Method Man – 4:21…The Day After review

Method Man is fed up. Maybe he’s been carousing the message boards, reading what the suburban kids have to say about (in their opinion) the floundering state of his career. Maybe he’s been strolling the street with his trademark swagger and the love’s not coming back the way it used to. Most likely, he’s still reeling from the debacle that was his last album.

In 2004, fresh off a valiant but ultimately failed jaunt as a sitcom joker on the prime time “Method & Red” and in the midst of a low level Wu-Tang revival (Ghostface’s The Pretty Toney Album left the heads wanting more) Meth dropped Tical O: The Prequel, much to the chagrin of fans and critics alike. Defending the project as doomed from the beginning, Mr. Mef was left with no other option than to apologize for an admittedly sub-par album that had all the Wu-Tang die-hards shaking their heads and wondering: When is Meth finally going to drop the flawless solo album he’s capable of making? And what the fuck is P. Diddy doing on a Method Man record?

Fortunately, the Ticallion Stallion is back, and he’s got a score to settle. Using a carefully selected and varied array of producers, Meth runs the gamut, banging out a radio-ready joint with Scott Storch (”Is It Me”) and then hitting up Erick Sermon for the grimy “Problem” on the very next track. Speaking of grime, RZA is back, playing a bigger role on the boards and making his presence felt on some of the best tracks on the album. “4:20″ is reminiscent of “Mr. Sandman” from 1994’s Tical, bringing back Carlton Fisk and Streetlife to drop some hard verses that hearken back to the golden age of the Wu.

Aside from brief guest verses by Fat Joe and Styles P and a pre-recorded Lauryn Hill loop on the mega-catchy single “Say,” the supporting players here are all Wu-Tang affiliated, which should keep the hardcore fans happy. “The Glide” is a genuine RZA beat: dark, orchestral jabs with dirty bass lurking in the background. Raekwon proves he is back in fighting form by kicking it off, and U-God and longtime Wu associate La the Darkman do justice to the tail end. While these Wu Fam appearances are peppered throughout the album, the most lively guest work comes fairly early in the proceedings. When ODB busts in slurring “fuck you” on “Dirty Mef,” you know it’s on. Seemingly back from the dead, it’s compelling to hear Dirt McGirt share a mic one more time with Johnny Blaze.

The weakest track here is “4Ever,” a love song that goes through the motions as it jacks its chorus from an old Atlantic Starr jam. Luckily, it’s tucked away at the end of the album and comes off as a completely forgivable indulgence considering the verbal barrage that precedes it. The production slips sporadically throughout the album, but Meth is always quick to pick up the slack and retain the feel before the album loses focus. As usual, the rhymes are reliable, with Method Man showing us why he is the go-to guy in the Wu and one of hip hop’s most sought after guest artists. The important difference here is his refined fury, a focused energy that surpasses the thematic elements of his previous efforts.

While this is arguably still not the end-all-be-all solo album that hopefuls have been waiting for Meth to pony up since the original Tical (an extremely underrated album), this is as close as he’s going to get. It’s not ‘94 anymore, and the hip hop landscape has changed. Method Man has changed. Considering everything that he has been through in a full and tumultuous career, this album should be considered a spot-on reflection of a man who’s place in the game should have been secured a long time ago. If his standing wasn’t locked down in some doubter’s eyes previous to this, 4:21… should serve as the record that will force them to wise up.

Method Man – 4:21…The Day After review

Black Market Militia review

Black Market Militia was released a year ago, and it has remained a very slept-on album, even in independent circles. All the while, every set of ears within the vicitiny of a radio is bombarded, Clockwork Orange style, with sub-par hip-hop. Why?

To be fair, at least Black Market Militia understands it is not speaking to the usual rap fan. Instead, it chooses to address those whose thirst for revolution was not quelled by Bacardi. Its members channel spirits rather than imbibe them, and they spit over beats laced with church organs, gospel choirs and other religious artefacts, each in turn dropping science from their digital pulpits to great effect.

Certainly, there is a great appeal in the myth of the holy warrior, killing for justice, like a whirling dervish in a godly trance. Black Market Militia resounds as such, tales of vision quests, violence, and revolution abound. They are like the Boondock Saints: divinely inspired, mystic do-gooders with guns. But much like the gun-toting vigilantes of the movie, Tragedy Khadafi, William Cooper and their ilk are strong on feeling, but often short on genuine solutions. What exactly does “Support the struggle with the hustle” mean, and how is it going to help me get off welfare?

