie Boys by Angus Batey, 1998
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