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 going to be honest: I really don't know much about Mic Geronimo, so I am not going to pretend that I do. All I know is that he was associated with Murder Inc.'s Irv Gotti, who met Mic at a talent show at a Queens high school. Gotti was so impressed with Mic that he instantly collaborated with him, recording the single "Shit's Real." After said single hit the industry, Mic Geronimo landed a record deal with TVT Records.
This set the stage for Mic's debut album, The Natural, probably one of the most overlooked hip-hop records of the 90s; seriously. Featuring production from the likes of Buckwild, Da Beatminerz, and Irv Gotti himself, The Natural possesses a dark, Boot Camp Clik-esque feel that Mic was clearly suited for.
It's also worth noting that Mic Geronimo sounds a lot like Prodigy of Mobb Deep, both in terms of his voice and his delivery, and that quality made Mic that much more interesting and entertaining to me as an artist, especially considering that The Natural was released the same year as The Infamous.
Mic's grimy style blended in seamlessly with the hip-hop landscape of the mid 90s, as groups such as the Wu-Tang Clan, Mobb Deep, and the Boot Camp Clik collective were in the process of establishing a new category of rap, one that consisted of a rough, dusty sound that would characterize the streets of New York.
Can you already tell that I like this album?
TRACK-BY-TRACK
1. The Natural
Mark Sparks lays down a ridiculously chill beat for Mic Geronimo on the album's title track, and Mic rips it. This was just a great way to open up the project, especially considering Mic brings the whole Prodigy vibe immediately. This is one of the best cuts on The Natural, but the fact that the last minute of the song is just a conversation is pretty annoying.
2. Lifecheck
One of two instrumentals by Da Beatminerz on the album, and while it is actually pretty lazy, it manages to be effective. "Lifecheck" certainly sounds like something that could have been on Smif-N-Wessun's album Dah Shinin', and that's always a good thing. Mic Geronimo is able to ride the beat very well, too. No qualms from me about this one.
3. Wherever You Are
Another Mark Sparks beat. I didn't like this song the first time I listened to it, but the smooth production eventually grew on me. Solid track here.
4. Masta I.C.
The first of three Buckwild productions on The Natural knocks, containing an eerie sample and those shakers that I love so much. Also, Mic's performance makes the beat sound that much better. "Masta I.C." was the second single off of the album, and it was a great choice, as it is just an all-around great song, although the hook was pretty corny (yet standard). Mic Geronimo's friend Royal Flush makes an appearance on the track and impresses.
5. Man Of My Own
As soon as the beat hits, you will probably think it was produced by Da Beatminerz, as the ominous horns will bring back memories of Black Moon's Enta Da Stage. However, "Man Of My Own" was actually laced by Chyskillz, and it's pretty damn good. By this point of The Natural, you have most likely realized that Mic Geronimo's delivery is extremely monotonous, but, like Guru's, it works. Also, Royal Flush is here again.
6. Time To Build
This was one of Jay-Z and DMX's first appearances in the rap game, and it was Ja Rule's. "Time To Build" is interesting to listen to for that reason, as DMX's sounds like a kid, and while Jay-Z's voice sounds the same as it does in his prime, his delivery is somewhat different. As far as Ja Rule goes, he is almost unrecognizable. This is the same guy who would go on to make songs like "Always On Time" and "Wonderful"? Anyway, the Irv Gotti beat is very good, and all four rappers make appropriate use of it.
7. Shit's Real
The first single. This was also one of the weaker tracks on the album, as Irv Gotti's instrumental is way too, um, non-confrontational, for Mic. "Shit's Real" ended up sounding very plain.
8. Three Stories High
The second Buckwild production on The Natural reminds one of DJ Premier's "Come Clean" beat that he did for Jeru The Damaja, as one can audibly hear the sound of a dripping faucet (or something of that nature) in the background. Royal Flush is once again and featured and holds his own, and Mic sounds right at home. Solid cut.
9. Sharane
This Mark Sparks-produced song is just phenomenal in all aspects. Sparks' beat is incredible, as the drums couldn't be any more perfect, and Mic Geronimo engages in some outstanding storytelling about a female who ends up setting him up. Probably my favorite track on the project.
10. Men vs. Many
The second and final Beatminerz beat on the album is the better of the two productions, as the instrumental on "Men vs. Many" will likely throw you into a trance. Royal Flush once again joins Mic here, and O.C. does, as well. Regardless, you will find yourself far too mesmerized by the beat to pay any attention to how well the three rappers performed.
11. Train Of Thought
Buckwild's last beat on The Natural happens to be his best one on the record. Yes; even better than "Masta I.C.". The drums knock, and the dark sample gives "Train Of Thought" street authenticity. It helps that Mic Geronimo absolutely tears this to shreds, too.
12. Things Change
Aside from "Wherever You Are," Mark Sparks really brought it on this album, as his instrumental on this cut is very effective (love those kick drums). Mic and his boy Royal Flush seamlessly flow over the beat, making "Things Change" one of the more relaxing tracks on The Natural. The R&B hook is somewhat cheesy, but other than that, there isn't much not to like about this song.
