Public Enemy exploded onto the hip hop scene in 1987, rapidly establishing themselves as one of the most impactful and potent forces within the genre. Their legacy is built upon two pillars: electrifying live performances that have resonated with audiences globally for over three decades, and a rich catalog of groundbreaking music filled with classic tracks produced over the same period.
This curated list of the best Public Enemy Songs concentrates on what many consider their most influential era, focusing exclusively on their first four landmark albums: Yo! Bum Rush The Show (1987), It Takes A Nation Of Millions To Hold Us Back (1988), Fear Of A Black Planet (1990), and Apocalypse 91… The Enemy Strikes Black (1991). These albums represent the pinnacle of Public Enemy’s artistic output, showcasing their innovative sound and powerful socio-political messages.
Without further introduction, here are our top 15 Public Enemy songs from this seminal period. We encourage you to share your thoughts and join the discussion – do you agree with our selections? What are your essential Public Enemy tracks?
Top 15 Public Enemy Songs
15. Night Of The Living Baseheads (1988)
“Here it is, BAM! / And you say “Goddamn, this is the dope jam” / But let’s define the term called dope / And you think it mean funky now, no…”
“Night of the Living Baseheads,” the third single from Public Enemy’s seminal album It Takes a Nation of Millions to Hold Us Back, delivers a stark and unflinching examination of the crack cocaine epidemic that ravaged urban communities in the late 1980s. The track’s power lies in its raw honesty and direct confrontation of a societal crisis. Chuck D’s lyrics dissect the allure and destructive nature of crack, challenging the listener to reconsider the glamorization often associated with drug use. The iconic music video further intensifies the song’s message, using powerful visuals to underscore the urgency and severity of the issue. The combination of the song and video creates a lasting and compelling commentary on a critical social problem of its time, cementing its place as one of Public Enemy’s most socially conscious tracks.
14. Brothers Gonna Work It Out (1990)
“History shouldn’t be a mystery / Our stories real history / Not his story…”
“Brothers Gonna Work It Out” explodes onto the scene as the opening track of Public Enemy’s groundbreaking third album, Fear Of A Black Planet. This track is a sonic assault, packed with layers of samples and driven by the signature Bomb Squad production style. It immediately grabs the listener’s attention with its frenetic energy and sets the stage for the album’s complex and politically charged themes.
Musically, “Brothers Gonna Work It Out” is as intricate and multi-layered as anything from their previous masterpiece, It Takes a Nation Of Millions. This opening track serves as a powerful statement of intent: Public Enemy wasn’t simply aiming to replicate the success of their classic second album; they were striving to create another groundbreaking work. The sheer confidence and intensity exuding from this track instantly reassure listeners that Fear Of A Black Planet would not only live up to its legendary predecessor but potentially surpass it in ambition and impact.
13. Prophets Of Rage (1988)
“With vice I hold the mic device / With force I keep it away of course / And I’m keeping you from sleeping / And on stage I rage / And I’m rolling / To the poor I pour in on in metaphors / Not bluffing, it’s nothing / That we ain’t did before / We played you stayed / The points made / You consider it done / By the prophets of rage…”
“Prophets of Rage” has long been the electrifying opening song for Public Enemy’s legendary live shows, and for good reason. This track is meticulously crafted to ignite the crowd’s energy and set the stage for an unforgettable and high-octane performance. The song’s title itself is a declaration, announcing Public Enemy’s role as musical revolutionaries, using their platform to challenge the status quo.
From the moment the opening notes hit, the audience instinctively knows it’s time to make way – the Prophets of Rage are taking control. The song’s infectious rhythm, coupled with its powerful and defiant message, makes it the perfect choice to kick off a Public Enemy concert. It instantly transforms any venue into a boiling cauldron of excitement and anticipation, preparing the audience for the sonic and lyrical onslaught to come. For those who have witnessed it live, “Prophets of Rage” is more than just a song; it’s the spark that ignites the entire Public Enemy live experience, priming the crowd for an evening of revolutionary sound and thought-provoking lyrics.
12. By The Time I Get To Arizona (1991)
“Well, I got 25 days to do it / If a wall in the way, just watch me go through it / Cause I gotta do what I gotta do / P.E. number one, gets the job done”
“By the Time I Get to Arizona” is a searing and direct attack aimed squarely at the state of Arizona for its controversial refusal to recognize Martin Luther King Jr. Day as a national holiday. Released in 1991, this track directly addressed a highly contentious issue of the time, highlighting Arizona and New Hampshire as the only two states in the US that had not yet officially acknowledged this important day of remembrance.
