Here's my theory as to how this project came to exist. Dreddy Krueger, who was a rapper in the Wu-Tang Clan affiliated Royal Fam in a past life, started up his own vanity record label, and called it Think Differently, a name inspired by a series of Apple advertisements back in the day (hence the album cover logo, which rips off a certain high-powered corporation who is doing their best to brainwash everybody in America into inserting those little white earbuds into their brains). The label was originally started up as an official outlet for unreleased Wu-Tang Clan material: its first releases were all mixtapes filled with rare songs and remixes. But Dreddy soon felt the need to branch out, signing actual artists to the label while securing a distribution deal of its own, with Babygrande. The label itself doesn't seem to exist anymore, and its artists were all absorbed into the Babygrande fold, but in its short lifespan, it released one especially interesting project, entitled Dreddy Krueger Presents...Think Differently Music: Wu-Tang Meets The Indie Culture (which I will shorten to Wu-Tang Meets The Indie Culture for the remainder of this write-up).
Dreddy Krueger envisioned an album made up of the distinctive beats that the WU-Tang Clan were known for, mixed with the abstract lyricism that only the underground's elite could provide. Dreddy embraced the do-it-yourself indie culture with open arms, and sought out only the best artists and producers all by himself. Given his work ethic, he soon obtained contact with the likes of Cannibal Ox, Del Tha Funkee Homosapien, Aesop Rock, R.A. The Rugged Man, and more, and found his beats with the help of Wu-Tang affiliate Bronze Nazareth, Preservation, and the kingpin himself, The Rza. He also signed on a number of Wu and Wu b-team members to participate, including The Rza himself, Gza/Genius, U-God, and others.
Wu-Tang Meets The Indie Culture was highly anticipated ever since it was first announced, mainly because it featured a collaboration between The Rza and MF Doom, but also because the idea was something that the Wu fans that remained could get behind: listening to their favorite artists in an entirely new chamber, watching them adapt to the styles and behaviors of those outside of their inner circle. It was an admirable effort, even if Dreddy Krueger failed to get behind the mic himself (which is too bad, since I quite enjoy his work).
1. INTRODUCTION
After stealing the intro that HBO uses to distinguish their own original programming from the movies that they show, Wu-Tang Meets The Indie Culture begins with an all-instrumental interlude. I would go so far as to call it theme music, had the theme been carried throughout the disc as a whole.
2. LYRICAL SWORDS (GZA/GENIUS & RAS KASS)
A pretty good way to start things off. Nice to know that Ras Kass can play nice with someone from the Wu that isn't The Rza or Killah Priest. Rassy kind of takes over the track when his verse kicks in, and the Bronze Nazareth instrumental runs for much longer than it needs to (was there supposed to be a third rapper jumping on at some point, Bronzey?), but this was still pretty nice.
3. SLOW BLUES (VAST AIRE, TIMBO KING, PRODIGAL SUNN, & BYATA)
If this was your only frame of reference for Cannibal Ox's Vast Aire, then you would probably think that the man sucked behind the mic. Those of you fortunate enough to already be familiar with The Cold Vein will fins that Vast sounds a bit challenged by Bronze's instrumental, but he adapts quickly enough, ensuring that this song fucking rocks, even with Timbo King (of Royal Fam) contributing a verse. Nice use of the harmonica, as well.
4. STILL GRIMEY (U-GOD, SEAN PRICE, PRODIGAL SUNN, & C-RAYZ WALZ)
U-God (him? Really?) doesn't ruin Preservation's beat, but I still didn't care for his verse or his hook. Sean Price, however, furthers my need for an all Wu-Tang/Boot Camp Clik collaborative album ASAP. This track was alright, but I will say that it isn't on the same level as the two which preceded it, so we've hit a speed bump of sorts.
5. SKIT
Dialogue taken from Enter The Dragon. Not as obscure as I would like in my Wu-Tang kung fu samples, but whatever.
6. THINK DIFFERENTLY (CASUAL, ROCK MARCIANO, VORDUL MEGA, & TRAGEDY KHADAFI)
This was always one of my favorite songs on the disc. Both Casual and Rock Marcy decimate Bronzey's knocking beat. Tragedy's final verse brings the energy down a bit, but this shit fucking rocks regardless. You're left wondering how this would have sounded had Bronze Nazareth given this beat to the actual Wu-Tang Clan, though.