13. Masta I.C. (Remix)
The remix, produced by Irv Gotti, is certainly a head-nodder, and The Lost Boyz and (surprise, surprise) Royal Flush accompany Mic Geronimo on the cut. It's not as good as the original, but the menacing guitar strums that Gotti throws on the beat add a nice element. It doesn't help matters much that this cut is six minutes in length, though.
FINAL THOUGHTS
The Natural is definitely one of the most underrated gems in hip-hop history. Due to the fact that it was released during a time when rappers such as Nas, The Notorious B.I.G., Mobb Deep, and The Wu-Tang Clan were bursting onto the scene, it's easy to see why it got overlooked, but that obviously doesn't make it right, as this album is just plain great.
Yes, the production may become repetitive at points, but, as I know I've stated many times on this blog, if it's working, why stray away from it? The slow, dark instrumentals clearly suited Mic Geronimo, and the fact that most of the beats sounded very similar to one another gave The Natural a sense of direction and cohesion, something that too many hip-hop albums are missing these days.
It is also clear that Mic is a very gifted emcee who can consistently bring it, and he parallels Prodigy so much it's not even funny, making him a very enjoyable listen for huge Mobb Deep fans like myself. As I pointed out earlier, his delivery is very monotonous, but not so much as to steer your attention elsewhere. He is able to utilize that monotony and make it so that he sounds unique rather than boring.
I am going to take a guess and say that the good majority of you readers (how many of you there actually are) have not heard this album, so heed my advice: don't waste any more time; listen to it. It is a very steady listen throughout, and at its conclusion, you will be wondering why Mic Geronimo was never really heard from again outside of the sophomore album he dropped (Vendetta) in 1997.
TOP FIVE TRACKS
1. Sharane
2. The Natural
3. Train Of Thought
4. Masta I.C.
5. Men vs. Many
INTRODUCTION
Two years after releasing the classic Mos Def & Talib Kweli are Black Star album (which I reviewed here) with, um, Mos Def, Talib Kweli teamed up with my all-time favorite producer, Hi-Tek, to form the group Reflection Eternal and release Train of Thought, an album that I actually consider to better than Kweli's effort as a member of Black Star.
Train of Thought is extremely similar in sound to Mos Def & Talib Kweli are Black Star, and that is to be expected given that Hi-Tek did plenty of production on Black Star's project. However, I feel that, due to the fact that Talib had grown as a rapper during that two-year hiatus, the Reflection Eternal record is legitimately superior. I realize that may be seen as blasphemy in many circles, but what can I say? It's my opinion.
Train of Thought is easily one of the most deep and soulful hip-hop albums you will ever have the pleasure of hearing, containing unbelievably mellow production and incredible rapping from Talib Kweli and the numerous guest artists that make appearances on the record. It is also one of the first rap albums I had ever heard in its entirety, so maybe that's why I am a bit biased toward it.
The album spans 20 tracks, although only 15 of those are full-length songs. Still, even the the shorter cuts sound so good that they will manage to find a place in this review, as Train of Thought is so flawless that depriving it of any of its parts would be a travesty in the truest sense of the word.
With that said, here is the lovefest that is my review of Reflection Eternal's debut album.
TRACK-BY-TRACK
1. Experience Dedication
This is an album intro, but it runs for nearly two-and-a-half minutes and Hi-Tek's beat is so effective that I felt I just had to review it. Basically, "Experience Dedication" just consists of Talib Kweli prepping you for the album, and if the instrumental here is any indication, you should be ready for a classic.
2. Move Somethin'
The first actual song on Train of Thought was also the album's first single, and with good reason, because it is a banger, as Hi-Tek's production is extremely hard-hitting, and Talib sounds fantastic over it. I can guarantee you that you will be nodding your head to the beat the minute it hits.
3. Some Kind Of Wonderful
Hi-Tek's production on this cut is much more relaxed than on the previous one, and it works well. I won't say this is one of my favorite songs off of the album or anything, as I feel the beat kind of overpowers Kweli's vocals, but "Some Kind Of Wonderful" is still fairly effective, nonetheless.
4. The Blast
Train of Thought's second single, and it is nothing short of incredible. "The Blast" contains what is easily the album's most soulful production so far, as Hi-Tek's instrumental will undoubtedly make you stop and think. Hi-Tek also raps on this, too, and damn...he actually sounds pretty damn good. As a matter of fact, his verse was actually better than Talib Kweli's. Yeah; I went there. To top everything off, Vinia Mojica's vocals toward the end of the record really make it that much better. This is one of my favorite songs of all-time.
5. This Means You
Hi-Tek lays out another sick beat for Talib, and Mos Def stops by to aid his Black Star partner on the track. Both artists kill this, as the instrumental couldn't have been any more suitable for the two emcees. The best part of "This Means You," though, is how the instrumental changes during the hook.
6. Too Late
My goodness...Hi-Tek did it again. His production on "Too Late" is unreal, consisting of a constant vocal sample (one that actually has a middle-eastern flavor) and some ill drums on top of it. Talib Kweli's subject matter is pretty tried, as he questions whether or not it's too late to save hip-hop, but nevertheless, this record is just great. One of the best songs on Train of Thought.
