INTRODUCTION
I'm not even sure this man needs an introduction, but I'll give him one anyway.
As most of you already know, GZA The Genius (more commonly known as just "GZA"), is a member of the Wu-Tang Clan, one that most consider to be the most lyrical member of the group. You also probably already knew that he is the cousin of RZA and the late Ol' Dirty Bastard.
What some of you may not know, however, is that GZA entered the game before the Wu even existed. In fact, he, RZA, and ODB started a three-man group called "All In Together Now" back in the day. That eventually resulted in GZA (then known as just "The Genius") being signed to Cold Chillin' Records. There, he actually released his debut album, Words From The Genius, in 1991. To be perfectly honest, I really couldn't care less about that project, as Liquid Swords is miles beyond it. Heck; Liquid Swords is miles beyond just about every hip-hop album that has ever graced the genre.
That's why I will be reviewing GZA's first album with the Wu rather than the actual first album of his career.
Except for Killah Priest's "B.I.B.L.E.," Liquid Swords is produced entirely by RZA, and because "B.I.B.L.E." (produced by 4th Disciple) is a Killah Priest song and is on Priest's debut album Heavy Mental, I will not be including it in this review.
Now that's enough background information about a guy that you likely already know about, anyway. Let's get to the review.
TRACK-BY-TRACK
1. Liquid Swords
One of the RZA's goofier beats, but it works. You would think GZA would have started this album with a more aggressive backdrop, but he easily glides over the almost comical (in a good way) instrumental. Solid way to begin a classic effort, but to me, this title track doesn't even scratch the surface on how good the rest of Liquid Swords is.
2. Duel of The Iron Mic
The energy picks up nicely here on this posse cut, as RZA's piano-sampled instrumental sounds really freaking good and GZA, Ol' Dirty Bastard, Masta Killa and Inspectah Deck all oblige. They just don't make music like this anymore.
3. Living In The World Today
The first thing you will notice about this record is how dope the drums are. Well, once the drums actually kick in anyway. Once they do, you'll feel like your eardrums are being battered. The horns that pop up throughout the track sound pretty cool, too. Method Man drops some adlibs on the hook, but he doesn't actually put down a verse. Don't worry; Meth will do that soon.
4. Gold
No; those adlibs you hear from Meth at the beginning do not mean he is going to drop a verse on "Gold," but you know what, GZA doesn't need him (and again; be patient; Meth is on his way). On what is easily the most aggressive beat on Liquid Swords thus far, Genius goes in and makes you want to strike the nearest object repeatedly. Instrumentals like this just confirm RZA's genius.
5. Cold World
This has always been one of the most popular records on the album, and while it's certainly better than just about all of the B.S. that saturates the market today, I was never all that into it. The beat strikes me as a bit bland as opposed to the rest of the project. The hook by Life was pretty cool, though. Oh, and Deck makes a guest appearance here. It really is a shame that he never released an album during that period of Wu dominance during the mid 90s. By the time he put out his debut record, that era was sadly over.
6. Labels
Remember when I commented on how hard the drums were on "Living In The World Today"? Well, they're even grimier on "Labels." On what is actually a fairly simple (but incredibly dope) instrumental by RZA, GZA rips ish up. It's short, but it's sick. "Labels" is best listened to in the ride. You'll thank me later.
7. 4th Chamber
This posse record was another one of the most well-liked songs on Liquid Swords, and you can easily see why. Once that beat kicks in, you'll immediately start nodding your head. It's as if your head will start moving independent from your brain, even though that isn't even possible. Ghostface Killah makes his first appearance on the album here, and Killah Priest and RZA himself also drop guest verses. Everyone comes correct.
8. Shadowboxin'
Anddd Method Man finally makes an appearance where he doesn't just drop adlibs. He comes with one of the most vicious performances in the Wu catalog, and what Wu fan hasn't said "talkin' out your assholeeeee" in casual conversation at some point in their life? Plus, Meth's "you know my steez" line helped give birth to one of the most famous songs Gang Starr has ever done (I'm not going to tell you the name, because, well, you should know it, and if you don't, well...I don't even know). RZA's beat on this also bangs. If you don't love this song, you probably hate your life.
9. Hell's Wind Staff/Killah Hills 10304
This sounds good at the start, but then after a while, the beat kind of gets tiring and repetitive. Plus, it's kind of annoying that the song doesn't actually start until a minute-and-a-half in. I don't really have much else to add. Definitely not one of my favorite cuts on Liquid Swords.
10. Investigative Reports
I go back and forth between this and "Shadowboxin'" in trying to decide which is the best song on the album, but I find myself leaning toward "Investigative Reports" more often than not. The beat is absolutely crazy, possessing hard-as-hell drums and an extremely ominous sample. Raekwon makes his presence on Liquid Swords known here, and he drops what is the best verse on the record. Also, how about U-God on the hook? He sounds really damn good. Ghostface puts down a verse, as well, and he does not disappoint. One of the best songs in the Wu catalog. Easily.
11. Swordsman
One of the best tracks on Liquid Swords. The RZA instrumental is particularly menacing, and GZA's raps are equally as ominous. GZA makes sure to let you know what happens to motherfuckers who step out of place, and you know what? It makes you never want to step out place. Thanks, Genius.
