The In Sound From Way Out!

Performer: Beastie Boys
Artist: "Money" Mark Ramos Nishita
Distributor: EMI Music Distribution

Notes: THE IN SOUND FROM WAY OUT! is an album of instrumentals, many of which were originally released on the albums CHECK YOUR HEAD and ILL COMMUNICATION. The Beastie Boys: Adam Horovitz (electric guitar); Adam Yauch (bass); Mike D (drums). Additional personnel: Eugene Gore (violin); Mark Ramos Nishita (keyboards); Eric Bobo (percussion). Engineers: Mario Caldato, Jr., The Beastie Boys. Personnel: Ad-Rock (electric guitar); Mike D (drums). Photographer: Eli Bonerz. A testament to the talent of the Beastie Boys is that even a compilation of instrumental cuts, all previously released (although some admittedly on limited-run singles), could remain relevant to the music world. Not only is THE IN SOUND FROM WAY OUT intriguing, but it could be argued to be the greatest statement of the threesome's musicianship. In their existence, the Beasties have transmuted themselves from a streetwise hardcore band, to a bratty white-boy rap collective, to a more sincere rap trio, to indie-funk-soul-punk-rap innovators. These instrumental interludes started popping up in the last of these phases, and play like groove-funk soundtracks to '70s films that never were. From most artists, a collection such as this one would seem self-serving and pretentious, but these are the Beastie Boys. Wordless wonders like "Eugene's Lament" and "In 3's," rightly deserve a spot on the musical landscape. No, this is not a calculated marketing strategy to extract money from consumers, but a CD that pretty much had to be; these cuts the Beastie's laid down on separate albums were meant to be played together, and THE IN SOUND FROM WAY OUT completes that puzzle.

Entertainment Weekly (4/19/96, p.78) - "...this all-instrumental EP--13 tracks of jazzed-out percussion, blaxploitation synth, and the occasional orientalized violin, each of which would serve credibly as any hero's theme song--should leave no doubt about where the grooviness really comes from." - Rating: A- Melody Maker (3/16/96, p.39) - Bloody Essential - "...the Beasties have now recast themselves as Seventies funksters....easily among their most impressive work..." Musician (8/96, pp.88-92) - "...Revisiting the Meters, Sly, Charles Earland, Willie Bobo, Melvin Sparks, and Richard Holmes, THE IN SOUND is fatback-flavored, Latin-tinged funk....[played] with a gritty fluency and fiery musical knowledge..."

In the mid-1980s, the idea of white middle-class Jewish rappers may have provoked laughter or outright disdain, but the Beastie Boys' albums and singles have shown that they are anything but a joke. After hip-hop and rock fused into the music of choice for rebellious American youth, it became increasingly clear that the Beastie Boys deserved to be regarded as true musical innovators. The release of 1989's PAUL'S BOUTIQUE began the Beasties' transition from lewd, party-seeking prankers to sophisticated, party-throwing sonic pioneers, with band members ditching the six-packs and gold chains in favor of Buddhism and social activism. The trio's newfound maturity and good-natured vibe only enhanced their success, leading to a continued streak of hit albums. Not bad for three New York City weisenheimers.

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