It Takes A Nation Of Millions To Hold Us Back

Packed to the rafters lyrically and musically. Intimidating, angry and militant, but also funky as all hell with its insane twisting of samples into new shapes and hard as nails wall of sound production that bores into your skull like a pneumatic drill. 58 minutes of pure adrenaline that always leaves you needing to catch your breath at the end. Then there’s all the rappers, beat makers and artists who have built careers off the back of ripping this album off, Dr. Dre being one of the most obvious examples. ‘It Takes A Nation Of Millions To Hold Us Back’ is still the sound of an exploding rap supernova whose impact still reverberates 30 plus years later.

“It Takes a Nation of Millions to Hold Us Back” by Public Enemy (1988) This is another recording that must be listened to in context. From a distance of over thirty years it sounds trite, boastful, and limp. But in its day it was revolutionary. The emphasis on the album is not the music (which is mostly out of a can), but the poetry, which is powerful, and powerfully delivered by Chuck D. (rah-rah comic foil Flavor Flav, not so much). Chuck D.’s diction and elocution are good enough so that his poetry can be heard rather than read. That is a huge plus. Only by hearing can we grasp the anger and the prophetic dynamism. This album is political poetry. The message here is the potent assertion of blackness. And the beats, rhymes, samples, and topics are well selected to serve that end. Whatever one may think of the notion of the ‘blackness’ they are asserting, there is no denying that it has coherence and power. And how is it ‘political’? The German political philosopher Carl Schmitt, in defining the conceptual essence of the ‘political’ said: “[T]he specific political distinction … is that between friend and enemy. [and further], The enemy is solely the public enemy” (The Concept of the Political, 1927, 2007 ET, pp. 26, 28, emphasis added). Then, in favorably noting the famous 1853 dictum of Carl von Clausewitz, Schmitt elucidates: “‘War is nothing but a continuation of political intercourse with a mixture of other means.’ To be precise, war, for Clausewitz, is not merely one of many instruments, but the ultima ratio of the friend-enemy grouping.” (Ibid, p. 34, n. 14). Schmitt became a Nazi in 1933, and was very influential in the actualization of the Nazis’ political aims. We all know how the Nazis treated their enemies. The political poetry of this album is radical and revolutionary in that the poet takes up Schmitt’s political conception, and then, with stunningly innovative boldness, defines himself as the enemy—and a very public enemy at that. It’s a marvelous moment of clarity. Public Enemy is a cultural extension of the black nationalist political philosophy of Louis Farrakhan and Malcolm X, not the nonviolent activist liberalism of Martin Luther King, Jr. If you keep all this in mind as you listen to the album, you will be well tuned in to their artistic purpose, unsettling as it might be. 1/5

Really surprised how much I loved this. Like Nick said, there's a kinetic energy and playfulness between the members, but they're able to keep up their politically-fuelled lyrics. It's soulful, the beats are so full and realized, definitely going to be a repeat listen. Fav Tracks: Rebel Without a Pause and Don't Believe the Hype. Rating 4.5/5

The beats on this thing are so freaking good. The Bomb Squad was on FIRE on this one. Way ahead of its time. Chuck D is so charasmatic on the mic, one of the best to ever do it. Flava Flav is a top tier hype man, he never feels like he takes away from the tracks, lots of charisma on Cold Lampin’. So cinematic, it flows together so freaking well, lot of incredible social and political commentary

Excellent early rap album. Chuck Ds lyrics and rap style is among the best. The beats are hard and not overly funky like other late 80s early 90s. This album is far more influential than most other rap albums. Not my favorite rap album but it gets a bump for the legacy. 9.0/10

Terrible. Why make a whole album when you do the same annoying things every song.

What an album! Just overflowing with ideas. It's playful, political, and makes really inventive and extensive use of samples. Another bridge record that feels like it's connecting 80s rap to its future directions. Flava Flav's interjections are the perfect counterbalance to Chuck D's hard-hitting lyrics and I feel like makes them even stronger. Favourite track: "Night of the Living Baseheads" among many!

Raw. The only down beat is Flava talking about all different kinds of flava.

Don't Believe the Hype, indeed! Just foundational, a true template for so much to come (for better or worse). Chuck D-Flavor Flav maybe the Lennon-McCartney (or Simon-Garfunkel) of hip-hop. The grit and energy and edge are true and strong after all these years, even if the beats and tech are dated. Fear of a Black Planet even better.

Aggressive and radical; funky with frenzied pace that doesn’t let up for a second over its 58 minutes. “It Takes a Nation of Millions to Hold Us Back” is a game changer that’s just as exhilarating today as it was 35 years ago.

Obviously an unimpeachable classic but I get even more enjoyment out of imagining what this sounded like to conservative parents in the late 80s. If it sounds like the album was made with a suite of dental tools to us, it must have been like a Victorian child exploding after tasting Doritos.

Hands down the best hip hope record of the 1980s. Banger after banger and apex Chuck D. Something about Chuck D’s partnership with Flovor Flav cracks me up. It’s like Malcom X teaming up with Chris Tucker. While Chuck D is critiquing tv as the opiate of the masses in She Watch Channel Zero, Flav is like “yo turn that shit off so I can watch the game!” It’s ridiculous

