Beastie Boys reissues raining down on your turntables these days! Ill Communication, coming at you from 1994, with all beats produced, lines rapped and instruments played by the Beastie Boys, spawned one of their most famous songs, Sabotage. But these guys gave us so much more: shortly after the release of this album, they coined the word mullet. This is your chance to acquire a piece of pop culture history!
Vinyl Double LP £23.99 6942321
180g vinyl reissue 2LP on UMC.
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Vinyl Double LP £16.99
USED 2x Vinyl US LP on Capitol - G/fold issue EX/EX.
8/10 Mr Pearls Brain 18th November 2015
A hip-hop album for people who don't really like hip-hop, this mixes in jazz, funk and, most memorably, US hardcore to produce an hour of varied fun listening. What are they on about? Mostly how well endowed they are and how great at rapping they are (they aren't really though, are they?) Plus a couple of state-of-the-environment numbers which are a bit incongruous and delivered in heavily distorted style, so you have to check the lyrics, thoughtfully included on the sleeve. I love that these guys rap in their whiny Noo Yoik accents about nothing much and get away with it! There are one or two instrumental funk doodles too many for my liking, but otherwise solid entertainment.
9/10 Penrith Steve 5th August 2015
I think that “Ill Communication” is the best album by The Beastie Boys. More accomplished than anything that came before it, more eclectic, experimental and cooler than anything that came after it.
Its eclecticism comes from its mix of hip-hop, funk, hardcore punk and well utilised samples. It opens with “Sure Shot”. The flute sample, beats and rhymes are perfect, but they also are in great contrast to the thrashy punk of “Tough Guy” which follows. The contrast works, showing The Beastie Boys as masters of their craft. It doesn’t sound like your tuning between wildly different radio stations as you might expect. “B-Boys Makin’ with the Freak-Freak” shows their experimental hip-hop side whilst “Bobo On The Corner” shows their first foray into funk on the LP. “Root Down” is fairly standard Beastie Boys fare these days, but great, nevertheless. All of the previous ingredients come together perfectly on “Sabotage”, probably the most well-known cut from the album. “Sabrosa” provides a nice interlude of Lalo Schifrin-esque ‘70s cop show funk. “Eugene’s Lament” sounds like incidental soundtrack music, again with a Lalo Schifrin vibe – the album is almost turning ambient now. “Heart Attack Man” explodes out of the ambience bringing another slice of uncompromising punk to the table. “Transitions” ends the album with an appropriate piece of slow funk.
There are guest performances from Q-Tip and Biz Markie too, which round off this true classic.
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