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Hello Nasty
The Beastie Boys laying in a tuna can with the sun in the background.
Studio album by
Beastie Boys
ReleasedJuly 6, 1998 (1998-07-06)[1]
Recorded1997–1998
Studio
  • G-Son (Los Angeles)
  • Oscilloscope Laboratories (New York City)
GenreAlternative hip-hop
Length67:28
Label
Producer
Beastie Boys chronology
The In Sound From Way Out!
(1996) 		Hello Nasty
(1998) 		Scientists of Sound (The Blow Up Factor Vol. 1)
(1999)
Singles from Hello Nasty
  1. "Intergalactic"
    Released: June 22, 1998[2]
  2. "Body Movin'"
    Released: October 26, 1998[3]
  3. "Remote Control / Three MC's and One DJ"
    Released: May 8, 1999[4]
  4. "The Negotiation Limerick File"
    Released: May 1999 (Aus)

Hello Nasty is the fifth studio album by the American hip-hop group Beastie Boys, released on July 6, 1998 in Europe and on July 14 in the United States,[5] by Grand Royal and Capitol Records. The album sold 681,000 copies in its first week, debuting at No. 1 on the Billboard 200 chart, and won Best Alternative Music Album and Best Rap Performance by a Duo or Group (for "Intergalactic") at the 41st Annual Grammy Awards. In Beastie Boys Book (2018), Ad-Rock said he felt Hello Nasty was the group's "best record".[6]

Background

[edit]

The album was released in July 1998, just over four years after the previous Beastie Boys album, Ill Communication. It marked the addition of DMC champion Mix Master Mike to the group's line-up,[7] and was the last time the band worked with percussionist Eric Bobo or a co-producer.[8] There are several guest vocalists on the album, including Miho Hatori of Cibo Matto on "I Don't Know", and Jamaican dub musician Lee "Scratch" Perry on "Dr. Lee, PhD".[8]

On the many musical styles on the album, Mike D said in 1998: "We spent so much time in the studio that we weren't in touch with the things that happened around us, not what's going on in the music scene and not what other people think about our music. We didn't even hear other opinions; we were rather reclusive. You know, there is nothing planned on the album, we didn't plan anything. All you hear are different sounds, sounds we experimented with, nothing else. Maybe that's our problem: we were so far removed from everything, it was like being underground, really underground, like in a hole in the ground."[9]

The title of the album was allegedly inspired by the receptionist of the band's NY-based publicity firm Nasty Little Man, who would answer the phone with the greeting "Hello, Nasty."[10]

There were CD, double-vinyl LP, MiniDisc, and cassette tape releases of the album. One of the cassette formats was packaged for a limited run by BioBox in a small cardboard box, rather than a clear plastic case, in an attempt to distinguish the retail product and augment sales.[11]

Music

[edit]

Evan Rytlewski of Pitchfork assessed: "At its core, the album is a revisionist love letter to ’80s hip-hop, built from repurposed trappings of that era—808s, disco breaks, beatboxing, analogue synthesizers, Kool Moe Dee and Kurtis Blow samples, and scratches. But its true character lies in its tangents and outliers—the leisurely electronic pastiches, tipsy dub tracks, and earnest ballads that break up all the instant-gratification rap songs."[12]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[7]
Chicago Sun-TimesStarStarStarStar[13]
Entertainment WeeklyB+[14]
The GuardianStarStarStarStar[15]
Los Angeles TimesStarStarStar[16]
NME9/10[17]
Pitchfork8.5/10[18]
Rolling StoneStarStarStarStar[8]
Spin7/10[19]
The Village VoiceA[20]

Hello Nasty received mostly positive reviews upon its release. Caroline Sullivan, writing for The Guardian, named it the "Pop CD of the Week" and said it "fills a gap created by the current profusion of serious rock bands like Radiohead; elbowing its way up front, [and letting] rip with adolescent vigour."[15] She went on to summarize the record as "the perfect party soundtrack by the perfect party band."[15] Select's John Harris praised the Beastie Boys' lyrics for being as "fantastically off-beam as ever", while at the same time noting that they had "broadened their musical vistas yet further".[21] Although AllMusic's Stephen Thomas Erlewine felt the album's ending was "a little anticlimactic", he also saw Hello Nasty as a progressive step forward from the group's 1992 LP Check Your Head and praised the contributions of the group's new recruit, Mix Master Mike: "Hiring DJ Mixmaster Mike turned out to be a masterstroke; he and the Beasties created a sound that strongly recalls the spare electronic funk of the early '80s, but spiked with the samples and post-modern absurdist wit that have become their trademarks."[7] In his review for Entertainment Weekly, David Browne highlighted the album's multi-genre sound as its most engaging aspect:

