Customer Reviews

Fear of a Black Planet

5 star:		(93)
4 star:		(9)
3 star:		(1)
2 star:		(0)
1 star:		(8)

 

 

With It Takes a Nation of Millions To Hold Us Back (1988), Public Enemy single-handedly shattered the limits and expanded the possibilities for hip-hop as an artist and cultural force. To that point, It Takes a Nation was the most inventive, powerful rap record ever. It's blend of diverse samples, infectious beats, and intelligent lyrics (delivered with irrepresible cogence by the band's frontman and lead rapper Chuck D) was unlike anything that preceded it. As tempting as it is to praise Public Enemy for their fiercly intelligent vision, the compelling delivery is what makes it all worthwhile. While secondary rapper Flavor Flav doesn't have Chuck D's powerful baritone or undeniable intelligence, his raps humorously compliment the groups militant ideals. Public Enemy's deft production team, aptly titled The Bomb Squad (which includes Chuck D, DJ Terminator X, and numerous studio technicians), manages to extract samples from eccletic sources, including John Coltrane, Van Halen, and speeches by Martin Luther King jr., and Malcom X. If this album had a flaw, it was that the themes were only loosely held together. All discuss African-American oppression, occasionally attacking it so ambiguously that the album sometimes feels a little unfocused. This isn't really a problem because the music is what ultimately holds this brilliant work together.

In 1990, after two years of controversy and uncertainty, Public Enemy returned with Fear of a Black Planet; the most coherent, focused rap album to date. On Fear of a Black Planet, Public Enemy amazingly build on the near perfection of It Takes a Nation, elevating the music to an even higher artistic level. Fear of a Black Planet begins with an instrumental track, "Contract on the World Love Jam", that quietly describes the band's precarious situation from the previous year. Then, the album explodes into an intense, funky song that manipulates a Prince sample so creatively you probably won't recognize it. The lyrics and title assure everyone that, "Brothers Gonna Work It Out". That song sets the tone for the entire album and from that point Public Enemy takes hold and never relaxes their grip.

Fear of a Black Planet is a remarkably complex record; each song seems to change gears and move in a different direction. It's unpredictable, yet it always sounds like Public Enemy knows exactly where they're going. On, "Incident at 66.6 FM", The Bomb Squad samples a call-in radio interview with Chuck D. The comments by the interviewer and numerous callers introduce the next track, "Welcome to the Terror Dome". Chuck D effectively shoots down his critics against a menacing soundscape that includes a refined siren sample, with a muted vocal harmony in the background. On, "Fear of a Black Planet", he addresses the baseless fear of interracial marriage. He displays an uncharacteristic sense of humor, as some of the vocals are manipulated to sound munchkin-like (yet still sound in character with the song). On, "B Side Wins Again", he berates mainstream radio for refusing to play anything unusual or controversial. Chuck's voice is treated with a reverberation effect, creating a fuzzy echo after the initial vocal sound.

Though Chuck D is clearly the primary creative force behind Public Enemy, Flavor Flav has a number of strong moments. On, "911 is a Joke", he berates emergency response crews for incompentence. On, "Can't do Nuttin' For Ya Man", he tells a seemingly hopeless case to solve his own problems. Flavor Flav delivers his clever rhymes with his trademark humorous flamboyance. He and Chuck D collaborate on the final song, the best rap anthem ever recorded and Public Enemy's statement of purpose, "Fight the Power". "Fight the Power" is the perfect conclusion for an adventurous record that, despite it's many musical directions, is always focused.

Many have condemned Public Enemy for promoting bigotry. In some sense this is not without basis, as some lyrics on Fear of a Black Planet appear, at least superficially, to be prejudicial. On, "Welcome to the Terror Dome", Chuck responds to a Rabbi who critized the group with words like, "Told the Rab, get off the rag" and, "they got me like Jesus". Even though he later stated that he doesn't harbor hostility for all Jews, this isn't apparent while listening to the album. "Meet the G That Killed Me", contains blatantly homophobic lyrics such as, "Man to man, don't know if they can, from what I know, that parts don't fit". While you may not agree with these and other viewpoints (which I sometimes don't), they are irrelevant to Public Enemy's artistic achievement. The entire presentation is what makes their music artistically viable.

After Black Planet, Public Enemy released Apocalypse 91: The Enemy Strikes Black (1991). It's a strong effort with several outstanding tracks, but a bit uneven and not a progression from their previous work. In 1994, they released Muse Sick-N-Hour Message; a listless, redundant disappointment. Since then, the group has shown flashes of innovation, but is mostly just treading water (as evidence of this, Chuck D is now known more for his support of music on the internet rather any artistic contribution). With It Takes a Nation of Millions to Hold Us Back and Fear of a Black Planet, Public Enemy took rap to an artistic and cultural level that had not been reached before and hasn't been reached since.

Nah. But Fear of a Black Planet is Public Enemy's most focused, commercially successful, and controversial album. In fact - trim off some of the fat here and you've got one of the best rap records ever.

