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