I had a very difficult journey getting into hip hop last year, since I had rejected pop rap for the majority of my life. When this generator gave me Raising Hell, it was the first step in grabbing my interest. In the coming months, I tried a few other classic records, but I still struggled immensely. 3 months after Raising Hell, I went on a solo backpacking trip for a few days in the Ozarks, downloading a couple dozen albums for me to play out loud throughout the days, and the two hip hop candidates were this and Paul Boutique's, and I absolutely loved them both. This was the more difficult one. As cheesy as the intro is by today's standards, it actually gave me goosebumps because I had no idea what to expect. What followed blew my mind. Chuck D was a powerful rapper. It wasn't about an impressive singing style (as in R&B), or a poetic rhyme and flow (as in Kanye or Outkast), or even the goofiness and fun (of old school hip hop or the Beastie Boys). This was powerful, abrasive, and in your face. Flavor Flav proved to me that a hype man wasn't just a gimmick, and his light and fun voice served as a light and engaging dynamic to Chuck D, motivating audience engagement. In just under an hour, we get 12 full-length tracks and 4 short supplementary tracks that fit really well and keep the momentum going. I played the album twice during the trip, then at least a dozen more times in the past year on drives and other hikes. To this day it's still downloaded on my phone, and I don't plan on removing it anytime soon. To me, this is their best album, among the best samples I've ever heard in a hip hop album. It's incredibly memorable, with quotes and techniques repeated frequently throughout the album. I love the sampling and record scratching to make each track unique and full of substance. They incorporate funk, rock, and jazz samples to make it accessible and diverse. But really, the samples can be so cold and spontaneous it holds a lot of similarities with industrial music. It's busy and loud but the repetition helps us digest what's going on, taking our time to relax and listen to the lyrics but also just appreciating the music in itself. The production is thanks to the famous Bomb Squad, who put so much effort into making such a genuine sounding record. Despite Fear of a Black Planet feeling more polished and complicated with the samples, I still prefer the personality here. By today standards, there are arguments to be made against its position, such as the overused repetition that makes some songs feel dragged on, or the sometimes primitive or dated raps in certain tracks. I could see the issues, but to me it's still a complete listen with no skips. And on top of it, it gets extra points for being highly influential to both American culture and the genre, kicking off gangster and political hip hop of the late 80s and early 90s. Favorites: Bring the Noise, Don't Believe the Hype, Terminator X to the Edge, Caught Can We Get A Witness, She Watch Channel Zero, Black Steel, Rebel Without a Pause

The first PE album certainly felt like something fresh and different when it came out, but this second record is where PE really flexed into the iconic outfit that they became. faster, harsher sounding, more political than anyone had been before, this is the Public Enemy that really blew the doors off.

This album is still great. It's wild that this was once considered dangerous music. White people... smh

Mad sampling. High speed hip hop.

New form of poetry. Chuck D is a rap god

Dope as hell.

Yeeeaaaahh, boooooyeee! Props to Chuck D, Flavor Flav, and Terminator X for being the bleeding edge of hiphop just as it was truly breaking wide... but this didn't age all that well. The beats are basic, the rhymes are primitive, and the lyrics are more hype than substance. It feels undeveloped... rudimentary. But, at the end of the day, that's okay because this was the golden age of hiphop. The genre was still finding its feet as a mainstream art form. Every track was an experiment and every album a thesis statement. That ethos is prominently on display here which means that some tracks slap while others flop. Ultimately, it's an enjoyable bit of history that's more than worthy of a listen before you die.

Flava Flav says Flava Flav a lot

Ok beats and noises. Excellent deep voiced authoritative rapping from Chuck D. Some iconic raps. Political, racial and angry, but none of the ugly sweary aggressive nonsense that proliferates gangster rap.

Fun album, pretty wild and aggressive for how early it was released. Not quite my jam though.

Understand their impact

"yeah boiii"

Not exactly an easy album to listen to but a very important one. The production really hits you, it's overwhelming in places. Revolutionary in every sense of the word, I can't really think of any other group like PE. This is probably my favourite of theirs, and my favourite 80s hip hop album, even though there are a couple of Flava Flav duds on it. It's pretty nonsensical listening to him rant about trash TV on 'She Watch Channel Zero' considering he ended up running his own reality TV show in the 00s! Chuck D is as great as ever though, Particularly on Black Steel in the Hour of Chaos and the second side of the album.

More than likely the best rap album ever made.

I want to start by saying I absolutely love this album, and I respect it for what it represents in the evolution of hip hop. With that said, the a lot of the samples and lyrics really hold up and are amazing still- on the other hand the pacing of the album is somewhat choppy and the lyrics can be pretty corny/dated sometimes as well. Def worth being on this list, but it’s not my #1 choice for old school hip hop. So close to a 5, but alas

The second half of the 80's marked a turn for hip hop. Though Run DMC was the first touchstone group for hardcore hip hop, it would be groups like N.W.A. and Public Enemy that would get especially aggressive in their delivery, effectively popularizing the subgenre. It Takes A Nation Of Millions To Hold Us Back is an undeniable radical energy, with MC Chuck D giving hard-hitting lyrics with a tough-as-nails delivery, alongside hypeman Flavor Flav who elevates the music. While rapping is certainly good on here, it occasionally comes across as a dated and even a bit corny. Rapping has evolved a lot since 1988 and I'll be hones tin saying I'm not a huge fan of Flav's presence. The real shining star is the timeless production. Hank Shocklee, who would go on to be a member of The Bomb Squad producing Ice Cube's solo effort AmeriKKKa's Most Wanted (also a great record). We also have the legendary Rick Rubin credited as an executive producer, though to what extent he's involved in the album, I don't know. Either way, the sampling and beats on this album are superb. Overall great album. Holds up well and it's almost all bangers.

So damn good. The beats, the socially conscious lyrics, the talent. They hype man with a giant clock necklace. Great hip hop album all around

I have to admit I wasn't in the mood to listen to this during an already stressful and hectic Monday work morning, but surprisingly it fits very well with the chaos of the morning. Separate from my listening circumstances, I found myself drawn in by these tracks. Really cool layering of rhythms and harmonies from the drum loops on up through the vocal mix. Heard some nice influences, samples, etc., from R&B and funk, including some great guitar and bass lines. I definitely want to give a few re-listens along with the lyrics in front of me. I heard some good strong commentary in there and want to dive deeper. Strong, strong album.

I have a distinct memory of seeing PE t shirts for sale at the old Toowoomba Target. They kind of broke through as fashion before I could get a handle on their music. Again another album where I've only really listened to the hits. I recommend everyone watching the doco 'Welcome To The Terrordome'

This is one of the most important hip-hop albums of all time. "Bring the Noice" continues to be an anthem for standing up for the greater good. Chuck D's vocals grab your attention with his aggressiveness, but hold your attention with the message he's providing. This isn't a personal favorite of mine, but it is an absolute pleasure to listen to.