12. I Gotcha Back
Solid way to close out the album. "I Gotcha Back" isn't one of the project's most impressive tracks or anything, but it's good in its own way. Nice drums and a nice use of multiple samples by RZA, who also appears on this cut for some adlibs.
FINAL THOUGHTS
There really isn't much else to say other than the fact that Liquid Swords is phenomenal in every sense of the word. It is one of the few albums that can go blow-for-blow with Illmatic, and, in my opinion, it is the best work in the Wu-Tang catalog.
There are never any significant dropoffs on this record, as the energy effectively remains the same throughout. GZA also proves that he is the best rapper in the Clan, as his lyrical acrobatics surpass that of anyone else in the group.
What else do you want me to say? If you don't like this album, then you do not like hip-hop. Sorry.
TOP TRACKS
1. Investigative Reports
2. Shadowboxin'
3. Swordsman
4. Duel of The Iron Mic
5. Gold
INTRODUCTION
I'm sure all of you readers (however many of you there actually are) have been waiting for this review. It was probably silly of me to review Raekwon's Only Built 4 Cuban Linx... (which can be found here) before Enter The Wu-Tang: 36 Chambers (which I will simply be referring to as "36 Chambers" from here on out), but hindsight is 20/20, and I'm about to review 36 Chambers now, so whatever.
Anyway, I'm sure the Wu-Tang Clan needs no introduction. It is a nine-rapper collective (now eight due to the death of Ol' Dirty Bastard [R.I.P.]) that consists of RZA, Ghostface Killah, Raekwon, GZA, Method Man, Inspectah Deck, Masta Killa, U-God, and ODB. Some (myself included) even consider Cappadonna to be a member, as, even if he isn't an "official" Wu-Tang member, he is omnipresent on basically every Wu project except for 36 Chambers, where he does not make a single appearance.
The Clan, along with rappers such as Nas and The Notorious B.I.G., helped revive the east coast rap scene in the mid 90s (how many times have I written that on this blog? Feels like 100) and is revered as the greatest group in hip-hop history. The Wu was founded by RZA, GZA, and Ol' Dirty Bastard (all three of whom are cousins), first forming the group "Force Of The Imperial Master" in the 1980s. However, the trio was unable to secure a record deal, and it wasn't until 1992 that the entire Wu-Tang Clan officially came together.
One year after assembling, the Clan released 36 Chambers, a remarkably organized (given the sheer number of rappers in the group) 12-track album produced entirely by RZA. RZA's beats on the project are well-known for their dusty, grimy nature and, of course, abundant amount of kung-fu samples. The funny thing is, RZA wasn't even intentionally trying to give his instrumentals a dusty sound; they just ended up sounding that way because he didn't have the greatest recording equipment in the world. Thank God for cheap recording equipment!
18 years and countless amounts of records later, the Wu-Tang Clan's influence is still alive-and-well in the rap game, and even though the group doesn't exactly pack the same kind of punch it once did (not even close, actually), any project that a Wu member drops is always highly anticipated, demonstrating the kind of respect that hip-hop fans have for the collective.
So, now that I've given you some background information that you probably already knew as it was, let's jump into that review.
TRACK-BY-TRACK
1. Bring Da Ruckus
What a phenomenal way to open up the album. "Bring Da Ruckus" features RZA (who lays out the banging beat and raps a hook that should pump you up like nothing else in the world), Ghostface, Raekwon, Inspectah Deck, and GZA, and each and every one of them absolutely holds their own. Also, GZA (who I've always felt is the best member of the Wu) displays here why he earned "Clan In Da Front" (which appears in two tracks) all to himself.
2. Shame On a Nigga
Ol' Dirty Bastard, Raekwon, and Method Man trade verses on this relatively short cut, and it is Method Man who steals the show, ripping his verse to pieces over the smooth, traditional instrumental by RZA. ODB gets two verses and the chorus, and while he's always been my least favorite member of the Clan (I was just never a fan of his voice), he sounds good on this. This isn't as good as "Bring Da Ruckus," but hey; how many songs are?
3. Clan In Da Front
The aforementioned GZA solo cut (well, RZA introduces the track over the course of the first minute-and-a-half or so, but he doesn't do any rapping over it, so, to me, this is a GZA solo). The Genius (GZA, for those of you who don't know) eats RZA's piano-driven beat for breakfast, brandishing a ridiculously smooth delivery to go along with his verbal darts. I mean, the dude is called "The Genius" for a reason.
4. Wu-Tang: 7th Chamber
As evidenced by the track's title, seven of the nine Wu members spit on this cut, those seven being Rae, Meth, Deck, Ghost, RZA, Ol' Dirty, and GZA. RZA's beat possesses a somewhat eerie quality, and all seven participants are able to go in on it without constraint. I will say, though, that "Wu-Tang: 7th Chamber" may have been a couple of verses too long, as the simple production does grow tiresome after a while. I know what you're thinking now: "Did he seriously just criticize 36 Chambers?" Yes; I effing did.
5. Can It Be All So Simple
Well, get ready for me to drop some more criticism, because I have never liked "Can It Be All So Simple." To me, it has always felt out of place on the album, as RZA's instrumental sounds nothing like the rest of the project (it's just flat out boring), and, plain and simply, it blows. The fact that Raekwon and Ghostface Killah trade verses on this song does not matter to me. I just don't like it.