7. Memories Live
And the ridiculously good tracks keep coming. "Memories Live" is a popular choice for best track off of the album (it isn't my personal favorite, but it's certainly up there), as Hi-Tek's thought-provoking instrumental makes the song's title seem that much more meaningful. Talib rips off three outstanding verses on this cut, as he sounds spectacularly inspired on the mic. What a record.
8. Africa Dream
"Africa Dream" is a weird track, as it begins with a drum-driven instrumental for the first one minute and forty seconds, and then the beat changes into something of a banger and Talib Kweli kills it for the next minute. Then, the remainder of the song, which covers a minute-and-a-half, consists of the same beat that Kweli spit over. All of that said, this sounded really good. I just wish Talib would have utilized Hi-Tek's production more and rapped more than just one quick verse.
9. Down For The Count
That brings us to the best track on the album. The effing best. Hi-Tek's beat is nails, and Talib Kweli and guest artists Rah Digga and Xzibit absolutely murder it. Of those three rappers, though, Xzibit drops the best verse. I mean, how raw is this line: "Hardcore, 'til somebody put me under the ground, with a dick in your ear, still couldn't fuck with my sound." On another note, it's impossible for me to listen to "Down For The Count" without thinking of Madden 2002, because I remember that the instrumental was on the game's soundtrack.
10. Name Of The Game
This record is under two minutes long, but it is an actual song. Hi-Tek's instrumental is magnificent in every sense of the word, and Talib's delivery over it is just terrific.
11. Ghetto Afterlife
"Ghetto Afterlife" is the first song on Train of Thought that I'm going to give a "meh" to. The beat just sounds sloppy, and not even a Kool G Rap feature can save it.
12. On My Way
This is just an instrumental with some vocals from Kendra Ross, Tiye Phoenix, and Vinia Mojica, and it clocks one minute and nine seconds. Why am I reviewing it then, you ask? Because Hi-Tek's production is so damn smooth that you will want to replay "On My Way" over and over.
13. Love Language
I love this. As per the title, Kweli raps about finding your significant other over an incredibly soulful beat by Hi-Tek, and the French female R&B duo Les Nubians aids Talib by crooning the hook (in French). There aren't many hip-hop songs you can seriously share and enjoy with your girl, but "Love Language" is one of the few. Talib Kweli's "some don't love themselves, so their perception is tainted" line really hits home, too.
14. Love Speakeasy
"Love Speakeasy" is just an instrumental. No raps, no adlibs; nothing but a jazzy, introspective beat by Hi-Tek that "Love Language" leads perfectly into.
15. Soul Rebels
De La Soul makes a feature on "Soul Rebels," a jazzy number that Talib and the aforementioned legendary group rip to shreds. Hi-Tek's instrumental sounds like a much better version of "Ghetto Afterlife." Songs like this make me wonder why Kweli and De La Soul haven't done more collaborations.
16. Eternalists
Yet another tremendous cut. What's most impressive about "Eternalists" is Talib Kweli's flawless flow, as he rides Hi-Tek's sick production without skipping a beat. I hate the fact that I'm running out of things to say as Train of Thought draws to a close, but because I pretty much love every song equally on here, what else is there to remark on?
17. Big Del From Da Natti
This cut is only a minute and fifteen seconds long and Talib isn't even on this (Big Del drops a very short verse, and that's it), but, much like "On My Way," Hi-Tek's beat will force you to enjoy it.
18. Touch You
The beat on this will put you in a zone, and Kweli obliges with a great performance. Piakhan and Supa Dave West make guest appearances on this, as Piakhan drops a verse and Supa Dave West sings the hook. That's really all I have to say.
19. Good Mourning
"Good Mourning" represents one of Talib Kweli's most impressive lyrical forays, and his subject matter is so deep that I'm not even going to try to explain it. If this doesn't make you stop and think, then I don't know what will. Hi-Tek's somber beat fits the mood perfectly.
20. Expansion Outro
Hi-Tek's instrumental on this is phenomenal, and Talib drops a few great verses about the pain and strife that women must go through, telling the stories of four different females (which is way Kweli references the track "Four Women" by Nina Simone at the beginning). The only negative about "Expansion Outro" is that it's eight minutes long, and I don't have the patience to put an eight-minute song on repeat.
FINAL THOUGHTS
In my mind, Train of Thought is, without a doubt, one of the best hip-hop albums of all-time. I love almost every track on the record, as Talib Kweli's incredible rapping backed by Hi-Tek's extraordinary producing ability makes the project a ridiculously consistent listen from start-to-finish.
What's best about Train of Thought is that there is no filler, as even the short songs (and I generally don't like short songs because I have always felt that they're sort of pointless) have their place. The choice of features was also great, as each guest artist (especially Xzibit on "Down For The Count") comes through with admirable performances on their respective tracks.