Hello Nasty is a sonic smorgasbord in which the Beasties gorge themselves with reckless abandon. They dabble in lounge-pop kitsch (the loser put-down "Song for the Man"), make like a summit of Santana and Traffic (the Latin-flavored "Song for Junior"), and subtly incorporate a drum-and-bass shuffle into the mix ("Flowin' Prose"). The melange makes for a looser, more free-spirited record than their earlier albums; the music invites you in, rather than threatening to shut you out.[14]

Accolades

[edit]

* denotes an unranked list

Accolades for Hello Nasty
Publication Country Accolade Year Rank
Les Inrockuptibles France Best 50 Albums of the Year[22] 1998 44
Melody Maker United Kingdom Best 50 Albums of the Year[23] 1998 2
Mixmag United Kingdom Best 10 Albums of the Year[24] 1998 5
Musikexpress Germany Best 50 Albums of the Year[25] 1998 22
Muzik United Kingdom Best 75 Albums of the Year[26] 1998 2
NME United Kingdom Best 50 Albums of the Year[27] 1998 2
Pitchfork United States Best 50 Albums of the Year[28] 1998 20
Q United Kingdom Best Albums of the Year[29] 1998 *
Rocksound France Best 50 Albums of the Year[30] 1998 17
Rolling Stone United States Best 5 Albums of the Year[31]
The Essential Recordings of the 90s[32] 		1998
2009 		2
*
Select United Kingdom Best 30 Albums of the Year[33] 1998 13
SPIN United States Best 20 Albums of the Year[34] 1998 10
Technikart France Best 10 Albums of the Year[35] 1998 2
The Face United Kingdom Best 20 Albums of the Year[36] 1998 11
The Village Voice United States Albums of the Year Poll[37] 1998 9
Uncut United Kingdom Best 40 Albums of the Year[38] 1998 12

Track listing

[edit]

All tracks are written by Beastie Boys, except where noted.

Hello Nasty[39]
No.TitleWriter(s)Length
1."Super Disco Breakin'" 2:07
2."The Move" 3:35
3."Remote Control" 2:58
4."Song for the Man" (with Brooke Williams) 3:13
5."Just a Test" 2:12
6."Body Movin'"
3:03
7."Intergalactic"
  • Beastie Boys
  • Caldato
3:51
8."Sneakin' Out the Hospital" 2:45
9."Putting Shame in Your Game" 3:37
10."Flowin' Prose" 2:39
11."And Me" 2:52
12."Three MC's and One DJ"
2:50
13."The Grasshopper Unit (Keep Movin')" (with Biz Markie) 3:01
14."Song for Junior" (with Jill Cunniff)
3:49
15."I Don't Know" (with Miho Hatori) 3:00
16."The Negotiation Limerick File"
  • Beastie Boys
  • Caldato
2:46
17."Electrify"
  • Beastie Boys
  • Caldato
2:22
18."Picture This" (with Brooke Williams)
  • Beastie Boys
  • Brooke Williams
2:25
19."Unite" 3:31
20."Dedication"
  • Beastie Boys
  • Nishita
2:32
21."Dr. Lee, PhD" (with Lee "Scratch" Perry)
4:50
22."Instant Death" 3:22
Total length:67:28
Japanese Edition bonus track
No.TitleLength
23."Slow and Low" (Mix Master Mike Version)3:00
Tour Edition bonus disc
No.TitleLength
1."Hail Sagan (Special K)"4:06
2."Body Movin'" (Fatboy Slim Remix)5:34
3."Intergalactic" (Prisoners of Technology Remix)5:46
4."Peanut Butter & Jelly"2:16
2009 Remastered Edition Bonus Disc
No.TitleLength
1."Description of a Strange Man"1:21
2."Dirty Dog"0:47
3."Intergalactic" (Colleone & Webb Remix)3:54
4."Dr. Lee, PhD" (Dub Mix)4:39
5."Switched On"1:35
6."Body Movin'" (Fatboy Slim Remix)5:33
7."Auntie Jackie Poom Poom Delicious"1:39
8."Putting Shame in Your Game" (Prunes Remix)4:26
9."Stink Bug"2:02
10."Peanut Butter & Jelly"2:14
11."Piano Jam"1:51
12."Happy to Be in That Perfect Headspace"0:50
13."The Negotiation Limerick File" (The 41 Small Star Remix)3:20
14."The Drone"2:44
15."20 Questions Version"2:26
16."The Biz Grasshopper Experiment"1:13
17."Hail Sagan (Special K)"4:04
18."Body Movin'" (KutMasta Kurt Remix)3:16
19."Creepin'"2:32
20."Learning Remote Control"1:50
21."Oh My Goodness This Record's Incredible"0:04