The rappers press on dramatically and paroxysmally in a patchwork of rap noises, casual bandisms, scratch improvisations (Terminator X, aka Norman Rogers, the scratch wizard) and electronic disturbances. It's a classic, an overwhelming and sophisticated sampler of revolutionary music. (7/10) Favourite Tracks: Terminator X to the Edge of Panic

Good and important but repetitive AF. A lot of times the samples are OVERBEARING

While it was a really good album some songs seemed repetitive or samples sounded weirdly placed. Not a favorite but still really excellent.

I'll die happy if I've never heard this again. 1/5

never make music again

Oh no ... the second day row this (for me) terribly boring music. No, no, no!!!!!!!!!!!!!

Beck has an interesting sound. I like it in smaller doses than an entire album.

Obnoxious, infantile, idiotic drivel. All attitude over suubstance.

Masterpiece. Favourite tracks are Night Of The Living Baseheads and Black Steel In The Hour Of Chaos, which alone makes this album a 5/5

Word

Absolutely banging. Like a sledgehammer to the base of the spine.

A true game changer for hip hop. It definitely sounds a little dated, but I love it.

Despite being an '80s rap album, I think it holds up incredibly well. There's a lot of modern elements PE pioneered, including more complex rhyme schemes, more dense sampling, and the shift to more conscious lyrics. Highlights for me are "Bring the Noise", "Don't Believe The Hype", "Rebel Without a Pause" and the goofy Flavor Flav showcase, "Cold Lampin' with Flavor". 4.5 Stars

I've never really been a big fan of rap but I remember listening to this when it came out. It was amazing then, and it still is.

“It Takes a Nation of Millions to Hold Us Back” by Public Enemy is not just an album; it’s a cultural milestone that (re)shaped hip-hop . Released in 1988, this album became the blueprint for political socially aware hip-hop This album has since become an undeniable classic, influencing generations of hip-hop artists who use their music to speak on societal issues. It Takes a Nation of Millions to Hold Us Back transformed hip-hop into a platform for social justice, proving that music could be powerful, thought-provoking, and a force for change. Its legacy in hip-hop is unshakeable, marking it as one of the genre’s most essential and impactful works. Ps let’s not ruin it by talking about Professor Griff 🤔😱

5 stars

✊🏽

I don't know much about hip hop, but that was incredible. The lyrics are dense, powerful, and masterfully delivered. Cold Lampin' with Flavor was the weakest track, and was still pretty fun, if nowhere near as good as the rest of the album.

Landmark album.

Damn this is a great album. Every song is a banger. I'm someone who hates it when the sound of an album is so monotonic that the tracks blend together. Somehow, Public Enemy can produce very similar sounding tracks while keeping each track distinct from the next. Love this one, despite the fact that when Public Enemy that made this album, they would've not wanted me as a fan.

An absolute classic.

A necessary 80s rap album, every track is amazing, sounds really hardcore in a way, dont have any issues with it

I really miss this era of sampling. These "sampledelia" records. It's frankly incredible what people like the Bomb Squad (and the Dust Brothers on PAUL'S BOUTIQUE) could do, taking all these tiny snippets and stringing them together to make something that's not only new, but goes hard as hell. I feel like Chuck D and Flava Flav would've always been as good as they are — the former's message combined with delivery, and the latter's ability to be the hype man of hype men — but it just wouldn't be the same without the bed of samples under them. Like, goodness, who would have even thought to add a Slayer sample to the beat? It's an awe to behold. And it's not like this kinda sampling went away completely after O'Sullivan's lawsuit against Biz Markie caused the general price of samples to rise considerably. J Dilla's DONUTS exists, after all. And even using less samples, people have been able to do really good shit: look at MADVILLAINY, for instance. Besides, online mashup artists, not beholden to sample prices, have been able to do amazing things. Just look at Girl Talk, Titus Jones, The Kleptones, or Danger Mouse's THE GREY ALBUM. But still, this era of sampling was special, and I don't know if it could truly be replicated, even if price wasn't an issue. So, y'know, I cherish very much what there was. Believe the hype — this brings the noise.

Still relevant, even today. Solid 5 Stars.

I’m at a 5 – that might just be the best rap album of the 1980s. I mean, there’s some competition in there, but I don’t know if anyone can listen to that and definitively say it’s worse than either Beastie Boys album of the decade, anything from N.W.A., or Run-DMC. For my money’s worth, it’s certainly the most complete 80s rap album we’ve gotten yet – Paul’s Boutique didn’t quite click for me, and I thought Straight Outta Compton kinda stumbled its way to the finish line. There’s some all-timers on here, and not a single miss throughout most of the 16 tracks (ok, the interludes kinda suck) but the one that specifically caught my ear is “Black Steel in the Hour of Chaos”, because it so distinctly shows to me just how badly Tricky botched that damn track on Maxinquaye with “Black Steel”. Public Enemy’s version here is a masterclass in storytelling about a jailbreak, behind an all-time beat with some great flow and lyricism. Tricky’s version mainly takes from the first verse, and turns it into a sort of psychedelic rock take that removes all the storytelling and soul from the original track – it’s technically sound, and probably the best track on that dogshit album, but when you hear this version of the track, and realize just how much got cut and mutilated by Tricky… ugh, it just makes me mad, man. I could keep going with the praise for the production (excellent sampling work throughout), the flow, the vocals (Chuck D is on fire throughout this whole thing), and the lyricism, but I feel like listening to the album gets that across better than anything I could say. It’s a super fast hour, a tightly produced album, a very enjoyable one, and it probably culminates in the best rap album of the 1980s. Stellar effort across the board here, and a rather easy 5. They brought the noise.