6. Da Mystery Of Chessboxin'
Okay; now this I like. The beat on "Da Mystery Of Chessboxin'" is very, very similar to that of Raekwon's "Guillotine (Swordz)" off of Only Built 4 Cuban Linx..., and I'm sure this is where RZA got the idea from for the Raekwon cut (yes; an idea from something that was his own idea originally). The production is fast-paced, containing booming, dusty drums and an ominous piano riff. U-God and Masta Killa (who I've always felt is the most underrated member of the Clan) make their first appearances on 36 Chambers here, and both oblige RZA's great production with admirable performances. Inspectah Deck, The Chef, ODB, and Ghostface also drop verses.
7. Wu-Tang Clan Ain't Nothin' Ta Fuck Wit
One of the most well-known songs in the Wu-Tang catalog, "Wu-Tang Clan Ain't Nothin' Ta Fuck Wit" is easily one of the best tracks on the entire album. RZA, Deck, and Method Man rip the fantastic beat, and although the meaning of this cut has certainly diminished over the years (as the Wu has sadly disintegrated), it was a valid anthem back in the 90s.
8. C.R.E.A.M.
When people think of the Wu-Tang Clan, they generally think of this song. I have actually never loved "C.R.E.A.M." as much as most others do, although I still think it's a good record (obviously). This is one of the dustiest RZA productions ever, containing hard drums and a high-pitched piano that Raekwon, Meth, and Inspectah Deck put to bed. "C.R.E.A.M." is also home to a hook by Method Man that everyone and their mother knows, making it one of the most influential songs in rap history.
9. Method Man
Although GZA, Rae, and Ghostface all make appearances on this track, this is a Method Man solo, as he is the only one who actually raps. This is certainly one of my favorite songs on 36 Chambers, as RZA's instrumental is crazy and Meth tears it to bits. This cut personifies the definition of a head-nodder.
10. Protect Ya Neck
Another banger. RZA's eerie beat is tremendous, and every Clan member with the exception of Masta Killa raps over this. Perhaps most notable about "Protect Ya Neck" is that it is one of the few songs in which Ol' Dirty Bastard sounds like a normal rapper, and I actually very much enjoyed his verse. That said, no one even touched GZA on this cut, as he gets the last verse and makes sure everyone remembers it.
11. Tearz
RZA's production on "Tearz" exemplifies what an old-school sound should be, and he and Ghostface Killah bury it. This song actually contains a very good message, as RZA and Ghost talk about the tragedy of death, proving that the Wu can also be serious when appropriate. Good track.
12. Wu-Tang: 7th Chamber, Pt. 2
This track follows the same order as part one, as Raekwon, Meth, Deck, Ghostface, RZA, ODB, and GZA spit in that order. I really wasn't all that crazy about this cut, though, as RZA's production sounds way too messy and choppy. Whether or not it was intentional, I don't know, but it doesn't come across as too appealing.
FINAL THOUGHTS
As I'm sure you can tell, I am not as big of a fan of 36 Chambers as most people, but that isn't to say that I don't think this album is a sure-fire classic and one of the most important hip-hop records to ever be released. The Wu-Tang Clan's debut clearly set a precedent in the rap game and paved the way for countless amounts of artists that would soon make their presence known in the industry.
Most would probably say that 36 Chambers is the Wu's best effort (including solo albums), but I certainly enjoyed Liquid Swords, Only Built 4 Cuban Linx..., and Tical more, as I felt the production on each of those three albums was more advanced and versatile, but that's to be expected given that RZA was just getting started on 36 Chambers. What is amazing about this record, though, is the cohesiveness that the Clan displays.
While listening to the album, you tend to forget that the Wu-Tang Clan is made up of nine members, as they are able to maintain unbelievable balance throughout and demonstrate the ability to work together seamlessly. It is also clear from listening to 36 Chambers that just about every member of the collective (Ol' Dirty is probably the lone exception) is gifted with a great feel for the mic, particularly GZA, who routinely outshines his Wu comrades for the duration of the 12-track project.
There are a lot of people who will say that 36 Chambers is the greatest rap album of all-time. While I would certainly disagree with that, I would definitely place it among the best and state that it was undoubtedly one of the most influential records ever. There is a reason why the Wu-Tang Clan is considered to be the best rap group in history, and it all started on 36 Chambers.
TOP FIVE TRACKS
1. Method Man
2. Bring Da Ruckus
3. Wu-Tang Clan Ain't Nothin' Ta Fuck Wit
4. Protect Ya Neck
5. Da Mystery Of Chessboxin'
SKIPPABLE TRACKS
Even though I couldn't stand "Can It Be All So Simple," I'm going to go ahead and pay some respect and say none.
INTRODUCTION
Raekwon is, without a doubt, one of the most beloved and respected figures in hip-hop. He has a classic solo album under his belt (Only Built 4 Cuban Linx..., which I reviewed here), not to mention his involvement in the Wu-Tang Clan's ground-breaking 1993 debut, Enter The Wu-Tang: 36 Chambers. Throw in the fact that he released another critically acclaimed record, Only Built 4 Cuban Linx... Pt. II, in 2009, and you can see why The Chef is so well-renowned in the game.