Personnel

[edit]

Adapted from the AllMusic credits.[40]

Charts

[edit]

Certifications

[edit]
Certifications and sales figures for Hello Nasty
Region Certification Certified units/sales
Australia (ARIA)[71] Platinum 70,000^
Belgium (BRMA)[72] Gold 25,000*
Canada (Music Canada)[73] 3× Platinum 300,000^
Japan (RIAJ)[74] Platinum 200,000^
Netherlands (NVPI)[75] Gold 50,000^
New Zealand (RMNZ)[76] Platinum 15,000^
Norway (IFPI Norway)[77] Gold 25,000*
Sweden (GLF)[78] Gold 40,000^
Switzerland (IFPI Switzerland)[79] Gold 25,000^
United Kingdom (BPI)[80] Platinum 300,000‡
United States (RIAA)[81] 3× Platinum 3,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Hello Nasty

View on Grokipedia
from Grokipedia
Hello Nasty is the fifth studio album by the American hip hop group , released on July 14, 1998, by and . Produced by the and , the double album contains 22 tracks spanning 67 minutes and incorporates a diverse array of musical styles, including hip-hop, , , rock, and electronic music. The album debuted at number one on the chart, selling 681,000 copies in its first week. Critically acclaimed for its innovative production, playful lyrics, and energetic performances, Hello Nasty marked a return to the group's hip-hop roots while experimenting with new sounds after their more experimental previous releases. Key singles from the album include "Intergalactic", which reached number 28 on the and won a Grammy Award for Best Rap Performance by a Duo or Group, and "Body Movin'", which peaked at number 15 on the UK Singles Chart. Hello Nasty also earned the Grammy for Best Alternative Music Album in 1999 and has been certified triple platinum by the RIAA. The album's release was supported by the Hello Nasty Tour, featuring an innovative 360-degree stage setup that enhanced live performances of tracks like "" and "The Negotiation Limerick File". Over the years, Hello Nasty has been praised for revitalizing the ' career and influencing subsequent hip-hop and alternative music productions with its layered sampling and genre-blending approach.

Background and recording

Development

Hello Nasty marked the ' fifth studio album, arriving after a four-year absence from full-length vocal releases following their 1994 effort . The group also released the instrumental album The In Sound from Way Out! in 1996 during this period. The extended gap reflected the group's intent to refresh their approach amid the evolving hip-hop scene of the mid-1990s, which saw shifts toward more polished production and diverse subgenres, prompting the trio to experiment with a broader palette of sounds while honoring their roots. During this period, the took a hiatus from collective album work to pursue individual endeavors and address operational challenges at their label, which closed in 2001 due to mounting debts and distribution hurdles in the late . (Michael ) focused on label management and personal explorations, (Adam Horovitz) contributed to production for other artists, and MCA (Adam Yauch) delved into filmmaking and activism, including early Tibetan Freedom Concerts. These solo pursuits allowed creative recharge before reconvening. A pivotal shift came with the departure of longtime after , leading the group to recruit [Mix Master Mike](/page/Mix Master_Mike) (Michael Schwartz) as their new turntablist for Hello Nasty. Schwartz's innovative scratching style, highlighted in tracks like "3 MC's and One DJ," injected fresh energy into the project, aligning with the Beasties' vision for dynamic live elements. Conceptual discussions for the album began in 1996, with the group fully committing by early , drawing inspiration from a revival of 1980s hip-hop aesthetics such as drum patterns and funky breaks. This nostalgic pull, combined with emerging electronic and alternative trends from artists like and , shaped pre-production ideas for an eclectic, high-energy record that blended retro vibes with forward-looking experimentation.

