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BEASTIE BOYS - LICENSED TO ILL
ARTIST:
TITLE:
Licensed To Ill
LABEL:
CATNO:
4782075
STYLE:
Hip Hop /
FORMAT:
Vinyl record
DESCRIPTION:
30th Anniversay issue of all time Hip Hop Classic !!!
Perhaps Licensed to Ill was inevitable -- a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives short shrift to the Beastie Boys; producer Rick Rubin, and his label, Def Jam, and this remarkable record, since mixing metal and hip-hop isn't necessarily an easy thing to do. Just sampling and scratching Sabbath and Zeppelin to hip-hop beats does not make for an automatically good record, though there is a visceral thrill to hearing those muscular riffs put into overdrive with scratching. But, much of that is due to the producing skills of Rick Rubin, a metalhead who formed Def Jam Records with Russell Simmons and had previously flirted with this sound on Run-D.M.C.'s Raising Hell, not to mention a few singles and one-offs with the Beasties prior to this record. He made rap rock, but to give him lone credit for Licensed to Ill (as some have) is misleading, since that very same combination would not have been as powerful, nor would it have aged so well -- aged into a rock classic -- if it weren't for the Beastie Boys, who fuel this record through their passion for subcultures, pop culture, jokes, and the intoxicating power of wordplay. At the time, it wasn't immediately apparent that their obnoxious patter was part of a persona (a fate that would later plague Eminem), but the years have clarified that this was a joke -- although, listening to the cajoling rhymes, filled with clear parodies and absurdities, it's hard to imagine the offense that some took at the time. Which, naturally, is the credit of not just the music -- they don't call it the devil's music for nothing -- but the wild imagination of the Beasties, whose rhymes sear into consciousness through their gonzo humor and gleeful delivery. There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time.
Perhaps Licensed to Ill was inevitable -- a white group blending rock and rap, giving them the first number one album in hip-hop history. But that reading of the album's history gives short shrift to the Beastie Boys; producer Rick Rubin, and his label, Def Jam, and this remarkable record, since mixing metal and hip-hop isn't necessarily an easy thing to do. Just sampling and scratching Sabbath and Zeppelin to hip-hop beats does not make for an automatically good record, though there is a visceral thrill to hearing those muscular riffs put into overdrive with scratching. But, much of that is due to the producing skills of Rick Rubin, a metalhead who formed Def Jam Records with Russell Simmons and had previously flirted with this sound on Run-D.M.C.'s Raising Hell, not to mention a few singles and one-offs with the Beasties prior to this record. He made rap rock, but to give him lone credit for Licensed to Ill (as some have) is misleading, since that very same combination would not have been as powerful, nor would it have aged so well -- aged into a rock classic -- if it weren't for the Beastie Boys, who fuel this record through their passion for subcultures, pop culture, jokes, and the intoxicating power of wordplay. At the time, it wasn't immediately apparent that their obnoxious patter was part of a persona (a fate that would later plague Eminem), but the years have clarified that this was a joke -- although, listening to the cajoling rhymes, filled with clear parodies and absurdities, it's hard to imagine the offense that some took at the time. Which, naturally, is the credit of not just the music -- they don't call it the devil's music for nothing -- but the wild imagination of the Beasties, whose rhymes sear into consciousness through their gonzo humor and gleeful delivery. There hasn't been a funnier, more infectious record in pop music than this, and it's not because the group is mocking rappers (in all honesty, the truly twisted barbs are hurled at frat boys and lager lads), but because they've already created their own universe and points of reference, where it's as funny to spit out absurdist rhymes and pound out "Fight for Your Right (To Party)" as it is to send up street corner doo wop with "Girls." Then, there is the overpowering loudness of the record -- operating from the axis of where metal, punk, and rap meet, there never has been a record this heavy and nimble, drunk on its own power yet giddy with what they're getting away with. There is a sense of genuine discovery, of creating new music, that remains years later, after countless plays, countless misinterpretations, countless rip-off acts, even countless apologies from the Beasties, who seemed guilty by how intoxicating the sound of it is, how it makes beer-soaked hedonism sound like the apogee of human experience. And maybe it is, maybe it isn't, but in either case, Licensed to Ill reigns tall among the greatest records of its time.
PRICE:
£28.99
RELEASED YEAR:
SLEEVE:
Mint (M)
MEDIA:
Mint (M)
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Last FM Information on Beastie Boys
Please note the information is done on a artist keyword match and data is provided by LastFM.
Founded in New York City in 1981 by a group of arty middle-class Jewish kids responding to Manhattan’s eclectic downtown music scene, the Beastie Boys evolved by 1983 from a hard-core punk quartet (including original guitarist John Berry and drummer Kate Schellenbach) into a trio—MCA, Mike D, and Adrock. They signed with Def Jam, and early 12-inch singles and a brief tour with Madonna in 1985 finally brought them press attention. It was not until they toured with popular black rappers Run-D.M.C., however, that the Beastie Boys won credibility with the rap audience. Good timing and a clever blend of hard rock samples and parodic fraternity-boy posturing turned Licensed to Ill (1986), with its hit single “(You Gotta) Fight for Your Right (to Party),” into a smash debut album, confirming the emotional and stylistic affinities some critics found between rap and hard rock. After moving from Def Jam to Capitol Records for their 1989 release, Paul’s Boutique, the Beastie Boys strategically appropriated retro-funk influences, adding an acoustic dimension to digital sound-collage techniques learned from Rick Rubin and Grandmaster Flash.
The band launched the Grand Royal record label in 1992. In addition to the Beastie Boys, its roster included the alternative girl group Luscious Jackson, Australian singer-songwriter Ben Lee, and German techno act Atari Teenage Riot. Check Your Head (1992), the Beastie Boys’ first release on Grand Royal, featured a collection of radio-friendly rhymes that layered pop culture references over distorted funk instrumentation. The group’s next album, Ill Communication (1994), had a similar sound, and the music video for the hit single “Sabotage”—a tongue-in-cheek homage to 1970s television police dramas—was in near-constant rotation on MTV. The band took an electronic turn on the Grammy-winning Hello Nasty (1998) and scored another hit with the single “Intergalactic.” In 2001 Grand Royal folded as a result of slow sales and mounting debts, and the Beastie Boys returned to Capitol for the 2004 release To the 5 Boroughs.
The instrumental hip-hop album The Mix-up (2007) represented a return to basics, and its fusion of funk, Latin, and lounge music won the band another Grammy. The trio’s eighth studio album, Hot Sauce Committee Part One, was scheduled for release in 2009, but Yauch was diagnosed with cancer in July of that year, and the group suspended all recording and touring activity. With Yauch’s health improving, the Beastie Boys resumed recording and in May 2011 released Hot Sauce Committee Part Two (with the exception of one song, the track list was virtually identical to the unreleased Part One). Stylistically, it was similar to Ill Communication, and the star-studded video for the debut single “Make Some Noise” demonstrated that the group had not lost its sense of the absurd. Despite the progress that was made with his early cancer treatments, Yauch’s health deteriorated, and he passed away in 2012. Two years later Diamond confirmed that the band had dissolved after Yauch’s death.
In 2012 the Beastie Boys were inducted into the Rock and Roll Hall of Fame. Diamond and Horovitz collaborated with a number of famous fans of the Beastie Boys and individuals from the band’s past to write Beastie Boys Book (2018), a multimedia memoir that explores the group’s history and significance. The documentary Beastie Boys Story was released in 2020. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
