Beastie Boys – «Полс Бутик» альбомы туралы

Paul's Boutique is the second studio album by the American hip hop group Beastie Boys, released on July 25, 1989, by Capitol Records. Produced by the Beastie Boys and the Dust Brothers, the album's composition makes extensive use of samples, drawn from a wide range of genres including funk, soul, rock, and jazz. It was recorded over two years at Matt Dike's apartment and the Record Plant in Los Angeles. Paul's Boutique did not match the sales of the group's 1986 debut Licensed to Ill, and was promoted minimally by Capitol. However, despite its initial commercial failure, it became recognized as the group's breakthrough achievement, with its innovative lyrical and sonic style earning them a position as critical favorites within the hip hop community. Sometimes described as the "Sgt. Pepper of hip hop", Paul's Boutique has placed on several lists of the greatest albums of all time, and is viewed by many critics as a landmark album of golden age hip hop and a seminal work in sample based production.

The cover art and gatefold is a photograph of Ludlow Street (as shot from 99 Rivington Street), credited to Nathanial Hörnblowér, but shot by Jeremy Shatan, who was the original bassist for Beastie Boys, when they were known as The Young Aborigines. On its initial release, Paul's Boutique was commercially unsuccessful because of its experimental and dense sampling and lyricism, in contrast to the group's previous album, Licensed to Ill. It was a commercial disappointment, peaking at only #24 on the Top R&B/Hip Hop Albums chart, and #14 on the Billboard 200 chart. The album was re released in a 20th anniversary package remastered in 24 bit audio and featuring a commentary track on January 27, 2009.

Contemporary reviews of Paul's Boutique were uniformly positive, with the production singled out for praise. David Handelman of Rolling Stone said the songs are "buoyed by the deft interplay of the three voices and a poetic tornado of imagery", featuring "equally far flung" musical samples on an album that is "littered with bullshit tough guy bravado, but it's clever and hilarious bullshit". Greg Kot of the Chicago Tribune commended the Dust Brothers' "deft" production and Beastie Boys' rhymes, which he called "hilarious, vicious, surreal, snotty." David Stubbs of Melody Maker agreed, praising the Dust Brothers' production and calling the record "an outrageously funky triumph". Although he felt the group's performance did not match the quality of the production, he nevertheless considered the album a welcome return for the band after a three year hiatus. In Musician magazine, Jon Young noted the group's various pop culture references and numerous samples, and overall commended them for releasing another "classic LP". Writing for NME, Roger Morton gave praise to Paul's Boutique, finding that in terms of "weight of ideas", Licensed to Ill "shrinks to nothing in comparison". Danny Weizmann in LA Weekly commended the group's evolution from "juvenile delinquents" on Licensed to Ill, to "psychedelic gurus". He went on to praise the Dust Brothers' production, the layers of samples, and felt the closing track "B Boy Bouillabaisse" will "probably change the face of all hip hop for a long time to come". He concluded his review stating: "This album will surely put an end to any notion that the Beastie Boys were a one shot or a producer's creation." In Q magazine, Charles Shaar Murray was less positive. He felt that the group failed to evolve from their debut, calling them "still unlistenable and uncivilized". He overall considered the samples "ill matched" and the group's performance subpar. Robert Christgau said although it "doesn't jump you the way great rap usually does", "the Beasties and Tone Lōc's Dust Brothers have worked out a sound that sneaks up on you with its stark beats and literal minded samples, sometimes in a disturbing way." He commended them for "bearing down on the cleverest rhymes in the biz" and wrote, "the Beasties concentrate on tall tales rather than boasting or dissing. In their irresponsible, exemplary way, they make fun of drug misuse, racism, assault and other real vices fools may accuse them of." In Christgau's Record Guide: The '80s (1990), he said the album's "high speed volubility and riffs from nowhere will amaze and delight you", calling it "an absolutely unpretentious and unsententious affirmation of cultural diversity, of where [the group] came from and where they went from there." NME critic Paul Moody found the album to "still [be] an electrifying blast of cool" in a 1994 review, viewing it as a "younger incarnation" of Ill Communication. In a 2003 review for Rolling Stone, Rob Sheffield called it "a celebration of American junk culture that is still blowing minds today—even fourteen years of obsessive listening can't exhaust all the musical and lyrical jokes crammed into Paul's Boutique". In a 2009 review, Mark Kemp of Rolling Stone called the album a "hip hop masterpiece". In the book For Whom the Cowbell Tolls: 25 Years of Paul's Boutique, host of KDOC's Request Video Gia DeSantis discussed the appeal of the album to local markets and the missed opportunity by Capitol Records to take the album over the top. The book was a follow up to 33 1/3's book Paul's Boutique. Noting that Paul's Boutique was less commercially successful than the group's chart topping debut had been, Consequence. net's Marcus Shorter wrote, "Paul's Boutique sat at a finish line waiting for the rest of the world to catch up."

In 2022, the New York City Council voted to rename the intersection of Ludlow and Rivington streets in Manhattan's Lower East Side the location of the Paul's Boutique album cover "Beastie Boys Square". The vote was result of a grassroots campaign started in 2013 by historian LeRoy McCarthy. The proposed renaming was voted down when first proposed in 2014, but was accepted on July 14, 2022. The square was officially renamed on September 9, 2023, coinciding with celebrations of the 50th anniversary of hip hop.