Showing posts with label public enemy. Show all posts
Showing posts with label public enemy. Show all posts

1/20/2012

Don't Rhyme for the Sake of Riddlin': The Authorized Story of Public Enemy Review

Don't Rhyme for the Sake of Riddlin': The Authorized Story of Public Enemy
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Whilst I was down town in my local bookshop, killing an hour or two until the cinema opened, I happened to come across this book whilst browsing the music section. Truth to told I was a big PE fan, and until listening to 'Rebel without a pause, I wasn't really down with hip hop. I had no real intention of getting this, but the more I read, the more hyped I was to spend some quality time reading more. I duly copped it, and the best part of two days (it would have been quicker, but little matters like the wife & kids got in the way) devouring it. .I really enjoyed this book. My highlights were the sections that covered their early years, pre PE, how the collective ended up on 'Strong' Island, the paths that led them to hooking up. I especially enjoyed the sections that covered their four great albums: Yo! Bum rush the show, it takes a nation............, Fear of a black planet, and Apocalypse '91. Controversy was never far from Public Enemy then, and it was great to get a insight from the protagonists themselves in their own words, what with the infamous Griff with the Washington Post/Village Voice, to frictions with Def jam, and within the group.
The only flaw for me upon finishing this book is the very reason that it's also a good read. Due to the fact that Russell Myrie had authorized access to the group, he is able to let them tell the story from their own recollection, as opposed to devising arguments to fit the scenario from his own reasoning. But, I think this also hampers his own view point concerning the group. For example, he try to sell the argument that time has proved that 'Muse Sick-n- Hour Mess Age is not as bad an album as some 'critics' would have you believe. Whilst I partly agree with that statement, to me, that album was the moment the group's creative juice fell off. It was also the moment the language, i.e. the swearing, increased, and continued to do so, on future releases, compared to what had gone before. Also a s my last purchase of any PE material was said' Muse Sick', and the chapters that followed, relating to events from 1994 to the present day, weren't as exciting to me as there Golden age, previously mentioned
That aside I really enjoyed this biography, and would recommend it to any/all PE fans

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Russell Myrie’s Don’t Rhyme for the Sake of Riddlin’ is the first authorized biography of Public Enemy, the foremost hip-hop group of all time. With unprecedented access to the group, Myrie has conducted extensive interviews with Chuck D, Flavor Flav, Terminator X, Professor Griff, and the Shocklee Brothers, along with many others who form a part of Public Enemy’s legacy. Beginning with the group’s inception on Long Island and working up to the present day, Myrie writes with in-depth detail about the making of each seminal album, including It Takes a Nation of Millions to Hold Us Back and their multimillion selling album, Fear of a Black Planet. Myrie delves into the controversy sparked by Professor Griff’s alleged anti- Semitic remarks, the complexities of PE’s relationship with the Nation of Islam, the group’s huge crossover appeal with white and alternative music audiences in the early nineties, and finally the strange circumstances of Flavor Flav’s re-emergence on reality TV with shows such as The Surreal Life and Flavor of Love. A rare behind-the-music look at the group that fought the power, terrorized the music industry, and was crucial to the development of the hip-hop music phenomenon.

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8/20/2011

Public Enemy's It Takes a Nation of Millions to Hold Us Back (33 1/3) Review

Public Enemy's It Takes a Nation of Millions to Hold Us Back (33 1/3)
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Ideal for readers who are suckers for palm-sized books (like me), the 33 1/3 series is written for music addicts, by music addicts. The latest volume in this great series - 71st total, 5th amongst titles covering hip hop LPs - takes an all-encompassing look at Public Enemy's second (and best) album, It Takes a Nation of Millions to Hold Us Back. Author Christopher R. Weingarten (Rolling Stone, Village Voice, Idolator, Spin ...) weaves a web of history-rich anecdotes and music trivia as convoluted as the sample-heavy sonics of the album itself. With flair, Weingarten wraps up all of the "noise" into a thoroughly researched, enthrallingly informative read.
Hip hop in the mid-to-late `80s wasn't the commercialized custerfluck it is today. Rap artists were battling for supremacy in an era when a DJ or music critic's opinion was the gospel, the end-all be-all to critical acclaim or absolute ostracization. Even after dropping their debut album on the biggest rap label on the planet, Public Enemy still wasn't turning heads like they'd expected. Critics panned them and DJs - most notably Mr. Magic, which Weingarten touches on - refused to play their records. It was at that point at which PE front man Chuck D, upon hearing Eric B. & Rakim's "I Know You Got Soul", knew he had to double up for the group's sophomore effort - or "turn it up", if you will.
Weingarten portrays the group's creative efforts and direction, fused by Chuck D's hard as nails steadfastness and the Shocklee brothers' unique sonic structuring, accompanied of course by Flavor Flav's spunk and the militant imagery of the S1Ws and Professor Griff. In describing the Bomb Squad's chaotic soundscapes - a stark contrast to Marley Marl's fine-pointed production - Weingarten cleverly compares these varied approaches to the dissimilarities between Stax and Motown (as well as Def Jam co-founders Rick Rubin and Russell Simmons). With a keen appreciation for the samples that made this album what it was, the author delves deep into the life and music of The Godfather - the late, great James Brown. Weingarten also covers oft-overlooked narratives of Bootsy Collins as a JB, Bobby Byrd as the original hype man, and Clyde Stubblefield, responsible for arguably the most sampled break of all time - "Funky Drummer".
Providing a great history lesson that branches out into the realms of funk and soul as much as it does to rap, Weingarten offers a commendable balance of both research and unique insight. For instance, he compares the bizarre occurrence of organ transplant recipients adopting the traits of their donors(!) to the art of sampling and the resurrection of old sounds - reanimating the past, taking on a new life. Similarly intriguing, the author dissects Chuck D's infamous line "bass, how low can you go" and its lyrical significance, being re-flipped nine tracks later on Nation's "Night of the Living Baseheads": Turning "bass" to "base", and giving "how low can you go" a whole new meaning.
Much like the untold number of samples fit tightly into It Takes a Nation of Millions to Hold Us Back, Weingarten's contribution to the 33 1/3 series amasses a great wealth of musical history into an item you can fit in your pocket. Articulately and efficiently capturing the frenzied history (and pre-history) of Public Enemy's second LP into a mini-anthology of sorts, Christopher R. Weingarten has given us a reason once more to believe the hype about one of rap's greatest and most influential albums.
>> Originally posted on Hip Hop Is Read

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Christopher R. Weingarten provides a thrilling account of how the Bomb Squad produced such a singular-sounding record: engineering, sampling, scratching, constructing, deconstructing, reconstructing even occasionally stomping on vinyl that sounded too clean. Using production techniques that have never been duplicated, the Bomb Squad plundered and reconfigured their own compositions to make frenetic splatter collages; they played samples by hand together in a room like a rock band to create a not quite right tension; they hand-picked their samples from only the ugliest squawks and sirens.Weingarten treats the samples used on Nation Of Millions as molecules of a greater whole, slivers of music that retain their own secret histories and folk traditions. Can the essence of a hip-hop record be found in the motives, emotions and energies of the artists it samples? Is it likely that something an artist intended 20 years ago would re-emerge anew? This is a compelling and thoroughly researched investigation that tells the story of one of hip-hop's landmark albums.

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