Well here it is: the album that changed everything–for the better! The fiery shot of hip hop fired across the bow of rock’n’roll that succeeded (spectacularly!) by swiping its most monstrous riffs from rock’n’roll itself, and its brash, crass, and hilarious attitude from punk.
As I remember it, 1988’s Licensed to Ill did the impossible by converting predominantly white hardcore punks and rockers to an almost exclusively black musical genre (hip hop) OVERNIGHT. I recall attending a party being thrown by a couple of Johnny Thunders wannabes at a roach-infested crash pad in Philly, and lo and behold all every sneering personality crisis in attendance wanted to do was jump joyously around to Licensed to Ill until the morning hours.
Do you think it’s easy to instantaneously win hearts and minds? To turn cynical hive-minded hardcore kids (just like the Beasties when they started out) into the kinds of responsible world citizens who immediately rushed out to buy Public Enemy’s black-consciousness-expanding It Takes a Nation of Millions to Hold Us Back after a single playing of “No Sleep till Brooklyn”? Licensed to Ill was the boldest blow for race mixing this side of P-Funk. Or Brown v. Board of Education of Topeka even. Or Public Enemy for that matter. True, even the most cursory glance at Kid Rock should be enough to tell you this remarkable phenomenon had its downside (God Save Us From Vanilla Ice!) but STILL.
But Licensed to Ill was more than just a remarkable blow for instant integration. The Beastie Boys muscled their way to the front of the bus on the basis of sheer bravado and a snotty sense of New Yawk humor not heard since the Dictators released the great Go Girl Crazy! Mike D., MCA, and Ad-Rock were that crazy kid down the block who lived to get high, liked to egg cop cars, and had that insane stash of Hustler magazines. And who thought everything was funny; hell, he even laughed while he was PUKING.