M1 and Sticman (Dead Prez) exemplify this with their verses on Audobon Ballroom. Reaching upward once more from the depths of Revolutionary But Gangsta, they lend weight to the countercultural aspect of Black Market Militia. Like Black Panther enforcers at the fringes of a basement meeting, however, their presence here is meaningful, but it’s also easy to realize that they really aren’t saying much.

At the core of the album lies the track Righteous Talk. In this space, classically reserved for ’skit’ tracks, lies the album’s core message. In it, an old man reveals to Timbo King: “To me [...] Malcolm was a gangsta. Huey P. Newton, now that was a gangsta, Timbo.” And later: “I just wanna see more life [...] Everybody running around talking about they this Unit, and [...] I just wanna see more life in the music, for the babies.” But does the album inject life into the drab landscape of modern hip-hop? It is by this measure by which Black Market should be judged.

Re-awakened by this interlude, the second half of the album entices the listener with tight beats and words that strike with far more potency. Final Call uses the voice of Abiodun Oyemole of the Last Poets, who wisely addresses the self-defeating nature of hip-hop in his far too brief appearance. Black Market and Think Market follow, completing the foundations of what should be the house that revolution built.

Throughout the album, it is clear that Killah Priest is the leader of this militia. With props to the previous generations of civil rights and counter-culture, he and his apostles are leading the faithful to a promised land, though where it is and how it will happen are uncertain. Whether you are in it for beats, or a glimmer of hope that revolution is not dead in a culture spawned by the dis-enfranchised, you will find a lot of what you like in here.

Black Market Militia review

Think Differently Music Presents – The Great Migration review

The Wu is back…actually scratch that the Wu never left.

Wu-Tang affiliate, Bronze Nazareth, is making moves in the hip hop world with his newest release, The Great Migration. The album is as creative and daring as any Wu-tang project has ever been. Constant production and movements in the camp is a testament to the Wu’s everlasting effect on hip-hop music. It also solidifies the Wu as still having one of the most innovative and daring groups in music today.

The theatre-style intro track let’s audiences know before they even get to the first song that The Great Migration is more than an album, it’s a show.

The Great Migration is a great debut for Bronze Nazareth, the RZA’s newest protégé. Bronze was previously making some noise in some inner hip hop circles prior to the album with his, ‘Thought for food’ mix cd, which he now proved was just a sample of what was to come.

The super producer is not new to the game. He has worked in the past with artists like GZA, Ras Kass, Del the Funkee Homosapien, Black Market Militia, Afu-Ra and Planet Asia, to name a few.

Bronze claims to be a student in the school of life, and by the content expressed on the album, it seems that he very well is. Everything to do with the trials and tribulations of life is covered in some way or manner on the album.

The record is filled with great soulful sampling as well as some samples from popular hip-hop bangers. Keeping true to the Wu-tang style of production the album has a few skits as well as a few instrumental breaks.

Think Differently Music Presents – The Great Migration review

GZA – Legend Of The Liquid Sword review

Wu-Tang Clan is slowly trying to redeem themselves. Ghostface Killah’s last 2 LPs along with “Iron Flag”, the Wu returned

making some well-respected music but did not reach the success that was gained in their earlier years. Gza aka The Genius was one of the least popular members but he always was one of the most respected on a lyrical level. His voice does not change often and his delivery (while on point) remains somewhat redundant sounding. For Wu fans and critics, Gza’s lyrics got the attention of hip-hop lovers. His first solo album with the Wu was considered a classic. “Liquid Swords” was dark and gritty and sandwiched between the successful “Only Built 4 Cuban Linx” (Raekwon) and “Ironman” LP (Ghostface). After the 3rd solo LP (2nd while in the Wu family) “Beneath The Surface”, Gza disappointed many people. Now, as Wu-Tang is in the process of redemption, Gza/Genius is attempting to regain his thrown that he sat on when “Liquid Swords” was released. His latest LP, “Legend Of The Liquid Sword” displays his obvious attempt at reclaiming previous success. “Legend” is a thicker LP than “Beneath The Surface” but it does not have that Rza production that the original “Liquid Swords” had. Still, Gza remains faithful to the Wu-tang style. The beats thump hard and the loops are short and effective. This simple yet lush arrangement of sound makes the listener focus on Gza’s rhymes.

