Sold Date: June 22, 2014
Start Date: June 15, 2014
Final Price: $35.99 (USD)
Bid Count: 2
Seller Feedback: 1351
Buyer Feedback: 15

Here is a NEAR MINT MINUS / EXCELLENT PLUS! copy of the DEBUT LP from the BEATSIE BOYS titled LICENSED TO ILL. It is an ORIGINAL US pressing on the DEF JAM label, catalog #FC 40238 in STEREO sound from 1986. The vinyl is in NEAR MINT MINUS! condition, shiny and black, and should have excellent playback. It comes with its ORIGINAL INNER SLEEVE! The GATEFOLD cover is in EXCELLENT! condition with light wear/bumps to corners and edges. It is a NEAR MINT MINUS / EXCELLENT PLUS! copy of this DEBUT LP by the BEASTIE BOYS for you to own. It is an opportunity to purchase this LANDMARK LP in this condition. It’s a true gem for the GOLDEN AGE / EAST COAST RAP collector!! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. SHIPPING IN THE US IS $5.00 for MEDIA MAIL (IT IS NOT $4.00). US BUYERS PLEASE WAIT FOR INVOICE! Thanks for Looking & Good Luck!

Music Review from AllMusic.com by Stephen Thomas Erlewine

Perhaps 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 ; producer , 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 and 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 , a metalhead who formed Def Jam Records with and had previously flirted with this sound on 's , not to mention a few singles and one-offs with prior to this record. He made rap rock, but to give him lone credit for (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 , 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 ), 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 , 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 , 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, reigns tall among the greatest records of its time.