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The Mix-Up
The Mix-Up in Bloomington, MN
Current price: $13.99
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Size: CD
Hailed in some quarters as a back-to-basics masterstroke, derided in others as flaccid and stale, it can be universally agreed that
To the 5 Boroughs
performed the crucial task of lowering expectations for
the Beastie Boys
. Until then, it was expected that each of their new albums would be a radical step forward -- or at least a virtuoso consolidation of strengths a la
Ill Communication
-- but
was neither; it was a straight-up
hip-hop
album, not quite like anything they made before yet sounding undeniably familiar. Its modest success and mixed reviews had the unexpected effect of humanizing
, which in turn meant they could do what they wanted without having to face the daunting expectations placed on them ever since
Licensed to Ill
, and
The Mix Up
, the 2007 follow-up to
Boroughs
, is certainly not an innovative record, but nor is it a retreat. It's
the Beasties
' first all-instrumental record, grounded in
soul-jazz
, a sound they've been mining since
Check Your Head
(arguably, even
Paul's Boutique
had elements of the sound in its samples), as they peppered their albums and B-sides with lazy, hazy
funk
jams. Most of these were gathered up on the 1996 compilation
The In Sound from Way Out
, which undoubtedly sounds similar to
, but that's at heart an odds-n-sods collection, bearing the evidence that it was patched together from different sources.
was designed as a specific project, so it holds together better, and it's also decidedly less knowing in its references than the cleverly kitschy
In Sound
(its title and artwork borrowed from classic '60s LPs). This is a fusion of sounds -- cool organs, elastic guitars, loping basslines, rolling rhythms -- where all of the elements are integrated together, turning into a style that's recognizable as uniquely, undeniably
, even if they don't utter a word on this record. As always, they're more about feel than instrumental acumen, but they've sharpened as players, creating tighter, assured grooves and seamlessly blending their fascinations with
,
dub
soul
Latin
rhythms. Even if the instrumental interplay is tighter, the overall atmosphere is alluringly warm and friendly: it's music that flows easily and it's a perfect soundtrack for a slow summer afternoon. Most of all,
sound relaxed and comfortable, enjoying the process of making this music, and if you're on the same wavelength, it's hard not to get sucked into it too.
is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky
LP that you'd find deep in the crates of a second-hand record store. It's easy to enjoy and it's indelibly stamped with the personality of the group, which is not only no small thing, it's also a good, rewarding path for
as they approach middle age. ~ Stephen Thomas Erlewine
To the 5 Boroughs
performed the crucial task of lowering expectations for
the Beastie Boys
. Until then, it was expected that each of their new albums would be a radical step forward -- or at least a virtuoso consolidation of strengths a la
Ill Communication
-- but
was neither; it was a straight-up
hip-hop
album, not quite like anything they made before yet sounding undeniably familiar. Its modest success and mixed reviews had the unexpected effect of humanizing
, which in turn meant they could do what they wanted without having to face the daunting expectations placed on them ever since
Licensed to Ill
, and
The Mix Up
, the 2007 follow-up to
Boroughs
, is certainly not an innovative record, but nor is it a retreat. It's
the Beasties
' first all-instrumental record, grounded in
soul-jazz
, a sound they've been mining since
Check Your Head
(arguably, even
Paul's Boutique
had elements of the sound in its samples), as they peppered their albums and B-sides with lazy, hazy
funk
jams. Most of these were gathered up on the 1996 compilation
The In Sound from Way Out
, which undoubtedly sounds similar to
, but that's at heart an odds-n-sods collection, bearing the evidence that it was patched together from different sources.
was designed as a specific project, so it holds together better, and it's also decidedly less knowing in its references than the cleverly kitschy
In Sound
(its title and artwork borrowed from classic '60s LPs). This is a fusion of sounds -- cool organs, elastic guitars, loping basslines, rolling rhythms -- where all of the elements are integrated together, turning into a style that's recognizable as uniquely, undeniably
, even if they don't utter a word on this record. As always, they're more about feel than instrumental acumen, but they've sharpened as players, creating tighter, assured grooves and seamlessly blending their fascinations with
,
dub
soul
Latin
rhythms. Even if the instrumental interplay is tighter, the overall atmosphere is alluringly warm and friendly: it's music that flows easily and it's a perfect soundtrack for a slow summer afternoon. Most of all,
sound relaxed and comfortable, enjoying the process of making this music, and if you're on the same wavelength, it's hard not to get sucked into it too.
is not a major statement, but that's the nice thing about the record: it's as personal and idiosyncratic as any old funky
LP that you'd find deep in the crates of a second-hand record store. It's easy to enjoy and it's indelibly stamped with the personality of the group, which is not only no small thing, it's also a good, rewarding path for
as they approach middle age. ~ Stephen Thomas Erlewine
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