WARNING:
Today's post is Wu-Tang in nature. Most of you two already know my
deal when it comes to this blog, so you'll probably just keep quiet
and move it along. However, if you are vehemently and violently
against the Wu-Tang Clan for some ungodly reason and refuse to see
anything written in virtual ink about the group as a whole, I advise
you to step away from the blog for a few days, and maybe, just maybe,
there'll be something else for you to bitch about.
Still
here? Seriously? Alright then.
In
2005, Think Differently, an indie label started up by Royal Fam
member Dreddy Krueger, released a compilation entitled Wu-Tang Meets
The Indie Culture through a distribution deal with Babygrande.
Although it didn't sell nearly as well as any project dropped by the
actual Clan during their heyday, it was met with critical acclaim,
mostly coming from folks who were intrigued by the concept of the
project: pairing up Wu-Tang Clan members (well, mostly b-teamers, but
anyway) and producers with some of the finest the hip hop underground
had to offer. Names such as Casual, Tragedy Khadafi, Del Tha Funkee
Homosapien, MF DOOM, and, ugh, Roc Marciano were dropped, and
backpackers ate that shit up with a side of creamed spinach and a
Pepsi. Which doesn't make for a balanced diet, but I digress.
As
per the usual with a project of this caliber, not everything that was
recorded made it onto the final product. So because Dreddy Krueger
loves making money, in 2011 he quietly released Think Differently Music: Wu-Tang Meets The Indie Culture: The Lost Files, a sequel that
has the dual purpose of extending the lifespan of the original
project by way of outtakes and unused instrumentals while also trying
to eradicate the memory of that project's actual sequel, 2009's
Wu-Tang Meets The Indie Culture, Vol. 2: Enter The Dubstep, which
paired up previously recorded Wu vocals with, yes, dubstep beats. I
have no plans on ever reviewing that particular project, so if you're
just dying to know what it sounds like, Google is your frenemy. (I'm
going to shorten the album title for the rest of this post, since I
don't like seeing two colons in a single sentence.)
Wu-Tang Meets The Indie Culture: The Lost Files was met with relative
indifference, which makes sense when you realize that most folks are
completely unaware of its existence. Hell, I didn't even realize
that Think Differently still existed as a label. Even with the guest
list the way it is (including, among a few others, Killah Priest,
U-God, Raekwon, The RZA, Bronze Nazareth, DJ Muggs, Ras Kass,
GZA/Genius, MF DOOM, ugh, Roc Marciano, and indie film godhead Jim
Jarmusch, one of the supporters of the original project), it's
completely acceptable that this flew under your radar. This “album”
is essentially filled with deleted scenes and unused takes, akin to
what you may expect as bonus features on a deluxe edition blu-ray of
your favorite movie, so you should consider this write-up a consumer
alert of sorts. No, seriously, please do that, so that it can count
toward my community service hours.
(Note:
The tracklisting for Wu-Tang Meets The Indie Culture: The Lost Files
comes in two flavors online. Presented below is the way it came to
me, which also happens to be the version that makes much more sense,
unless you like all of your Jim Jarmusch smashed together at the very
end.)
1.
INTRODUCTION
Kicks
off with the same sounds of an HBO original program as its
predecessor, but then quickly segues into a calm, if indifferent,
instrumental that houses the same goddamn vocal sample repeated over
and over again. This, obviously, gets old very quickly.
2.
SLUGS THRU YA PAPAYA (FEAT. ROC MARCIANO & KILLAH PRIEST)
Oh
goody, another Roc Marciano song. As he actually appeared on Wu-Tang
Meets The Indie Culture (and did a decent job with a performance that was
recorded before his career renaissance), this isn't that surprising,
nor is it a shock that Dreddy and Think Differently leaked this
particular songs to stir up interest on the blogs. Roc Marcy and
Killah Priest actually make for a fairly inspired pairing, as Marcy's
quasi-gangsta intrusions mesh well with Priest's quasi-religious
missive. Bronze Nazareth's beat is a simple loop that would have
sounded much worse had more rappers stretched it out by recording
their own verses, but at its restrictive length, this isn't bad.
