Fear of a Black Planet

Public Enemy

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Fear of a Black Planet Review

by Stephen Thomas Erlewine

At the time of its release in March 1990 -- just a mere two years after It Takes a Nation of Millions -- nearly all of the attention spent on Public Enemy's third album, Fear of a Black Planet, was concentrated on the dying controversy over Professor Griff's anti-Semitic statements of 1989, and how leader Chuck D bungled the public relations regarding his dismissal. References to the controversy are scattered throughout the album -- and it fueled the incendiary lead single, "Welcome to the Terrordome" -- but years later, after the furor has died down, what remains is a remarkable piece of modern art, a record that ushered in the '90s in a hail of multiculturalism and kaleidoscopic confusion. It also easily stands as the Bomb Squad's finest musical moment. Where Millions was all about aggression -- layered aggression, but aggression nonetheless -- Fear of a Black Planet encompasses everything, touching on seductive grooves, relentless beats, hard funk, and dub reggae without blinking an eye. All the more impressive is that this is one of the records made during the golden age of sampling, before legal limits were set on sampling, so this is a wild, endlessly layered record filled with familiar sounds you can't place; it's nearly as heady as the Beastie Boys' magnum opus, Paul's Boutique, in how it pulls from anonymous and familiar sources to create something totally original and modern. While the Bomb Squad were casting a wider net, Chuck D's writing was tighter than ever, with each track tackling a specific topic (apart from the aforementioned "Welcome to the Terrordome," whose careening rhymes and paranoid confusion are all the more effective when surrounded by such detailed arguments), a sentiment that spills over to Flavor Flav, who delivers the pungent black humor of "911 Is a Joke," perhaps the best-known song here. Chuck gets himself into trouble here and there -- most notoriously on "Meet the G That Killed Me," where he skirts with homophobia -- but by and large, he's never been so eloquent, angry, or persuasive as he is here. This isn't as revolutionary or as potent as Millions, but it holds together better, and as a piece of music, this is the best hip-hop has ever had to offer.

Track Listing

Sample Title/Composer Performer Time Stream
1 Public Enemy 01:44
2 Public Enemy 05:07 SpotifyAmazon
3 Public Enemy 03:17 SpotifyAmazon
4 Public Enemy 01:37
5 Public Enemy 05:25 SpotifyAmazon
6 Public Enemy 00:44 SpotifyAmazon
7 Public Enemy 03:52 SpotifyAmazon
8 Public Enemy 03:17 SpotifyAmazon
9 Public Enemy 02:47 SpotifyAmazon
10 Public Enemy 03:50 SpotifyAmazon
11 Public Enemy 03:49 SpotifyAmazon
12 Public Enemy 03:45 SpotifyAmazon
13 Public Enemy 05:43 SpotifyAmazon
14 Public Enemy 02:46 SpotifyAmazon
15 Public Enemy 01:35 SpotifyAmazon
16 Public Enemy 02:31 Amazon
17 Public Enemy 03:45 SpotifyAmazon
18 Public Enemy 02:07 SpotifyAmazon
19 Public Enemy 00:48 SpotifyAmazon
20 Public Enemy 04:42 SpotifyAmazon
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