It is absolutely amazing that an album can be 20 cuts long and remain this steady throughout. The fact that there is nary a dull moment on Train of Thought is a testament to how outstanding of a producer Hi-Tek is and how engaging of a rapper Talib Kweli is. The two artists complement each other to a T.
The preceding paragraph is precisely the reason why I feel that Reflection Eternal's debut record is better than that of Black Star's. Mos Def & Talib Kweli are Black Star was only 13 tracks in length, and while nearly every one of those tracks were terrific, Train of Thought had seven more, and not one of its 20 records felt forced (except for maybe "Ghetto Afterlife").
Talib Kweli established himself as one of the game's most talented rappers on Train of Thought, and Hi-Tek did the same as a producer. This album will always be one of my favorites.
TOP FIVE TRACKS
1. Down For The Count
2. The Blast
3. Too Late
4. Memories Live
5. This Means You
SKIPPABLE TRACKS
Ghetto Afterlife
INTRODUCTION
If you had any inkling of rapping ability and you were close with Mobb Deep in the mid 90s, you had it made in the shade. Big Noyd possessed both of those qualities and, needless to say, garnered a decent amount of attention for his verses on some of Mobb Deep's tracks, particularly the one on "Give Up The Goods (Just Step)" off of The Infamous.
Due to his incredible verse on the aforementioned song, Big Noyd scored a contract and was then able to lay the groundwork for his debut album, which would be entitled Episodes of a Hustla. Unfortunately for Noyd, though, he was incarcerated around the time the album was being recorded, and, because of that, Episodes of a Hustla was never completed and, thus, was very short, spanning only 11 cuts, only eight of which were full-length records.
That said, Big Noyd's freshman effort was held in high-esteem by many due to his consistency as a rapper and Havoc's production (he produced all but one song on Episodes of a Hustla, and that song was the intro), as it was blessed with the same type of sound that The Infamous became so famous (no pun intended) for. It's also worth noting that Prodigy is present on seven of the eight actual songs on the album, so Noyd and Prodigy essentially pulled a Ghostface Killah/Raekwon here.
Well, I don't really have much more background information to give on Big Noyd's first record, so I'll just kick the review off.
TRACK-BY-TRACK
1. It's On You
If you've been following this blog at all, you'd know how much I hate reviewing album intros because I feel like they're a waste of time. However, I made one of the few exceptions I'll ever make in the case of "It's On You," as the beat by Charlemagne (this is the lone song on the album that wasn't laced by Havoc) is nuts. You have to wonder why Big Noyd decided to use this banger as the album intro. Perhaps he never got a chance to rap over it because he was imprisoned?
2. Recognize & Realize (Part 1)
Havoc has arrived. His beat here is sick, consisting of his typical dusty drums and an ominous piano hit at the end of each bar. Prodigy aids Noyd on this cut and sounds ridiculously good over the instrumental, and why shouldn't he? It is a Havoc beat, after all. One of my favorite tracks off of the album.
3. All Pro
I've gotta admit; this does not sound like a prototypical Havoc beat, as it sounds much more subdued than the good majority of his other work (his earlier work, anyway), but, nevertheless, "All Pro" still sounds pretty solid. It's not as good as "Recognize & Realize (Part 1)" or anything, but it's enjoyable in its own way. Ty Knitty and Twin of the group Infamous Mobb make appearances on this cut, as does Prodigy.
4. Infamous Mobb
I found it odd how this track was titled "Infamous Mobb," and yet, not one member of the actual group appears on the song. Anyway, this record is decent, as Big Noyd's flow over Havoc's solid instrumental is pretty damn good, and Prodigy does not disappoint with his verse. I will say, though, that these past two cuts haven't been anything worth writing home about.
5. Usual Suspect
This was a fine way to get Episodes of a Hustla back on track. "Usual Suspect" is easily one of the album's best records, as Havoc's beat kills (those drums...) and Noyd absolutely tears it to pieces. Prodigy is on this, too, but he only drops an extremely short verse (if you can even call it that) during the cut's waning moments. If you're looking for a song to bump in your ride throughout the summer, you really can't go wrong with "Usual Suspect."
6. Episodes of a Hustla
The first thing you'll notice (hopefully) about the album's title track is that Havoc's beat is unbelievably mesmerizing. I'm sure you can also tell by now that Episodes of a Hustla was recorded right in between The Infamous and Hell On Earth, as Havoc's instrumentals seem to combine elements from both albums, displaying that he was at a sort of crossroads (a good crossroads) in terms of which route to go. Oh, Big Noyd sounds pretty nice over this, by the way, and all Prodigy does here is drop the hook.
7. Recognize & Realize (Part 2)
I like "Part 1" better, but this is still alright. Havoc makes his first appearance as a rapper on Episodes of a Hustla, as both he and Prodigy join Noyd on this cut. His instrumental comes across as a bit lazy, though. I don't really have much else to say other than the fact that "Recognize & Realize (Part 2)" isn't the kind of track that I will be playing on repeat.
