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Track List
01) Countdown to Armageddon
02) Bring the Noise
03) Don't Believe the Hype
04) Cold Lampin' With Flavor
05) Terminator X to the Edge of Panic
06) Mind Terrorist
07) Louder Than a Bomb
08) Caught, Can We Get a Witness?
09) Show 'Em Whatcha Got
10) She Watch Channel Zero?!
11) Night of the Living Baseheads
12) Black Steel in the Hour of Chaos
13) Security of the First World
14) Rebel Without a Pause
15) Prophets of Rage
16) Party for Your Right to Fight
01) Countdown to Armageddon
02) Bring the Noise
03) Don't Believe the Hype
04) Cold Lampin' With Flavor
05) Terminator X to the Edge of Panic
06) Mind Terrorist
07) Louder Than a Bomb
08) Caught, Can We Get a Witness?
09) Show 'Em Whatcha Got
10) She Watch Channel Zero?!
11) Night of the Living Baseheads
12) Black Steel in the Hour of Chaos
13) Security of the First World
14) Rebel Without a Pause
15) Prophets of Rage
16) Party for Your Right to Fight
1:40
3:45
5:19
4:17
4:31
1:20
3:38
4:53
1:56
3:49
3:14
6:23
1:20
5:02
3:18
3:25
Data Complete 80%
Total Rating
Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1988
Hip-Hop
Provocative
Urban/R&B
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Medium
Album
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0 copies
Album Description
Available in:
Sorti en avril 1988 chez Def Jam, le deuxième album studio de Public Enemy est un manifeste politique et sonore conçu avec l'ambition explicite d'égaler le rôle d'impact social du What's Going On de Marvin Gaye. Conçu pour retranscrire l'urgence et le tempo effréné de leurs prestations scéniques, l'album révolutionne le hip-hop grâce aux murs de son abrasifs et novateurs du collectif de production The Bomb Squad, couplés aux textes poignants et engagés du lead MC Chuck D.
Salué à sa sortie comme le meilleur album de l'année 1988 par le prestigieux sondage Pazz & Jop du Village Voice, le disque s'est hissé à la 42ᵉ place du Billboard 200 avant d'être certifié platine. Considéré par la critique mondiale comme l'un des plus grands chefs-d'œuvre de tous les temps, It Takes a Nation of Millions to Hold Us Back a redéfini les contours du rap politique et marqué à jamais l'histoire de la musique populaire.
User Album Review
PE: The last great political act of our times? This album certainly seems to back the theory up. A year after the polemic of Chuck D, the sneer of Flavor Flav and the post-modern noise concrete of the Bomb Squad burst onto the public consciousness with Yo, Bum Rush The Show, Public Enemy really pulled out the stops with It Takes A Nation... Signed to Rick Rubin's Def Jam label on the basis of the vocalists' freestyling skills, what emerged, when backed by the sample-crazy methodology of Hank Shocklee et al was a furious squall of beats and righteous anger that still assaults the ears.
What makes ITANOMTHUB such a fresh sound to this day is the focus given to Chuck D's ire by the production. Whether he's addressing the issues of disenfranchisement in a racist society (Black Steel In The Hour Of Chaos), political obfustication (Don't Believe The Hype), or just the soma-like effects of the modern media (She Watch Channel Zero?!) his lyrics are spat with a controlled rage that is mirrored by the Bomb Squad's beats. It could be argued that these beats are where the real political agenda is adressed. Most people remember PE as the band that liberated James Brown from parodic dotage; reminding the world of how explosive and subversive his (and his proteges such as the JBs and Bobby Byrd's) beats could be. But the samples and beats on offer here also came from labelmates, the Beastie Boys and Run DMC, as well as PE themselves and a fair smattering of free jazz and other early rap acts. The message was that black music could be reclaimed and re-tooled as a semantic crowbar - screaming to the world that rhythm was as eloquent as words when reminding us of the world's inequalities.
Of course, the Nation Of Islam spiel (mainly propagated by Professor Griff, who was soon to leave the band) gave detractors a toehold, by pointing at the band's potentially anti-semitic undertow. But a careful listen to Chuck D's flow shows the man to be asking for Farrakhan to be understood in context, not just espousing his more extreme views. A caucasian-controlled media were genuinely scared by this band.
In the end ITANOMTHUB is possibly the greatest rap album ever made. Balancing political incisiveness with rock dynamics, it crossed the race divide and almost instantly made all other rap acts sound tame. For a brief spell hip hop was about more than guns and bling.
External Album Reviews
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User Comments
Available in:
Sorti en avril 1988 chez Def Jam, le deuxième album studio de Public Enemy est un manifeste politique et sonore conçu avec l'ambition explicite d'égaler le rôle d'impact social du What's Going On de Marvin Gaye. Conçu pour retranscrire l'urgence et le tempo effréné de leurs prestations scéniques, l'album révolutionne le hip-hop grâce aux murs de son abrasifs et novateurs du collectif de production The Bomb Squad, couplés aux textes poignants et engagés du lead MC Chuck D.
Salué à sa sortie comme le meilleur album de l'année 1988 par le prestigieux sondage Pazz & Jop du Village Voice, le disque s'est hissé à la 42ᵉ place du Billboard 200 avant d'être certifié platine. Considéré par la critique mondiale comme l'un des plus grands chefs-d'œuvre de tous les temps, It Takes a Nation of Millions to Hold Us Back a redéfini les contours du rap politique et marqué à jamais l'histoire de la musique populaire.
User Album Review
PE: The last great political act of our times? This album certainly seems to back the theory up. A year after the polemic of Chuck D, the sneer of Flavor Flav and the post-modern noise concrete of the Bomb Squad burst onto the public consciousness with Yo, Bum Rush The Show, Public Enemy really pulled out the stops with It Takes A Nation... Signed to Rick Rubin's Def Jam label on the basis of the vocalists' freestyling skills, what emerged, when backed by the sample-crazy methodology of Hank Shocklee et al was a furious squall of beats and righteous anger that still assaults the ears.
What makes ITANOMTHUB such a fresh sound to this day is the focus given to Chuck D's ire by the production. Whether he's addressing the issues of disenfranchisement in a racist society (Black Steel In The Hour Of Chaos), political obfustication (Don't Believe The Hype), or just the soma-like effects of the modern media (She Watch Channel Zero?!) his lyrics are spat with a controlled rage that is mirrored by the Bomb Squad's beats. It could be argued that these beats are where the real political agenda is adressed. Most people remember PE as the band that liberated James Brown from parodic dotage; reminding the world of how explosive and subversive his (and his proteges such as the JBs and Bobby Byrd's) beats could be. But the samples and beats on offer here also came from labelmates, the Beastie Boys and Run DMC, as well as PE themselves and a fair smattering of free jazz and other early rap acts. The message was that black music could be reclaimed and re-tooled as a semantic crowbar - screaming to the world that rhythm was as eloquent as words when reminding us of the world's inequalities.
Of course, the Nation Of Islam spiel (mainly propagated by Professor Griff, who was soon to leave the band) gave detractors a toehold, by pointing at the band's potentially anti-semitic undertow. But a careful listen to Chuck D's flow shows the man to be asking for Farrakhan to be understood in context, not just espousing his more extreme views. A caucasian-controlled media were genuinely scared by this band.
In the end ITANOMTHUB is possibly the greatest rap album ever made. Balancing political incisiveness with rock dynamics, it crossed the race divide and almost instantly made all other rap acts sound tame. For a brief spell hip hop was about more than guns and bling.
External Album Reviews
None...
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