The best songs possess that delicate balance where Gza and the production work well together. “Auto Bio” (produced by Waxx) uses a very light and simple keyboard melody that is contrasted by a very lush orchestra loop reminiscent of Blaxploitation films. (It’s the same loop used in Prodigy’s “H.N.I.C.”). With fierce confidence, he delivers both simplistic and deep rhymes about his life. “…I was born, with the mic in my hand / Then I took it from Medina, to the S.I. land / I pulled up on the block / Got out the truck, it was the first of pit stops / The era of the spinnin tops, the birth of hip-hop…” The hook is done well too as it compliments the loop. “Silent” (featuring Ghostface Killah & Streetlife) is very cool posse cut produced by Bink. All 3 emcees do an excellent job on the mic. Without a hook, the rhymes and the beat are infectious. Ghost sounds hungry as ever. “Sparring Minds” features Inspectah Deck and was produced by Arabian Knight. The thick blues guitar sound gives the track a gritty and dark mood. Of course, Gza and Deck rock the mic. “Fame” and “Animal Planet” follow the same formula as Gza’s past lyrical exercises like “Publicity” and “Labels”. On “Fame”, Gza strings along different celebrities in every line and on “Animal Planet”, he attempts to do the same using the metaphor of the ghetto being a jungle. “Fame” (produced by Arabian Knight) is the most clever of the two. “…They was told not to ride in Patty’s Hearse / and stay out of Charles’ Manson / Took Abraham’s Lincoln through the Todd Bridges expansion / Willis Reid’s a map that marks the spot showing / On his left George Burns a blunt William’s holding…” The beat and piano loop is very basic but a nice violin loop creeps in along with some very cool scratching (which Wu-tang should use more). “Animal Planet” does not work as well on lyrical level but the production does. The vocal samples and the beat create the darkness and mystery of streets in the urban jungle. The Rza produced, “Rough Cut” features Prodigal Sunn & 12 O’clock has a catchy up-beat sounding chorus along with some 90’s deliveries. It’s very bright-sounding for a Gza LP but it does work. That classic Wu-tang feel comes back with “Fam (Members Only)” featuring Rza and Masta Killa was produced by Mathematics. A sped-up vocal sample is even used with a thick snare and karate samples. Once again, all 3 emcees bring their own flavor to the stew.

Other songs have catchy hooks that only Wu-tang can pull off. “Did Ya Say That” (produced by Boola) is one of the catchiest hooks on the album. Gza rhymes about the insanity and pitfalls of the record industry. Gza’s high-pitched voice on the half-sung hook sticks in the listener’s head. “Knock, Knock” (produced by Waxx) is another extremely catchy track in the same spirit as “Breaker, Breaker”. Gza basically yells the hook but the LP is edited on some songs. Since this was one of the LP’s major singles, the hook feels a little tampered. “Knock! Knock! Who the {scratch} is banging on my door?!?!” The loop sounds slightly like Rakim’s “Microphone Fiend” brings and intense energy to Gza. The edited version of the song placed on the explicit version LP makes me feel cheated.

Some songs have hooks performed by other people. They all work but they do not amaze. “Highway Robbery” featuring Governor Two’s (produced by Arabian Knight) does not have anything special in the production but Gza does give a solid performance on the mic. The reggae hook by Governor Two’s also adds a nice variation to the album. “Stay In Line” (featuring Santi White) is a moody little track with a cool driving rhythm and melody along with keyboard-led horns. The sung hook is mellow and glides with the beat well. Still, the song can be categorized as a quality filler track. The title track “The Legend Of The Liquid Sword” (produced by Jaz-O) features Anthony Allen on the hook. Once again, the very simple keyboard melody gives Gza plenty of room to flex his lyrical muscles over the beat. Allen sings like he’s doing a Curtis Mayfield impression. Still, the song does work even though it is not mind-blowing.