Sessions and production

The recording sessions for Hello Nasty began in 1995 and continued through early 1998, with initial work at G-Son Studios in before the relocated to for the bulk of the production, utilizing facilities such as The Dungeon, The Tree House, Ted Diamond's House of Hits, Soho Music Studios, Studios, and RPM Studios. This shift was prompted by "MCA" Yauch's return to his hometown, allowing the group to complete the album in a more familiar environment after scattered sessions over the preceding years. The process involved intensive collaboration, with the band capturing live jam sessions on (DAT) before refining selections for further development, a method consistent with their approach on prior albums. The Beastie Boys acted as primary producers, overseeing the creative direction while enlisting engineer and co-producer to handle technical execution, including vocal recording, arrangement, and mixing at RPM Studios. This marked the final album with significant contributions from percussionist Eric Bobo, who added live instrumentation to tracks like "Song for Junior" before his role diminished in future releases due to scheduling conflicts and the band's evolving live setup. A pivotal addition during these sessions was DJ Mix Master Mike, whose dynamic and were integrated into key tracks such as "Three MC's and One DJ," infusing the project with innovative live manipulation of samples and beats. Guest collaborators enriched the sessions, including providing ethereal vocals on the medley "Remote Control / Three MC's and One DJ" and delivering spoken-word elements on "Dr. Lee, PhD," drawing from his production legacy. Technically, the production emphasized analog warmth to evoke hip-hop authenticity, incorporating vintage gear like Neve and preamps, Roland tape echoes for delay effects, spring reverbs, and old drum machines including the for foundational rhythms. Vinyl sampling played a central role, with sourcing and manipulating records live in the studio—often via Mix Master Mike's setups—alongside for final editing, blending organic textures with precise digital assembly to create the album's eclectic, high-fidelity sound. Mastering occurred at Masterdisk in New York, ensuring the 22-track sprawl maintained clarity and punch across its nearly 67-minute runtime.

Musical content

Styles and influences

Hello Nasty is primarily an alternative hip hop album that blends '80s old-school rap aesthetics with modern electronic and funk elements, creating an eclectic sound characterized by dense sampling and genre fusion. The production heavily incorporates 808 bass drums for punchy rhythms, as highlighted in tracks like "Super Disco Breakin'," where the group explicitly celebrates the machine's distinctive sound with the line "Nothing sounds quite like an 8-0-8." breaks and evoke early hip-hop origins, with Mix Master Mike's contributions adding layers of and wah pedal effects throughout, particularly in "Three MC's and One DJ," which serves as a showcase. The album draws specific influences from dub reggae, evident in the collaboration with Lee "Scratch" Perry on "Dr. Lee," where his production techniques infuse echoey, experimental textures reminiscent of classic dub. Electronic pastiches appear in drum'n'bass and electro elements, alongside nods to late-1990s underground scenes like Ninja Tune and Mo' Wax, blending rigid electro beats with funky instrumentation. Additional influences include Brazilian bossa nova, inspired by artists like Antonio Carlos Jobim, which MCA integrated into tracks for melodic, lounge-like diversions. Track-specific styles highlight the album's versatility: "Intergalactic" features futuristic sci-fi rap with bombastic synths and explosive scratchwork, drawing on space-themed samples and electronic rigidity. "Body Movin'" embodies punk-funk through its energetic guitar interplay and club-ready groove, fusing the band's rock roots with hip-hop bounce. In contrast, "Song for the Man" adopts a ballad-like with hip-hop lite slackness and smooth, overextended rhythms, providing a mellow to the album's high-energy tracks. Compared to the jazz-rap focus of , Hello Nasty marks an evolution toward broader eclectic sampling and live instrumentation, combining punk energy from with the cultural collage of , while incorporating more and experimental elements for a looser, denser overall sound.

