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お使いのコンピュータで iTunes が見つかりません。 ビースティ・ボーイズ「Licensed to Ill」をプレビュー、購入するには iTunes をダウンロードしてください。

すでに iTunes をお持ちの方は、「すでに iTunes を持っている」をクリックして iTunes を開いてください。

I Have iTunes 無料ダウンロード
Mac および PC 用 iTunes

音楽をプレビュー、購入、ダウンロードするには iTunes を開いてください。

アルバムレビュー

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.

カスタマーレビュー

マストですよ!マスト!!

 すごい、グループですよね、、 とても30年前の音楽とはおもえないです。 いまだに、古さを感じさせない、ライブ感のある曲ばかりです。 このグループを知らない人って少ないと思うけど、いたらぜひお勧めです。 いまの邦楽で人気ある人達も影響を受けてるじゃないのかな?

居る。

白人によるヒップホップ。エルヴィスがロックンロールを痙攣しながら、歌い踊り始めたような衝撃だったのだろうか? 黒人音楽を白人がポップに拡大解釈していくのはいつの時代にもある。 このアルバムはハードエッヂなギターもちらほら顔を出し、パンクの面影も残している。ギクシャクしたスクラッチノイズに時代を感じる。

80年代を探るなら

11PMで、紹介された時の衝撃は、すごかったね。 それ以来20年聴いています。 真心ブラザースの空に舞い上がれのビデオクリップが、似ています。

バイオグラフィ

結成: 1979 New York, NY

ジャンル: ヒップホップ/ラップ

活動期間: '80s, '90s, '00s, '10s

As the first white rap group of any importance, the Beastie Boys received the scorn of critics and strident hip-hop musicians, both of whom accused them of cultural pirating, especially since they began as a hardcore punk group in 1981. But the Beasties weren't pirating — instead, they treated rap as part of a post-punk musical underground, where the D.I.Y. aesthetics of hip-hop and punk weren't that far apart. Of course, the exaggerated b-boy and frat-boy parodies of their unexpected hit debut...
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