Epic

I dread reviewing this thing, because no matter what, I'll never be able to do this special album justice. As I've gone on listening to more and more hip-hop over the years, this particular record has crawled its way to the top of my "favorite albums of all time" list. And I wouldn't hesitate to call it my favorite hip-hop album of all time. And I'll tell you why. Public Enemy's 'It Takes a Nation of Millions to Hold Us Back' (and '80s hip-hop in general), gets a uniquely unfortunate rep. That "rep" being: unanimous critical acclaim - with 10s across the board, but a mild reception post-translation to younger hip-hop heads. You'll get the occasional "This album is essential!" or... "It's one of the greatest in hip-hop!" paired with, of course, the "But I wouldn't put it on willingly - this is an album I respect more than I enjoy". And I'm not here to shit on other people's opinions, but for once, I'm with the critics on this one - all the way through. It wouldn't really help my case to reduce this album to its significance in hip-hop history - that aspect has been well-documented by every self-proclaimed "music historian" - individuals who are way more qualified to describe this record more objectively in its historical context than I. And of course, you have the testimonies of the people who actually witnessed this thing firsthand in the late '80s. I, on the other hand, was born in 2001 so all I have is the occasional documentary, and of course, my ears to try and shoot me back to this time and era. With all that said, you'd be hard-pressed to find a hip-hop album that was as politically fueled as this one around that time...PE drew heavily from the worlds of punk after all (with the Anthrax reference here right off the bat). But also, their whole "persona" just screamed "rebellious" - you have this image of Chuck D and Flav behind bars, you've got their logo being a black man seen through a sniper crosshair, and of course you have their name being Public Enemy (#1). Maybe describing this album and its ideas as angry is in of itself reductive, because this album's more passionate than anything, and with the closing song, you're getting something genuinely anthemic. Though maybe no song here is quite as anthemic as their seminal song 'Fight the Power' that would come out of their (nearly as good) follow-up 'Fear of a Black Planet' - a staple when it comes to movements resisting racial oppression in the modern era (and also a core sonic motif in my favorite Spike Lee movie 'Do the Right Thing'). Okay time to talk about the music, I think the best way to go about this is to break this group down into its four distinct pillars: First, let's talk about Chuck D. Every word the guy says sounds like it's coming out of the loudest PA system you can find in the center of some benign yet passionate conglomerate of militants. His deep voice is assertive, yet welcoming and the man does not shy away from tackling the most hot-button of topics from the '80s. His constant repping of Farrakhan and the Nation of Islam can be seen as contentious and/or problematic even today though its importance in hip-hop culture can not be understated - it again adds to this album's historical value. 'Don't Believe the Hype' might have his best rapping here, with him constantly telling the listeners to "Not believe the hype" when it comes to the media and press' close-minded opinions and portrayals of Public Enemy, the black community, and hip-hop in general. 'Louder Than A Bomb' has D voicing his grievances with the FBI and the CIA referencing Malcolm X and MLK's assassinations directly and linking them to those shady U.S. agencies. That paired with the bomb imagery of the track and his whispered "Louder than a Bomb" makes this one of the more striking tracks here. 'Caught, Can We Get A Witness' has him coming at individuals who devalue the art of sampling, 'She Watch Channel Zero?!' deals with the disconnection from reality and unrealistic standards that come with obsessive media consumption (a message made only more relevant with the social media age). 'Night of the Living Baseheads' deals with drug addiction and 'Black Steel In The Hour of Chaos' may be my favorite song here lyrically. Likely inspired by Muhammad Ali's arrest following his refusal to fight in Vietnam, the song follows Chuck D's prison time for committing a similar "crime" and his posse's attempt to break him out. "I got a letter from the government" is such an iconic opening line (I also really like "Bass!! How low can you go" off the opener 'Bring the Noise'). 'Rebel Without a Pause' is nice in the sense that it just encapsulates all of this album's attitudes into one explosive track - it's another timeless classic off of this album. Secondly, we have Flavour Flav...the man with a clock on his chest to make sure EVERYONE knows what time it is. Like it's not even close, Flav IS the best hype man of all time. I get nightmares imagining a world where he didn't get into the group - I mean he almost didn't; producer Rick Rubin thought Flavour Flav would detract from the album's serious tone. And I guess he was sort of right? But like Flav makes this album so unique and gives it so much character, his interjections all over this thing are undeniably impactful. And no he's not just the "Yeah Boy" guy - he really does make Public Enemy feel like a group. And just like Ringo, he gets one song on each Public Enemy album - his one here being tied with '911 is a Joke' for my favorite. It's certainly less meaningful than that song because like what the fuck is he talking about half the time on 'Cold Lampin' With Flavor'? I'm not too sure but I love it to death. Third is Terminator X. The guy has an ominous and looming presence on this album - this tall mysterious dude with sunglasses who's hyped up like no one else on this record. I mean what's an old-school hip-hop album without record scratches? Okay maybe that's a dismissive question but record-scratching here adds a lot to the chaotic nature of this album. He makes quite the "entrance" too with his titular song 'Terminator X At the Edge of Panic' by absolutely fucking up that Queen sample. Now, I don't know who's responsible for this ONE noise on this record, but I'll credit it to both Terminator X and the Bomb Squad (more on them in a bit). This ONE sound may be the biggest "hate it or love it" thing on any hip-hop album I've heard. Of course, I'm talking about that squealing and screeching, high-pitched saxophone sample that is used very liberally here. And when I say "liberally", I mean it, on 'Don't Believe The Hype', it pops in like every single bar. And on 'Terminator X...' and 'Rebel Without A Pause' it IS the beat (I think they use the same sound too? Just chromatically ascending on Rebel and descending on Terminator). Anyways, I bet you can guess already...but I'm on the love-it side of things. Like Flav, this one sound gives this album its character. It sounds like a siren, or a bomb about to go off, or like a kettle whistling as the heat furiously shoots out of it. I think a lot of people hate how incessantly grating it can sound and I wouldn't blame them - but the boldness of adding a sound that Public Enemy KNEW would likely polarize listeners on this album and then also using it so freely is something I will forever respect. It certainly grows on you too. Finally, though, we have the Bomb Squad. Just their name...Bomb Squad...holy shit. I mean the samples on this album are all hip-hop staples, the amount of times the samples of this record have been used (or re-used I guess) in hip-hop is ridiculous. The drums are fat and punchy, constantly pummeling and thumping, and while the bass isn't very present (I guess it does go "very low" as Chuck D himself admits), I almost don't mind at all - the mix is busy enough as is. For people who call this album outdated, I NEED you to sit down, get some good headphones, and absorb the intricacies of the production here. The beats are so well done. You have horn samples here, a lot of them, but digging deep you'll find some unique and strange noises that can easily slip by you. Let's take the full opener 'Bring the Noise' for example. On the surface, it's a horn sample, with a large chunk of it being only drum, but listen to that weird high-pitched horn-sounding thing that sort of morphs as Chuck D gets closer to the instrumental break here - or that strange fluttering noise that sounds like record scratching, but I don't think quite is? Or on 'Louder Than a Bomb' with the weird crowd cheering or screaming in the background. The piano, an Isaac Hayes sample, on 'Black Steel In The House of Chaos' is beyond iconic and brilliant, it works perfectly to soundtrack the song's very epic yet unsettling premise. I also love the wall of horns that blasts the listener on 'Prophet of Rage' with that low-mixed guitar sample hovering over the verses. I also cannot ignore the Slayer sample on 'She Watch Channel Zero?!' one of the most striking sample usages of the '80s and one that demands a reaction from the listener. But, by far the best production here is 'Night of the Living Baseheads'. This is my favorite song here and it also has one of my favorite music videos of all time. I beg you to look up the sample list for this song, it's long and nuts, sampling everyone from Aretha Franklin to David Bowie. It's so chaotic as you're just constantly being hit with sample after sample. It really does sound like something off their follow-up - a proto-plunderphonics record if you will. And holy shit that instrumental breakdown after the halfway mark...the horn sample, the "How Low Can you Go" record scratching, (of course) that high-pitched noise, the drums, and the way it transitions back into the verse with that 'Ain't No Half-Stepping'-associated Big Daddy Kane sample (I looked it up out of curiosity seeing as both songs came out in June 1988 - this 'UFO' sample was used twice within the span of like 7 days which is crazy). I don't think anyone will be able to do what The Bomb Squad did in those 20 seconds, ever, and don't even try to prove me wrong. I think about one paragraph in, this "review" stopped being a review and just turned to me gushing over this album. So I didn't do it justice I guess. I think over the years, I've just grown obsessed with this one album - more than any other album out there. If I ever was to do music it'd have to sound like this, not literally sound like this, but just sound like the idea of how this sounds...y'know. What an album...one so bold, powerful, prevalent, iconic, and one-of-a-kind. Public Enemy's 'It Takes a Nation of Millions to Hold Us Back' really is THE best hip-hop album ever.