Still not sold on Roc Marcy, but you probably figured that out, too.
3.
THIRSTY FISH (FEAT. RAEKWON & BRONZE NAZARETH)
Had
the Wu held more cache with hip hop heads than hipsters back in 2011,
“Thirsty Fish”, with its cameo from an actual goddamn member of
the Clan, would have been pushed harder to promote this collection of
deleted scenes. Doesn't mean this is any good, though. The Kevlaar
7 beat is okay but repetitive, and Bronze Nazareth and Chef Raekwon
appear to have recorded their verses in different galaxies, as each
performance in no way complements the other. Rae makes a reference
to House Of Flying Daggers that probably proves this was his original
verse for the banging Wu comeback of the same name from Only Built 4 Cuban Linx...Pt. II, but
while that songs remains interesting to this day, “Thirsty Fish”
was abandoned for a valid reason.
4.
WHAT LOVE IS (INSTRUMENTAL)
The
first of many Bronze Nazareth leftover instrumental tracks on Wu-Tang Meets The Indie Culture: The Lost Files is okay: mildly soulful, with
a hint of Wu-Tang spark that recalls their golden era. However, it
is impossible to imagine that Bronzey crafted this beat for anyone
but himself to use. Your mileage may vary, depending on how sold you
are on Bronzey as an emcee. For what it's worth, I think he may have
done alright with this.
5.
GOLD MEDALS (FEAT. PRODIGAL SUNN)
Sunz
Of Man's Prodigal Sunn unleashes a quick one-verse wonder over a
Nazareth beat that sounds okay at first, but then he leaves the booth
and you realize that there's still a full motherfucking minute left
on the track, and that same Bronzey beat starts to grate on your
nerves, Obviously, “Gold Medals” is an incomplete thought
included for diehard Wu stans only, but even though Sunn comes across
as alright, there's no draw for anyone else to ever want to hear
this. Or this entire project, technically.
6.
CAME TO LIFE (FEAT. BRONZE NAZARETH)
A
Bronze Nazareth song that plays as an interlude to an nonexistent
album, as the back half of the track features an unnecessary
monologue that rappers love to put on their albums. His beat is
okay, not great, and his actual lyrics aren't very memorable, either.
Which is what one expects when listening to a project filled with
leftovers, but one still hopes to discover a hidden gem. I guess
I'll keep searching then.
7.
FALL/WINTER (INSTRUMENTAL)
Hey,
look, an instrumental from someone not named Bronze Nazareth.
Preservation, a dude now probably better known as Yaasin Bey Mos Def's deejay but who also contributed to the first volume, concocts a beat that is dominated by melodic
soul vocal samples as much of the beat, you know, as people do, and
does a damn good job with it. The track is also really short,
walking away before all momentum is lost. Not bad.
8.
LYRICAL SWORDS (DJ MUGGS SOUL ASSASSINS REMIX) (FEAT. GZA/GENIUS &
RAS KASS)
A previously-released remix,
this one being Cypress Hill's DJ Muggerund's alternate take on the
GZA/Ras Kass collaboration “Lyrical Swords”. The Muggs beat
sounds nothing like any of his work with Cypress Hill, nor does it
come across as an outtake from his joint album with The Genius,
Grandmasters. In fact, this remix doesn't really add anything to the
original song and doesn't ever force itself to be heard. Oh well.
9.
INFOMERCIAL (NARRATED BY JIM JARMUSCH)
Jarmusch
apparently also participated in some of the promotional efforts for
Wu-Tang Meets The Indie Culture: The Lost Files. It's kind of
amusing to hear him read off a list of the artists and producers who
worked on the project, but this was clearly included just because
Dreddy found it lying around somewhere. The Criterion Collection
this certainly is not.
10.
THE TIME IS NOW (INSTRUMENTAL)
And
we're back to Bronzey, who turns in a quiet storm of a beat that I'm
sure someone could have put to good-enough use. This one isn't bad,
either: it kind of sounds like a reflective late-night drive from a
party to a beach or a tall building's rooftop to watch the sun rise
or some other shit people tend to do in movies to signify the dawn of
change or something. Which is supposed to be a compliment.