The album kicks off with my personal favourite PE track, Brothers Gonna Work It Out, a high-octane track with loud bells and screaming guitar licks; musically dense as a track off It Takes a Nation, yet, a little more polished. Another Bomb Squad production masterpiece and Chuck does his thing once again. This song loudly screams, "PE IS BACK". While the rest of the album doesn't quite live up to Brothers Gonna Work It Out, that's similar to saying Nas never lived up to Illmatic, because this is a top-notch album. Welcome to the Terrordome and the title-track, Fear of a Black Planet are both classic PE tracks, and War at 33 1/3 sounds about as urgent as a timebomb. Flava Flav gets ample chances to shine on a couple of tracks as well; mocking the police on 911 is a Joke, and just cold lampin' on Can't Do Nuttin' for Ya Man.

And what would this album be - (or what would PE be, for that matter) - without the finishing blow on this album, Fight the Power; perhaps the quintessential PE track. Highly, highly recommended, but It Takes a Nation of Millions is better.

Back before there was East Coast and West Coast, Public Enemy were THE important artists in rap and this was their best CD. "Welcome to the Terrordome" is a classic in any genre, and "911 Is a Joke" is another gem. The whole CD holds together as one programmed piece of eloquent socio-politics and sonic art. One CD that every rock (let alone rap or hip-hop) fan should own.

This album is incredible. It is very creative with it's massive layered sampling effects troughout the album. The dense sounds make me wanna get up and do something. Everytime I play this album I'm reminded of a hot summer where politics in the rap game were at large. This album maybe one of the most political albums of all time dealing with race realations,HIV,sexual differences,radio,corrupt police,hollywood expoitation of blacks,etc...... Evey song on this album is unique with layers and layers of noise. Best track...every track. P.E.ace

Fear of a Black Planet transcends what we know as rap and goes down as just a great piece of work in any genre. This is an album that combines all the elements: vision, cohesion, originality, scope, ambition, confidence, substance, and relevance. From the sound bites of the opening track right on down to the call to arms of "Fight the Power", this masterpiece is breathtakingly on the mark. These songs deal with a wide range of subjects such as hope ("Brothers Gonna Work It Out"), interracial dating ("Pollywannacraka"), the bigotry of showbiz ("Burn Hollywood Burn"), and everything in between to create an album of sheer power. Even the throwaways like "B-Side Wins Again" and "Reggie Jax" keep the listener interested. Fear of a Black Planet is just a massive onslaught of song-tumbling-into-song that grabs your ears and refuses to let go. Chuck D has always been a master of the 5-minute rap song and on here, he delivers maybe his best ever on "Welcome to the Terrordome", Chuck D spilling his guts about everything that pisses him off at a schizophrenic pace about the dangers of propaganda. It is truly a magnificent and moving piece of personal songwriting. All in all, Fear of a Black Planet is right up there with Blur's The Great Escape, Radiohead's OK Computer, and Massive Attack's Mezzanine for best album of the 90's. A+

this disc is still slamming.911 is a joke hits home.burn hollywood burn was Right on Time.Who Stole The Soul? is a great jam& the truth.R-N-B was Dead when this came out and now it's just Rotten.Chuck D. always put the facts out their.this is very essential.with the production&sounds.the lyrics were coming from the Soul.

Those are the only 2 words that best describe the rush of sounds, voices and ideas collected on P. E.'s third studio LP. While "Nation Of Millions..." was a stunning release that completely re-wrote the rulebook in hip-hop, this 1990 followup is easily the most artisitc record in thier canon. "Fear..." works more as a sound collage and sonic painting than merely a collection of hits and filler, as most rap albums still are today. "Brothers Gonna Work It Out" samples Prince's shrieking guitar solo from "Let's Go Crazy" over a whomping rhythm section and enough background noises to drive less adventurous listeners crazy. "911 is A Joke" is also another great tune that, deliberately or not, proves that Flavor Flav really can't rap at all. My personal favorite on this LP is the interracial dating diatribe "Pollywannacraka" with Chuck D.'s raspy, deep, drawling delivery coming as a real jolt and his views on dating outside your race may surprise some. Overall, "Fear..." is a lot less accessible than it's predecessor and that's a good thing, this LP makes you think and work a little for the big payoff. This is Public Enemy's real masterpiece, a sprawling, eclectic record that knows no boundaries. Essential Listening.

Although most Public Enemy fans I know name 'It Takes A Nation of Millions..." as their all-time favorite PE album, it is impossible to deny that "Fear of A Black Planet" is the most politically-charged of any of the brilliant group's LPs.

In addressing such topics as interracial dating (track #7), Hollywood's persistent exploitation of blacks (#9), the chasm between white media and black America (#4), PE enlightens but does not moralize, they preach but do not judge. Apart and beyond all of this, Public Enemy advances a theory of why white people are innately afraid of black people: that a black man and black woman will beget black; a white man/black woman beget black; a black man/white woman beget black; yet only a white man and white woman will beget white; hence, the white man's subconscious fear of a lurking, gradual extermination, and the LP's title.