Very nice.

Disco esencial e histórico: el grupo de Rap más importante e influyente de la historia. Con este álbum ya hubieran logrado reinar en el olimpo pero con el posterior Fear of a black planet se ganaron la eternidad. Producidos por entonces un tal Rick Rubin (tambien le metió mano al debut de entonces unos Beastie Boys), aunque Chuck D no soltó los mandos con una imagen e impacto únicos, tirunfaron a todos los niveles. En una época en la que uno podía usar los samples a su antojo y sin permiso alguno, lograron con Rebel with a pause superar el impacto de I Know you got soul de Erik B and Rakim, tomando un testigo que tardaron muchos años en soltar (aunque ya estaban los NWA por ahí). Tanto este como Fear of a... son discos inconcebibles hoy en día tanto por sus inabarcables listas de atracos musicales en forma de sampleados como por sus proclamas con referencias entre otros a Jesse Jackson, Farrakham, Malcom X... también a M. Thatcher o a otros músicos (Party for Your Right to Fight va a por los Beastie Boys aunque está dedicada a los Panteras Negras). El disco consta de temas que ya habían sido publicados previamente tanto como sencillos o como caras B, además de ser ampliamente interpretados en directo, con enorme éxito. Abre con Countdown to Armageddon que es la presentación en directo del grupo en Londres. La conocida triada "Bring the Noise", "Don't Believe the Hype" y "Rebel Without a Pause" impulsan un disco que no ha perdido un ápice de fuerza con el paso de los años. Podría decirse que construyeron un puente particular entre Marvin Gaye y The Clash. Su alianza con Anthrax para Bring the noise marcó otro hito difícil de imaginar entonces. Otros discos de 1988: Pixies con Surfer Rosa, Daydream Nation de Sonic Youth, Lovesexy de Prince, Green de R.E.M. ,Talking Heads con Naked, el debut de Tracy Chapman, Eric B. & Rakim con Follow the Leader, Tender Prey de Nick Cave and The Bad Seeds, Morrissey debut con Viva Hate , I'm Your Man de Leonard Cohen, el debut de The Sugarcubes con Life's Too Good, Bug de Dinosaur Jr, Pet Shop Boys con Introspective, Vivid de Living Colour; Prefab Sprout con From Langley Park to Memphis, 69 de A.R. Kane, Run-D.M.C. con Tougher Than Leather, The House of Love de The House of Love, The Serpent's Egg de Dead Can Dance, Barbed Wire Kisses de The Jesus and Mary Chain, 101 de Depeche Mode, Bummed de los Happy Mondays, Bummed de Happy Mondays, Songhai de Ketama, Sex & Drugs & Jesus Christ de Christian Death, Birth, School, Work, Death de The Godfathers, el debut de L7, Stronger than pride de Sade, G N'R Lies de Guns and Roses, Only life de The Felies, Today de Galaxie 500, Fisherman's blues de Waterboys, 16 Lovers Lane de The Go-Betweens, Spirit of eden de Talk Talk, Watermark de Enya, Cocteau Twins de Blue Bell Knoll, Peepshow de Siouxsie & the Banshees, Idlewild de Everything but the Girl , Conscious Party de Ziggy Marley & The Melody Makers, The First of a Million Kisses de Fairground Attraction, People de Hothouse Flowers, Straight Outta Compton de N.W.A, It Takes Two de Rob Base and DJ E-Z Rock, Nothing's Shocking de Jane's Addiction, Ancient Heart de Tanita Tikaram, Mary Margaret O'Hara con Miss América, La pistola y el corazón de Los Lobos, Talk Is Cheap de Keith Richards, Everything de The Bangles, el Traveling Wilburys Vol. 1, Look Sharp! de Roxette, El Ritmo Mundial de Los Fabulosos Cadillacs, Shaday de Ofra Haza, Straight out the Jungle de The Jungle Brothers, California de American Music Club, The Trinity Session de Cowboy Junkies, Isn't Anything de My Bloody Valentine, Pata Negra y su Blues de la frontera No digo ya cosas como Robert Palmer, Eight Wonder, Boby McFerrin, Tiffany, New Kids on the Block, Jean Michel Jarre, U2, Martika, Milli Vanilli o Womack and Womack, que tuvieron su gracia.