Release and artwork

Packaging and design

The for Hello Nasty was designed by Bill McMullen under the art direction of Cey Adams, with by Michael Lavine. It features a yellow-tinted of the dressed in '70s-style outfits—bell-bottom pants, afros, and leisure suits—posed inside an open sardine tin against a cluttered, retro-futuristic background evoking a chaotic garage or workshop filled with vintage sci-fi elements. This sardine tin motif directly references the lyric "packed like sardines in a crushed tin box" from the track "Body Movin'," while the overall space-station aesthetic, suggested by band member Adam "" Horovitz, shifts the visual from the group's earlier street-level themes to a dimensional, otherworldly vibe. The album was released on July 14, 1998, through and in multiple formats, including a double vinyl LP, , , and cassette. A limited cassette edition utilized special "BioBox" packaging, a cardboard case made from recycled materials that resembled a , underscoring the ' emphasis on eco-friendliness. The vinyl edition featured a sleeve with panoramic inner artwork depicting a galaxy scene complete with planets, satellites, a spacesuit-clad , and a distant tin amid solar flares. Additional design elements included fold-out containing lyrics, production credits, and the group's signature humorous annotations, such as playful references to samples and inside jokes. Despite the album's explicit lyrical themes, the carried only a standard label without further content warnings. Typography across the artwork drew from custom modifications of the Countdown font for the title and band name, paired with Futura for track listings and labels, enhancing the retro-futuristic tone.

Promotion and singles

The promotion of Hello Nasty centered on a multifaceted campaign that leveraged the Beastie Boys' established reputation for innovative and humorous marketing, including a 30-minute aired on on July 2, 1998, which encouraged fans to call a dedicated to the album. This quirky tactic, directed by , played on the band's playful image and generated buzz ahead of the July 14 release. The campaign also emphasized the group's activism, with a performance at the at RFK Stadium in , on June 14, 1998, aligning promotional efforts with their long-standing support for Tibetan independence. Extensive touring followed, with the Hello Nasty world tour kicking off on July 31, 1998, in and spanning , , and through 1999, featuring high-energy sets that mixed new material with classics to re-engage fans. Television appearances amplified visibility, including performances on The Late Show with David Letterman and in mid-1998, as well as a slot at the on September 10, where the group performed "Intergalactic" and "Three MC's and One DJ" and received the Video Vanguard Award. They also appeared on on November 21, 1998, showcasing tracks from the album. Four singles were released to support Hello Nasty, starting with the "Intergalactic" on June 2, 1998, which peaked at No. 28 on the Billboard Hot 100. "Body Movin'" followed on November 5, 1998, as the second single, with a remix by gaining traction on dance charts. "The Negotiation Limerick File" emerged as a promotional single on December 8, 1998, primarily for radio and international markets. The album's fourth single, a double A-side of "" and "Three MC's and One DJ," was issued on January 23, 1999. Music videos played a key role in the promotion, with several directed by under his pseudonym Nathaniel Hörnblowér, emphasizing the band's DIY aesthetic and visual humor. The "Intergalactic" video, released in 1998, featured a sci-fi theme with the group as intergalactic heroes battling aliens on a spaceship. "Body Movin'" (Fatboy Slim remix version) depicted the as superheroes saving a city, while "Three MC's and One DJ" was shot in the same studio where the album was recorded, showcasing live instrumentation. Efforts focused on radio play, particularly on hip-hop and alternative stations, to broaden the album's reach beyond mainstream pop outlets. Key events included a promotional show at in on June 11, 1998, serving as an early album launch event for fans and media. The campaign tied into the ' imprint, which produced album-themed merchandise like T-shirts and posters featuring sardine can artwork from the cover, integrating their clothing line to extend the brand's lifestyle appeal.