There are some tracks that take a while to grow on the listener. “Luminal” (produced by DJ Muggs) has no hook at all except for some fake news footage sounds. Gza tells an eerie tale over a hypnotic beat. The final track “Uncut Material” was completely produced by Gza himself. Alone on the mic too, Gza has a conversation with himself on the hook. It turns out to be a cool track. While “Legend” does not have any bad songs and can be considered a quality Wu-Tang product, there are some problems with this album. First, Gza edited some of the tracks so he would not get an “explicit lyrics” sticker. It did not work. The sticker is there but the curses are not. I like my hip-hop dirty and explicit (especially Wu-Tang Clan!) This made me feel cheated in a way. Second, “Liquid Swords” is a tough LP to top. Nas has the same problem with “Illmatic”. Beastie Boys have it with “Paul’s Boutique”. Even though he made different LPs, every future Gza LP will always be compared to his classic “Liquid Swords”. Sure, “Legend” is nowhere near as dope as “Liquid Swords” but it is much better than “Beneath The Surface”. “Legend” is just as dark but there are some catchy hooks and deep lyrics. Also, the guests generally take a back seat on this album. One good thing about this album is that Gza’s vocal performances vary. On “Did Ya Say Dat”, he uses a high-pitched half-singing voice. It shows that he’s taking some chances. Third, the simple loops and beats (although lush and full) do not always hit or inspire the heart of the listener. If you are not a strong fan of Wu-Tang or Gza, this LP will either have to grow on the listener or they will have to be in the mood for it. Wu-Tang family producers Rza and Mathematics only produce one song each. Even though a good portion of the beats do hit hard, their presence would be appreciated.

“The Legend Of The Liquid Sword” is part of the Wu-Tang Clan’s comeback. He even fell a little bit with his last solo LP “Beneath The Surface”. Even though “Surface” was decent, “Legend” redeems The Gza. Here, Gza took time and honed craft. This is an album for Wu-Tang fans and fans of Gza. While some catchy hooks may bring some new listeners, only the true die-hard Wu-Tang Clan / Gza fans will appreciate this LP. It is ironic that Gza named this LP “Legend Of The Liquid Sword” since he will always be compared (or made reference to) his solo classic “Liquid Swords”. While Ghostface Killah continues to release quality Wu-Tang LPS and we wait for Method Man to release something else, Gza’s “Legend Of The Liquid Sword” will satisfy the listener’s thirst for dark, hardcore lyricism.

GZA – Legend Of The Liquid Sword review

Masta Killa – No Said Date review

The unknown intrigues us all. As a society we tend to gravitate towards the unknown and the mysterious. In the world of Hip-Hop one of the most intriguing figures is Masta Killa. It is hard to believe Masta Killa is the only remaining Wu member left without a solo debut. Ever since 94′ Masta Killa has been that mysterious member, lurking through the shadows, playing the backdrop on most occasions. It is this dark, haunting image that has attracted many to Masta Killa. While most of the Wu are Hip-Hop icons, Masta Killa has remained the dark child of the group for almost ten long years. Fans have eagerly awaited an album from Masta Killa for years, only now to have some light shined upon them with finally some new material released. While not a debut album, Masta Killa releases his debut mixtape venture “No Said Date”, which features a combination of classic Masta Killa verses and tracks along with 5 new joints.

While The Wu Tang Clan has been in disarray for years, many proclaim one of the few members who can save the Wu dynasty is its last remaining one Masta Killa. M.K. represents what the Wu was about in their glory days before the fame and the stardom. Killa continues to be one of the Clans leading dartsman, putting forth remarkable verses one after another. Most of “No Said Date” features some of Killa’s best performances and appearances. You have the classic Wu Tang joints of “Mystery Of Chessboxing”, “Triumph”, “Uzi” & “The Jump Off”. Two of more slept on Masta Killa verses are featured on the classic “Wu Gambinos”, which was featured on Raekwons legendary “Cuban Linx”, and “Duel Of The Iron Mic” from Gza’s “Liquid Swords”. Other overlooked gems are scattered throughout the album such as Gza’s “Breaker Breaker Remix”, Inspectah Deck’s “Friction”, ODB’s “Snakes” and “Winter Warz” by Ghostface.

