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Muse Sick-n-Hour Mess Age

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Album Review

If Greatest Misses was viewed as a temporary stumble upon its release in 1992, Muse Sick-n-Hour Mess Age was viewed as proof positive that Public Enemy was creatively bankrupt and washed up when it appeared in 1994. By and large, it was savaged in the press, most notably in a two-star pan by Touré in Rolling Stone, whose review still irked PE leader Chuck D years later. In retrospect, it's hard not to agree with Chuck's anger, since Muse Sick is hardly the disaster it was painted at the time. In fact, it's a thoroughly enjoyable, powerful album, one that is certainly not as visionary as the group's first four records, but is as musically satisfying. Its greatest crime is that it arrived at a time when so few were interested in not just Public Enemy, but what the group represents — namely, aggressive, uncompromising, noisy political rap that's unafraid, and places as much emphasis on soundscape as it does on groove. In 1994, hip-hop was immersed in gangsta murk (the Wu-Tang Clan's visionary 1993 debut, Enter the Wu-Tang, was only beginning to break the stranglehold of G-funk), and nobody cared to hear Public Enemy's unapologetic music, particularly since it made no concessions to the fads and trends of the times. Based solely on the sound, Muse Sick, in fact, could have appeared in 1991 as the sequel to Fear of a Black Planet, and even if it doesn't have the glorious highs of Apocalypse 91, it is arguably a more cohesive listen, with a greater sense of purpose and more consistent material than that record. But, timing does count for something, and Apocalypse did arrive when the group was not just at the peak of their powers, but at the peak of their hold on the public imagination, two things that cannot be discounted when considering the impact of an album. This record, in contrast, stands outside of time, sounding better as the years have passed, because when it's separated from fashion and trends, it's revealed as a damn good Public Enemy record. True, it doesn't offer anything new, but it offers a uniformly satisfying listen and it has stood the test of time better than many records that elbowed it off the charts and out of public consciousness during that bleak summer of 1994.

Customer Reviews

My All-Time Favorite Album

Sometimes i feel i'm the only one to have loved this record.None of my friends back in the day cared for Muse Sick,but i love nearly every track on here."Spread the word,F whatcha heard".5 stars fo sho!

Actually quite a powerful album

I've been a PE fan for years and it took me a while to get into this album, but I think it is an album that was ahead of it's time. "Give it Up" is the jam of 94 while "So Watcha Gonna Do Now?" again echo's Chuck D's warning of black on black violence roped into rape, guns drugs in money.

PE's best album

From a musical standpoint, this is by far PE's best album. Some of their earleir albums are hailed as their best work, but that is based on how much of an impact they had in that era. This album kicks butt. Musically this album is much bigger and complex than any of their other stuff, and holds up against time. The first three songs on this album are genius blend of music and sound and Chuck has never been better.


Formed: 1982 in Garden City, NY

Genre: Hip-Hop/Rap

Years Active: '80s, '90s, '00s, '10s

Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing...
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