7. INFOMERCIAL #1 (JIM JARMUSCH)
Jim Jarmusch, indie film director (among other things, he's best known for Stranger Than Paradise, Coffee & Cigarettes, and Ghost Dog: The Way Of The Samurai, which was scored by The Rza), was ostensibly chosen to provide interludes for this project due to his status as an independent entertainment king. Also, because he's friends with The Rza, Gza/Genius, and Dreddy Krueger. An inspired choice, regardless.
8. BIOCHEMICAL EQUATION (THE RZA & MF DOOM)
A collaboration between production weirdos Prince Rakeem and MF Doom should have made my head explode. Instead, when I first heard this song, I was bored to death. Instead of filthy drums or Hanna-Barbera cartoon samples, we get Rza's digital orchestra, which doesn't seem to suit either rapper's rhymes. I wonder if Doom has a remixed version of this track, one which features his own beat versus The Rza's, locked up in a vault somewhere.
9. O.D.B. TRIBUTE (DJ NOIZE)
Borrows the eulogy used in the funeral sequence of Four Weddings & A Funeral to pay homage to the late Ol' Dirty Bastard. Nothing more to say: the title is fairly self-explanatory.
10. FRAGMENTS (DEL THA FUNKEE HOMOSAPIEN)
Kind of awkward, and not everybody will appreciate Del's flow. As the title suggests, Del's verses all sound a bit incomplete, as if the audience has been deliberately deprived of the information needed to piece this puzzle together. Bronze's beat isn't bad, but this song is more than a little bit frustrating.
11. INTERMISSION
A brief instrumental-slash-potty break.
12. STREET CORNERS (BRONZE NAZARETH, SOLOMON CHILDS, & BYATA)
This wasn't bad at all. With a title like that, one may expect a high-energy description of life on the corner, but Bronzey's own beat invites more of a quiet reflection than bombast, and all three emcees, including the producer himself (who, surprisingly, hadn't shown up behind the mic at all until this point) follow through effectively.
13. LISTEN (LITTLES, KHALID, & PLANET ASIA)
Complements the previous track very well, although this one will get more heads nodding. Former Mobb Deep associate Littles goes the metaphor route, while the other two clearly do not, but this shit still bangs.
14. INFOMERCIAL #2 (JIM JARMUSCH)
...
15. VERSES (SCARAMANGA SHALLAH, LA THE DARKMAN, RAS KASS, & GZA/GENIUS)
That has got to be one of the most literal titles in all of hip hop. All four artists rip shit over this DJ Noize production, which is so smooth it could be used as an alternate score for On Golden Pond. The standout is Rassy Kassy, though: that guy should just align himself with the Wu, since he fits their beats much more than he does his own. He should also record an entire joint record with the Gza, as this is the second song on this project that they both appear on, and they're both pretty good. Just putting that out there.
16. PRESERVATION (AESOP ROCK & DEL THA FUNKEE HOMOSAPIEN)
Aesop Rock and Del (again) rock the same sample that Dr. Dre twisted into a mild radio hit for Eminem ("Crack A Bottle", if you're like me and have already pushed that crappy track out of your subconscious). I will admit, those of you who didn't hear this track prior to Marshall's take will be too distracted to pay it any mind, but for what it's worth, it's alright. Nothing special (Aesop and Del perform admirably over producer Preservation's beat...hey, wait a minute), but nothing great, either.
17. CARS ON THE INTERSTATE (C.C.F. DIVISION)
Allah Mathematics brings a beat that is suitably Wu-Tang, but this song sucked balls. There's no reason for these Wu-Tang Clan c-teamers to have appeared on this project. Maybe Dreddy was blackmailed?
18. GIVE IT UP (R.A. THE RUGGED MAN & J-LIVE)
Preservation's beat should have been much better, but the two emcees salvage it, especially The Rugged Man's constant amazement that he's sharing the song with a schoolteacher. Both men hold a lyrical clinic that will allow you to overlook the weak musical backing.