However, the real reason for any Wu fan to pick up “No Said Date” is the inclusion of 5 new joints never heard before. It only took a decade in the making but it seems as if Masta Killa is finally making some progress towards releasing a debut album. The title track “No Said Date” is vintage Wu Tang material complete with laser sharp darts by Killa on the mic and classic Wu production. Killa breaks down the almighty question plaguing Wu heads for years, “where has Killa been”? “They said the god wasn’t never coming home, grandma in a nursing home, my mind is blown, I’m known to walk alone but the fam is deep, yeah we all love heat…when you dropping no said date”.

Bringing it back “crazy old school” style, Killa dedicates “Digi War Fare” to Hip-Hop’s pioneers such as Marley Marl, Jam Master Jay & Red Alert. “Digi War Fare’s” rough yet funky production, along with a vintage Wu vocal sample, make the track feel like 96-97 all over again. “Old Man” featuring Rza is a solid effort even though the Rza production is average at best. Rza’s funky beat is of the usual Wu caliber of late, short simplistic loops, nothing too complicated or mind-blowing. The finest effort on “No Said Date” comes from one of the more unique and surprising tracks “Queen”. Those that thought Masta Killa would not be able to provide diversity in his material can be proved wrong with “Queen”, a sensual effort from Killa dedicated to all the woman out there. Laced with a beautiful vocal sample, “Queen” is uncharacteristic of the Masta Killa mold but shows his ability to not only make good songs (something critics had their doubts about), but also to provide diversity and originality.

While only a mixtape, “No Said Date” puts some hope into Wu fans that maybe someday Masta Killa will finally release that debut album we have all been waiting for. With the state of the Wu up in the air, Masta Killa maybe the Wu’s last and final hope at resurgence. Who would have thought back in 95′ the Wu’s future would lie on the shoulders of that dark, unknown emcee nobody knew about. If Masta Killa can take that gloomy personality and mix it with razor sharp lyricism and truly worthwhile production, then maybe the wait will be well worth it after all these years.

Masta Killa – No Said Date review

Ghostface Killah – Supreme Clientele review

As this is one of the first albums of 2000 I got to review I hope its an indication on what hip hop has in store. What does that mean?, well this album proves the Wu still can bring the muthafucking ruckus. Over the last 2 years we’ve been inundated with disappointments and delays from the Wu and even I had had enough by the time we reached Raekwons poor ‘Immobilarity’, this restored my faith in the Wu. No Introductions needed, Ironman is back with a sophomore album that almost lives up to its predecessor, not even the GZA could get this close.

It seems Ghostface hasn’t changed much since his solo debut on ‘Ironman’, and that’s what has made this album a success, early indications with ‘Mighty Deadly’ and ‘Apollo Kids’ suggested there was a different sound emerging but as a whole entity this album is a nice continuation of the his debut. ‘Cher Chez La Ghost’ is probably the most abstract track on here that doesn’t identify with the Wu-ness but that doesn’t mean its bad, just different. Its hard to distinguish the good from bad on here, maybe after constant listening I’ll discover I am bored of this track or that track but for now I’m content with the whole thing. If you want a taster of highlights then read on.

The Wu are always present on each other’s albums, although it used to happen a lot more we get 2 great treats on ‘Supreme Clientele’. The great ‘Buck 50’ is just amazing, I really can’t stop playing this one, it stands out as one of the albums many highlights and is full of that raw dark energy missing from the Wu sound over the past few albums, nothing has even come close to matching this. Ghostface is helped out by Cappadonna, Method Man and the only Non Wu member to rip it up since Nas did on ‘Verbal Intercourse’, that’s the funk docta spock Redman. The other track ‘Wu Banga 101’ is again more reminiscent of something that would have stood out on ‘Liquid Swords’ or ‘Cuban linx,’ GZA, Cappadonna and Raekwon help out with the verses and is that Masta Killah without his talking flow? Yes he’s actually listening to the beat.