Public Enemy’s signature blend of hard-hitting lyrics and powerful, sample-heavy production transforms this song into far more than a simple protest track. It becomes a blistering indictment of what the group perceived as deliberate ignorance and blatant disrespect. The track serves as a poignant and angry reminder of the ongoing struggle for civil rights recognition, using Arizona as a focal point to broaden the national conversation surrounding racial equality and historical acknowledgment. Through this song, Public Enemy not only voiced their profound frustration but also played a crucial role in amplifying the public discourse surrounding the holiday’s recognition, once again demonstrating their unique ability to seamlessly merge music with meaningful and impactful social commentary.
11. You’re Gonna Get Yours (1987)
“In this corner with the 98 / Subject of suckers, object of hate / Who’s the one some think is great / I’m that one (son of a gun)…”
“You’re Gonna Get Yours” stands out as a compelling early track in Public Enemy’s discography. Distinct from their later work, which became deeply associated with overt political and social commentary, this track is, on the surface, a straightforward ode to a 1998 Oldsmobile. However, even in this seemingly simpler subject matter, Public Enemy’s innovative approach shines through. The instrumental track is perfectly crafted to complement the lyrics, creating a cohesive and memorable listening experience that hinted at the sonic revolutions to come.
For many early fans, “You’re Gonna Get Yours” served as their initial introduction to the world of Public Enemy. Imagine being in a record store, eager to explore new sounds and sample an album before committing to a purchase. As the needle drops on side A, “You’re Gonna Get Yours” explodes from the speakers. By the time the track concludes, it’s hard to imagine anyone not being immediately captivated by Public Enemy’s raw energy and innovative sound. This opening track, while not explicitly political, undeniably demonstrated the group’s exceptional ability to craft compelling, sonically rich tracks. It acted as an irresistible hook, drawing listeners into the burgeoning world of Public Enemy and effectively setting the stage for the musical and cultural revolution that was rapidly approaching.
10. Bring The Noise (1987)
“Bass! How low can you go? / Death row, what a brother know / Once again, back is the incredible / Rhyme animal / The uncannable D, Public Enemy Number One…”
“Bring The Noise” initially surfaced on the Less Than Zero movie soundtrack in 1987, before being officially released as a single and subsequently taking its place as the powerful opening track of It Takes A Nation Of Millions. This track proved to be a watershed moment, fundamentally shaping Public Enemy’s signature sound and showcasing their rapidly evolving musical complexity.
Lyrically dense and sonically intricate, “Bring The Noise” perfectly exemplifies the group’s pioneering approach to Hip Hop production. The meticulously layered instrumentation, combined with Chuck D’s commanding and authoritative delivery, creates a sonic assault that is both challenging and profoundly captivating. Over time, “Bring The Noise” has solidified its position as one of Public Enemy’s most instantly recognizable and enduring anthems. Its impact extends far beyond its initial release, serving as a foundational blueprint for the group’s subsequent work and influencing countless artists across genres.
9. Welcome To The Terrordome (1990)
“I got so much trouble on my mind / Refuse to lose / Here’s your ticket / Hear the drummer get wicked”
“Welcome To The Terrordome” (1990) stands as a cornerstone of Public Enemy’s monumental third album, Fear Of A Black Planet. This track perfectly encapsulates the core elements that solidify Fear Of A Black Planet as a landmark release in the history of Hip Hop. It is a potent distillation of Public Enemy’s artistic and political project.
The song is a perfect convergence of Public Enemy’s defining strengths:
- Immediacy: Its urgent and relentless tone grabs listeners from the very first beat, demanding immediate attention.
- Controversy: The lyrics fearlessly and directly tackle contentious social and political issues, refusing to shy away from uncomfortable truths.
- Sonic density: The Bomb Squad’s groundbreaking production creates a richly textured and incredibly layered soundscape that is both chaotic and meticulously crafted.
These elements harmoniously converge in “Welcome To The Terrordome” to produce a quintessential Public Enemy track that epitomizes their unique artistic vision and unwavering sociopolitical message. “Welcome To The Terrordome” not only defines the album on which it appears but also stands as a high-water mark in the group’s extensive and influential discography. As a concentrated expression of Public Enemy’s ethos and sonic innovation, this track is a crucial reason why Fear Of A Black Planet continues to be recognized as a pivotal album in Hip Hop’s ongoing evolution.