Now we're in 2011, and, apparently, Raekwon is not done. He has now completed his fifth solo album, Shaolin vs. Wu-Tang, to the delight of Wu fans everywhere. Although there is not a single RZA production on the project, Rae was still able to compile a who's who list of producers including Erick Sermon, The Alchemist, Evidence, Mathematics, DJ Khalil, Scram Jones, and even Khrysis. Raekwon also corralled an All-Star list of guest artists for the album, names like Nas, Lloyd Banks, and Black Thought (among his Wu-Tang brethren, of course) among them.
So, judging by that cast and The Chef's raw talent, how can you not expect great things from this album? I went in anticipating a sure-fire banger that would top what he did on Only Built 4 Cuban Linx... Pt. II and a project that would undoubtedly be one of the best to be released in the year 2011. I think essentially any rap fan would think the same.
Of course, there was also the possibility that Raekwon, like many of his other hip-hop comrades, was past his prime and simply could not dole out any more prize-worthy material, the saliva-inducing tracklisting aside. Which Rae would show up on Shaolin vs. Wu-Tang? Let's find out.
TRACK-BY-TRACK
1. Shaolin vs. Wu-Tang
The album kicks things off with the title track, which also happened to be the project's second single. You can feel the Wu-Tang atmosphere instantly, as a kung-fu sample is present at the beginning of the song, even if said sample runs a bit too long. As for the cut itself, it knocks. Scram Jones comes through with a ridiculously eerie and hard-hitting beat that could not suit Raekwon, who rips it, any better. What a way to get things going and establish the tempo.
2. Every Soldier In The Hood
Erick Sermon is on the boards for this record, producing a beat that doesn't really sound like anything he has made in the past. In this case, that's not necessarily a good thing, as the instrumental doesn't seem to have any kind of flow that would allow me to get into it. Method Man certainly makes a nice contribution as a guest artist, but E's beat is too meh for me to truly enjoy this track.
3. Silver Rings
Cilvaringz, a Wu-Tang affiliate, laces the beat for Rae and Ghostface Killah here, and while it is very short (spanning one minute and forty-eight seconds), it bangs and is the best instrumental I've heard on Shaolin vs. Wu-Tang thus far. Why in the world The Chef decided to make this one of the album's shorter cuts is beyond me, because this sounds really, really good.
4. Chop Chop Ninja
I'm going to ignore the utter stupidity of the song's title (and the fact that it was produced by some guy named Bluerocks) and try to listen to this objectively. After an intro that lasts for about a minute, a hard, drum-driven beat kicks in, and a very relaxed Raekwon raps monotonously over it. Estelle, probably the last person you would ever expect to hear on a Wu-Tang cut, croons the hook, and, as I'm sure will not take you by surprise, does not fit in well with Rae and Inspectah Deck on this. Honestly, this is probably one of the worst songs I have ever heard The Chef do. Not only does Estelle sound out of place, but I completely forgot anything Deck had to say after listening to this. Plus, the production sucks.
5. Butter Knives
This was Shaolin vs. Wu-Tang's first single, and it was a solid choice, as Bronze Nazareth, a frequent Wu collaborator, lays down a decent beat for Raekwon, who sounds fantastic over it and actually draws your attention away from the instrumental; that's how good he sounds. This isn't one of my favorite songs on the project because I don't think the production is anything better than above average, but I certainly appreciated Rae's performance.
6. Snake Pond
Someone named Selasi produces the beat for Raekwon here, and he did a hell of a job, as the spooky instrumental fits The Chef's style very well. That's all I've got.
7. Crane Style
I don't know whether or not it's true, but I've heard that "Crane Style" is going to be released as a single. I don't see why it would be, as, regardless of the fact that it features Busta Rhymes, it is under two minutes long, and, to put it plainly, it just doesn't sound very good. The Scram Jones beat sounds like a knockoff of Sean Price's cut "Monkey Barz" off of, um, Monkey Barz, but, unlike Sean P's record, this just doesn't work.
8. Rock N Roll
This was the official third single, and it friggin bangs unbelievably. I never in my life thought I would like a song that includes both autotune and Jim Jones, but here I am. DJ Khalil's beat is so ill that it should be tested for swine flu (yeah; I know that was incredibly lame, but whatever), and Raekwon and Ghostface kill it. Oh, and Jim Jones actually doesn't ruin this. Great, great track.
9. Rich & Black
That brings us to the Nas feature. The beat was produced by Sean C and LV (another name for Diddy's "Hitmen"), and while it isn't spectacular, it's good enough where The Chef and Nas can do their thing over it. I have to admit that I was slightly disappointed in the track overall, as I expected much more from a Rae/Nasty Nas collaboration, but whatever; it's decent enough.
10. From The Hills
Kenny Dope (don't worry; I've never heard of him either) puts down a salsa-flavored beat for Raekwon and guest artists Method Man and Raheem DeVaughn here, and while it may sound out of place at first, it actually somewhat works. Both Rae and Meth sound solid, and Raheem's adlibs in the background add a nice touch (although his hook leaves much to be desired).
11. Last Trip To Scotland
Everything about this track is sick, from Scram Jones' street banger of a beat to the scintillating verses from Raekwon and Lloyd Banks. Rae outshined Banks on their collaboration on "Sooner or Later (Die 1 Day)" off of Banks' album, H.F.M. 2, but Banks returns the favor here, as he simply steals the show. Outstanding cut. I just wish it were a little longer.
