(Hip-Hop)[LP] [24/96] Beastie Boys – Licensed To Ill - 1986, FLAC (tracks+.cue)

01. Rhymin & Stealin
02. The New Style
03. She's Crafty
04. Posse In Effect
05. Slow Ride
06. Girls
07. Fight For Your Right
08. No Sleep Till Brooklyn
09. Paul Revere
10. Hold It Now, Hit It
11. Brass Monkey
12. Slow And Low
13. Time To Get Ill

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-05-18 07:36:48
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Analyzed: Beastie Boys / Licensed To Ill
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DR Peak RMS Duration Track
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DR14 -2.29 dB -17.50 dB 4:08 ?-Rhymin & Stealin
DR15 -0.01 dB -18.34 dB 4:35 ?-The New Style
DR14 -2.53 dB -18.98 dB 3:35 ?-She's Crafty
DR14 -3.03 dB -19.78 dB 2:26 ?-Posse In Effect
DR16 -3.35 dB -21.89 dB 2:56 ?-Slow Ride
DR14 -3.11 dB -18.97 dB 2:12 ?-Girls
DR14 -0.55 dB -17.19 dB 3:33 ?-Fight For Your Right
DR12 -2.34 dB -17.55 dB 4:07 ?-No Sleep Till Brooklyn
DR16 -3.49 dB -21.87 dB 3:40 ?-Paul Revere
DR14 0.00 dB -17.77 dB 3:26 ?-Hold It Now, Hit It
DR15 -0.16 dB -17.86 dB 2:37 ?-Brass Monkey
DR15 -1.13 dB -17.96 dB 3:37 ?-Slow And Low
DR16 0.00 dB -18.66 dB 3:37 ?-Time To Get Ill
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Number of tracks: 13
Official DR value: DR15
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 3019 kbps
Codec: FLAC
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Beastie Boys – Licensed To Ill (1986) Holland orig LP @96/24 + Redbook
Posted by Euripides @ May 16th, 2012
Beastie Boys - Licensed To Ill (1986)
Original Holland pressing, Def Jam Recordings DEF 450062 1, Mastered by CBS Holland
Vinyl rip in 96Khz/24bit & 44.1Khz/16bit | FLAC | M3U, MD5
Artwork | DR Analysis | Hi-Res: 970 MB / CD: 293 MB inc. 3% recovery
Links: RS, FF | Rap, Hip-Hop
‘Licensed To Ill’ is the Beastie’s 1st album. Genuinely a one-off because everything they did after this was designed to throw you off the scent created by this one. Plus, they just couldn’t do this twice, could they? No.
Review by Stephen Thomas Erlewine Allmusic.com (9/10)
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.
I’ll add: Are you finished Stephen? Well,… if you haven’t heard this record since the day, it sure hasn’t changed much but I bet you don’t recall just how well put together it is! Just good old clean fun. Hold it now…. HIT IT!!! And of course… R.I.P. Adam Yauch.
Tech log:
Equipment: VPI HW-17F Vacuum Record Cleaner, Technics SL 1210 MKII T/T, Rega RB 300 Tonearm, Denon DL304 M/C Cartridge, Cambridge Audio AZUR640P M/C Stage, M-Audio Profire 610 A/D, Adobe audition 3.0
Method:
Clean records on Vpi, rip (PCM@96/32), remove inaudible subsonic (0Hz to 17Hz ~ 0db, with sloped filter from 17Hz to 20Hz)
Manual and carefully targeted automatic de-clicking in Adobe Audition using custom scripts and presets. I make sure this doesn’t damage natural clicks.
Occasional use of noise masking techniques such as ‘footprint’ sampling the groove noise and fading to mono during track changes, etc.
Normalize whole sides to 100% (After deciding if the sides are cut the same), Split tracks, FLAC, MD5, M3U, Discogs Tagging, DR, RAR, +Redbook (16-bit dithered in Audition), FTP