Coming down after the twin high-water marks of
It Takes a Nation of Millions and
Fear of a Black Planet,
Public Enemy shifted strategy a bit for their fourth album,
Apocalypse 91...The Enemy Strikes Black. By and large, they abandon the rich, dense musicality of
Planet, shifting toward a sleek, relentless, aggressive attack --
Yo! Bum Rush the Show by way of the lessons learned from
Millions. This is surely a partial reaction to their status as the Great Black Hope of rock & roll; they had been embraced by a white audience almost in greater numbers than black, leading toward rap-rock crossovers epitomized by this album's leaden, pointless remake of "Bring the Noise" as a duet with thrash metallurgists
Anthrax. It also signals the biggest change here -- the transition of the Bomb Squad to executive-producer status, leaving a great majority of the production to their disciples, the Imperial Grand Ministers of Funk. This isn't a great change, since the
Public Enemy sound has firmly been established, giving the new producers a template to work with, but it is a notable change, one that results in a record with a similar sound but a different feel: a harder, angrier, determined sound, one that takes its cues from the furious anger surging through
Chuck D's sociopolitical screeds. And this is surely
PE's most political effort, surpassing
Millions through the use of focused, targeted anger, a tactic evident on
Planet. Yet it was buried there, due to the seductiveness of the music. Here, everything is on the surface, with the bluntness of the music hammering home the message. Arriving after two records where the words and music were equally labyrinthine, folding back on each other in dizzying, intoxicating ways, it is a bit of a letdown to have
Apocalypse be so direct, but there is no denying that the end result is still thrilling and satisfying, and remains one of the great records of the golden age of hip-hop. ~ Stephen Thomas Erlewine