Beastie Boys - Licensed to Ill
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Free Music Notes for Licensed to Ill
Free Music Review: Best Rap Group There Will EVER Be
Hit: 5 Stars
This is undoubtably the Beasties' best CD. There still great now, but on here they're more Rap/Rock, which they left behind later on for straight up rap/hip-hop, which isn't a bad thing. Most rap nowadays really sucks goats(*cough*cough50centmikejonesliljonseanpaulpaulwall *cough*cough). This great disc features such classics as Girls, No Sleep Til' Brooklyn(the Beasties best song), Rymin and Stealin(which has a rather nice tribute to The Clash), Fight For Your Right, Hold it Now Hit It, And the infamous Brass Monkey. If you're a fan of any rap or rock, I highly reccomend this amazing CD.Free Music Review: Ow! Ow! Quit it!
Hit: 5 Stars
I was gonna write a negative review of this album until, one cold gray day in 1987, I was told that BY LAW YOU MUST LIKE THE BEASTIE BOYS!! I said, wait, "I don't like songs about parties and retarded sexuality." YOU MUST LIKE THE BEASTIE BOYS!!!!! Two jackbooted thugs from Rolling Stone put me in cuffs and dragged me to their offices and put me in a cell where I was forced to listen to this album and all the Beasties records for two weeks straight. I said: "This is torture." They said: YOU MUST LIKE THIS ALBUM AND PAUL'S BOUTIQUE even more. After the 1,000th listen, while being forced to guzzle Natty Light beer and read the works of the Buddha, I submitted. Now, I walk in a daze singing "Brass Monkey." I like the Beasties now, I really do. And I want to make sure the music police know that.Free Music Review: As influential as it is "ill"
Hit: 5 Stars
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 a 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.
Free Music Review: "I did it like this, I did it like that,......."
Hit: 4 Stars
I'd have to say that I was the perfect age when this album came out. I was 15 and just into high-school. I had the tape, the shirt, and I thought it was so cool that on the cover, the numbers on the plane were 3MTA3. Sure there was rap and rock on albums before this, but this was the big splash right here. "Licensed To Ill" was stupid, loud, fun, and totally awesome. Not only did it contain the anthem of a generation in "Fight For Your Right", but every other track was great as well. Everybody loved the un-PC "Girls", "Brass Monkey", and I know a million people out there could still sing "Paul Revere" word for word. It definitely ushered in a new era of rap, rock, and alternative music in one package. I might not like it as much as their next album, but I still find "Time To Get Ill" often. Free Music Review: toledo's east side juggalette.
Hit: 5 Stars
. Rhymin & Stealin 0/10
2. The New Style 2/10
3. She's Crafty 8/10
4. Posse In Effect 10/10
5. Slow Ride 5/10
6. Girls 10/10
7. Fight For Your Right 10/10
8. No Sleep Till Brooklyn 10/10
9. Paul Revere 10/10
10. Hold It Now, Hit It 10/10
11. Brass Monkey 10/10
12. Slow And Low 5/10
13. Time To Get Ill 5/10
this is a great cd. i've listen to them sence i was 5. i'm now 15. you won't be disapionted by this cd.
toledo's east side juggalette