CDVS: Beastie Boys Vs. Beastie Boys

Hmm. Both of our contestants this week are credited to the Beastie Boys. Both albums feature voices that sound like the Beastie Boys. And yet, when comparing the overall sound of both 1986's debut License To Ill and the recently released To the 5 Boroughs, I'm convinced these aren't the same groups. Sure, people grow up, mature and evolve artistically. But to develop from the frat-rap brats of License to the spiritually enlightened hip-hop politicos on Boroughs nearly requires a suspension of belief. And while we're fantasizing, could you imagine the MC battle between the two crews?

That said, some habits die hard. On To the 5 Boroughs, the Beasties' sixth longplayer, they scale back on the sonic ambition sand streamline its tunes old-school style. This isn't a nod to the band's continual use of retro samples, but the simpler approach to song construction more akin to License than, say, 1998's Hello Nasty, which felt overstuffed with samples and instruments. On Boroughs, you can often make out each of the songs' elements, a few of which sound a little familiar. The chorus for "Three the Hard Way" features a prominent, spare rhythm akin to License's "Paul Revere." "Time to Build"--a nod to minimal tracking, comprising mostly drum machine beats and synthesized pecking--also hearkens back to the band's early aesthetic. And, the Beasties remain loyal to their signature harmonizing and MC braggadocio.

That's where the similarities stop and the differences become obvious. For one, the growing political interests of the trio have climaxed on Boroughs, where a particular song doesn't even have to be thematically relevant to contain, for instance, a knock on the president. On "That's It That's All," a lyrically vague song primarily calling out the boys' skills, features the Public Enemy-inspired soundbite, "'Cause George W's got nothing on me/ We got to take the power from he." The album is also replete with idealist, come-together statements that the misanthropic License-era Beasties would have laughed at (see "An Open Letter to NYC" and "All Lifestyles").

The biggest departure, though, may be the lack of invigorating songwriting. License--and the four albums that followed it--boasted several sing-along-worthy numbers, even if they were as brainless as "Fight For Your Right." Boroughs, however, has no real standout, with the possible exception of "Open Letter" (thanks to a Dead Boys guitar sample) and current single "Ch-Check It Out." Boroughs' true potency lies in its lyrical polemics and personal revelations. But, for the tunes, License remains as reliable as ever.--Mike Prevatt