Reception and accolades

Critical reviews

Upon its release in 1998, Hello Nasty garnered widespread critical acclaim for its boundless energy, innovative production, and return to the ' hip-hop foundations after years of experimentation. of rated it 4.5 out of 5 stars, hailing it as an "eclectic triumph" and praising the group's mastery of sampling in creating a "head-spinning listen loaded with analog warmth and digital effects, all tied together with a dense web of pop references." awarded 5 out of 5 stars, commending the album as a "playful return" that revitalized the trio's sound through clever fusions of live instrumentation and electronic elements, while emphasizing their contributions to hip-hop as innovative musicians. gave it 9 out of 10, lauding its explosive vitality and seamless -blending as a high point in the group's catalog. assigned an A grade, applauding the return to spare breakbeats and skilled scratching alongside diverse influences like and Hammond B-3, which infused the rhymes—wise yet wiseass—with undeniable vitality and humanitarian edge. Critics frequently highlighted the album's versatility in merging hip-hop with , electro-funk, dub, and rock, crediting new DJ Mix Master Mike's for adding fresh layers of innovation and playfulness. However, some reviewers pointed to its 22-track, 67-minute runtime as occasionally overstuffed, with certain interludes diluting the momentum despite the overall exuberance. In retrospective assessments, Hello Nasty has been reevaluated as a pinnacle of the ' creativity. placed it at No. 20 on its 2018 list of the 50 best albums of , appreciating its mixtape-like sprawl and emotional range, from jolting electro-funk to ballads, as a showcase of the group's broad tastes. affirmed this view in the 2018 Beastie Boys Book, declaring it the band's "best record" for its comprehensive integration of their stylistic evolution and peak collaborative spirit.

Awards

Hello Nasty earned significant recognition in the late 1990s, beginning with initial accolades in year-end publications of 1998 that highlighted its innovative fusion of hip-hop, , and electronic elements. At the held on February 21, 1999, the album won the award for Best Alternative Music Album, affirming its crossover appeal in the category. Additionally, the "Intergalactic" secured the Grammy for Best Rap Performance by a Duo or Group, recognizing the track's inventive production and lyrical delivery. The music video for "Intergalactic," directed by under his Nathaniel Hornblower pseudonym, won Best Hip-Hop Video at the , praised for its surreal, sci-fi aesthetic and stop-motion animation. Over the years, Hello Nasty has received enduring honors, including appearances in various retrospective best of the lists, underscoring its lasting influence on the genre. These awards and rankings boosted the Beastie Boys' credibility across alternative music and rap categories in the post-1990s era, solidifying their status as genre pioneers.

Commercial performance

Chart success

Hello Nasty debuted at number one on the US chart dated August 1, 1998, with first-week sales of 681,000 copies, marking the Beastie Boys' third album to reach the top spot. The album remained at number one for three consecutive weeks before dropping to number three. It also topped the Top R&B/Hip-Hop Albums chart, reflecting its strong appeal within the genre. Internationally, the album achieved significant success, reaching number one on the , where it became the second rap album to top the ranking after Wu-Tang Clan's . Hello Nasty also debuted at number one in on the ARIA Albums Chart, on the RPM Top 100 Albums, on the RIANZ Albums Chart, and Germany on the Media Control Charts. It entered the top ten in France on the Albums Chart and Japan on the . The album's lead single, "Intergalactic," peaked at number 28 on the US and number five on the UK Singles Chart. Follow-up single "Body Movin'" reached number 75 on the US and number 15 on the UK Singles Chart. In its debut week, Hello Nasty's 681,000 US sales set a career high for the and contributed to its sustained chart presence, finishing at number 13 on the 1998 year-end chart.

Sales and certifications

Hello Nasty achieved substantial commercial success, with initial sales of 681,000 copies in its debut week , marking the highest first-week sales for the at the time. The album was certified 3× Platinum by the (RIAA) for shipments exceeding three million units. Internationally, it earned multiple certifications reflecting strong regional performance.
RegionCertificationCertified UnitsDateSource
Australia (ARIA)Platinum70,0001998ARIA
Canada (Music Canada)3× Platinum300,000December 14, 1998Music Canada
New Zealand (RMNZ)Platinum15,0001998RMNZ via Wikipedia
United Kingdom (BPI)Platinum300,000—BPI via Wikipedia
United States (RIAA)3× Platinum3,000,0001998RIAA via Loudwire
The album's robust launch was propelled by the Beastie Boys' loyal fanbase, while its enduring popularity ensured ongoing catalog sales over the years. Estimates place worldwide sales above five million copies. This success provided temporary financial relief to the group's label amid industry challenges, preceding its closure due to mounting debts in 2001.

