|Find a Way||Rex Carroll||4:34|
|Circle of Love||Rex Carroll||3:18|
|Working Man's Blues||Rex Carroll||2:46|
|Walk a Mile||Rex Carroll||2:40|
|Rock My World||Rex Carroll||4:58|
|Witch Dr. Bones||Rex Carroll||5:01|
|Delta Memories||Rex Carroll||2:43|
|My Train||Rex Carroll||6:12|
|Thrown Them Bones||Rex Carroll||5:19|
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.
Sony Classical, down to a select number of highly marketable releases each year, has rarely been in the reissue business, and it's unclear how the label came to reissue this album, originally released in 1974 as an LP on RCA's venerable Red Seal label. Perhaps it was because film scores are one of classical music's growth segments, and Sony wanted to test the waters for future releases in the genre. The reissue is a successful one in any event. The sound and the performances, with Charles Gerhard conducting the National Philharmonic Orchestra, have held up well. The program includes not only music from Captain Blood (1935), but also suites from seven other Errol Flynn films, including a short selection from Hugo Friedhofer's score for The Sun Also Rises, made just two years before Flynn's death in 1959. As such, the album traverses several eras in film music history.
But most of the music comes from the pens of the German immigrant composers who came to Hollywood in the 1930s and set the tone for an entire cultural system: in this case Erich Korngold and Max Steiner, with one short contribution from Franz Waxman as well. The focus on Flynn makes sense, for, as Tony Thomas, Rudy Behlmer, and Clifford McCarty write in the original liner notes, "The great swashbuckler and the era of great romantic movie music set sail on the same tide." The splendid cuts from The Sea Hawk and Captain Blood will sound familiar to anyone who has watched late-night movies on television for any length of time, and they virtually define the sword-and-sea atmosphere of these films. But what's even more interesting is to watch these composers adapt their styles to later developments in Flynn's career. He moved, oddly enough, into the Western, resulting in some unbelievable plots designed to explain the arrival of the supposedly Irish Flynn (he was actually Australian, from Tasmania) in the Old West. But sample Steiner's score for Dodge City (track 5), with its Tchaikovskian spaces and romantic melodies deployed to imagine an open prairie quite different from the ones Aaron Copland was working on at the same time. These scores are enjoyable not only for film buffs, but for anyone who has ever wanted to think a little bit about movie music and its history. Highly enjoyable; well worth the reissue. Kudos to Sony.
By his own admission, Necro's music is sickening. The rapper tries to out-Eminem Eminem by unleashing a tirade of songs that are a putrid wash of music, drugs, sex, and bodily fluids.
For a project filled with so much bile, the production is remarkably bland.
A couple of tracks on I Need Drugs, namely "Get on Your Knees" and "I'm Sick of You," have some musical punch, but Necro's homemade production is mostly an afterthought. I Need Drugs seems to have no other point than to try and offend its listener. While he tries to be part-LL Cool J and part-GG Allin, he comes off as a 12-year-old trying to get the attention of the kids on the playground by telling dirty jokes. Ultimately, the album's unwavering desire to shock us is what makes it so boring.