When we felt like certain scratches weren’t going to work, Juice would knock them out. Terminator X had a scratching style that was more of a funk rhythm and Johnny Juice was a sharp executioner. The scratching on the album comes from two DJs, Terminator X and Johnny Juice Rosado - the unacknowledged hero on the turntables on both Yo! Bum Rush The Show and It Takes It A Nation. I read you tracked down a lot of the voice samples yourself. We knew turntablism makes them all come to the forefront. We understood groups, records, and sounds. We knew these sounds and we knew it worked. I know Rick Rubin did that with Beastie Boys and Run-DMC did that with Aerosmith, but did hardcore metal seem like a risk at all? On It Takes A Nation, there a lot of metal samples in there. One of my favorite remixes you did was “Bring The Noise” with Anthrax. One day he showed me Iron Maiden and he says, ‘Yo these dudes are dope.’ That stuck with us when it came down to marketing Public Enemy, like their titles and themes. Hank actually was working in a record store - he was the manager of Sam Goode up in Queens. It was so crazy long that it was actually kind of dope ‘cause it stood out. It comes from a line from a song that’s on Yo! Bum Rush The Show called “Raise The Roof.” Originally, the album was going to be called Countdown To Armageddon, but myself and Hank Shocklee, who was the other wall of noise, saw the interview together.
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The album title was actually conceived from an interview from Now Magazine in Toronto, where they used it for the headline of their article. We had the recordings to let people know that, ‘Look, you might not be on to what we do, but we have a whole entire world on to what we do.’ So, it takes a nation to hold us back. We called it the ‘London Invasion’ when we went over there with the Def Jam Tour. You hear that on the beginning of “Countdown To Armageddon.” It starts with audio from a London concert. De La Soul had done it with skits, but we wanted to present an experience, so all of those elements went into it. We used live excerpts from that point on. That was the first album that was broken up. I had this tape of our live performances in London to intersperse within the album. It influenced It Takes A Nation when we finally had all our songs done. We were really influenced by the live Earth Wind & Fire album called Gratitude. We felt that recording wise it was one speed, so our BPM went up. We noticed when we did Yo! Bum Rush The Show, whenever a concert would happen, we would want to pick up the music on the turntable to join the hype of the crowd. We also wanted to present a record we could perform. One, we wanted to present what Run-DMC’s Raising Hell was. We wanted to present an experience that was a bunch of different feelings all in one. Why did you feel that album was particularly important at that time? I predicted in an interview that I wanted to make the record our What’s Going On by Marvin Gaye. After traveling the country and the world, we knew what an album was supposed to be like. When we released that first album, we then knew what to do with our second album. We were right there at the cusp of proving hip-hop was an album-oriented format. They didn’t want to be in the singles market.
SERIOUS SAM 3 HERO LYRICS LICENSE
Then, you had the Beastie Boys’ License To Ill.īy 1987 and ’88, the major record companies finally got what they were looking for when they invested in hip-hop and rap. Run-DMC’s Raising Hell was really the album that broke that mold and that’s my personal favorite album of all time. Whodini was the first album in hip-hop that was kind of significant as being a mighty piece of work. Grandmaster Flash and the Furious Five and Run-DMC’s first album were more like a collection of singles. Albums released before were more like compilations. Would you consider It Takes A Nation To Hold Us Back Public Enemy’s magnum opus?ġ986 was really when the rap album was official in the mainstream as being a legitimate format. In this interview, Chuck D reveals the unsung heroes of its production, how Marvin Gaye and Earth Wind & Fire played a role, and the story behind “Black Steel In The Hour Of Chaos.”
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With Chuck’s brutally honest and politically charged lyrics, Flavor Flav’s comedic relief, and The Bomb Squad’s avant-garde approach to production, it became Public Enemy’s most influential body of work. Listen to Public Enemy’s It Takes A Nation Of Millions To Hold Us Back now.Īs Public Enemy’s sophomore effort - and the follow-up to 1987’s inaugural album Yo! Bum Rush The Show - It Takes A Nation Of Millions To Hold Us Back rocked the hip-hop landscape upon its 1988 release.