I really gotta comment on the production here as it is a return to form, where there have been cheap and nasty beats or just plain mediocrity from the Wu lately, ‘Supreme Clientele’ is all about quality. RZA has done a good job, showing that he really hasn’t lost his touch, while elsewhere Mathematics and Tru Master aid the proceedings. One of the standout contributions from outside the Wu camp comes from the Beatnuts JuJu on the current single ‘One’ and it fits right in. ‘Stroke of death’ sees Ghostface hitting a new sound again, it seems awkward at first but then you realize how good it actually is. You’ll also find familiarity with a lot of the beats, I mean ‘Stay True’ for instance was used for the Inspektah Deck album on a track called ‘Elevation’ (But that’s nothing as this is a short track) and ‘Saturday night’ uses the same loop as ‘The mayor’ that Pharoah Monch laid sound for his Soundbombing 2 excursion. Elsewhere you may find the odd loop or beat you recognize but those thick orchestral soundscapes have returned and dominate the album on tracks like ‘We made it’ and the layered intro that is ‘Nutmeg’.

Ghost is constantly criticized for his lyrics because they seem to make no sense, well yeah a lot of it is thrown together but with his flow it seems to make sense in just sounding fucking good, this is because of his extraordinary mic presence and passion for delivering fire in his verses. Listening harder though its just that Ghost is talking in a way which is like his mind flying in all different directions, hardly staying on the same subject for more than 2 lines, there’s no rules to hip hop so who has their say on what he can and can’t talk about and in what way? So what is Ghostface’s secret for breaking the sophomore jinx and a line of inconsistency and bad quality from the Wu? Who knows let’s just enjoy the music and hope this is the shape of things to come.

Ghostface Killah – Supreme Clientele review

Killah Priest – View From Masada review

Killah Priest hits us with his sophomore album, ‘View From Masada.’ The new album features guest artists, Canibus, Ras Kass,

and The Maccabees. When you hear this album, you can tell that it follows the trend that pretty much every second Wu-album that has been dropping lately (with the exception of Supreme Clientele). If you judge it against all the other crap that drops at your local Record Town, the album is tight as hell. But when comparing it to the classic Wu-tang albums, it’s just average. Overall its pretty tight, it definitely grows on you.

In 1998, Killah Priest released the gem, ‘Heavy Mental.’ It’s pretty hard to match an album like that. On his first album, KP seems to drop jewels and knowledge with some mystic beats, but on this album he seems to want to come off more thuggish (more like ‘Cross My Heart’). If his intentions were to appeal to a bigger, more mainstream crowd, then it’s just going to backfire in his face. Realistically, the people who are going to buy this album are the Wu-fans so he should have just stuck with the chemistry that made his first album a classic.

The main problem with this album is that it was not produced by RZA. I’m not saying that the beats are bad, but RZA has a way of making an album unified so that every song seems to belong. Instead, this album was produced by a variety of different producers. A lot of the beats sound like beats from The Firm album. The rest of the tracks have a completely different sound to them. One even sounding very west coastish. If you listen to the album all the way through you can tell that it doesn’t fit together and a lot of tracks sound out of place.

Other than some of these drawbacks, the album is pretty tight. High points being, ‘Maccabean Revolt,’ and ‘If I die’ (both tight beats, and lyrics as if they were from Heavy Mental). If you are into Da Horsemen, ‘Bop Your Head’ is what you’re looking for (it’s just the renamed version of ‘Priesthood’).

Overall if you are a Wu/KP fan, you should definitely get the album, even though most of you won’t like it as much as the first, it is still worth getting. If you though the first album was too mellow then you will definitely change your mind about this one. It could have been better if RZA put it together but that would be too much to ask from a busy guy like him wouldn’t it (written in a semi-sarcastic tone). Pick this album up, or at least take a look at the tight cover artwork.

Killah Priest – View From Masada review

GZA – Beneath The Surface review

I always knew Gza would never create a masterpiece similar in vein to liquid swords but I’ve noticed his absence from nearly every Wu cameo in the last 2 years (apart from Deadly venomz ‘One more to go’) so I had a feeling he was up to something.

