Hello Nasty

The Beastie Boys: MCA, Mike D, Adrock.
Additional personnel includes: Miho Hatori, Brooke Williams, Biz Markie, Jill Cunniff, Lee "Scratch" Perry (vocals); Brian Wright (violin, viola); Jane Scarpantoni (cello); Steve Slagle (flute); Paul Vercesi (alto saxophone); Nelson Keane Carse (trombone); Mark Nishita (keyboards); Joe Locke (vibraphone); Eric Bobo, Richard "Sammy's Dad" Siegler, Duduka (percussion); Robert Perlman (drum programming); Mix Master Mike (DJ).
HELLO NASTY won the 1999 Grammy Award for Best Alternative Music Performance. "Intergalactic" won the 1999 Grammy for Best Rap Performance By A Duo Or Group.
Personnel: Brooke Williams, Jill Cunniff, Lee "Scratch" Perry, Miho Hatori (vocals); Brian G. Wright (violin, viola); Jane Scarpantoni (cello); Steve Slagle (flute); Paul Vercesi (alto saxophone); Nelson Keane Carse (trombone); Money Mark (keyboards); Joe Locke (vibraphone); Eric Bobo, Richard Siegler, Duduka (percussion).
DJ: Mix Master Mike.
Recording information: Dungeon, New York, NY (1995-1998); G-Son Studios, Los Angeles, CA (1995-1998); Ted Diamon's House Of Hits (1995-1998); Tree House, New York, NY (1995-1998).
Photographer: Michael Lavine.
Unknown Contributor Roles: Pair Extroidinaire; Ed Durlacher; Alex Bradford & Company; Dean Jones & Company; Les Baxter; Los Angeles Negros; Nine; Run-D.M.C.; The Jazz Crusaders; Barbara Lynn; Leopold Stokowski .
On their fifth album and first proclamation in four years, the Beasties pledge allegiance to the next millennium while rocking out old-school stylee. Instead of pretentiously haphazard schizophrenia, Adrock, Mike D and MCA mold Run DMC boasts, Lee Perry dub freestyles, and introspective acoustic strumming into the best album-cum-mix-tape of the first half of '98. NASTY is the true successor to their sampledelic fantasia PAUL'S BOUTIQUE, as realized by craftsmen looking to do more than just get crazy with the sonic cheese whiz.
"Super Disco Breakin'," "Body Movin'," etc. are all first-rate party jams that the trio can probably come up with in their sleep. It's when the Beasties look towards the new school that the artistic flipping of the script begins. Not just in the lyrics, which are expansively conscious in nature and politically literate in content, but sonically as well. The jr. drum-and-bass of "Flowin' Prose" and MCA's acoustic singer/songwriter turn on "I Don't Know" point in directions at once completely incompatible and positively natural. Just like their mate Beck, it is the diversity of styles that the Beasties are prophesizing as the key to the future--so long as that diversity's in the shadow of the old school.