8. I Don't Wanna Love Again
It takes a while for Big Noyd to actually start rapping on "I Don't Wanna Love Again," but that's okay, because this song is really good. Havoc's beat is ill (that choppy piano hit at the end of every other bar really made this record), and female R&B artist Se'Kou comes through with a great guest spot, crooning an outstanding hook and laying down some nice vocals to boot. Noyd's part is worth the wait, too, as he sounds phenomenal on this.
9. Usual Suspect (Stretch Armstrong Remix)
The original was great, and the remix (which contains the same lyrics by Big Noyd but a different beat by Havoc) is nearly as good. The production is much more soulful than anything you'd ever imagine Havoc creating, as his instrumentals are usually always of a grimy nature.
FINAL THOUGHTS
You should have noticed that I used words like "solid" and "decent" a lot in reviewing Episodes of a Hustla, because that is exactly what this album is. It certainly is no The Infamous or Hell On Earth, even if it possesses the same type of feel, but honestly, how many albums can really measure up to either of those two Mobb Deep classics?
Big Noyd is certainly a capable rapper who sounds great over Havoc's production, and, after listening to his short debut album, you're left wondering what he could have done with this project had he not gotten thrown in the slammer. Perhaps Episodes of a Hustla would not have been any better if it were longer, but, on the other hand, maybe Havoc would have come up with a couple of bangers for Noyd to kill? Who knows.
I have to say that one thing I didn't like about Big Noyd's first album was the amount of Prodigy appearances, as it leads me to believe that Noyd was not confident enough in his abilities (and I don't know why that would be the case) to record a full-length LP on his own. Not just that, but why seven Prodigy features and only one by Havoc?
All in all, this was a nice effort by an upstart rapper who never really got a chance to live in the spotlight due to his imprisonment. As I said previously; who knows what would have happened had Big Noyd not gone to jail, because it is blatantly obvious that Episodes of a Hustla had the potential to be a near-classic had it actually been completed.
I'm not going to recommend that you go out of your way to listen to this album, as it is not anything extraordinary, but I will say that you will most likely not be disappointed if you do, because, my little criticisms aside, it really is a decent effort overall, as every song on here is, at the very least, listenable.
TOP FIVE TRACKS
1. I Don't Wanna Love Again
2. Recognize & Real (Part 1)
3. Usual Suspect
4. Usual Suspect (Stretch Armstrong Remix)
5. Episodes of a Hustla
SKIPPABLE TRACKS
None.
INTRODUCTION
I've always thought of Capone-N-Noreaga as a poor man's Mobb Deep. They're a duo, they rap about the same subject matter, and they utilize the same type of dark, grimy beats that the Mobb did (yes; I used past tense on purpose there). That's not to say they are as good as Mobb Deep, though, because, well, they aren't, but I won't take anything away from them: they are a fairly impressive group.
Capone-N-Noreaga (also known as "CNN") released their first album, The War Report, back in June of 1997. However, I use the term "their" loosely, as Capone is scarcely seen on the project due to the fact that he was in prison while much of it was being recorded (as a matter of fact, one might consider this an effort by Noreaga and Tragedy Khadafi [who makes eight guest appearances and also produces two cuts] rather than one by CNN). Noreaga (a.k.a. N.O.R.E.), though, used The War Report as a launching pad for his own solo career, as he became the clear-cut favorite member of the duo.
Featuring production from the aforementioned Khadafi and then assorted producer-extraordinaires like Buckwild, Lord Finesse, and Marley Marl, one would naturally have high expectations for The War Report going in. Of course, just because the liner notes display some good beatmakers does not necessarily mean that the album will automatically be anything spectacular, right?
The War Report is considered a 90s classic by some, while others essentially forget about it when discussing the more prominent east coast hip-hop albums of that decade, making it a rather intriguing record for the simple fact there doesn't seem to be any kind of middle ground when talking about its significance.
So, is it really a classic like the diehard Capone-N-Noreaga fans say? Let's find out.
TRACK-BY-TRACK
1. Bloody Money
The eerie, piano-driven beat by EZ Elpee sounds like a cheap Havoc (of Mobb Deep) knockoff, and while that may sound like a pretty big jab at "Bloody Money," it really isn't, because you can't expect many producers to match Havoc's grace on the boards. This isn't a bad way to open up the album, as Noreaga sounds nice over the instrumental (no, Capone is not on this) and, once again, the production is decent, but I think "Bloody Money" runs a bit too long for its own good, especially considering the last minute or so just consists of a bunch of adlibs.
2. Driver's Seat
The Hitmen, Puff Daddy's production team, laced this cut, and while it's a bit darker than anything you'd ever expect someone associated with Puffy would create, it still doesn't hit that hard. Iman T.H.U.G., who sounds somewhat like Keith Murray, drops a guest verse and does the hook, and although his performance was adequate, it doesn't save "Driver's Seat" from being anything more than mediocre.
3. Stick You
The first of many Tragedy Khadafi guest spots on The War Report. I've always felt Khadafi was pretty underrated, and he demonstrates that on "Stick You," as his verse is pretty damn good. Capone also makes his first appearance on the album here and, like Tragedy Khadafi, he impresses, as his coarse voice adds a nice element. The beat by Naughty Shorts (seriously? What the hell kind of stage name is that?) is by far the best thing I've heard on this project thus far. I really, really dig the way that piano loop fades in and out. All of that said, whose idea was it to wait until the 1:13 mark for the song to actually start?