Whether the assorted voices of diplomats, zealots, and reactionaries in this recording appeal to your sensibilities or challenge your own system of beliefs, they will touch a nerve and make you think; which in the end, is all one can ask from any great work.

"Fear Of A Black Planet" is defintely one of Public Enemy's best albums and the best rap album of 1990. Urgent, defiant,and damn funky, PE continued to revel in their ... anti-comfortmist, proudly political spotlight. The Bomb Squad's beats are some of the best ever assembled. A sax squeal here, a siren there, a thumping keyboard throb here, and a upright bass riff there. It's just genius.
"Brothers Gonna Work It Out" is as heavy and hard hitting as a late '90s punk/techno track but even funkier with Chuck D's VERY urgent, politician-like trademark voice ripping through the track. "911 Is Joke", "Welcome To The Terrordome", "Who Stole The Soul?", "Burn Hollywood Burn", "Anti-Nigger Machine"...I'm telling you this is a incidary classic! It gets no better. The interlude "Incident at 66.6 FM" is genius as a parody of Middle America's fear of Public Enemy over a tight, springy beat. Concluding with the classic "Fight The Power" from Spike Lee's "Do The Right Thing" which is just as much alive as Mookie or any charcter in "Do The Right Thing".

You can't like hip hop, if you don't own "Fear Of A Black Planet". It's that simple.

Public Enemy, what else can you say about these guys? One of the most well known rap artists than proved who artistic the genre can be, Public Enemy still stands out on it's own when it comes to rap, and they are a cornerstone rap band to the genre. Will all due respect to their breakout It Takes A Nation of MIllions, I have to we reasonable with myself and claim that Fear of Black Planet is my favorite Public Enemy album than the former. It quite simply is home to some of the best rap EVER, even though it's not quite perfect in some ways.

I do want to stress something, that this album does seem to have a bit amount of filler. Public Enemy, in my opinion, sometimes have a weakness in their music, when the music sometimes doesn't really engage. Sometimes they seem content on making their music as heavy, as angry, and amelodic as possible, the point where it comes sort of, well, boring. Case in point would be War at 33 1/3, which is dull and boring to listen to, it just doesn't work.I'm not sure if it's personal tastes or not, but I would be lying to you if I didn't tell you I didn't care for songs such as the Title Track, Pollywantacracka, Who Stole the Soul and some others. Call me picky, but well, they don't really engage or work very well, which is sort of a shame.

Despite all this, why am I giving this a near perfect score? Simple: The material on here that kicks is AWESOME, some of the BEST Hip-Hop, ever. Some of the songs don't quite work for me, for the reasons above. That said, when these guys cook, hang on to your hat because you will most likely lose it. Kinetic, dense, urgent, and funky as hell, black politics (no, they are NOT racist) have never been as fun, assertive, and serious all in one package. Chuck D's distinctive booming vocals are catchy, melodic, angry, and , and of course there's Flavor Flav, who gives a sense of fun and also proves he can rap on the microphone. Of course, the production values have no dated, and are as dense as the rapping. Dare I say it, it's even better than It Takes a nation.., and everybody knows how awesome that album was. Filled with hard hitting beats, noisy sirens and whistles, heavy hitting bass, and more fire and energy than a Steel mill, it's still distinctive and nothing else can compete with it.

Highlights? Oh man, where to start? Brother Gonna Work it Out is one of the funkiest, heaviest, and songs in rap, it's rhythms are so damn good they turn your body on and electrify every dancing bone in your body. You'll do things you never thought you could, even if you are meek on the dance floor (as I currently am, ha). Other songs like Revolutionary Generation (with it's absolutely massive bass and beat) and Reggie Jax follow suit. 911 is a Joke and Can't Do Nuttin For Ya Man are prime showcases for Flavor Flav's skills. Welcome to the Terrodome is one of the most exhausting hip hop songs I've ever listened to. With raiding sirens, massive almost rocking beats, it blares across the land, and it WILL make you dance wide like a maniac doing a cardio exercise. And this is before Burn Hollywood Burn and Power to the People! OF course, it ends with Fight the Power, which will make you want to instantly dance like Rosie Perez did her dance in Spike Lee's Do the Right Thing. You get the point? Man, I can't even put in words how good listening to this is. The skits here are great, as they are little funky intros to, often, very powerful track that is after.

Amazingly, the lyrics here aren't even the star, considering that the music is so damn wicked you could almost listen to it without any rapping. This album has been quite analyzed to death, but believe me, once these guys get into your skin, it doesn't go away. Fear of Black Planet is certainly unique today, and it sounds even more fresh today than it must have been, back in the day. Essential to the argument of Rap music's artistic value, and the fact that it IS music, no matter what any naysayers say.