11.
JUST SOME THOUGHTS... (FEAT. BRONZE NAZARETH)
An
actual song, finally, although an incomplete one, as evidenced by how
long Bronzey allows his beat to trail his final bars. I completely
get why this track was buried, though: it isn't very good. Nazareth
is technically proficient on here, but the apathetic nature of his
message (and delivery) is hidden underneath a loud soul sample that
the beat is built upon, and basically I just didn't give a shit about
this song. So.
12.
INTERMISSION GROUPIE LOVE (FEAT. U-GOD)
Not
so much an "intermission" as a failed attempt at a song, where U-God
filled in ad-libs, but then came to his fucking senses and ceased
production on the track, leaving this disjointed mess that is only
about groupie love because the title makes it so. Skip!
13.
IN MEMORY OF LISA DOCKERY
A
pleasant interlude. That's all I have to say.
14.
GIVE IT UP (LOST VERSE) (FEAT. HOT ROD HAMPTON)
Hot
Rod Hampton (yeah, me neither) delivers a quickie verse that was,
apparently, supposed to be included on the R.A. The Rugged Man /
J-Live song of the same name from the previous chapter. It wouldn't
have added anything to Wu-Tang Meets The Indie Culture, so there's
little mystery as to why it was vaulted up until now. Even Dreddy
Krueger knows when to fold 'em sometimes.
15.
INFOMERCIAL (NARRATED BY JIM JARMUSCH)
More
of an interlude from Jarmusch than it is a commercial for the album.
Was probably cut from the original project for time. Still kind of
dug it, though.
16.
BIOCHEMICAL EQUATION (CHOCO G-DUBS REMIX) (FEAT. THE RZA & MF
DOOM)
Another previously-released remix, this one an alternate take of what was supposed to be a
landmark track, the first-ever collaboration between The RZA and MF
DOOM, but what ended up being fairly bland once we all finally got a
chance to hear it, sounds pretty much the same as the original
version. There are minor differences, yes, but the song itself still
bores me to pieces, so I can't be bothered to catalog them. Moving
on...
17.
NEVER A DAY GOES BY (INSTRUMENTAL)
Not
bad, if a bit slight: if Killarmy were still a thing, Bronzey could
have sold this to that crew, as it seems like a good fit for the
sextet. Alas.
18.
STREET DISPUTES (INSTRUMENTAL)
Obviously,
Bronzey had a specific vision for this beat, given its title, but,
unfortunately, I cannot imagine this as ever being anything but a
boring-as-shit Inspectah Deck track. It is what it is. They can't
all be winners.
19.
CHANGE UP
One
final beat from Bronze Nazareth, one that doesn't really go much of
anywhere. Sigh.
20.
O (FEAT. JIM JARMUSCH)
This
was also previously released, albeit on the vinyl version of Wu-Tang
Presents The Indie Culture. This GZA-penned ode to the letter “o”
remains both slightly interesting and definitely ridiculous, just as
it was when I first wrote about it. Doesn't work any better within
this context, either, but at least this way you know it was discarded
for a reason.
THE
LAST WORD: While the original installment was a hit-and-miss but
mostly enjoyable experiment in mixing two worlds within our chosen
genre together, Wu-Tang Meets The Indie Culture: The Lost Files
deserves to go unnoticed. Its cash-in status is confirmed when
listeners notice that over half of the songs are incomplete: these
tracks were left unfinished for a reason, and the caliber of guest
star is not going to disguise the fact that these songs were probably
unleashed on an unsuspecting public without the knowledge of its
participants, aside from maybe Bronze Nazareth, whose fingerprints
are all over this motherfucker. Obviously the route Dreddy Krueger
should have gone is with an official re-release of the original
project, with a second disc chock full of outtakes, instrumentals, lost
verses, remixes, and, strangely, commercials from Jim Jarmusch
included as a bonus, but instead, Dreddy decided to use the Wu-Tang
family name to trick stans such as myself into thinking that this
might be worth the money on its own. Trust me, it's not. Anyone who
pays full price for Wu-Tang Meets The Indie Culture: The Lost Files
after reading this post deserves to be fleeced. It's not entirely
false advertising, as almost all of these tracks will be brand new to
you, but to market this as anything but a bonus disc of extras for
the low low price of three dollars is a travesty.