4. Parole Violators
Havoc and Tragedy Khadafi are both featured on this, and the funny thing is the beat sounds almost exactly like something Havoc would produce (I mean, how many times have we heard that snare on Mobb Deep records before?), yet Khadafi was the man behind the boards here. I have to say that I was extremely disappointed that Havoc doesn't actually drop a verse, as he only raps the hook and sounds fantastic in doing so, as short as said hook may be. The War Report has certainly picked up some momentum during the last two tracks.
5. Iraq (See The World)
EZ Elpee's drums on this knock, and the bunch of no-namers (Castro, Musaliny, Mendosa, and Troy Outlaw) assisting N.O.R.E. on it were actually fairly solid. Overall, this was a decent song. I don't really have much else to add. Well, other than the fact that it may have run a bit too long at five minutes and thirty-three seconds.
6. Live On Live Long
Remember earlier when I told you that Capone was in prison while the majority of this album was recorded? Well, Noreaga pays homage to his partner over this GM704-produced cut, and it ends up sounding pretty good. It's nothing mind-blowing and you won't want to hit repeat when it concludes, but it works on some level.
7. Neva Die Alone
"Neva Die Alone" was produced by Buckwild, and if I didn't check the tracklisting before I listened to it, I never would have guessed that, as the beat here just isn't very good. It seems like Buckwild was trying too hard to make the instrumental sound dark, as he simply overdid it on the deep piano loop. Capone makes his second appearance on the album, though, so at least there's that. Tragedy Khadafi is on this, as well, and he drops what is easily the best verse on the song, in my opinion.
8. T.O.N.Y. (Top Of New York)
The Hitmen are here again, and while "T.O.N.Y. (Top Of New York)" sounds better than "Driver's Seat" (The Hitmen's other effort on The War Report), it isn't anything to write home about. It's worth noting, though, that for the first time on the album, Capone makes consecutive appearances, as he is present on this cut. However, I think it's pretty clear by now (it is to me, anyway) that Khadafi, who comes through with yet another guest verse here, is the best rapper on this project.
9. Channel 10
The Lord Finesse cut. Unfortunately, it was much ado about nothing, as it sounds like he was asleep when he produced this. This is just boring.
10. Capone Bone
Capone actually gets a solo effort here, his only one on The War Report. This is also the Marley Marl-produced record. However, the combination does not work, as "Capone Bone" sounds even worse than "Channel 10," and that's saying something.
11. Halfway Thugs
Okay; this is by effing far the best track on the album. Plain and simply, it bangs. Charlemagne pulled a page out of Havoc's book when he gave life to this incredible beat, and on a similar note, N.O.R.E. pulled a page out of Prodigy's book with the way he flows over the instrumental. "Halfway Thugs" saved this album, as I was just about ready to put it to bed after listening to the two preceding tracks. The only complaint I have is that I feel like this would have been a perfect cut to include Mobb Deep on, but hey...
12. L.A., L.A.
The east coast's response to Tha Dogg Pound's "New York, New York." You may recognize the beat as basically the same one that was used for The Notorious B.I.G.'s "Long Kiss Goodnight" (there were a couple of minor differences). Mobb Deep and Tragedy Khadafi aid CNN on the cut, which sounds rather solid.
13. Illegal Life
This is the second-best song on The War Report. Much like "Halfway Thugs," the instrumental (produced by Tragedy Khadafi) sounds like it certainly could have been on Mobb Deep's Hell On Earth; it's that good (the vocal sample is particularly great). Havoc is on the cut, but, like on "Parole Violators," he only raps the hook. What's up with that? Despite that quibble, "Illegal Life" is pretty damn fantastic.
14. Black Gangstas
The second Buckwild production on the project is far superior to the first. Unlike "Neva Die Alone," "Black Gangstas" freaking knocks. Tragedy Khadafi makes his final appearance on the album, but this time, he only does the hook.
15. Closer
DJ Clark Kent creates the instrumental here, and it is easily the most introspective beat on the album (not the best; just the most thought-provoking). The song works fairly well as a whole, as Noreaga rides the production well and does an admirable job as the lone rapper, although I wasn't too fond of female R&B artist Nneka's contribution on the chorus. Solid way to end The War Report, though. It could have been better, but it also could have been much worse.
FINAL THOUGHTS
While I disagree with the sentiment that The War Report is a classic, it's still a pretty solid album that was released at the right time. Both Capone (when he's actually there) and Noreaga prove to be very capable rappers, although I do think their choice of beats is suspect at times. On the other side of the coin, though, the beats that do hit really, really hit.
Interestingly enough (and this may sound a bit comical given that this was a Capone-N-Noreaga effort), the person I came away being most impressed with on this project was Tragedy Khadafi. It seemed like he outshined every other member every time he had a verse, and his presence bumped The War Report up a notch or two in terms of its quality. The dude is a very good emcee, and a very overlooked one at that.