12. Ferry Boat Killaz
The Alchemist gets the production credit on this, lacing a smooth, crawling instrumental for The Chef to do work on. The song is only two minutes in length, but it's certainly an impressive piece of material.
13. Dart School
I really, really dig this one. Mathematics' beat is actually pretty damn soulful (I love those harps), and it works wonders as Raekwon just tears it to shreds. "Dart School" is easily one of the best songs on Shaolin vs. Wu-Tang. It sounds different from anything Rae has done in the past, and the change is welcomed.
14. Molasses
Xtreme's beat on this knocks (how sick are those kick drums?) and both The Chef and Ghostface (especially the latter) come correct. Also, Rick Ross, who I've never been a fan of, actually sounds pretty solid on this, too (the instrumental fits him like a glove). "Molasses" is a damn good cut.
15. The Scroll
Okay; this is the best song on the album; period. The beat, produced by Evidence and Khrysis, is absolutely phenomenal, possessing both soulful and street banger qualities at the same time (and how often can you say something like that?), and Rae just goes in on it. The combination of the sick production and The Chef's performance made for what turned out to be one of my favorite Raekwon joints ever, and that is saying a whole lot. Shaolin vs. Wu-Tang has certainly taken a hell of a turn for the better over these past several tracks.
16. Masters Of Our Fate
And the momentum continues. A dude named Tommy Nova lays down an incredible beat for Raekwon and Black Thought, and both of them oblige with admirable performances. "Masters Of Our Fate," along with "Rich & Black," was the song most hip-hop heads were looking forward to when the album's tracklisting first dropped, and it doesn't disappoint. This is a hell of a cut, and a hell of a way to close out Shaolin vs. Wu-Tang.
FINAL THOUGHTS
The second half of Shaolin vs. Wu-Tang saved it, and because of that second half, the album lived up to its lofty expectations. I was beginning to get very concerned after listening to the album early on, especially when "Rich & Black" did not even impress me all that much, but my interest in the project was re-lit as soon as Raekwon's collaboration with Lloyd Banks turned up.
Clearly, Rae has not even lost a step as a rapper. He has remained the same consistent, outstanding storyteller and grimy lyricist ever since he first stepped into the rap game, and his delivery never fails to catch the listener's ear. If anything was going to drag Shaolin vs. Wu-Tang down, it would have been the production, and, for a while, it looked like that was going to happen, but thankfully, some of the best instrumentals were yet to come at that point.
That isn't to say the entire first half of Shaolin vs. Wu-Tang bombed altogether, though. I liked the title track, and both "Silver Rings" and "Rock N Roll" sounded damn good. I guess I just expected "Rich & Black" to blow me away, and it didn't, hence my so-so feelings on the first 10 songs (and let's face it; "Chop Chop Ninja" was just atrocious).
Because the latter part of this album was so strong, I am going to go out on a limb and say that I enjoyed it a bit more than Only Built 4 Cuban Linx... Pt. II. While I do think the preceding project was more consistent as a whole, I think Shaolin vs. Wu-Tang had the strongest tracks, as cuts like "The Scroll" and "Dart School" are still resonating in my mind as I write this. I guess the one major criticism I would have of the album was that a lot of the songs were too short, but meh.
I think we should definitely chalk Shaolin vs. Wu-Tang up as another success story of 2011. First, we had Saigon's The Greatest Story Never Told. Now, this. What's the next project to look at? Probably Pharoahe Monch's W.A.R., which is scheduled to drop in a couple of weeks. Stay tuned.
TOP FIVE TRACKS
1. The Scroll
2. Dart School
3. Last Trip To Scotland
4. Rock N Roll
5. Masters Of Our Fate
SKIPPABLE TRACKS
Chop Chop Ninja
INTRODUCTION
Time to look at a criminally underrated album by a criminally underrated artist: Black August, by Killah Priest.
Those who are familiar with Killah Priest probably (no; definitely) know that he is a Wu-Tang Clan affiliate and has appeared on numerous Wu-Tang cuts. His rise to fame (well, not really, as, sadly, Priest still doesn't have much notoriety) began when his track "B.I.B.L.E." was featured as a bonus cut on GZA's classic Liquid Swords album. Priest would then release his debut, Heavy Mental, in '98. The album actually sold surprisingly well (then again, he is a Wu-Tang affiliate), reaching gold status.
Three albums later, KP put out Black August, a project that is, in my opinion, one of Killah Priest's best works to date. The production on the record is appropriately dark, and Priest is in top form lyrically.
Be forewarned, though: Killah Priest is not for everyone. His lyrics tend to be either very religious and spiritual or extremely violent in tone, and he sometimes intertwines both aspects. If you like rappers that will make you think (a la Canibus), then chances are you will like KP. If not (or if you're, um, not the sharpest tool in the shed), then you should probably avoid Priest.
Killah Priest certainly does not receive the respect he deserves, as his lyrical genius and massive intelligence is omnipresent on every one of his albums.
Let's use Black August as an example.
TRACK-BY-TRACK
1. Black August (Daylight)
The album actually starts off with a light and soulful beat done by Anton Kallisto, and it's damn good, and Killah Priest displays his lyrical prowess immediately: "My man used to say that, 'This ain't rap, Priest, your lyrics, are too vivid, they more like pictures, you can feel it, yo, you gifted, it flows like liquid, mystic,' I never witnessed such things as beautiful, as unusual, like a musical." This track will put you in a zone. Terrific start.