19. BLACK DAWN (BRONZE NAZARETH)
Considering that he provided many of the beats, it's no real surprise that Bronze Nazareth gets his own solo track on here, although it is a bit inappropriate. (Then again, one could argue that, since nobody really knows who he is, be symbolizes both the "Wu-Tang" and the "Indie" classifications in one package.) Regardless, this song is boring anyway, so the project ends on a down note.
The vinyl version of Wu-Tang Meets The Indie Culture ends with the following bonus track.
20. O (JIM JARMUSCH)
Over music, Jim Jarmusch reads out loud an essay, penned by Gza/Genius, about the importance of the round shape of the letter "o". It's interesting, but also ridiculous at the same time. Kind of like a lot of Wu-Tang Clan ideas, if you really think about it. Fans without the ability to play vinyl aren't missing much, but completists can find this online if their hearts desire.
FINAL THOUGHTS: Wu-Tang Meets The Indie Culture is an experiment that actually works. Combining the Wu-Tang Clan's style and beats with those of some of underground hip hop's finest proves that the Wu have a lot in common with indie rap, especially since neither camp sells many records these days. Not every track works, and I was left wishing that more of the Wu came out to play (Method Man is too commercial to fit in on here, but everybody else could have made it work), but Wu-Tang Meets The Indie Culture is an entertaining diversion, one which demands a sequel, so somebody better get to work.
BUY OR BURN? I think you should actually buy this shit. Wu-Tang Clan fanatics and lovers of the genre will both find something to like on here. As I mentioned above, not every song works, but there are more hits than misses. And, hell, just how often can one recommend a rap album featuring Jim Jarmusch?
BEST TRACKS: "Think DIfferently"; "Slow Blues"; "Verses"; "Listen"; "Street Corners"; "Lyrical Swords"
-Max
Dreddy Krueger envisioned an album made up of the distinctive beats that the WU-Tang Clan were known for, mixed with the abstract lyricism that only the underground's elite could provide. Dreddy embraced the do-it-yourself indie culture with open arms, and sought out only the best artists and producers all by himself. Given his work ethic, he soon obtained contact with the likes of Cannibal Ox, Del Tha Funkee Homosapien, Aesop Rock, R.A. The Rugged Man, and more, and found his beats with the help of Wu-Tang affiliate Bronze Nazareth, Preservation, and the kingpin himself, The Rza. He also signed on a number of Wu and Wu b-team members to participate, including The Rza himself, Gza/Genius, U-God, and others.
Wu-Tang Meets The Indie Culture was highly anticipated ever since it was first announced, mainly because it featured a collaboration between The Rza and MF Doom, but also because the idea was something that the Wu fans that remained could get behind: listening to their favorite artists in an entirely new chamber, watching them adapt to the styles and behaviors of those outside of their inner circle. It was an admirable effort, even if Dreddy Krueger failed to get behind the mic himself (which is too bad, since I quite enjoy his work).
1. INTRODUCTION
After stealing the intro that HBO uses to distinguish their own original programming from the movies that they show, Wu-Tang Meets The Indie Culture begins with an all-instrumental interlude. I would go so far as to call it theme music, had the theme been carried throughout the disc as a whole.
2. LYRICAL SWORDS (GZA/GENIUS & RAS KASS)
A pretty good way to start things off. Nice to know that Ras Kass can play nice with someone from the Wu that isn't The Rza or Killah Priest. Rassy kind of takes over the track when his verse kicks in, and the Bronze Nazareth instrumental runs for much longer than it needs to (was there supposed to be a third rapper jumping on at some point, Bronzey?), but this was still pretty nice.
3. SLOW BLUES (VAST AIRE, TIMBO KING, PRODIGAL SUNN, & BYATA)
If this was your only frame of reference for Cannibal Ox's Vast Aire, then you would probably think that the man sucked behind the mic. Those of you fortunate enough to already be familiar with The Cold Vein will fins that Vast sounds a bit challenged by Bronze's instrumental, but he adapts quickly enough, ensuring that this song fucking rocks, even with Timbo King (of Royal Fam) contributing a verse. Nice use of the harmonica, as well.