It's the GOAT for the genre

Grew up knowing Flava Flav as the television personality - glad this project can remind me that many reality tv stars were people once

Excellent album

Relentless, slamming, fierce and smart - believe the hype!

A little bit of a different feel than some of their other albums. I think Just as good and just as powerful as the others.

I was never a fan of hip hop growing up then about 5 years ago I heard this album for the first time and it blew my mind, from the beats to the lyrics this album is fire. I can't choose a highlight as it's all great.

YEAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY

Besides the "obvious" albums like The Beatles, Stevie Wonder, etc. this is probably my personal "easiest five star" album so far. Biggest thing I remember is this album was SO big, so immersed in the black community, that we were studying it with college-level rigor in our African American Studies course at UMASS, and no one including the college professors and administrative thought that was weird. Public Enemy was THAT prominent as a legitimate cultural representative of what the African American diaspora was thinking about. AND they had jams, lol. The whole album is revolutionary: Chuck D's rhythmic flow spouting KNOWLEDGE, Flavor Flav's appropriate mix of humor as a counter to Chuck's seriousness, and don't even get me started on the Bomb Squad's production. All the squeals, samples and beats come together in this chaotic cacophony that cuts through you but is also melodic and engaging in its own way. A classic, start to finish.

sample heavy, to an overwhelming degree at times. the bomb squad really loves that tea kettle sound effect. but everything just works, a phenomenal album.

Pioneers. Everyone needs to hear this.

This album still manages to feel fresh and punchy from the iconic beats to the messaging. Insane how an album like this can still sound great and skirt the usual "hippity-hop" corniness of 80s rap, for the most part. As essential as a hip hop record can get.

An absolute hip hop masterpiece and one of the very best albums of 1988 in *any genre*. For that year, only Pixies' *Surfer Rosa* and Sonic Youth's *Daydream Nation* beat Public Enemy in my book (Leonard Cohen's *I'm Your Man* and NWA's *Straight Outta Compton* were great albums as well, but they're still behind the east coast rap legends). *It Takes A Nation Of Millions To Hold Us Back* is indeed an unrelenting barrage of wild noisy breakbeat rhythms, crazy abrasive samples pillaging everything from funk to hard rock, and devastating rapping with a take-no-quarter attitude. I guess it's hard for young 'uns these days to picture how groundbreaking The Bomb Squad's production was on this thing--I do advise younger listeners to check out other rap albums in 1988 and hear the difference for themselves so that they can get it. Not that it really matters if they don't: yes that sort of fast-paced hip hop has aged, but its energy and messaging have not, most definitely. And given how f*cking intense the latter are on this record, it's still a treat to listen to decades after the fact. Out of all the LPs out of Public Enemy's early "imperial" phase, this is indeed the one album that manages to keep its momentum until the very last seconds. *Fear Of A Black Planet* has its share of classic, iconic cuts, but its second side can't compare to the one here, with its uninterrupted string of gems going from instrumental "Show 'Em Watcha Got" and "She Watch Channel Zero" to 'Rebel Without A Pause" and "Prophets Of Rage". And given that the first side is filled to the brim with epic and iconic moments as well ("Bring The Noise", 'Don't Believe The Hype", "Louder Than A Bomb", "Caught, Can I Get A Witness"...), the result is a masterwork that can't fail to impress. Chuck D was the best rapper in the world during that early phase of the golden hip hop era: his punchlines *burn* everything on their way, and his overall political analysis is still as relevant in 2023 as it was back in the day. Meanwhile, Flavor Flav was a master at creating a sardonic atmosphere as the perennial-yet-pivotal sideman that he was. And when he took the center stage, it was often for good reasons. Listening to "Cold Lampin With Flavor Flav", admittedly a deeper cut in P.E.'s catalog, I was struck by the way his goofy presence and delirious rhyming schemes (here very surreal) also brought a lot to the whole mayhem that the album was. The album ends with "Party For Your Right To Fight" a huge wink to former Def Jam labelmates Beastie Boys--with its sample of "Fight For Your Right (To Party)". Get it? Public Enemy made political consciousness in rap sound urgent, vital and even "fun" at times, and it's unfortunately a trend that's all too rare in hip hop these days. Some parts of their legacy can be found in what Run The Jewels currently do, for instance, but in a musical landscape where insane amounts of cash rule everything around rap, I guess it's far harder for more socially-conscious artists to get heard. Don't get me wrong, I love some of the most recent evolutions of hip hop, a genre that has seen its share of other masterpieces in the last 15 years or so (as released by Kendrick Lamar, Tyler The Creator, Mac Miller, Mach-Hommy, Run The Jewels, Cardi B, Metro Boomin, Travis Scott or even Kanye West before that nutcase became a full-blown fascist...). The thing is, it wouldn't hurt said rap landscape to return to that sort of political agenda P.E. once stood for--even if done differently, and mixed with the latest trends in the genre. There is so much to say about the dystopian inequities of today. An album in the vein of *It Takes A Nation Of Millions To Hold Us Back* would sure serve as a needed wake-up call... So here's me hoping, probably in spite of all odds. But as a rap fan, I'd rather look like a naive dreamer than give in to facile cynicism. It's all too easy to wallow in such empty posturing today... And it would indeed take a nation of millions to hold me back on my dreams of a better world. So let's start with good music and vital lyrics, shall we? Number of albums left to review: 117 Number of albums from the list I find relevant enough to be mandatory listens: 385 (including this one) Albums from the list I *might* include in mine later on: 226 Albums from the list I won't include in mine: 284

