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Paul's Boutique

I've probably listened to this album 3 or 4 times again in the last day alone and though it certainly wasn't the first to do any of the things it does well, I have been thinking quite a bit about just how influential this album (and its success) has been for pretty much all genres of electronic music, and I think that what may be most notable is the following list:

http://en.wikipedia.org/wiki/Paul%2...ue#Samples_list

quote:

To All the Girls * "Loran's Dance" by Idris Muhammad Shake Your Rump * "Holy Ghost" by the Bar-Kays * "That's the Joint" by Funky 4+1 * "8th Wonder" by the Sugarhill Gang * "Jazzy Sensation" by Afrika Bambaataa * "Good Times Bad Times" by Led Zeppelin * "Dancing Room Only" by Harvey Scales * "Funky Snakefoot" by Alphonze Mouzon * "Tell Me Something Good" by Ronnie Laws * "Unity" by James Brown and Afrika Bambaataa * "No Matter What Sign You Are" by The Supremes. * "6 O'Clock DJ (Let's Rock)", "Born to Love You", & "Yo Yo" by Rose Royce * "Super Mellow", by Paul Humphrey, Willie Bobo, Shelly Manne, & Louis Bellson Johnny Royall * "AJ Scratch" by Kurtis Blow * "Sharon" by David Bromberg * "Mr. Big Stuff" by Jean Knight * "One of These Days" by Pink Floyd * "Momma Miss America" by Paul McCartney * "Magnificent Sanctuary Band" by Donny Hathaway * "Military Cut (Scratch Mix)" by DJ Grand Wizard Theodore * "(You Gotta) Fight for Your Right (To Party)", & "The New Style" by the Beastie Boys Egg Man * Jaws * Aliens * Psycho * "Sport" by Lightnin' Rod * "Superfly" by Curtis Mayfield * "Pump it Up" by Elvis Costello * Cheech & Chong's Next Movie * "Jaws Theme" by John Williams * "I'm Ready" by The Commodores * "Shower Theme" by Bernard Hermann * "Drop it in the Slot" by Tower of Power * "Dance to the Music" by Sly & the Family Stone * "Bring the Noise", & "You're Gonna Get Yours" by Public Enemy * The lyrics in the song's middle right (starting with "We all dressed in black...") are interpolated from the Beastie Boys' earlier punk rock song "Egg Raid On Mojo." High Plains Drifter * "Those Shoes" by The Eagles * "Cheap Sunglasses" by ZZ Top * "Suzy Is a Headbanger" by The Ramones * "Your Momma Don't Dance" by Loggins & Messina * "Put Your Love (In My Tender Care)" by The Fatback Band The Sounds of Science * "Don't Sniff Coke" by Pato Banton * "Walk from Regio's" by Isaac Hayes * "My Philosophy" by Boogie Down Productions * "Get Up, Get Into It, Get Involved" by James Brown * "Back in the USSR", "Sgt. Pepper's Lonely Hearts Club Band", "Sgt. Pepper's Lonely Hearts Club Band (Reprise)", "The End", & "When I'm Sixty-Four" by The Beatles 3-Minute Rule * "Feel Good" by Fancy * "Brave and Strong", & "Poet" by Sly & the Family Stone Hey Ladies * "Ballroom Blitz" by Sweet * "Party Time" by Kurtis Blow * "Holy Ghost" by the Bar-Kays * "Shake Your Pants" by Cameo * "Pumpin' It Up" by P-Funk All Stars * "Jungle Boogie" by Kool & the Gang * "Machine Gun" by The Commodores * "Jazzy Sensation" by Afrika Bambaataa * "Change Le Beat/B-Side" by Fab 5 Freddy * "Come Let Me Love You" by Jeanette "Lady" Day * "Dance Floor", & "So Ruff, So Tuff" by Zapp & Roger * "Ain't It Funky Now", & "Funky President" by James Brown * "Hey DJ" by Malcolm McLaren & the World Famous Supreme Team * "High Powered Rap" by Disco Dave & the Force of the Five MC's (Crash Crew) 5-Piece Chicken Dinner * "Shuckin' the Corn" by Eric Weissberg Looking Down the Barrel of a Gun * "Time" by Pink Floyd * "Mississippi Queen" by Mountain * "Last Bongo in Belgium" by the Incredible Bongo Band * This track is the only track on the album to feature live instrumentation in the form of electric guitar played by Adam Horovitz, and bass played by Adam Yauch, as seen in the music video for this track. Car Thief * "I'll Bet You" by The Jackson 5 * "Hurdy Gurdy Man" by Donovan * Woodstock (Max Yasgur speech) * "Drop the Bomb" by Trouble Funk * "Rien Ne Va Plus" by Funk Factory What Comes Around * "Moby Dick" by Led Zeppelin * "It's Hot Tonight" by Alice Cooper * "Put on Train" by Gene Harris & The Three Sounds Shadrach * "Say What" by Trouble Funk * "That's the Joint" by Funky 4+1 * "Do Your Dance" by Rose Royce * "Never Let 'Em Say" by Ballin' Jack * "Funky Drummer" by James Brown * "Hot and Nasty" by Black Oak Arkansas * "Sugarhill Groove" by the Sugarhill Gang * "Loose Booty" by Sly & the Family Stone Ask for Janice * Ad from a Jamaican music show on a New York radio station B-Boy Bouillabaisse 01. 59 Chrystie Street * "Here We Go" (Live) by Run-DMC * "Rocket in the Pocket" by Cerrone * "Buffalo Girls" by Malcolm McLaren * "Burundi Black (Pt. 2)" by Burundi Black * "Are You Experienced?" by Jimi Hendrix * "Change Le Beat/B-Side" by Fab 5 Freddy * "My Philosophy" by Boogie Down Productions 02. Get on the Mic * "At the Fever" by Lovebug Starski 03. Stop That Train * "Draw Your Brakes" by Scotty * "Save the World" by Southside Movement 04. Year and a Day * "Ebony Jam" by Tower of Power * "When the Levee Breaks" by Led Zeppelin * "That Lady, Pt. 1 & 2" by The Isley Brothers * "High Powered Rap" by Disco Dave & the Force of the Five MC's (Crash Crew) 05. Hello Brooklyn * "Folsom Prison Blues" by Johnny Cash 06. Dropping Names * Bob Marley interview. * "Into the Night" by Sweet * "Hey Pocky A-Way" by The Meters * "The Well's Gone Dry" by The Crusaders 07. Lay It on Me * "Let the Music Take Your Mind" by Kool & the Gang 08. Mike on the Mic * "At the Fever" by Lovebug Starski 09. A.W.O.L. * "Good Times" by Chic * "Good to Go" by Trouble Funk * "Loran's Dance" by Idris Muhammad

