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Muse Sick-N-Hour Mess Age [Parental Advisory]
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Rating
Album: Muse Sick-N-Hour Mess Age
# Song Title   Time
1)    Whole Lotta Love Goin On In The Middle Of Hell More Info... 3:13
2)    Theatrical Parts More Info... 0:28
3)    Give It Up More Info... 4:31
4)    What Side You On? More Info... 4:07
5)    Bedlam 13:13 More Info... 4:07
6)    Stop In The Name... More Info... 1:21
7)    What Kind Of Power We Got? More Info... 5:31
8)    So Whatcha Gone Do Now? More Info... 4:41
9)    White Heaven/Black Hell More Info... 1:06
10)    Race Against Time More Info... 3:21
11)    They Used To Call It Dope More Info... 0:30
12)    Aintnuttin Buttersong More Info... 4:23
13)    Live And Undrugged PT. 1 & 2 More Info... 5:55
14)    Thin Line Between Law & Rape More Info... 4:45
15)    I Ain't Mad At All More Info... 3:25
16)    Death Of A Carjacka More Info... 2:00
17)    I Stand Accused More Info... 3:57
18)    Godd Complexx More Info... 3:40
19)    Hitler Day More Info... 4:28
20)    Harry Allen's Interactive Super Highway Phone Call To Chuck D More Info... 2:55
21)    Living In A Zoo More Info... 3:38
 
Product Details

Tracks

1. Whole Lotta Love Goin On In th

2. Give It Up

3. What Side You On?

4. Bedlam

5. What Kind Of Power We Got?

6. So Whatcha Gone Do Now?

7. White Heaven/Black Hell

8. Race Against Time

9. Aintnuttin Buttersong

10. Live And Undrugged Pt 1 And 2

11. Thin Line Between Law And Rape

12. I Ain't Mad At All

13. Death Of Carjacka

14. I Stand Accused

15. Godd Complexx

16. Hitler Day

17. Living In A Zoo Remix

Performer Notes
  • Public Enemy includes: Flavor Flav (rap vocals, keyboards, bass); Chuck D. (rap vocals); Terminator X (scratches); The Security Of The First World, The Interrogators.
  • Additional personnel: Tom Costello, Paul Reisch (various instruments); Gerry Comito (guitar); Darryl Dixon, David Watson, Bill Mobley (horns); Kerwin "Sleek" Young (bass); Nathaniel Townsley III (drums); John B. Smooth (congas); Keith Shocklee (programming, background vocals); Kamron, Kevin Boone (scratches); Tet, Norma Jean Wright, Paulette McWilliams, Bemshi, Carl DeHaney, The Punk Barbarians, Grandell Thompson, Jamel Bazemore, Sean Chaplin, Victor Brownlee, Harry Allen, Errol Nazareth, Jesse Smith, Andre Guilty, Mike Williams, Akilah Watkins, Raymond Mattry, Sheila Cabllero, Jeanette Harrod, Prince Yellordy, Jean Victor (background vocals).
  • Producers: Gary G-Wiz, Carl Ryder, Hank Shocklee, Keith Shocklee, Flavor Flav.
  • Engineers include: Nick Sansano, Gerry Comito, Jimmy O'Neil.
  • Includes liner notes by Chuck D.
  • Public Enemy includes: Chuck D. (rap); Flavor Flav (rap, keyboards, bass); Terminator X (scratches); The Security Of The First World, The Interrogators.
  • Additional personnel: Tom Costello, Paul Reisch (various instruments); Gerry Comito (guitar); Darryl Dixon, David Watson, Bill Mobley (horns); Kerwin "Sleek" Young (bass); Nathaniel Townsley III (drums); John B. Smooth (congas); Keith Shocklee (programming, background vocals); Kamron, Kevin Boone (scratches).
  • Background vocals: Umar Bin Hassan, Tet, Norma Jean Wright, Paulette McWilliams, Bemshi, Carl DeHaney, The Punk Barbarians, Grandell Thompson, Jamel Bazemore, Sean Chaplin, Victor Brownlee, Harry Allen, Errol Nazareth, Jesse Smith, Andre Guilty, Mike Williams, Akilah Watkins, Raymond Mattry, Sheila Cabllero, Jeanette Harrod, Prince Yellordy, Jean Victor.
  • Producers: Gary G-Wiz, Carl Ryder (tracks 1, 3, 8, 10); Bomb Squad Production (tracks 2, 4-6, 9, 11-14, 16, 18-19); Flavor Flav (track 7); Keith Shocklee (tracks 15, 17).
  • Engineers: Nick Sansano (tracks 1-3, 8, 10-11); Gerry Comito (tracks 4-5, 7, 9, 12-14, 16, 18-19); Jimmy O'Neil (track 6); Bob Musseo (tracks 15, 17); Gary G-Wiz (track 20).
  • Includes liner notes by Chuck D.
  • All songs written or co-written by members of Public Enemy except "Godd Complexx" (A. Pudim). Samples include "Opus De Soul" (written by A. Isabel/M. Thomas), "(For God's Sake) Give More Power To The People" (as performed by The Chi-Lites), "(Girl) I Love You" (as performed by The Temptress) and "Do Your Dance" (as performed by Rose Royce).
  • MUSE SICK-N-HOUR MESS AGE arrives at hip-hop's doorstep during a very fragile period in that music's relatively short existence. While its commercial pull seems to be at an all-time high, scrutiny of rap's social content--especially during this, the genre's post-gangsta period--is too. And without a new style to push it through G-Funk's lyrical (and philosophical) wasteland, rap's new school seems hopelessly stuck in a downward spiral of "ho's," "blunts" and "GATTs."
  • As the title of the album clearly suggests, Public Enemy is quite aware of the situation. Yet rather than pick at these divisive wounds, lyricist/rapper Chuck D. seems more interested in wading through hip-hop's less charted territories. Sure, he still won't pass up a chance to espouse his opinion on gangsta-isms--particularly on "Give It Up," the album's ultra-catchy first single--but he seems far more crisp when kicking an eco-educational rap like "Bedlam 13:13," or backing Flavor Flav with JB-style gruff-voiced call-outs on "What Kind Of Power We Got?" On these and other tracks Chuck commands a lead-by-example urgency in his rhymes, something few of today's rappers are capable of.
  • Such lyrical and stylistic innovations--augmenting the Bomb Squad and Gary G-Wiz production with live instrumentation is a masterstroke that updates the classic PE sound--should be enough to give MUSE SICK a purposeful existence. Yet, the album's most important new contribution to today's hip-hop just might be medicinal: inferring the music with post-gangsta objectives.
  • Recording information: Green Point; Hit Factory Studio, New York, NY; Kala Studio, GA; Power Station, NY; Sonic Sound Studio, Long Island, NY.
  • MUSE SICK N HOUR MESS AGE arrives at hip-hop's doorstep during a very fragile period in that music's relatively short existence. While its commercial pull seems to be at an all-time high, scrutiny of rap's social content--especially during this, the genre's post-gangsta period--is too. And without a new style to push it through G-Funk's lyrical (and philosophical) wasteland, rap's new school seems hopelessly stuck in a downward spiral of "ho's," "blunts" and "GATTs."
  • As the title of the album clearly suggests, Public Enemy is quite aware of the situation. Yet rather than pick at these divisive wounds, lyricist/rapper Chuck D. seems more interested in wading through hip-hop's less charted territories. Sure, he still won't pass up a chance to espouse his opinion on gangsta-isms--particularly on "Give It Up," the album's ultra-catchy first single--but he seems far more crisp when kicking an eco-educational rap like "Bedlam 13:13," or backing Flavor Flav with JB-style gruff-voiced call-outs on "What Kind Of Power We Got?" On these and other tracks Chuck commands a lead-by-example urgency in his rhymes, something few of today's rappers are capable of.
  • Such lyrical and stylistic innovations--augmenting the Bomb Squad and Gary G-Wiz production with live instrumentation is a masterstroke that updates the classic PE sound--should be enough to give MUSE SICK a purposeful existence. Yet, the album's most important new contribution to today's hip-hop just might be medicinal: inferring the music with post-gangsta objectives.
Professional Reviews
Spin (8/94, p.84) - Highly Recommended - "...Knee deep in the age of gangsta, at the anticlimactic millennial edge of a world already gone wrong, Public Enemy has dropped its latest..."