5 stars, perfect record

Bring the Noise Don't Believe the Hype Louder Than a Bomb She Watch Channel Zero?! Night of the Living Baseheads Black Steel in the Hour of Chaos Rebel Without a Pause

nok PE's sygeste beats, for vild energi! Alle hiphopgrupper burde have 1 der er glad og 1 der er sur, hvorfor er det kun PE, der har forstået det

Bedste hiphop plade fra sin æra by far! Lyder stadig farligt

Public Enemy is the greatest rap group of all time. My first introduction was actually when my brother encouraged me to watch 1991 Anthrax-collab video for Bring the Noise, which both came off this album and name drops fellow Brooklyn boys Anthrax. I was blown away. Then I heard Fight the Power, Hazy Shade of Criminal and more and was hooked. What separated them was they took rap from a backstreet genre to the mainstream by giving it a national voice. This album was the catalyst for the entire genre after. Unfortunately when gangster rap started within a few years, it’s hedonism and rawness overpowered Public Enemy’s trajectory as an industry leader. This album still is relevant. It still hits. It should be listened to again right now at high volume. Key songs: all of them, except for Flava’ flab’s such still kind of come off as silly, but he was the best hype man aside to Bobby Byrd to James Brown.

this album had some great raw old school rap tracks, great album and great message, insane influence

Classic

58 minutes of pure adrenaline that always leaves you needing to catch your breath at the end.

Yeeeeeeeeeeeeaaa boooyyyyyyyiiieeeeee

Probably one of the top 5 most important rap albums ever, the gateway between Run-DMC and Tupac. It shows its age a little, but much less so than NWA does- you can’t top Chuck D and Flav at their peaks. A-

Hit a bit strangely at first because I listened to “Apocalypse 91” before this one, but I ended up really liking it. Fun as hell.

Yes Yes Y’all! Chuck D is still one of my all-time favorite MCs and lyricists. I think it would be impossible to argue that this album has the same impact today as it once did. The beats are dope, though, and it’s still totally listenable, and once in a while the lyrics kick down to remind you that the anger is and has always been the same,

An album that changes the world. One to listen to. Yes it’s confronting and violent and misogynistic. But it’s also a statement on what it is in the U.S. then. Bring the noise and party for your right to fight - a cheeky retort and homage to the beastie boys - are my standouts. But the anger passion and insight is strong in this one.

When I was a teenager, I used to ravenously consume the Sydney Morning Herald pink pages every Monday, which had the record reviews, mostly by Lynden Barber before he threw his hands in the air and shifted to movie reviews instead of music. Poor Lynden had clearly heard and reviewed a bazillion records by 1986, and he had jaded ears. He liked records that were genuinely new and different that he hadn't heard before. In 1987, he raved - RAVED! - about the first Public Enemy album, and on the strength of that review I bought a copy, and it blew my mind. The follow-up, It Takes a Nation of Millions, was even better - a masterpiece. The first PE album certainly felt like something fresh and different when it came out, but this second record is where PE really flexed into the iconic outfit that they became. faster, harsher sounding, more political than anyone had been before, this is the Public Enemy that really blew the doors off. For a privileged white boy from Australia, they certainly had some challenging lyrical concepts, which made me think about race and racism in a way that hadn't occurred to me previously, presented with the voice of authority by Chuck D. The music was aggressive and powerful in a way that I hadn't heard before. The density of sound and noise caught my attention and wouldn't let go. The use of samples to create abrasive noise, collaged into a tightly woven musique concrete was just mind-boggling to me. I listened to this record on my walkman a million times. And, to my ears, it still sounds exciting and powerful.

absolute classic, it deserves it's place in history

fire 9/10

HipHop classic. Sounds a bit dated now but still 5 stars for me

Absolutely essential hip hop. You might be a fool if you’ve not listened to this album in its entirety.