4. STILL GRIMEY (U-GOD, SEAN PRICE, PRODIGAL SUNN, & C-RAYZ WALZ)
U-God (him? Really?) doesn't ruin Preservation's beat, but I still didn't care for his verse or his hook. Sean Price, however, furthers my need for an all Wu-Tang/Boot Camp Clik collaborative album ASAP. This track was alright, but I will say that it isn't on the same level as the two which preceded it, so we've hit a speed bump of sorts.
5. SKIT
Dialogue taken from Enter The Dragon. Not as obscure as I would like in my Wu-Tang kung fu samples, but whatever.
6. THINK DIFFERENTLY (CASUAL, ROCK MARCIANO, VORDUL MEGA, & TRAGEDY KHADAFI)
This was always one of my favorite songs on the disc. Both Casual and Rock Marcy decimate Bronzey's knocking beat. Tragedy's final verse brings the energy down a bit, but this shit fucking rocks regardless. You're left wondering how this would have sounded had Bronze Nazareth given this beat to the actual Wu-Tang Clan, though.
7. INFOMERCIAL #1 (JIM JARMUSCH)
Jim Jarmusch, indie film director (among other things, he's best known for Stranger Than Paradise, Coffee & Cigarettes, and Ghost Dog: The Way Of The Samurai, which was scored by The Rza), was ostensibly chosen to provide interludes for this project due to his status as an independent entertainment king. Also, because he's friends with The Rza, Gza/Genius, and Dreddy Krueger. An inspired choice, regardless.
8. BIOCHEMICAL EQUATION (THE RZA & MF DOOM)
A collaboration between production weirdos Prince Rakeem and MF Doom should have made my head explode. Instead, when I first heard this song, I was bored to death. Instead of filthy drums or Hanna-Barbera cartoon samples, we get Rza's digital orchestra, which doesn't seem to suit either rapper's rhymes. I wonder if Doom has a remixed version of this track, one which features his own beat versus The Rza's, locked up in a vault somewhere.
9. O.D.B. TRIBUTE (DJ NOIZE)
Borrows the eulogy used in the funeral sequence of Four Weddings & A Funeral to pay homage to the late Ol' Dirty Bastard. Nothing more to say: the title is fairly self-explanatory.
10. FRAGMENTS (DEL THA FUNKEE HOMOSAPIEN)
Kind of awkward, and not everybody will appreciate Del's flow. As the title suggests, Del's verses all sound a bit incomplete, as if the audience has been deliberately deprived of the information needed to piece this puzzle together. Bronze's beat isn't bad, but this song is more than a little bit frustrating.
11. INTERMISSION
A brief instrumental-slash-potty break.
12. STREET CORNERS (BRONZE NAZARETH, SOLOMON CHILDS, & BYATA)
This wasn't bad at all. With a title like that, one may expect a high-energy description of life on the corner, but Bronzey's own beat invites more of a quiet reflection than bombast, and all three emcees, including the producer himself (who, surprisingly, hadn't shown up behind the mic at all until this point) follow through effectively.
13. LISTEN (LITTLES, KHALID, & PLANET ASIA)
Complements the previous track very well, although this one will get more heads nodding. Former Mobb Deep associate Littles goes the metaphor route, while the other two clearly do not, but this shit still bangs.
14. INFOMERCIAL #2 (JIM JARMUSCH)
...
15. VERSES (SCARAMANGA SHALLAH, LA THE DARKMAN, RAS KASS, & GZA/GENIUS)
That has got to be one of the most literal titles in all of hip hop. All four artists rip shit over this DJ Noize production, which is so smooth it could be used as an alternate score for On Golden Pond. The standout is Rassy Kassy, though: that guy should just align himself with the Wu, since he fits their beats much more than he does his own. He should also record an entire joint record with the Gza, as this is the second song on this project that they both appear on, and they're both pretty good. Just putting that out there.
16. PRESERVATION (AESOP ROCK & DEL THA FUNKEE HOMOSAPIEN)
Aesop Rock and Del (again) rock the same sample that Dr. Dre twisted into a mild radio hit for Eminem ("Crack A Bottle", if you're like me and have already pushed that crappy track out of your subconscious). I will admit, those of you who didn't hear this track prior to Marshall's take will be too distracted to pay it any mind, but for what it's worth, it's alright. Nothing special (Aesop and Del perform admirably over producer Preservation's beat...hey, wait a minute), but nothing great, either.