Spin (8/94, p.84) - Highly Recommended - "...Knee deep in the age of gangsta, at the anticlimactic millennial edge of a world already gone wrong, Public Enemy has dropped its latest..."

Entertainment Weekly (8/26 - 9/2, p.112) - "...it takes true guts to dis gansta rap and to challenge the black community to confront its problems..." - Rating: B

Entertainment Weekly (8/26 - 9/2, p.112) - "...it takes true guts to dis gangsta rap and to challenge the black community to confront its problems..." - Rating: B

Q (9/94, p.106) - 4 Stars - Excellent - "...Fact is, the lay off has just made Public Enemy sound fresh again...because they've regained the wicked combination of sonic disturbance and loose, rabblerousing funk that drove classic jams like 911 is A Joke..."

Q (9/94, p.106) - 4 Stars - Excellent - "...Fact is, the lay off has just made Public Enemy sound fresh again...because they've regained the wicked combination of sonic disturbance and loose, rabblerousing funk that drove classic jams like 911 Is A Joke..."

Alternative Press (9/94, pp.80-81) - "...Yeah, we've heard it before but Chuck can make waves even when he's treading water...MESS AGE may be PE's most consistently enjoyable disc..."

Alternative Press (9/94, pp.80-81) - "...Yeah, we've heard it before but Chuck can make waves even when he's treading water...MESS AGE may be PE's most consistently enjoyable disc..."

Vibe (8/94, p.105) - "...a tour de force of densely constructed music and verbiage. Snippets of Stax-Volt grooves, reggae, soul, and metal bop and weave over gut-punching bass lines and wicked drumming while front man Chuck D lets fly with...pronouncements, warnings, and accusations..."

Vibe (8/94, p.105) - "...a tour de force of densely constructed music and verbiage. Snippets of Stax-Volt grooves, reggae, soul, and metal bop and weave over gut-punching bass lines and wicked drumming while front man Chuck D lets fly with...pronouncements, warnings, and accusations..."

Melody Maker (8/20/94, p.35) - Recommended - "...This LP isn't just a stunning return to form for Public Enemy, it's perhaps the most powerful horrified answer to what you are doing to black culture yet..."

Melody Maker (8/20/94, p.35) - Recommended - "...This LP isn't just a stunning return to form for Public Enemy, it's perhaps the most powerful horrified answer to what you are doing to black culture yet..."

NME (Magazine) (12/24/94, p.22) - Ranked #20 in NME's list of the `Top 50 Albums Of 1994.'

NME (Magazine) (8/27/94, p.39) - "...only slightly mellower and less chaotic than the past...no-one sounds like this..."

NME (Magazine) (12/24/94, p.22) - Ranked #20 in NME's list of the `Top 50 Albums Of 1994.'

NME (Magazine) (8/27/94, p.39) - "...only slightly mellower and less chaotic than the past...no-one sounds like this..."
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