Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album - an embarrassing commercial flop that should have ruined the group's career. But not only did "Paul's Boutique" eventually transformed the Beasties from a fratboy novelty to hiphop giants, its sample-happy, retro aesthetic changed popular culture forever.
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Dan LeRoy is the Director of Literary Arts at Lincoln Park Performing Arts Charter School in Midland, PA. His writing has appeared in The New York Times, Rolling Stone, Newsweek, Vibe, The Village Voice, National Review Online and Alternative Press. Mr. LeRoy is the co-author (with Michael Lipton) of 20 Years of Mountain Stage, a history of the National Public Radio show, and his book The Greatest Music Never Sold will be published by Backbeat in autumn 2007. He is also a contributor to But Prince Don't Moonwalk, an anthology of music writing to be published in 2008 by Crown/Random House.
Paul's Boutique was one of the most counterintuitive records ever made. The band's initial success on Def Jam, with the rude, crude and multiplatinum 1986 debut Licensed to Ill, had been unlikely enough; a trio of white Jewish kids and their white Jewish producer became hip-hop's biggest stars overnight by offering a primal fusion of metal, rap, and teenage rebellion. But Paul's Boutique abandoned the producer, the label, and the formula, instead smashing apart hundreds of old records and pop culture references, then Scotch-taping them back together in unexpected new combinations. With a trio of unknowns at the production controls, it was a suicidal way to follow up a number one hit.
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