**In-Depth Review of "It Takes A Nation Of Millions To Hold Us Back" by Public Enemy** **Introduction** Released in 1988, "It Takes A Nation Of Millions To Hold Us Back" is Public Enemy's seminal second album. It stands as one of the most influential hip-hop records of all time, widely recognized for its groundbreaking approach to lyrics, music, production, and thematic content. Produced by The Bomb Squad, Public Enemy's production team, the album combines dense, sample-heavy soundscapes with politically charged and socially conscious lyrics, making it a cornerstone in the evolution of hip-hop. **Lyrics** The lyrics on "It Takes A Nation Of Millions To Hold Us Back" are an incendiary mix of political commentary, social critique, and cultural analysis. Chuck D, the group's primary lyricist, delivers his lines with a booming voice and a sense of urgency that commands attention. The album's lyrics address a variety of topics, including racial inequality, police brutality, and the power of the media. **1. Political Commentary and Social Critique** Songs like "Don't Believe the Hype" and "Prophets of Rage" confront the media's role in shaping public perception and spreading misinformation. Chuck D's lyrics critique how the media often portrays African Americans in a negative light, reinforcing stereotypes and perpetuating systemic racism. "Black steel in the Hour of Chaos" tells the story of a draft dodger who is imprisoned, reflecting on the broader theme of institutional oppression and resistance. **2. Empowerment and Identity** Tracks such as "Bring the Noise" and "Rebel Without a Pause" serve as anthems of empowerment, encouraging listeners to embrace their identity and fight against oppression. The lyrics celebrate black culture and history, positioning Public Enemy as leaders in the movement for social justice. Chuck D’s delivery is assertive, almost militant, as he calls for unity and action within the African American community. **3. Social Issues** Public Enemy also tackles various social issues through their lyrics. "Night of the Living Baseheads" addresses the crack cocaine epidemic and its devastating impact on black communities. The song's lyrics are a scathing critique of both the drug dealers and users, as well as the government’s inadequate response to the crisis. **Music and Production** The music and production on "It Takes A Nation Of Millions To Hold Us Back" are revolutionary. The Bomb Squad, consisting of Hank Shocklee, Keith Shocklee, Eric “Vietnam” Sadler, and Chuck D, crafted an aggressive, chaotic soundscape that perfectly complements the album's intense lyrical content. **1. Sample-Heavy Production** The Bomb Squad's production is characterized by its dense layers of samples. They drew from a wide array of sources, including funk, soul, rock, and jazz, to create a sonic collage that is both complex and cohesive. The use of samples from artists like James Brown, Funkadelic, and Slayer adds a dynamic texture to the music, creating a sound that is both familiar and innovative. **2. Innovative Techniques** The production techniques employed by The Bomb Squad were groundbreaking for their time. They utilized techniques such as looping, layering, and cutting to create a sense of urgency and chaos. The use of multiple samples within a single track, often overlapping and interweaving, creates a dense and multi-dimensional sound that was unprecedented in hip-hop production at the time. **3. Rhythm and Beats** The beats on the album are hard-hitting and relentless. Songs like "Bring the Noise" and "Rebel Without a Pause" feature fast-paced, driving rhythms that push the energy levels to new heights. The use of drum machines, breakbeats, and live instrumentation adds to the album's raw and powerful sound. **Themes** The themes on "It Takes A Nation Of Millions To Hold Us Back" are deeply rooted in the socio-political landscape of the late 1980s. The album addresses issues such as racism, media manipulation, and the fight for social justice. **1. Racism and Oppression** One of the central themes of the album is the experience of racism and oppression in America. Public Enemy's lyrics confront the systemic racism that affects African Americans, highlighting issues such as police brutality, economic inequality, and the criminal justice system. The album serves as a rallying cry for resistance and empowerment in the face of oppression. **2. Media Critique** Another prominent theme is the critique of the media. Public Enemy challenges the role of the media in shaping public opinion and reinforcing stereotypes. They call out the media for its biased portrayal of black communities and its role in perpetuating misinformation and propaganda. This theme is particularly evident in songs like "Don't Believe the Hype" and "She Watch Channel Zero?!" **3. Social Justice and Activism** The album is also a call to action for social justice and activism. Public Enemy encourages their listeners to be politically active and socially conscious. Songs like "Prophets of Rage" and "Party for Your Right to Fight" emphasize the importance of unity and collective action in the struggle for justice and equality. **Influence and Legacy** "It Takes A Nation Of Millions To Hold Us Back" has had a profound influence on hip-hop and popular music. The album's innovative production techniques, politically charged lyrics, and socially conscious themes have inspired countless artists and shaped the direction of the genre. **1. Influence on Hip-Hop** Public Enemy's influence can be seen in the work of many subsequent hip-hop artists. Their politically charged lyrics and emphasis on social justice paved the way for artists like Tupac Shakur, Nas, and Kendrick Lamar. The Bomb Squad's production techniques, particularly their use of sampling and layering, have also been widely adopted and expanded upon by producers in the years since the album's release. **2. Cultural Impact** The album's impact extends beyond the realm of music. It has been widely recognized as a cultural milestone, capturing the spirit of resistance and activism that characterized the late 1980s. The album's themes of empowerment and social justice continue to resonate with audiences today, making it a timeless piece of art that remains relevant in contemporary discussions about race and inequality. **Pros and Cons** **Pros:** 1. **Lyrical Depth and Relevance:** Chuck D's lyrics are powerful, thought-provoking, and highly relevant, addressing issues that continue to resonate today. 2. **Innovative Production:** The Bomb Squad's production is groundbreaking, with its dense layers of samples and complex soundscapes setting a new standard in hip-hop production. 3. **Cohesive Themes:** The album's themes of racism, media manipulation, and social justice are cohesively woven throughout the tracks, creating a unified and impactful message. 4. **Cultural Significance:** The album's influence on hip-hop and its cultural impact are undeniable, making it a landmark in the history of the genre. 5. **Energetic and Engaging:** The album's high-energy beats and Chuck D's commanding delivery keep listeners engaged from start to finish. **Cons:** 1. **Accessibility:** The album's dense production and politically charged lyrics may be challenging for some listeners to fully appreciate or understand, particularly those unfamiliar with the socio-political context of the late 1980s. 2. **Complexity:** The complex layering of samples and sounds can sometimes create a chaotic listening experience, which may be overwhelming for some audiences. 3. **Consistency:** While the album is largely consistent in its quality and message, a few tracks may feel less impactful compared to the standout songs, potentially disrupting the overall flow. **Conclusion** "It Takes A Nation Of Millions To Hold Us Back" by Public Enemy is a groundbreaking and influential album that remains a seminal work in the history of hip-hop. Its powerful lyrics, innovative production, and cohesive themes make it a timeless piece of art that continues to resonate with audiences today. Despite some potential challenges in accessibility and complexity, the album's impact and significance are undeniable, solidifying its place as a cornerstone in the evolution of hip-hop and a powerful statement on social justice and resistance.

This album was a forceful expression of where rap could go creatively. It converted me from a rap skeptic in the 80s, although other trends in the genre keep trying to push me back.

I have been listening to this album regularly for almost 35 years. It is one of my all time favorites and it I think it is at at least top 50 of all time albums. It hits, it bangs, it makes you think. It’s fucking wonderful. I love this album. Fun fact: both sides are exactly the same length so that when listening to it on cassette, and one side ends, you can immediately flip it over and start listening to the other side.

Socially conscious and great lyrics

I got a letter from the government the other day, I opened and read it it said they were suckers

The first Rap album I ever bought and still my favourite. Such attitude and what I use to judge the rest. Great beat, cutting lyrics.

BASS. The Bomb Squad were definitely ahead of the game with this one. These beats do not sound like they were made in the 80s. "Bring the Noise" and "Louder Than A Bomb" are total bangers. The guitar sample in "She Watch Channel Zero?!" is sick. Some of the repetitive sound effects and vocal lines are a bit annoying, but not enough to bring it down a star. This album is straight heat. Chuck D is locked in the whole time and Flavor Flav adds great character. Yeahhhhhh boyyyyyy!

No notes 😌

Revolutionary in the context of it's time. The beats and rhymes still sound decent, but have been surpassed. Flava flav really starts to grate on my ears after a few tracks though. All that said, I love this album, it is SUPERB