2. Excalibur"Who gives a fuck if you're platinum, if you're lyin' in a wooden casket?" Spit that realness, Priest. Spit it. The beat on this cut, produced by Godie, is somewhat unusual, but it's very effective, and, as evidenced by the bar above, KP rips it.
3. When I'm Writing
Killah Priest raps about how he feels he is in another dimension when he writes his rhymes over a heavily piano-driven production here. The beat by Jahson is crazy, and Priest does his thing: "My pen's a crayon with coloring books displayin' chaos, the black seance, with ink that pores out, great art, age quasars explorin' where the mind caves are, a rich being dug from a key's graveyard, it's the inscription written on Egyptian clay jar."
4. Do The Damn Thing
This seems like Killah Priest's attempt at a commercial cut, and while many rappers of Priest's stature fail miserably at this kind of thing, this is actually pretty good. Mr. Khaliyl lays down a very generic sounding beat, and while KP doesn't really go in on this in true Killah Priest fashion, he still does an admirable job, especially with these lines: "Plus I'm not, 50, or Biggie, or Diddy, I'm witty, unpredictable, lyrical masterful mind, chapters of rhymes, irresistible lines, metaphors is clever than yours, sever your jaws, I'm ready for war." His rhyme scheme is a bit awkward on this, though.
5. Time
Priest provides some nice storytelling on "Time," rapping about how he shoots and kills someone and is then judged at heaven's gates: "Was this my fate, to be judged in this place? Angels watchin' me, I step up to plead my case, I see His face in black space, okay let me back trace, somethin' went wrong between that gat and my waste." The beat by G 13 is pretty boring, though.
6. Robbery
Jahson's beat on this is sick, consisting of horns and pianos backed by loud hats throughout. Once again, Priest engages in storytelling for the entirety of the cut, rapping about how he desperately needs money to take care of his family and, surprise surprise, robs a bank. I bet you never expected that, huh?
7. Come With Me
The booming horns that appear on the Jahson-produced "Come With Me" really make the track, and said track turns out to be one of the more graphic records on Black August: "Yo, enter with caution, it's the hood, dark and haunted, see those crackheads with dead eyes, their souls been torment, look at the old man throwing up his body organs, smell an odor in the air 'cause of dead corpses." Priest clearly has a message for his listeners on this cut, though, as he describes how Satan (whom he refers to as "the beast") is controlling the hood and is laughing at the tragic deaths of the many individuals who live within it.
8. Breathe
This is the best track on the album. Anton Kallisto, the man behind "Black August (Daylight)," puts down another feel-good beat for Killah Priest, and KP puts together what is probably the best hook on Black August: "I just breathe, the breath of life in the mics, feel my notepads with sites, now, guide you like God did the Israelites, I just breathe." The production here is nothing short of phenomenal.
9. Musifixtion
The title of this track is obviously a play on the word "crucifixion." It contains an extremely dark, yet fairly fast-paced, beat produced by Prose' Ipso, and Priest kills it: "I look down, people spittin' and cursin', everybody quiet listening to the sermon, record execs dress like Romans, pierce in my side, I'm going through convulsions, starin' straight to a jet black ocean."
10. Déjá Vu
Jahson's beat on this knocks, possessing a dark and simultaneously soulful quality, just like this song itself. Killah Priest pieces together an incredible story here that puts Raekwon and any other Wu member to shame. I'm not even going to ruin it for you by explaining it, but I guarantee you that by the end of the track, you will think, "Woah." Go ahead and listen. It's genius.
11. Goodbye
A female rapper by the name of Solstice accompanies Priest on this track, and while the production by Jahson leaves something to be desired, the lyrics on it are ill. It's painfully obvious that KP wrote Solstice's lines, but it's no matter, as Solstice comes through with a solid delivery, and her voice adds some variety. "Goodbye" contains multitudes of deep religious references, so this track may not be for everybody.
12. Black August (Dark)
First there was "Black August (Daylight)," and now there's "Black August (Dark)." While I like the "Daylight" version better, this track still bangs, having what is probably Black August's darkest production (once again by Jahson). Biblical references abound, as Killah Priest describes his birth and how a "king" was born. More outstanding storytelling from KP.
13. Robbery (Remix)
Elephant Man? Am I hearing this right? Killah Priest and Elephant Man? Well, somehow, on some twisted level, this collaboration works wonders. The beat on this is slightly different from the original version, but it's barely noticeable.
14. Do You Want It
Seriously Priest? What the hell?
FINAL THOUGHTS
Killah Priest demonstrates on Black August that he is one of the best storytelling emcees to ever do it. You might have to listen to some of these cuts a couple of times through before you truly understand the meaning of them, but it's well worth it, as this album is terrific on so many levels.
Although the production becomes dense at certain points, for the most part, it is very effective, suiting Priest's deep, dark style perfectly. Some of the beats on Black August are ridiculously good and greatly aid KP in setting the mood (like "Déjá Vu," for example).
Generally, Heavy Mental is considered to be Killah Priest's strongest effort, but Black August isn't too far behind. The production is a bit more versatile here, and Priest just seems more energized overall.
