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I like the Beastie Boys. So much so, I like this album. But here's the deal - this sounds like more of what they were doing some 10-15 years ago - very similar to what you find on all of their previous albums - though I think "Hello Nasty" may have been a bit different and more appealing. None of the samples or music here breaks the mold stylistically. And as such could be said to be creatively static. Also, none of these songs stand out as having the mass appeal of previous hits "Sabotage" or "Fight For Your Right", though "Ch-check It Out" is close. If they did have that catchiness, I'd probably rate this as an excellent album. This one comes recommended for anyone that cut their teeth on the "Beastie Style" crossover rap. For fans of the Beastie Boys - get it - but don't expect to find anything new or different here. For those that haven't heard the Beastie Boys before - find some samples. Anything. Chances are that whatever song you pick of theirs will resemble something on this album.Read full review
They started out easily enough as kids strung out on hardcore punk of the Black Flag and Minor Threat variety, but then shifted to novelty act almost instantly (and you're gonna tell me there s some deep, theoretical meaning in "Cookie Puss"?). Then came Def Jam and Rick Rubin and all those Led Zeppelin samples. They also cited "Sweet Leaf" by Black Sabbath and at one point AC/DC's "Back in Black," but listening to their 1986 rap-rock frat boy masterpiece "Licensed To Ill," you got a catalog of mostly Zeppelin references, from "Custard Pie" to "The Ocean" to "When the Levee Breaks," with the latter two being the backdrops for the songs "She's Crafty" and "Rhymin' And Stealin'."; It was the same year Run-DMC were "Raising Hell" and showing you the magic Aerosmith and The Knack could make upon the world of beatbox rap. In fact, the Beasties' biggest hit, "Fight For Your Right (To Party)," was intended as a satire of the swaggering guitar rock of the Twisted Sisters and the Loverboys, but who would've anticipated it becoming the anthem of beer-swilling lackeys all over the U.S.A.? I guess they did, and in fact, their signature hit is referenced in one of the songs on the latest Beastie Boys album, TO THE 5 BOROUGHS, the band's sixth actual studio LP, and the follow-up to 1998's spacey Bronx rap throwback "Hello Nasty." If each of their post-1986 albums showed a progressively chiller side of the Beasties than being increasingly iller, with "Paul's Boutique" from 1989 still the undisputed masterpiece of the band's canon despite being still hedonistic and full of bravado lyrically despite its sample-based sonic cruciality, the Beasties have now officially reached near middle-age, with Adam "MCA" Yauch now 39 years old, Mike Diamond a year younger and Adam "Ad Rock" Horovitz turning 37. Unlike the more punk and jazz-influenced tricks that were dealt on the 1992 "Check Your Head" album, they have been building a faithful rap oeuvre out of the eclectic sounds provided by such people as keyboardist Money Mike, producer Mario Caldato, Jr., and (recently) DJ Mixmaster Mike as well as the trio's combative doo-doo rhymes, best heard early on many of the tracks on "Ill Communication." Their last big single, "Alive" from the 1999 best-of compilation, was all about "bringing back that old New York rap," to coin a sample. A few years later, the world around the Beasties has changed considerably. 2001 was the banner year, but it was mostly in terms of more downbeat highlights. It was the first year we had gotten used to George W. Bush in office, a year that's bound to become the subject of unrelenting ridicule in Michael Moore's upcoming "Fahrenheit 9/11." The Beastie Boys had to give up Grand Royal, the label that brought us Luscious Jackson (with ex-Beastie Kate Schellenbach) and At The Drive-In. It went for auction and sold to the highest bidder, which had to have been a hefty sum if not worth millions. And their beloved Manhattan homeland went up in smoke thanks to 9/11, and what a blow to the balls that must have been for these Boys. The summer of 2004 finally shows us how the Beasties think about Bush and the bombings, as well as their place in the music world and how much things have changed. It's been a long time coming, but the Boys are back in town. So you ve probably heard the lead-off single Ch-Check It Out, with its wild hopping tempo, hard-hitting snare, and shots of borrowed brass, get pimped early on in an episode of "The O.C." I, hRead full review
I really liked the album when I first heard it because I like the scratch and the old school electro feel of it. After a few listens you really notice the Beastie's age because it has this dorky afterschool special preachiness to it. The actual five boroughs song makes me laugh because I feel like I should be watching some cheesy 80's movie set in New York or something and the song is supposed to pump us up and make us all think "hands across America" lets do it for America kinda thing. But since Im getting older to, I can understand that the Beasties can start making albums that aren't as hip to the young crowd and can continue to focus on the fans that grew up with them. Like they said on that one track, "If you dont like it, then hey f**k you!"
I love this cd. When it came out it played in my car for two months straight. Awesome music and great artists!
Verified purchase: Yes | Condition: Pre-owned
This Beastie boys album is a lost classic . Loved when it came out , then it got lost in the shuffle , found it , had to get another one because it wasnt playing properly. Been listening to it non-stop .Like most beasties albums every song is great
Verified purchase: Yes | Condition: Pre-owned
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