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It Takes A Nation Of Millions To Hold Us Back

Rate It! Avg: 4.5 (163 ratings)
It Takes A Nation Of Millions To Hold Us Back album cover
Countdown To Armageddon
Bring The Noise
Don't Believe The Hype
Cold Lampin' With Flavor
Terminator X To The Edge Of Panic
Mind Terrorist
Louder Than A Bomb
Caught, Can We Get A Witness?
Show 'Em Whatcha Got
She Watch Channel Zero?!
Night Of The Living Baseheads
Black Steel In The Hour Of Chaos
Security Of The First World
Rebel Without A Pause
Prophets Of Rage
Party For Your Right To Fight
Album Information

Total Tracks: 16   Total Length: 57:56

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Wondering Sound

Review 1

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Sean Fennessey


Director of Merchandising, emusic.com

You may find yourself punching the sky during these songs without regret
1995 | Label: Def Jam/RAL

There are no words too hyperbolic, no expressions too excited to describe the tectonic impact Public Enemy's second album had on the world. It is that vital and that infecting. Nominally a rap album, It Takes A Nation… is more like a sound grenade, thanks to the Bomb Squad's quadruple-stacked sampling, hypeman par excellence Flavor Flav's sonorous squeal, and leader Chuck D's stentorian flow — dependent not so much on meter, like most rappers, but… read more »

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Not Anthrax


To keronian. I love both Anthrax and PE. They bring back some great memories as a teanager in the 80's. The guys from Anthrax did not write the song. The credits on the the actual cd states C. Ridenour/E. Sadler/H. Shocklee. Not sure why it says all the members of Anthrax under composers. But Anthrax def did not write the song. Maybe because on the later version that the they contributed all the "Rock" aspects of that version. Who knows but give credit to PE for writing the song.

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So it was Anthrax who wrote that song after all...


Why does eMusic give composer credit to Spitz, Bello, Ian et al for Bring the Noise?! (To elvis1954: I don't usually use sarcasm but I thought in this case it would be obvious. I know Anthrax didn't write it! Sorry.)

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Hip Hop 101


This album should be required listening for ANYONE who wants to understand Hip Hop!

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One of those rare cases...


...where you can believe the hype. It all starts right here.

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in the beginning...


this is is where all modern hip hop derives from...i know, i know, "james brown, p-funk, blah, blah, blah..." forget that... this is the book of genesis...

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eMusic Features


Six Degrees of Public Enemy’s It Takes A Nation of Millions…

By Christopher R. Weingarten, Contributor

It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »


Down from Day One: Death Row Records

By Hua Hsu, Contributor

At first I couldn't tell what I was watching. It was late afternoon and I was lying on my parents 'bed, flipping channels and passively mapping out the night's homework. Every network seemed to be showing the same thing: a helicopter's-eye-view of people dashing down city blocks and lobbing projectiles; buildings on fire; smoke everywhere. It wasn't until they went to a reporter surveying the scene from a few miles away, blue-skied flatlands interrupted by… more »

They Say All Music Guide

Yo! Bum Rush the Show was an invigorating record, but it looks like child’s play compared to its monumental sequel, It Takes a Nation of Millions to Hold Us Back, a record that rewrote the rules of what hip-hop could do. That’s not to say the album is without precedent, since what’s particularly ingenious about the album is how it reconfigures things that came before into a startling, fresh, modern sound. Public Enemy used the template Run-D.M.C. created of a rap crew as a rock band, then brought in elements of free jazz, hard funk, even musique concrète, via their producing team, the Bomb Squad, creating a dense, ferocious sound unlike anything that came before. This coincided with a breakthrough in Chuck D’s writing, both in his themes and lyrics. It’s not that Chuck D was smarter or more ambitious than his contemporaries — certainly, KRS-One tackled many similar sociopolitical tracts, while Rakim had a greater flow — but he marshaled considerable revolutionary force, clear vision, and a boundless vocabulary to create galvanizing, logical arguments that were undeniable in their strength. They only gained strength from Flavor Flav’s frenzied jokes, which provided a needed contrast. What’s amazing is how the words and music become intertwined, gaining strength from each other. Though this music is certainly a representation of its time, it hasn’t dated at all. It set a standard that few could touch then, and even fewer have attempted to meet since. – Stephen Thomas Erlewine

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