Out of nowhere and on time, the GZA delivers his 3rd solo album to the masses which is some mean feat if your down with Wu-Tang, delays and setbacks mean we usually wait 1 year plus after hearing they are gonna drop an album. Its difficult not to compare this to the last opus he dropped, some things are similar, a ‘labels’ type joint, a track where he don’t appear at all and of course the lyrical sharpness of Maximillion. So its time to leave the comparisons with Liquid Swords there, I’m looking at this album as totally different and looking for the Wu to regain their crown

The album begins like an advert for his return, which is really unnecessary, as when the strings kick in during the first minute no introduction is needed Genius has returned. The beat heavy ‘Amplified sample’ is the first real test of whether he still has it and you guessed it, he passes with flying colors. Straight afterwards the Title track confirms that the Genius has been sorely missed by all of us, with a hint of familiar production underlying. This isn’t vintage Wu its Wu2000 and Killah Priest drops by for the first of 3 tracks he guests on throughout the LP. Why 2 skits appear one after another I ain’t sure so like every other skit they become boring after about 4 listens but who cares because it lays straight into ‘Crash Ya crew’, now this track is tha shit. I only have one problem, ODB!! I mean he’s screaming mad on this and it can get annoying, now if he’d dropped a verse it would have made this track even better than it is now, a few desperate yells won’t do.

You should have all copped the 12″ ‘Breaker Breaker’ with the flipside ‘Publicity’ by now but for those of you who been on another planet you should know that ‘Publicity’ is the current Wu banger that takes Magazines names in the same way as Gza did on ‘labels’ and flips them with clever wordplay into his verse over a very dope Mathematics beat. Now ‘Breaker Breaker’ is completely different, it’s a bit too light with its sample courtesy of Arabian Knight although GZA is consistent with lines like ‘You break the mirror that reminds you of ya ugliness’ it just seems too ‘Clean’ in its sound. Its not gritty enough, maybe if he had done his whole verse down the walky talkie like he did the hook it would have sounded better.

‘High price’ featuring Masta Killa is far too short, this track is more of that good shit and Masta Killa again shines due to the fact that on here at least he’s dumped the talking flow he adopted for the last 3 years, he’s actually riding the beat. Masta Killa also pops up in top form again on ‘1112’ along with Killah Priest and female emcee Njeri to create a hectic sounding track that stinks of greatness.

Its not a Wu album without collaboration with the rest of the Wu but this time round Gza seems to have opted for one or 2 core members and showcasing more of the Wu-elements. These collabos are probably some of the albums best points, ‘Stringplay’ with Meth is ill as fuck and ‘Feel like an enemy’ which doesn’t even feature GZA, has Hell razah, Killah priest and Trigga on there. The best out of all 3 is definitely ‘Hip Hop fury’, its bells of war are aided by a hook from RZA, a verse from Hell Razah and ya know Timbo king and the Fam had to drop by. That track along with the Outro that Timbo and La the Darkman assist in dropping verses over that Ill string loop we hear in the intro only has me waiting harder on this Royal Fam album.

This album remains consistent throughout, even leaving on a high with the closer that is ‘Mic Trippin’. You can’t really call any tracks mediocre on here at all, it stands head and shoulders above any Wu related release we’ve experienced lately. If I only have one problem its that it way to short but that’s always a trait of a good album, to actually leave you wanting more. But less than 50 minutes is very short and with 5 skits making up the 18 tracks it seems like a waste.

GZA – Beneath The Surface review

Inspektah Deck – Uncontrolled Substance review

While many albums seems to come out weeks after being announced, waiting for Inspectah Deck’s LP has been a trying experience at best. Release date after pushed back release date has passed, with no sign of a finished record. Though Loud

seem to be having trouble releasing CDs and Mobb Deep’s new album is getting more promotion, I’m happy to say that I’m reviewing Inspectah Deck’s debut. So, does it live up to the hype?

To be honest, not really. You see, while ‘Uncontrolled Substance’ is very good, expectations were so high that it was bound to disappoint. But lets start off with the good points. The obligatory Wu-tang posse cuts are here, with ‘9th Chamber’ and ‘Grand Prix’ representing that a nice track featuring several wu members can still be made, despite the criticism that wu has been receiving as of late. Though it is far too short for decent verses from all participants, ‘9th Chamber’ is the better of the two with LA the Darkman, Street Life and Killa Sin rapping over a track reminiscent of older Wu-Tang times.

However, Deck can still carry a song by himself, don’t worry about that. ‘REC Room,’ which has been floating around since Loud’s ‘Brolic’ compilation was released, is Deck at his best, over a nice beat kicking his usual high-quality lyricism. ‘Movers and Shakers,’ another upbeat track, is also masterfully rhymed over by deck, showing his large amount of skill and talent. The last track on the LP, ‘Show and Prove,’ features lyrics which touch more depth than Deck usually does, and shows that he can pull this off with ease.