-Max
RELATED
POSTS:
that Slugs Thru Ya Papaya beat is so Wu, and you gave Roc the props he deserved. me likey
ReplyDeleteI don't know, all I really said was "he didn't suck", which is hardly giving props.
DeleteYou posted this as 'thing differently'. Good review, bit boring but then again that's not your fault if the album's deathly dull. Too much Bronze Nazareth in my opinion. Always good to see Wu though!
ReplyDeleteNoted and fixed.
Deletewhat do you think of Bronze Nazareth Max? i think between slugs thru ya papaya and butter knives he has shown some promise
ReplyDeleteI'll reserve my comments until I finally get a review for his second album up.
DeleteLove ya, Max, but why review D-list albums when there are like a million A-list albums (and artists) who you haven't wrote about yet?
ReplyDeleteI know the response: "Because it's my blog, and I'll write what I want."
I get, I'm just not happy about it.
Like, what's next? The full discography of Dom Pachino? Zzzzzz...come on, man. This is the bottom of the barrel.
this
DeleteBlah blah Wu blah blah. Bling blong finish what I started blork.
DeleteRandom question Max (anyone else welcome), who do you think the best producer on the mic is? Rza?
ReplyDeleteRZA pre Wu Tang Forever or Big KRIT.
DeleteWould probably have to say the RZA. He's pretty good as a rapper, but a lot of producers don't make great rappers (Dre, Pete Rock). Hit-Boy is pretty good as well.
DeleteEither Q-Tip, El-P, Rza or Kanye
DeleteI'd say Lord Finesse but since he was originally more of a rapper I'd say either Q-Tip, Diamond D, Large Professor or Madlib. RZA's rapping can annoy me but he's an amazing producer.
DeleteQ-Tip, Black Milk, Kanye, and Roc Marciano
DeleteRZA's up there for me, although his later work isn't quite as entertaining for me. Q-Tip's probably the man to beat for me, although everyone else named brings something to the table. Not sold on Roc Marcy, but that shouldn't surprise anyone at this point.
Deletecan't believe i forgot Big Krit. I should be ashamed, especially as a stan of the guy
DeleteOh crap! I forgot about Outkast. (Do they count?)
DeleteI'm saying either Q-Tip or RZA. Honorable Mention Diamond D for pioneering the phrase 'best producer on the mic'. Would love to see a review of his debut. I'm surprised nobody has mentioned MF DOOM, even though he's overrated as a lyricist.
DeleteI'm absolutely appalled no one bothers to mention early Large Professor. Breaking Atoms & The LP are certified hall of fame albums & essential hip hop experiences to me.
DeleteI would say Necro, if any of you cats heard of him
DeleteI usually don't pay attention to anything like this, but it's cool to see something different sometimes and your reviews are usually entertaining.
ReplyDeleteOff topic, but have you heard Mobb Deep's newest single "Taking You Off Here"?
I actually like it, it's got me hype for their album anyway.
I listened to it once. I'll need to give it another chance, as I was a bit distracted when I heard it, but I don't remember anything grabbing me.
Deleteive given up on wu tang a long time ago and now i just listen to chief keef and fredo santana that real trap shit
ReplyDeleteall the wu tang members are old as fuck now ghostface sold out on that vhlove show or whatever it is and gza gonna release liquid swords 2 because the title is just gonna bring attention to his whack music
They might not be the Wu of old anymore, but they're still the greatest hip-hop group of all time. At their peak, nobody could touch them.
DeleteRemember, the Wu-Tang association is not to be trifled with.
actually legit post. Gotta respect their legacy thou
Delete