Track listing and credits

Songs

Hello Nasty features 22 tracks with a combined runtime of 67:18, sequenced to flow continuously without pauses, giving the single-CD release the expansive feel of a . The songwriting is primarily credited to the (Adam Horovitz, Michael Diamond, and ) under their publishing imprint Brooklyn Dust Music, with co-writing contributions on select tracks from collaborators. Many songs incorporate samples from diverse sources, including , , and classical recordings, as cleared through the album's production. The track listing is as follows:
No.TitleDurationWritersNotes
1Super Disco Breakin'2:07Beastie BoysSamples "Sucker M.C.'s" by Run-D.M.C.
2The Move3:35Beastie BoysSamples "El Rey y Yo" by Los Angeles Negros.
3Remote Control2:58Beastie Boys
4Song for the Man3:13Beastie BoysFeatures spoken word by Brooke Williams.
5Just a Test2:12Beastie BoysInstrumental interlude.
6Body Movin'3:03Beastie Boys, Mario Caldato Jr.Samples "Oye Como Va" by Tito Puente.
7Intergalactic3:51Beastie BoysSamples "Prelude in C# Minor" adapted by Les Baxter and "Love Is Blue (L'Amour Est Bleu)" by The Jazz Crusaders; draws stylistic influence from Blondie's "Rapture."
8Sneakin' Out the Hospital2:45Beastie Boys
9Putting Shame in Your Game3:37Beastie BoysSamples "Whutcha Want?" by Nine and "No Ice Cream Sound" by Johnny Osbourne.
10Flowin' Prose2:39Beastie Boys
11And Me2:52Beastie Boys
12Three MC's and One DJ2:50Beastie BoysFeatures scratching by Mix Master Mike.
13The Grasshopper Unit (Keep Movin')3:01Beastie BoysSamples "I've Gotta Keep Movin'" by Alex Bradford & the Gospel Alexandretts.
14Song for Junior3:49Beastie BoysFeatures guest vocals by Jill Cunniff.
15I Don't Know3:00Beastie BoysFeatures guest vocals by Miho Hatori.
16The Negotiation Limerick File2:46Beastie BoysSamples "You'll Lose a Good Thing" by Barbara Lynn.
17Electrify2:22Beastie BoysSamples "Company" from Stephen Sondheim's musical and "Firebird Suite" conducted by Leopold Stokowski.
18Picture This2:25Beastie Boys, Brooke WilliamsInstrumental.
19Unite3:31Beastie Boys
20Dedication2:32Beastie Boys
21Dr. Lee, PhD4:50Lee "Scratch" PerryInstrumental tribute to Lee "Scratch" Perry.
22Instant Death3:18Beastie Boys
On the original double LP vinyl edition, the tracks are divided across four sides to accommodate the runtime: Side A (tracks 1–6), Side B (7–12), Side C (13–17), and Side D (18–22), though the version maintains a linear sequence. "Dr. Lee, PhD" serves as an extended closer, emphasizing the album's experimental leanings without vocals.

Personnel

The personnel for Hello Nasty featured the as the primary performers and producers: Adam "MCA" Yauch on bass and vocals, Michael "" Diamond on drums and vocals, and Adam "" Horovitz on guitar and vocals. joined as the DJ, providing turntables and scratches on tracks including "Three MC's and One DJ," "The Grasshopper Unit (Keep Movin')," and "." Additional musicians contributed to various tracks, with Eric Bobo on percussion for selections such as "The Move," "Putting Shame in Your Game," "Song for the Man," and "Song for Junior." Keyboardist Money Mark Nishita (Mark Ramos-Nishita) played on tracks like "Song for the Man," "Putting Shame in Your Game," "Remote Control," and "Dedication." Guest vocalists included Miho Hatori of Cibo Matto on "Remote Control" and "I Don't Know," Lee "Scratch" Perry on a featured spot on "Dr. Lee, PhD," Brooke Williams on "Song for the Man," and Jill Cunniff of Luscious Jackson on "Song for Junior." Biz Markie provided spoken vocals on "The Grasshopper Unit (Keep Movin')." Other instrumental contributions encompassed Paul Vercesi on alto saxophone and Nelson Keane Carse on trombone for "Song for the Man," Steve Slagle on flute and Joe Locke on vibraphone for "Putting Shame in Your Game," and Brian Wright on violin and viola for "Remote Control." The production team was led by the and , who also engineered and mixed the at RPM Studios in New York. Second engineers included Steve Revitte and Sue (Susanne) Dyer at RPM Studios. Mastering was handled by , assisted by Andy Van Dette, at Masterdisk in New York. For artwork and design, Cey Adams provided art direction, while Bill McMullen handled design through The Drawing Board.