As I stated earlier; Capone-N-Noreaga really is a poor man's Mobb Deep. They are not nearly as good and cannot put together the kind of consistent effort that Havoc and Prodigy did on The Infamous and Hell On Earth, but there are times (see "Parole Violators," "Halfway Thugs," and "Illegal Life") where the duo has an extremely Mobb Deep-esque feel, and it certainly draws your attention to them more.
I do not bump The War Report all that often. Actually, I never bump the album as a whole at all; I just did it to write this review. That said, there are a few songs off of the record that will always find their way into my rotation somehow, and when you can say that about an album, I think you basically have to say that it has its place in the annals of hip-hop lore, even if it wasn't exactly spectacular.
TOP FIVE TRACKS
1. Halfway Thugs
2. Illegal Life
3. Stick You
4. Parole Violators
5. Black Gangstas
SKIPPABLE TRACKS
Channel 10
Capone Bone
INTRODUCTION
I wrote about 50 Cent's first album, Power Of The Dollar, back in November and gave you the background information on the legendary rapper, so, for the sake of time, I am going to keep this introduction to a minimum.
However, I obviously feel the need to remind you (just in case you forgot and/or didn't read the first line of this write-up) that Get Rich or Die Tryin' was not 50's debut record. The aforementioned Power Of The Dollar was, but due to Fiddy's shooting, he was dropped from Columbia Records, and Power Of The Dollar was never officially released. Then, Eminem and Dr. Dre discovered and signed 50 Cent, and a career was born.
Of course, Get Rich or Die Tryin' was still 50's most successful project, selling 872,000 copies its first week (good for second among rap albums all-time) and being certified eight times platinum by the RIAA. It also spawned six singles, including 50's breakthrough hit, "In Da Club," a song I was never really too big of a fan of.
Get Rich or Die Tryin' features a variety of producers, ranging from Dr. Dre to Eminem to Rockwilder, and vivid tales of street life by Curtis Jackson (50 Cent), covering a wide spectrum of subject matter from his shooting to braggadocio to hustling and, of course, to making it happen with the ladies (okay; that sounded really lame).
Get Rich or Die Tryin' is considered by almost everyone to be 50's masterpiece, and many also consider it to be one of the more influential rap records of our time (most old-school fans will scoff at that, but there is truth to it).
So, let's get to it.
TRACK-BY-TRACK
1. What Up Gangsta
The album gets off to a great start, as Rob Tewlow (whom, as far as I know, we would never hear of again after this record, which is strange considering how good it was) laces a banging beat for 50 Cent to rip to bits. This is a very, very typical braggadocio track, but not many rappers have mastered that as well as 50 has. Also, how can you not love the hook on this?
2. Patiently Waiting
And the phenomenal start continues. "Patiently Waiting" is the best song on Get Rich or Die Tryin'; bar effing none. Eminem's beat is ridiculously dark, and both he (he drops a scintillating guest verse on this) and 50 go in, combining to form one of the best collaborations I have ever heard. Most will say that Eminem murdered Curtis on this, but I disagree, as I think Fiddy more than held his own. This is probably the best lyrical performance of 50 Cent's career.
3. Many Men (Wish Death)
A lot of people say this is 50's best song. I do not concur, as I feel "Patiently Waiting" (among a few others) have "Many Men (Wish Death)" beaten in that regard, but either way, this is still a very, very good record. This is without a doubt one of the most introspective raps 50 Cent has ever written, regardless of the fact that the content is pretty violent. The instrumental by Darrell Branch is an appropriate combination of darkness and somberness.
4. In Da Club
I have never understood what was so great about this song. I know you'll all probably think I've lost my mind after reading what I'm about to say, but I legitimately think that "In Da Club" is one of the worst cuts on the album. I have always felt that Dr. Dre's beat on this was very elementary, and I just never saw what was so catchy about the record as a whole.
5. High All The Time
Back on track. "High All The Time" isn't on the same level as the three-headed monster that opened up Get Rich or Die Tryin', but it's still pretty damn good. DJ Rad's production is outstanding, and what makes this cut even better is that it's not just a song about smoking. The hook here is incredible, and 50 Cent's flow is great.
6. Heat
This Dr. Dre-laced record is certainly a much better effort than "In Da Club," as the instrumental will make you want to punch the nearest object (so move away from the wall or any valuable items while listening to this). As I'm sure you can infer from the song's title, Curtis' subject matter is ridiculously violent here, but it fits in the context of the album.
7. If I Can't
The second-best track on the album. Dre's piano-driven beat is sick, and 50 engages in some more braggadocio rap, but even moreso than he did on "What Up Gangsta." "If I Can't" is easily one of the greatest pump-up songs you will ever have the pleasure of hearing.
8. Blood Hound
Young Buck, who would later become a member of G-Unit and then proceed to get kicked out of the group a few years later, made himself known to the world on "Blood Hound," and he does an adequate job. The song as a whole isn't fantastic, but it works, as Sean Blaze's production is solid and 50 Cent sounds pretty damn impressive over it. The hook is also pretty catchy.