8. Can’t Truss It (1991)
“Kickin’ wicked rhymes like a fortune teller / Cause the wickedness done by Jack / Where everybody at divided and sold / For liquor and the gold / Smacked in the back for the other man to mack”
“Can’t Truss It” (1991) is undeniably one of Public Enemy’s most powerfully resonant and thought-provoking social commentaries. In this impactful track, Chuck D delivers a provocative and unflinching parallel between the contemporary corporate world and the brutal historical realities of slavery. The song’s incisive and metaphorically rich lyrics paint a vivid and disturbing picture of historical oppression, drawing direct connections to its lingering echoes within contemporary society and power structures. Chuck D’s characteristically razor-sharp and commanding delivery drives the song’s message home with uncompromising clarity, forcing listeners to confront uncomfortable and often ignored truths about systemic inequality and the enduring legacies of exploitation.
The accompanying music video for “Can’t Truss It” significantly amplifies the track’s already potent impact. Through striking and often disturbing visuals, the video deepens the thematic exploration of the song, offering a multi-layered and immersive experience that lingers in the listener’s mind long after the music has stopped. Together, the song and video form a compelling and unified artistic statement, powerfully demonstrating Public Enemy’s unparalleled ability to seamlessly fuse sharp social critique with groundbreaking and innovative musical expression. “Can’t Truss It” stands as a definitive highlight within their extensive catalog, underscoring their unwavering dedication to utilizing Hip Hop as a potent tool for raising critical awareness and actively inspiring meaningful social change.
7. Don’t Believe The Hype (1988)
“Don’t believe the hype, it’s a sequel / As an equal can I get this through to you / My 98 booming with a trunk of funk / All the jealous punks can’t stop the dunk”
Public Enemy’s razor-sharp critique of misinformation, sensationalism, and the often-unreliable nature of media and rumors is another standout track from their landmark album It Takes a Nation of Millions to Hold Us Back. “Don’t Believe The Hype” resonates just as powerfully today as it did upon its release, perhaps even more so in our current media landscape. With its instantly iconic and unforgettable beat, Chuck D’s powerfully delivered rhymes, and the track’s undeniable hook, “Don’t Believe the Hype” has solidified its place as a timeless and eternally relevant track. The song’s message about critical thinking and media literacy remains profoundly important, making it a cornerstone of Public Enemy’s discography and a continuing source of inspiration.
6. Shut Em Down (1991)
“I like Nike but wait a minute / The neighborhood supports, so put some money in it / All corporations owe, they gotta give up the dough / To my town or else we gotta shut ’em down”
“Shut Em Down,” the fourth single lifted from Public Enemy’s often-underrated fourth LP, Apocalypse 91… The Enemy Strikes Black, stands out as a clear album highlight. While Apocalypse 91… might not have achieved the same groundbreaking status as its immediate predecessors, it remains a classic and essential effort from the group, showcasing their continued artistic evolution and unwavering commitment to social commentary. “Shut Em Down” features a relentlessly hard-hitting beat, perfectly complementing Chuck D’s powerful and direct message aimed squarely at corporate America. The song is a fierce call to action, directly calling out corporate exploitation and systemic economic inequality.
“Shut Em Down” effectively captures the simmering frustration and righteous anger of marginalized communities, directly challenging the entrenched economic power structures that dominate society. With its aggressive and uncompromising production and Chuck D’s unapologetic lyrics, “Shut Em Down” is yet another powerful example that underscores Public Enemy’s unwavering commitment to addressing pressing social and political issues through their music, transforming sound into a weapon for social justice.
5. Burn Hollywood Burn (1990)
“Burn Hollywood burn I smell a riot / Goin’ on – first they’re guilty, now they’re gone / Yeah I’ll check out a movie / But it’ll take a Black one to move me”
“Burn Hollywood Burn” directly and forcefully confronts Hollywood’s long and shameful history of exploitation and harmful stereotyping of Black people within the film and entertainment industry. Chuck D delivers his signature no-holds-barred commentary, directly tackling the deeply ingrained racial biases that permeated the entertainment industry for decades. Adding further weight and perspective to the track, Ice Cube and Big Daddy Kane join forces with Chuck D, each bringing their unique intensity and lyrical prowess to the song’s already potent message. This powerful collaboration is both fierce and unapologetic, making “Burn Hollywood Burn” a truly bold and unforgettable critique of systemic racism specifically within film and broader media representation. The track remains incredibly relevant today, highlighting ongoing issues of representation and diversity in Hollywood.