Legacy

Cultural impact

Hello Nasty played a pivotal role in reviving interest in old-school hip-hop elements during the late , emphasizing the classic formula of three MCs and one DJ amid a shifting genre landscape dominated by and emerging electronic influences. The album's production heavily incorporated samples from earlier hip-hop and sources, such as Les Baxter's orchestral works, which helped reintroduce boom-bap rhythms and to mainstream audiences. This approach influenced subsequent artists blending rap with diverse genres. The album's lead single, "Intergalactic," became a pop culture staple, embedding itself in science fiction media and reinforcing the ' reputation for bridging , and social . The song's lyrics reference Mr. Spock, creating a noted timeline paradox with its portrayal of the as an enduring "oldies" band in the Kelvin timeline via another track () in Star Trek Beyond (2016), as well as appearances in animated series like Futurama and Marvel Cinematic Universe trailers such as The Marvels. Tracks like "Song for the Man" highlighted the group's maturing political voice, with members like using platforms such as the to challenge stereotypes against , aligning the album with broader cultural . As a career milestone, Hello Nasty represented the ' creative zenith, later reflected in their 2018 memoir Beastie Boys Book, where described it as the group's "best record" for its innovative recording process and high-energy output. This period marked a high point before Adam Yauch's death in 2012, solidifying their evolution from punk roots to hip-hop innovators. Its long-term legacy endures through inclusions in essential 1990s album lists, such as Hip Hop Golden Age's Top 150 Hip-Hop Albums and Bitter Melodies' 200 Best Albums of the Decade, underscoring its role in mainstreaming alternative hip-hop.

Reissues

In 2009, Beastie Boys issued a deluxe edition of Hello Nasty, featuring a remastered version of the original 27-track album alongside expanded bonus content. The limited-edition 4LP vinyl box set, pressed on 180-gram vinyl and packaged in a hardcover slipcase with a removable sew-on patch, included two additional LPs with 21 bonus tracks consisting of remixes, B-sides, and rarities, such as "Body Movin' (Fatboy Slim Remix)," "Peanut Butter & Jelly," and "The Negotiation Limerick File (The 41 Small Stars Remix)." A corresponding two-CD edition offered the remastered album on the first disc and a bonus disc with similar material, including seven previously unreleased tracks and skits like "Description of a Strange Man" and "Stink Bug." This vinyl set sold out rapidly and remained out of print for over a decade, gaining status among collectors for its comprehensive curation of era-specific extras. The 2009 remastering extended to digital platforms and standard formats, with the enhanced audio and select bonus tracks—such as alternate mixes of "Intergalactic"—made available on services like and as a standalone 180-gram double vinyl reissue from . These versions emphasized improved sound quality while preserving the album's eclectic production, appealing to both longtime fans and newcomers through accessible streaming and physical repressions. For the album's 25th anniversary in 2023, re-released the 2009 deluxe 4LP in limited quantities through their official store and retailers like uDiscover Music, reviving the exact configuration with the remastered album, 21 bonus tracks, hardcover , and sew-on patch. The reissue received positive reviews for its archival value and sound quality. Distributed by on September 8, 2023, this edition targeted vinyl enthusiasts and collectors, maintaining the original's high-fidelity 180-gram pressings without new additions like posters or further remixing. As of November 2025, no major 30th anniversary reissue has been announced, though ongoing Capitol vinyl variants continue to cater to the collector market.

References

  1. https://www.billboard.com/music/rb-hip-hop/beastie-boys-hello-nasty-album-8465557/
  2. https://www.discogs.com/release/10665-Beastie-Boys-Hello-Nasty
  3. https://ktswblog.net/2025/04/24/revisiting-the-beastie-boys-hello-nasty/
  4. https://www.udiscovermusic.com/stories/rediscover-the-beastie-boys-hello-nasty/
  5. https://www.latimes.com/archives/la-xpm-1998-jul-23-ca-6195-story.html
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  57. https://www.discogs.com/release/28203619-Beastie-Boys-Hello-Nasty
  58. https://shopus.beastieboys.com/products/hello-nasty-4lp
  59. https://open.spotify.com/album/6eGYLONkDMja0MNtZWnRRB
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  62. https://shop.udiscovermusic.com/products/beastie-boys-hello-nasty-deluxe-edition-4lp
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