In 1993, the Beastie Boys started work on the album that would become Ill Communication. One of the first songs to be written was “Sabotage“. The Beasties initially envisioned the song as a piano-based ballad, a far cry from the bombastic, high-energy punk anthem that eventually took shape.
The following is taken from producer Mario Caldato, Jr.’s book detailing the making of Ill Communication:
Picture this: MCA, Ad-Rock, and Mike D, gathered around a grand piano in our dimly lit studio, wearing silk robes and oversized sunglasses. Mike D, with an exaggerated air of sophistication, suggests, “Gentlemen, I propose we break away from the conventional and create a piano opus that will redefine our musical legacy.“
Ad-Rock, adjusting an imaginary monocle, nods in agreement. “Yes, quite. Let us serenade the masses with the dulcet tones of ivory keys, a symphony of elegance and refinement.“
And so the Beastie Boys more or less instantly compose the most unexpected piano piano ballad in the history of music: “Sabotage.“
As they tinkled away on the piano keys, the Beasties couldn’t help but feel an urge to inject a bit of their signature irreverence into the mix. Soon, the piano chords took on a rebellious edge, and the serene ballad transformed into a chaotic cacophony of energy and distortion.
MCA finally spoke up: “Gentlemen, I fear we have inadvertently unleashed a beast upon the musical landscape, a wild and uncontrollable force that refuses to be confined. This song cannot be reasoned with!“
The Beastie Boys embraced the chaos, amplifying the rebellious spirit that had hijacked their piano experiment. They added screeching guitars, pounding drums, and howling vocals, turning their refined composition into the raw, unapologetic anthem we now know as “Sabotage.“
MCA, still wearing his silk robe but now slightly disheveled, grinned and said, “Well, gentlemen, it seems the piano had other plans for us.“
And so, the piano ballad that never was became the iconic distortion-heavy anthem.
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