4. Black Steel In The Hour Of Chaos (1988)
“I got a letter from the government the other day / I opened and read it, it said they were suckers / They wanted me for their army or whatever / Picture me giving a damn – I said never…”
“Black Steel in the Hour of Chaos” (1988) stands as one of Public Enemy’s most profoundly impactful and narratively compelling tracks, which is a significant achievement within their already impressive discography. The song masterfully tells a gripping and cinematic story of a daring jailbreak, while simultaneously delivering a sharp and incisive critique of the U.S. government and its deeply flawed prison system. Chuck D’s hard-hitting and politically charged lyrics, filled with themes of rebellion, resistance, and defiance against unjust authority, are perfectly matched by the track’s intensely gritty and suspenseful instrumental. This powerful combination creates an unforgettable and deeply resonant listening experience that stays with the listener long after the song concludes. “Black Steel in the Hour of Chaos” exemplifies Public Enemy at their absolute best—fearless in their social commentary, bold in their artistic vision, and unapologetically critical of systemic injustice.
3. Public Enemy No. 1 (1987)
“Well I’m all in, put it up on the board / Another rapper shot down from the mouth that roared / 1-2-3 down for the count / The result of my lyrics, oh yes, no doubt”
“Public Enemy No. 1” was Public Enemy’s groundbreaking debut single, a track that fundamentally introduced their revolutionary and innovative sound to the world. Released in 1987, there was truly nothing quite like it in Hip Hop at the time. The song’s utterly distinctive production, characterized by dense layers of sound, chaotic energy, and an overall sonic intensity, would go on to define Public Enemy’s signature and instantly recognizable style. Chuck D’s commanding, booming, and authoritative voice, perfectly contrasted with Flavor Flav’s playful and energetic interjections and hype-man persona, created a dynamic and unforgettable chemistry that became the bedrock of one of Hip Hop’s most undeniably influential and important acts. This debut single emphatically set the stage for Public Enemy’s meteoric rise as true trailblazers and innovators within the genre, signaling a seismic shift in the landscape of Hip Hop music.
2. Rebel Without A Pause (1987)
“Yes – the rhythm, the rebel / Without a pause – I’m lowering my level / The hard rhymer – where you never been I’m in / You want styling – you know it’s time again”
“Rebel Without a Pause” served as the lead single and a clear standout track from It Takes a Nation of Millions to Hold Us Back. Released strategically as a crucial bridge between the raw, unfiltered energy of their debut album Yo! Bum Rush the Show and the more polished and meticulously crafted production of the Bomb Squad on Nation of Millions, this track marked a pivotal moment in Public Enemy’s artistic evolution. Its relentless and driving pace, aggressively innovative beats, and Chuck D’s supremely authoritative and commanding delivery immediately set a new and higher standard for what was to come from the group. “Rebel Without a Pause” effectively paved the way for Public Enemy’s significant shift towards a more refined, sonically complex, and ultimately more impactful and revolutionary sound that would define their golden era.
1. Fight The Power (1989)
“I’m ready and hyped plus I’m amped / Most of my heroes don’t appear on no stamps”
Public Enemy’s most iconic and widely recognized track, “Fight the Power,” became the definitive musical anthem for Spike Lee’s seminal and culturally significant film “Do the Right Thing,” and is widely considered to be one of the greatest and most important songs ever created. This track is an undeniable and potent call to action, seamlessly blending aggressive and revolutionary beats with Chuck D’s bold, fiercely intelligent, and politically charged lyrics. Its powerful and uncompromising message directly challenged deeply entrenched social and racial injustices, while simultaneously encouraging listeners to actively confront systemic oppression and fight for meaningful change head-on. The song rapidly transcended its initial role as a movie theme, quickly becoming a cultural phenomenon, sparking crucial national and global conversations about inequality, power, and inspiring widespread activism and social engagement. “Fight the Power”‘s profound impact on Hip Hop culture and the broader global cultural landscape is indisputable, solidifying its position as a defining moment not only in Public Enemy’s remarkable career but also as an absolutely essential and enduring piece of musical and social history.