It seems a bit peculiar that KP is a Wu affiliate, because, although a solid portion of his records are violent, his style is quite a bit different from any of the Wu-Tang members. Lyrically, Priest is simply on another level, and not even Raekwon (as I stated earlier) can match him when it comes to storytelling ability. I'm not sure anyone can, to be honest (and I know that will rub a lot of Andre 3000 fans the wrong way). Plus, the core Wu members hardly ever touch on religion, a subject that KP is obviously very comfortable with.
Killah Priest fits in much better with The HRSMN, a group consisting of himself, Canibus, Ras Kass, and Kurupt. The fact that they have only put out one album together is a shame (although they are apparently working on another project now).
There really is no middle ground for Killah Priest. You either love him or you don't dig him at all. It's not like he's an acquired taste, either, because his subject matter never oscillates from its deep, religious focus.
You might as well try out Black August, as there is a good chance that you will bump this forever after hearing it for the first time. Just make sure you skip "Do You Want It"; I have no idea how that piece of garbage made it on to this fantastic album.
TOP FIVE TRACKS
1. Breathe
2. Déjá Vu
3. Black August (Daylight)
4. When I'm Writing
5. Excalibur
SKIPPABLE TRACKS
Do You Want It
INTRODUCTION
I don't really think this album needs much of an introduction, but what the heck; I'll do it anyway.
Basically, Only Built 4 Cuban Linx... took the world by storm when it was released in the summer of '95. Backed by the thumping single "Ice Cream," this classic record is regarded by many to not only be a top two album in the Wu-Tang solo catalog (most people consider Only Built 4 Cuban Linx... and GZA's Liquid Swords to be the top two, with GZA's album generally taking the top spot), but one of the best of all-time.
Not many albums have earned themselves a nickname, but Only Built 4 Cuban Linx... was so phenomenal that it did, and it is still affectionately dubbed "The Purple Tape" 15 years later. On the relatively long album, Raekwon establishes himself as one of the best storytellers in the history of hip-hop, deftly illustrating life on the streets of New York, and RZA solidifies his position as one of the top producers in the rap game.
If you like hip-hop at all, chances are, Only Built 4 Cuban Linx... gets heavy rotation on your music player, whatever that may be. Actually I shouldn't even say "chances are," because if you truly enjoy rap, this album will receive constant play by you.
Anyway, enough with the pretenses. Let's get to the review.
TRACK-BY-TRACK
1. Knuckleheadz
The album kicks off with a real head-nodder, and Ghostface Killah and U-God make appearances on the track (if you don't like Ghostface, prepare to be disappointed, as he is omnipresent on this album [but who doesn't like Ghostface?]). "Knuckleheadz" encompasses the theme of Only Built 4 Cuban Linx..., a mafioso/gangsta style record with a similar lyrical style throughout. That said, it really isn't one of the album's stronger tracks.
2. Knowledge God
You've really gotta love RZA's beat on this one, with a heavy bassline and short piano riffs throughout. "Knowledge God" actually represents only one of two tracks that Raekwon is alone on on the album, and he rips it: "Niggas projects filled with fiends injectin', morphine, the God seen more C.R.E.A.M., and upstate Cousin Reek, almost got hit with fourteen." Great cut.
3. Criminology
This was the album's second single, and, consequently, one of its most popular songs. Ghostface Killah comes through with authority on the first verse, spitting: "Yo, first of all son, peep the arson, many brothers I be sparkin' and bustin' mad light inside the dark, call me dough snatcher, just the brother for the rapture, I handglide, holdin' on strong, hard to capture." The beat possesses an eerie, street quality to it, undeniably suitable for Ghost and Rae.
4. Incarcerated Scarfaces
Here embodies the second and final track where Raekwon is by himself (that was quick). It also delineates one of the stronger records on the album. The beat is carried by the hats and heavy cymbals and is ridiculously addictive. Warning: persistent listening of "Incarcerated Scarfaces" may cause a broken neck from too much head-nodding.
5. Rainy Dayz
This was the fourth and final single from the album. You may recognize the sample as being the same one that was used in Fabolous and Ne-Yo's 2007 hit, "Make Me Better." The main difference? Ghostface and Raekwon are on the cut instead of Fab and Ne-Yo, and as much as I like the latter two artists, let's be real; this beat was made for Ghost and Rae. I will say, though, that at certain points, the beat becomes somewhat piercing and sounds like a teapot announcing that its water is boiling.
6. Guillotine (Swordz)
Sick. Sick. SICK. That's the best way I can wholly describe this track, which is clearly one of the best on the album. The beat is out of control, and it contains verses from not only Raekwon and Ghostface, but also from arguably Wu-Tang's best lyricists, Inspectah Deck and GZA. Inspectah opens up the track with these ill lines: "Poisonous paragraphs, smash ya phonograph in half, it be the Inspectah Deck on the warpath, first class leavin' mics with a cast, causin' ruckus like the aftermath when guns blast." Then, toward the song's climax, GZA spits: "Sky's the limit, niggaz are timid, and nobody knows, how we move like wolves in sheep's clothes." One of the best tracks in Wu-Tang's illustrious history.
7. Can It All Be So Simple (Remix)
This is a remix of the "Can It Be So Simple" track off of the Wu-Tang Clan's classic album, Enter The Wu-Tang: 36 Chambers. Unfortunately, I'm not too crazy about either version.