Deck also manages to show his versatility on several tracks where he weaves a tale together, including ‘Word on The Street’ and ‘Femme Fatale,’ both telling interesting stories and putting Deck over nice beats. Other tracks including ‘Longevity’ show that over almost any kind of production the Rebel INS manages to stay consistent and proves himself to one of the finest emcees currently making music for a major label.

But, just as great production made the old Wu albums classic, generic, unoriginal beats keep ‘Uncontrolled Substance’ from being in the same league as ‘Only Built 4 Cuban Linx’ and ‘Liquid Swords.’ Even the better sounding tracks sound pretty dull when in comparison to the finer moments of RZA, True Master or 4th Disciple. Though this doesn’t take anything away from Deck’s rapping, it makes the album as a whole worse.

In the end, if you’ve waiting years to hear Inspectah Deck make a full LP, you will most likely not be happy with ‘Uncontrolled Substance.’ However, after you’ve taken a bit of time to get used to the tracks and tune into Deck’s lyrics, you’re sure to get some rotation out of this record. Recommended, but not as highly as I’d have liked.

Inspektah Deck – Uncontrolled Substance review

Raekwon – Immobilarity review

I really had my hopes up that this would be the album that would restore my faith in the greatness that was once the Wu-Tang Clan. Sadly this is the last straw for fans of the Wu like you and me, we shouldn’t have to put up with this. ‘Cuban Linx’ was a classic album so obviously its gonna be hard to follow that up, but a decent effort isn’t even show here, its just poor. Now the main problem with the Wu lately has been the lack of RZA, and with his very few appearances a drop in quality and that’s putting it lightly. Where Rza was once dominant over a Wu-tang album he merely just signs on as ‘Executive producer’ these days and he doesn’t even do that here. Raekwon holds his own, he’s still coming out with the same stuff lyrically as he always has but there are 2 things missing from this album. First off its good production, Rza may be lacking but Raekwons choice of producers have just come with cheap sounding beats and basic mediocrity, only a handful of tracks make me listen to them the whole way through. Second, its Ghostface, the tag team partnership is sorely missed here, the 2 bond when they collaborate on a track and carrying most of the album on his own is something new to Rae and while he tries his best it just don’t work.

The album builds up with an intro that is reminiscent of the plan in ‘Striving for perfection’ a beautiful layered beat accompanies Rae here so why the hell didn’t he rhyme over it? ‘Yae Yo’ starts the album nicely but unfortunately this is where problems begin, it’s a nice fast paced track that should have set a standard for what’s to come but it just slowly goes downhill from here. ‘100 rounds’ and ‘Friday’ have a west coast feel to them but it’s a vibe that Rae cannot adapt to as he sounds awkward and out of time. The same thing can be said about ‘Heart to heart’ which sounds more like a freestyle over a beat used a thousand times before. Things are not looking good so far are they? Embarrassing is the only word that can sum up ‘All I got is you part 2’, while this could have been a heartfelt tribute to his mother it comes off corny as fuck. Bub could have brought some real soul to this with the right music and made a credible follow up to Ghosts Vivid account on the original but this is really bad.

The best track of the album is without a doubt the DJ premier-esque sounding ‘Sneakers’ where Raekwon does a GZA ‘labels’ type thing (But not as clever) with the brands of footwear he’s feeling. Then there’s ‘Live from New york’ the first single which is not amazing but stands out here. ‘Real life’ with its tripping beat and low key pianos definitely provides perfect material for Raekwon to perform at his best, even close to a Cuban Linx type track.

I always thought Raekwon was the greedy one, the one who wanted all the best beats to lay his verses upon but with the absence of RZA it seems he has picked any old cheap and nasty backdrop to lay his verses upon. The Wu are also painfully absent from this album, while the absence of Ghostface is understandable with his recent incarceration we only get mediocre appearances from Masta Killa on ‘The table’ which is still one of the better tracks and Method Man on ‘Fuck them’ . So while it’s a test to see if an emcee can hold his own without a slew of cameos cluttering up an album its something Raekwon could pulled off if only he had at least had good production to go with it.

Raekwon – Immobilarity review