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Production Credits:

Egg Raid on Mojo Click for Lyrics

First Appearance: Polly Wog Stew EP 1982
Written by: Beastie Boys
Performed by: Kate Schellenbach (drums, backing vocals, washboard), Adam Yauch (bass, backing vocals, acoustic guitar), John Berry (guitar), Michael Diamond (lead vocals and cow bell), Dave ID (backing vocals), Dave P (backing vocals), Nick (backing vocals)
Production Notes: Recorded at 171A Studio, engineered by Scott Jarvis, produced by Beastie Boys and Scott Jarvis in Winter 1981. Originally released on Ratcage Records. Egg Raid On Mojo ("Noise the Show" Version) recorded on 4 track cassette by Greg Cewdson and Eric Hoffert then taped from Tim Sommer's "Noise the Show" radio program.

Behind the Beats and Lyrics...

References

  • Mojo - a bouncer at a Manhattan nightclub

Commentary:

Beastie Boys

"Mojo was this huge guy we all knew who was kind of like a nightclub chameleon. You'd see him out at a club and he'd be ska, then the next week he'd be new romantic, and the week after that he'd be punk rock. Then he started working on the door at nightclubs and being a real dick, not wanting to let us in because we were underage. So we had to take matters into our own hands, and bring out the heavy artillery..." - Michael Diamond

"[John Berry] told me that he had written a couple of songs and picked up his guitar and started playing some chords. I did my best to play along with him and to remember what he'd just played, but honestly who knows what it really was. Later when I asked him to show it to me again, he said, 'I don't know. I just made it up while I was showing it to you.' So I guess the music on 'Egg Raid' is whatever I remembered or interpreted from John's improvisation. The lyrics are a true story. Mojo was (an perhaps even still is) a doorman who worked at a few downtown clubs. Sometimes he would let us in for free. Sometimes he would not. The song chronicles an unfortunate evening when he chose not to." - Adam Yauch, 1999

Family & Friends

"The 171 A studio was primarily a rehearsal studio, but it had a stage and great acoustics. I hooked up the Polly Wog Stew recording sessions with Scott Jarvis because he was left in charge of the studio while Jerry Williams was away on tour with the Bad Brains. Anyway, Scott was there and so I asked him, 'Scott can you record the Beastie Boys? I want to put out a record.' They had so much fun recording, even in spite of the cold (171 A was unheated)." - Dave Parsons, 2002

"The Beastie Boys asked me if I wanted to supervise the recording sessions of Polly Wog Stew. They also wanted to know if there was anything I thought they should do and whatnot. I said no, just go in with Scott Jarvis and do your thing. I'll just be hanging around like always and if I think of something I'll say so. Really, I just wanted them to go in there (171 A) and do the best they could and have a good time. I hung around all the time just listening to what they were recording. They were doing just fine. I wanted them to just be themselves. I tell you, it was great; I think they learned a lot then. They had made the jump from being kids who played after school to something bigger. They were sounding good and having a great time and I was happy because I was realizing a dream. I was 'producing' by letting them do what ever they wanted to. I never once said 'oh wait a minute, you guys need to do this or that.' However, I think I did tell them once to not get stressed out about it. I thought their friends should be hanging around, so I tried to create an atmosphere where a bunch of us were just sitting around on the sofas and generally hanging out listening in on the recording process. When they needed back-up vocals we all went up and did them. I was going for a 'factory' artist atmosphere and about the only thing I said to Scott Jarvis was that I wanted it to be a real 'hot' recording." - Dave Parsons, 2002

"I remember the day of the benefit concert well. We were all at the store and were fired up about this great bill we had lined up for the November 20th, 1982 Ratcage Records benefit at CBGB's. We were having lots of fun talking and hanging out when Michael's brother showed up. I was standing right next to him and he told Michael that their dad died. When I heard that I walked away to let them speak privately. They left the store together. When Mike D came back in he didn't have to say much, because the store was small and we had already heard the sad news. I'm not going into great detail but Mike said he was going to do the show...I knew right then that he was going to be a big success in show business. I knew he would make it, because he proved himself a trooper that night. I was as proud of him as if he was my own son..." - Dave Parsons, 2002

"The truth is that the Beastie Boys are just now getting around to some things which are similar to what they were up to on Beastieland. Of course, it was much more primitive than what you hear on their more recent releases. But like I said it was more pop-rock-punk-type of project and in my opinion was much better than anything on Polly Wog Stew. The Beastie Boys deserve every bit of the fame and recognition that they've gotten. I knew all along they could do it, if anybody could." - Dave Parsons, 2002

"A few months before Some Old Bullshit came out, the Beastie Boys contacted John Loder at Southern and expressed to him that they wanted to put out the material (Polly Wog Stew and Cooky Puss) themselves on the Grand Royal label. Since the Ratcage Records label was inactive at the time, it was a logical move. The deal with Southern was that John Loder could finish selling all the remaining copies of Polly Wog Stew and Cooky Puss since it was not worth the expense of doing a recall. That is why it is possible today that you may still find the compact discs for Polly Wog Stew and Cooky Puss for sale in some out-of-the-way place. I know you could find them as late as 1998. However, in most places those discs were pretty much were gone by 1995-96 and replaced with Some Old Bullshit." - Dave Parsons, 2002

Press

"Michael [Diamond] is singing about 'decadence and anarchy' against what is known in the pop business as a 'three chord thrash'" - The Face, 1987

"...[a] punkified thrasher" - Boston Herald, August 1998

"'Egg Raid on Mojo' was revisited in infinitely more engaging form on the Paul's Boutique album, where elements of it were overhauled to make the track 'Egg Man'" - excerpted from Rhyming & Stealing: A History of the Beastie Boys by Angus Batey, 1998

 

Released Versions:

Egg Raid on Mojo
Egg Raid on Mojo (Demo)
Egg Raid on Mojo (Live)

Live:

Performed in 169 known Concerts.

First known Performance:
20-Nov-1982 : CBGB's, New York, NY, United States

Last known Performance:
12-Jun-2009 : Great Stage Park, Manchester, TN, United States

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