8. Ice Water
For some reason, Ghostface Killah, Cappadonna, and Raekwon decided to make their voices entirely monotonous throughout this entire track, and, for some reason, it works. I won't say this is one of the album's finer moments, but "Ice Water" is definitely a good track.
9. Glaciers Of Ice
A whole mess of Wu-Tang members and affiliates make appearances on this cut (Ghost, Rae, Masta Killa, 60 Second Assassin, and Blue Raspberry), and of all of them, Masta Killa is the one who really shines: "Proceed with caution as you enter the symphony, degrees of pulse will increase intensely, syndrome was caused by the deadly drums, but the battle was won by swords being swung." I've always felt Masta Killa was the most underrated of the Wu-Tang members, and his verse here confirms why. Also, on this track in particular, he sounds a lot like a cross between Method Man and GZA.
10. Verbal Intercourse
Leave it to Nas to rip off arguably the album's best verse: "Through the lights, cameras, and action, glitters and gold, I unfold the scroll, plant seeds to stampede the globe, when I'm deceased, by then the beast arise like yeast, to conquer peace leaving savages to roam in the streets." Phew. The beat on this track is great, too, even if there isn't too much going on with it.
11. Wisdom Body
I really like the beat here, containing one deep and repeating piano key, some hats, and a snare. Strangely enough, though, Raekwon is nowhere to be found on this track, as Ghostface Killah takes this one by himself. This is Only Built 4 Cuban Linx... and not Ironman, right?
12. Spot Rusherz
This track is pretty short, thanks to 53 seconds of talking in the beginning (that's the only thing I dislike about Wu-Tang albums). Still, the beat is nice, and Raekwon freely flows over it without any issues whatsoever.
13. Ice Cream
Finally; the best song on the album. "Ice Cream" is one of my favorite songs period. RZA produced an absolute banger of a beat here, so much so that it still gets airplay on the radio from time to time. Method Man actually makes his first appearance on Only Built 4 Cuban Linx... here, too, as he raps the hook, and what I'm wondering is, what took so long? Anyway, this is by far the album's most popular song, and with good reason. I really don't see how this wasn't the lead single, as this was actually the third. Also, for those who are interested, the sample RZA used for this beat was just discovered this past January. It's "A Time For Love," by Earl Klugh. Props to RZA for keeping that under wraps for a decade-and-a-half.
14. Wu-Gambinos
And here is the second-best song on the album. Method Man once again drops by, and this time, he actually drops a verse. So do Rae, Ghostface, Masta Killa, and even RZA (who should really just stick to producing). The beat on this is ridiculous and is perfect rider music, but seriously, let's focus on how much Method Man kills this: "Scriptures hit the body like sawed off shotties, like my hair knotty and my nosepiece snotty, fuck a nigga hottie, that whole pussy probably, burn like the deserts of Mogabi, for real."
15. Heaven & Hell
This was the lead single, and although it's solid, I really don't understand why this was chosen over "Ice Cream" for that role. The beat is light and pretty soulful, as Raekwon and Ghostface explain how we're actually living in hell. Ordinary, but still good.
16. North Star (Jewels)
I absolutely love the beat that was used here, but unfortunately (and at the same time, unsurprisingly), the actual rapping doesn't start until the one-minute, fifty-two second mark of the song. Despite that, the beat alone is enough to carry this track and make it one of the best on Only Built 4 Cuban Linx.... This track also represents a change of pace on the album (even though I don't know if I could classify an album's final cut as being a "change of pace"), as Raekwon abandons the street tales and focuses more on the soul, and Ol' Dirty Bastard provides some deep backing vocals. Once again, it's the outstanding production that really makes this record.
FINAL THOUGHTS
Only Built 4 Cuban Linx... is widely considered to be one of the greatest hip-hop albums of all-time for good reason. The production remains consistently great from start-to-finish, and Raekwon and Ghostface Killah's storytelling abilities never skip a beat.
After dropping his debut album in '95, Raekwon took four years off and then came back with Immobilarity in 1999. While it sold fairly well (it was certified gold), it was not received very well by critics and Wu-Tang fans alike. For some reason, RZA did not produce a single track on the album, leading some to wonder whether Raekwon was simply a product of RZA's phenomenal beats. That notion did not cease when Rae released The Lex Diamond Story in 2003, as, once again, the record did not feature a single track by RZA and, in turn, is considered by most to be Raekwon's worst album.
Raekwon then took a six-year hiatus and came back with a vengeance in '09, dropping the hyped Only Built 4 Cuban Linx...Pt II. While the album only contained two RZA productions (three if you include deluxe bonus tracks), it was thought by many to be the best rap album of the year 2009 and easily Rae's second-best project to date. Thankfully for "The Chef," any more lingering doubts about his true MC ability were squelched due to the success of this record.
Going back to the original point, Only Built 4 Cuban Linx... will forever be revered as one of the best albums to ever grace the hip-hop world. If you don't like it, then sorry; you do not like hip-hop. Real hip-hop, anyway.
TOP FIVE TRACKS
1. Ice Cream
2. Wu-Gambinos
3. Guillotine (Swordz)
4. Verbal Intercourse
5. North Star (Jewels)
SKIPPABLE TRACKS
If you skip any of these tracks, then may God have mercy on your soul.
INTRODUCTION