As I said, I know this is hardly the first album to sample excessively, but it was a fairly large commercial success and seems to remain highly regarded to this day, yet I know a lot of people who've never heard it. To me, the fact that 3 little Jewish boys from Brooklyn were able to create this at a time when hip hop was moving into a very, very different direction makes it all the more impressive.

In any event, I guess listening to this recently and realizing just how much it's influence almost all forms of EDM in one way or another got me thinking fondly on it again, and made me feel like creating an appreciation/"If you have yet to hear this, listen now!" thread for it.

its sad that Entroducing gets alot more credit than Pauls Boutique when it comes to samplefesting

Yeah - I just think they're two different kinds of pieces that did something vaguely similar in profoundly different ways.

I don't know - I'm an unabashed B-boy fan boy, so my opinion on the matter is really moot anyway, but listening to this album again the past few days has really been one of those "Oh shit, never realized some of this before..." moments.

great album

I really liked check your head as well

loved Licensed To Ill

so many classics on that album

is your name michael diamond - no mine's clarence

i played the hell out of this tape when i was a kid. it's absolutely fantastic on the production front. along with p.e.'s 'nation of millions...,' it's the best-produced hip hop album of the late '80s.c

"Check Your Head", "Ill Communication", and "Hello Nasty" are all brilliant albums in their own right. "Check Your Head" was such an innovative combination of punk rock vibes w/ hip hop, "Ill Communication" can only be described as one of the most raw sounding albums I've ever heard that runs between old school hip hop and loud, noisy rock, and "Hello Nasty" holds a very, very special place in my heart as probably my favorite overall B-Boys album because it really, really seemed influenced by 90's electronica.

"Paul's Boutique" is, however, the one album that I may not listen to the most, but is by far the most ingenious effort the boys ever put out. I think just the sense of humor that permeates the album in combination with such excessive and quality sampling was something I hadn't ever really experienced musically before I heard this album.

Simply put, it's one of few albums that I haven't really heard anything at all similar to - ever.

Oh man, I could go on and on about this album and the Beastie Boys in general.

What I loved about this album was that they pretty much did whatever they wanted to. They threw so many different samples, so many different sounds/styles, and so many references to pop-culture together, mixed it up and just flat out made it WORK. I mean look at 'Egg Man' and think about the lyrics, WTF! But the track works because of the production and who they are. And that's basically what this album is to me, a masterful production and a true representation of what they are. I honestly have a hard time listening to 'Fight For Your Right' anymore because the public took that track and made it some stupid anthem which is never what it was meant to be. 'Pauls Boutique', due to 'Fight', was not immediately a commercial success because it was so different from the first album. People were expecting some poppy, for lack of a better word, hit from it and it didn't really give that. But for the people who did listen to it and got it, it delivered an ear opening experience. I can honestly credit this album, after being introduced to it indirectly via 'Intergalactic', for giving me the wherewithall to explore my own musical tastes and the balls to pursue a desire to mix music. Even if it is just for my own enjoyment, I'm better off because of it. /end gushing

Personal fav track on album: Year And A Day

Not a huge fan myself. I'm not really sure why- I perhaps came to it with a lot of expectation after all the hype and (unlike Endtroducing) it didn't live up to that hype. I should really give it another listen, because I did exactly the same with Massive Attack's Blue Lines, and when I came back to that I realised I'd been completely wrong.

quote:

Originally posted by SYSTEM-J Not a huge fan myself. I'm not really sure why- I perhaps came to it with a lot of expectation after all the hype and (unlike Endtroducing) it didn't live up to that hype. I should really give it another listen, because I did exactly the same with Massive Attack's Blue Lines, and when I came back to that I realised I'd been completely wrong.

I can really, really understand that response. The lens of time has been very kind to Pauls Boutique, and in some cases maybe a bit too kind in that people like myself tend not to comment on its faults. It isn't really an accessible album in the sense that its appeal is a bit limited - there aren't a lot of big hooks, and there aren't a lot of single tunes that people will point to and say "That's why I like this - that song!"

For me it's more about the picture on the whole - and in general being able to appreciate the pretty massive steps these fellows took in moving the art of sampling forward. Again, you may give it another listen and realize you simply don't like it - but definitely give it another shot some day.

hands down the best they ever did

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