Now a daze Public Enemy 1 remix Making of burn hollywood burn Intro Brothers gonna work it out Welcome to the terrordome Bring the noise Shut em down Black steel in the hour of chaos He got game Public enemy no. Give it up Don't believe the hype Rebal without a pause By the time ball of confusion Fight the power Flavor set timbo king Too much posse Timbo king song Cold lampin with flavor Sabotage Know applause Pressure Medley Do you wanna go our way New whirl odor Bring that beat back Intermission one Put yo hands in the air Questions Makes ya blind Look it here Get down The revolution rocks on Check what ya listenin to Somethin' to say So what ya sayin' Intermission two My Uzi Weighs A Ton Rightstarter You're Gonna Get Yours Public Enemy Number One Bass In Your Face Rebirthinstrumental Let It Show Flavor Man Unga Bunga Bunga Two Wrongz I Ain't Scared Baby Baby Baby Wonder Why Interlude: Latasha Break No Loot The Jooks The Rest Of My Life Hot 1 Platinum Guess Who's Bak Bridge Of Pain Col-Leepin Bonus Track Feat.
Smooth B. Here we go again tour intro Air conditioning Who's your hero The flavor flav show Electric slave Grand theft oil Hell no we aint allright Vidiot Like it is Shit Break it to P.
All aboard the new nighttrain Do you wanna go our way live at the fillmore If I gave you soul what would you do with it Remix Of A Nation Rise Ascension Mix Hannibal Lecture Krush Groove Remix Hard Rhymin' Extended Mix Watch The Door Alternate Mix Invisible Man Alternate Mix Hard Truth Soldiers Alternate Mix Make It Hardcore Greatest Hits Live!
Welcome to the Terrordome [Live] 3. Bring the Noise [Live] 4. Son of a Bush [Live] 5. Shut 'Em Down [Live] 6. Black Steel in the Hour of Chaos [Live] 7. He Got Game [Live] 8. Revolverlution [Live] 9. Public Enemy 1 [Live] Lord Solo [Live] Give It Up [Live] Don't Believe the Hype [Live] Rebel Without a Pause [Live] Arizona Ball of Confusion [Live] Black Is Back Harder Than You Think Amerikan Gangster Nothing is wasted.
So making this record, nothing could be wasted. Just a young guy doing it. It was an absolute killer! Your weapons are your tracks, your ideas. So we made tracks all day. Nothing good is done sequentially. There may be a track that will spark the writing and a title. Or you could have a verse and a title and a track can be sparked from that idea. Now, how do you mix and match the frequencies to produce the outcome you want. Making the record is a combination of physical, metaphysical and spiritual energies.
Flav is an octave higher than Chuck, which adds for a nice, unique blend. Attack and release: Chuck is giving you the attack, Flav is the release. I can hear phonetically every consonant and every vowel.
His job was to add punctuation. Punctuation is what makes language colorful. He added a warmth and friendliness. From a radio perspective Chuck is the record and Flav is the DJ. The hardest thing in the world is to make the complex simple. They came up with this concept and animated it and defined it in a variety of different ways. They have a mission of their own as well as a musical mission, which is astonishing.
Then you have Chuck who is more than a great poet. Down the road he would design album covers for them. They also seized a moment. The culture was ready for it. The Songs of Yo! It sat on cinder blocks. I actually had a Mercury Zephyr. My first player in the car, I went to the junkyard and bought an 8-track player with a cassette converter [laughs]. They had a systematic gangsterism with those cars. It was strictly Long Island. You not coming from Brooklyn or Queens to start no shit.
You gonna come in the party, sit in the back and watch these suckas. Coming out of that era, that mindset needed to be attacked. The mind of the laid back cat. I just wanna party. We saw the dumbing down back then. We said people need to be educated. That was the thrust behind it. But we had to use the tools of entertainment. So [to us] our cars were everything. At this point MCs are either bragging and boasting about themselves or some possession. In this case, the cherished item was the car.
Their music HQ was located in a building owned by a dentist named Dr. Gantz in Hempstead. But Chuck, Hank and Keith live in Roosevelt. The studio was across the street from my old elementary school and walking distance from my house, so our sense of space and location had to incorporate the automobile.
This is pre-polemic Public Enemy. This is PE with some political sensibilities but the interesting thing about Yo! It was attempting to be where rap was at that point. I had made it as a BAU promo also on another piece of music. We wanted to make a difference between the verse and the hook. So gun references are there and it created a dilemma for me as the promotional guy, marketing guy and label exec, but also co-creator.
I tried not to censor Chuck too much as a producer. They listened to me on that one, but I was against Flavor being in the group.
I wanted us to be more political. Even though it was a chorus it gave a window into what PE would be later on from a production standpoint. His voice and delivery come from the party era of hip-hop when you had to have a great voice, throat and diaphragm in order to rock a park, a community center, a skating rink or an auditorium.
We all had to deal with the drug element in our communities so to attack it was the dialogue about it. The infamous Public Enemy logo. It shall forever stand as a iconic image in hip-hop. I was looking at a Right On! Magazine and I did my art shit. I put a target over it. I got it from a TV show that was talking about an old gangster movie about G-Men. They used those stencil letters for the Public Enemy. And I did that logo with the target over it for an imaginary group.
Back at BAU, we used to have imaginary groups that we would put on flyers to make them fill out. Sometimes your achievements are beyond the text and the type. You should try to create a logo that says it without you reading it. Eric Haze cleaned it up on the first album and I could always nail it, but when it came time to do it professionally, Eric Haze knocked out the clean, clean version of it. Glenn Friedman set it up. It actually came off of a drawing that I drew.
I sketched it out for Glen and then Glen actually shot it. When you hear people talking about the lab that was it. This is dead serious. Flavor probably got the most menacing looking period on that cover. The back cover was shot at one of the few McDonalds that had to come down. It was in Hempstead. I had my own design studio. About three years in they asked me to come in-house but I had a broad client base at that point so I helped Cey Adams get the Drawing Board up and running.
When I was hired to be the art director, Glen had taken the photo already and Chuck had already sketched out the original design for the logo. It was his original idea. All links to content are provided from other servers and are not affiliated with this website.
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