9. Back Down
One of two Ja Rule disses on the album. This one was produced by Dr. Dre, but the beat, as menacing as it is, never really hit me that hard. That said, 50's bars certainly did, as hearing him say Ja Rule sounded like the Cookie Monster was just great. This signaled the beginning of the end of Ja Rule's career.
10. P.I.M.P.
This is a pretty polarizing song, as the beat, produced by Mr. Porter, is reggae-influenced, and 50 Cent basically talks about, um, being a pimp throughout the entire track. I've always been on the side that likes it. That's all I've really got.
11. Like My Style
Which brings us to the most underrated song on Get Rich or Die Tryin'. Seriously; no one ever talks about "Like My Style," and I really don't know why, because it effing knocks. The fast-paced instrumental by Rockwilder is ill, and 50 Cent's flow over it is crazy. Also, Tony Yayo makes a brief appearance in 50's first verse (albeit it was only one adlib) and then another one near the track's conclusion, and the funny part is I really, really dug his part in terms of the latter. I've always loved his "you're not, really really ready, ready, the drama will have ya ass in trauma, boy" line.
12. Poor Lil Rich
After eight years, I still haven't decided on whether or not I like this song. I do know that I've always loved the hook, but at the same time, Sha Money XL's beat just confuses the hell out of me.
13. 21 Questions
The song for the ladies. "21 Questions" is one of Curtis' most popular cuts, but, much like "In Da Club," I've never dug it that much. Nate Dogg (R.I.P.) makes an appearance and does the hook, but his effort just sounded lazy to me and was nowhere near what he was actually capable of. The production (by Dirty Swift of Midi Mafia) was nothing more than average.
14. Don't Push Me
The second (and final) Eminem production on the album. It is not even close to the level of "Patiently Waiting" and, quite frankly, I've always felt this song was pretty overrated. That said, I really liked Lloyd Banks' effort, even if it was incredibly amateurish compared to what Banks can do nowadays. As for Em's verse? Meh.
15. Gotta Make It To Heaven
"Gotta Make It To Heaven" is my least favorite song on Get Rich or Die Tryin'. As a matter of fact, it's the only track I always skip whenever I'm listening to the album. I just don't like it, as I think Megahertz's beat is awful.
16. Wanksta
The first of three bonus tracks (all of which were recorded before the time of Get Rich or Die Tryin', as I'm sure you can tell just from listening to the difference in 50 Cent's voice) on the album and 50's most famous Ja Rule diss. I used to like "Wanksta" a lot more than I do today, but it's still a decent cut. John "J-Praize" Freeman's instrumental is effective, and 50 once again gets at Ja Rule with no problem.
17. U Not Like Me
This record, which was originally on 50 Cent's 2002 compilation album, Guess Who's Back?, bangs. Red Spyda's beat possesses an extremely intimidating feel, and Curtis effortlessly tears it to shreds. Side note: "U Not Like Me" is best-enjoyed played in your whip. Believe me.
18. Life's On The Line
Like "U Not Like Me," this cut was also on Guess Who's Back? (not to mention Power of The Dollar), and this was actually the record that caught Eminem's attention. Terence Dudley's beat knocks, and 50 goes in like an animal and puts down some of his most violent raps ever (and that's saying something). The hook on this is simply terrific.
FINAL THOUGHTS
While I don't listen to Get Rich or Die Tryin' regularly anymore (frankly, I just got tired of it), it really was a great effort by 50 Cent and was certainly ahead of its time. The production remained relatively consistent throughout, and 50 never strays away from his tough-guy persona (I mean, you can even feel his swagger on "21 Questions"), making for a steady, enjoyable listen all the way through.
Many hip-hop "purists" will put this album down and say it cannot hold a candle to the classics out there, and while that may be true, I think it is very unfair to judge Get Rich or Die Tryin' in that regard. Instead, we should just focus on the individual product, and when you do that, you should be able to see that this was a pretty impressive record.
Curtis is obviously no wordsmith, but what he was able to do here was invoke a ridiculous amount of emotion (you can really just feel his hunger on "Patiently Waiting" and his pain on "Many Men [Wish Death]") into his songs, and sometimes that is more important than the actual lyrics themselves. Of course, due to his remarkable success, you don't see that with 50 Cent anymore, but he definitely displayed it on his sophomore effort.
Based on his three follow-up albums, I think it's a safe assumption to state that 50 will never come close to matching Get Rich or Die Tryin' again. I did really like Before I Self Destruct and think that's the closest thing since, but, in all seriousness, it really wasn't that close at all; it was just a lot closer than The Massacre and Curtis.
Get Rich or Die Tryin' flashed a hungry 50 Cent still trying to make it in the industry, and that is the main reason why it was such a successful album. Unfortunately, given that 50 can retire right now and be set for nine lifetimes, we will never see that Curtis Jackson again.
TOP FIVE TRACKS
1. Patiently Waiting
2. If I Can't
3. What Up Gangsta
4. Like My Style
5. Many Men (Wish Death)
SKIPPABLE TRACKS
Gotta Make It To Heaven
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