17. CARS ON THE INTERSTATE (C.C.F. DIVISION)
Allah Mathematics brings a beat that is suitably Wu-Tang, but this song sucked balls. There's no reason for these Wu-Tang Clan c-teamers to have appeared on this project. Maybe Dreddy was blackmailed?
18. GIVE IT UP (R.A. THE RUGGED MAN & J-LIVE)
Preservation's beat should have been much better, but the two emcees salvage it, especially The Rugged Man's constant amazement that he's sharing the song with a schoolteacher. Both men hold a lyrical clinic that will allow you to overlook the weak musical backing.
19. BLACK DAWN (BRONZE NAZARETH)
Considering that he provided many of the beats, it's no real surprise that Bronze Nazareth gets his own solo track on here, although it is a bit inappropriate. (Then again, one could argue that, since nobody really knows who he is, be symbolizes both the "Wu-Tang" and the "Indie" classifications in one package.) Regardless, this song is boring anyway, so the project ends on a down note.
The vinyl version of Wu-Tang Meets The Indie Culture ends with the following bonus track.
20. O (JIM JARMUSCH)
Over music, Jim Jarmusch reads out loud an essay, penned by Gza/Genius, about the importance of the round shape of the letter "o". It's interesting, but also ridiculous at the same time. Kind of like a lot of Wu-Tang Clan ideas, if you really think about it. Fans without the ability to play vinyl aren't missing much, but completists can find this online if their hearts desire.
FINAL THOUGHTS: Wu-Tang Meets The Indie Culture is an experiment that actually works. Combining the Wu-Tang Clan's style and beats with those of some of underground hip hop's finest proves that the Wu have a lot in common with indie rap, especially since neither camp sells many records these days. Not every track works, and I was left wishing that more of the Wu came out to play (Method Man is too commercial to fit in on here, but everybody else could have made it work), but Wu-Tang Meets The Indie Culture is an entertaining diversion, one which demands a sequel, so somebody better get to work.
BUY OR BURN? I think you should actually buy this shit. Wu-Tang Clan fanatics and lovers of the genre will both find something to like on here. As I mentioned above, not every song works, but there are more hits than misses. And, hell, just how often can one recommend a rap album featuring Jim Jarmusch?
BEST TRACKS: "Think DIfferently"; "Slow Blues"; "Verses"; "Listen"; "Street Corners"; "Lyrical Swords"
-Max
i thought preservation was the golden ray of light in this boring pile of doodoo
ReplyDeleteVerses is the best song on the album, think differently and slow blues are close second and third. The beat of Verses kind of reminded me of the Peruvian Cocaine beat from the Immortal Technique song(A GREAT SONG btw), the flow of the whole track is maintained by all the acts involved creating a true masterpiece...Other songs were dope too, J-live and R.A. were really good(which brings up the fact that you didn't review any of these guys albums!!), and U-God really didn't screw up anything on Still Grimey and I didn't even mind his hook! Listen is also good...The production on Lyrical Swords kinda threw me off, and on Street Corners I didn't like the Bronze Nazareth's and Solomon Child's flows, Byata was ok...
ReplyDeleteThe album as a whole is a good listen, with a few hidden gems that really need to be discovered
youre blog need more dj Noize hes part of the group Majors
ReplyDeleteif you havent heard i would recommend you check it out
http://www.youtube.com/watch?v=2u5xbx-czWc
http://www.myspace.com/majorsdk
This is actually a pretty damn good album, now that I'm spinning it again. Thanks for reminding me of this one..
ReplyDelete"Goal is to learn y'all n****z about this new world order/but i'm still tryna run up in the President's daughter"
Alec J
You were on point about this album Max, good review.
ReplyDeleteBiochemical equation has got to be one of the most disappointing collabos in recent memory though. According to the liner notes it was RZA who was flaking out on Doom.
"Give it Up" was my favourtie track not only from the album, but from that whole year. I could do without J-whatever's verse.
ReplyDelete