The 12 Hours of Wu-Tang: #2 - My Gut Reaction: Raekwon - The Wild (March 24, 2017)

Fun fact: Although I was cognizant of the releases from various members of the Wu-Tang Clan in 2016 but just couldn’t find the time or the wherewithal to seek them out for whatever reason, the seventh (!) full-length project from Corey “Raekwon” Woods, 2017’s The Wild, was the first where I legitimately didn’t give two shits if I ever listened to it or not. Life just gets in the way sometimes, you know? So this review should be a fun one, is what I’m saying.

My Gut Reaction: Raekwon - Fly International Luxurious Art (April 28, 2015)

In his attempt to both save face and distance himself from the Wu-Tang Clan's debacle A Better Tomorrow (not to mention the "mysterious" Once Upon A Time In Shaolin, whose existence has been handled so poorly that I'm now convinced it's just a Cilvaringz album with some Wu guest spots that he couldn't get anyone to give a fuck about until this whole "million dollar" "highest bidder" horseshit was announced), Corey "Raekwon" "Raekwon the Chef" "Lex Diamonds" "Old Man Raymond" "The One That Isn't Obsessed With Iron Man" Woods released his sixth full-length solo album, the absurdly-named Fly International Luxurious Art, this past Tuesday.  I believe the album cover art really tells you everything you need to know about the project, but I'm sure you two want an "actual review", so here goes.

For The Max-Approved Mixtape: Raekwon - "Rainy Dayz"

  

Artist: Raekwon (featuring Ghostface Killah and Blue Raspberry)

Title: "Rainy Dayz"

Producer: The RZA

Album: Only Built 4 Cuban Linx... (1995)

Of course I would start this series with a Wu track, tight?

The most cinematic-sounding track on an album filled with crime story narratives, and not just because of the sound bite lifted from the movie The Killer at the beginning.  The original "Rainy Dayz", which I've long since considered the best song on the classic Only Built 4 Cuban Linx..., and not, bold-underline-italicized not the inexplicably more popular Mr. Dalvin remix, cements the behind-the-microphone reputations of both host Chef Raekwon and guest Ghostface Killah without compromising either man's technique, either through musical backing (the "Rainy Dayz" beat is in my RZA top five, no bullshit) or through the need to force multiple other artists (i.e., the other Wu-Tang Clan members) onto the track.  In-house Wu vocalist Blue Raspberry expresses exhaustion, exasperation, and longing throughout her brief appearances, reaching a high that no other guest singer on a Wu track has yet matched.  It's not often that you wish that the longest song on any given album would never end, but "Rainy Dayz" is the exception to the rule.

Do you agree or disagree with this selection?  Discuss below.

-Max

RELATED POST:

Only Built 4 Cuban Linx... (Review)

Two Gut Reactions, Including My Own: Raekwon - Shaolin Vs. Wu-Tang (March 8, 2011)

(Today I'm running another one of those dual perspectives on a single album, except this time around I'm one of the participants. A.R. Marks and I both decided to tackle Raekwon's Shaolin Vs. Wu-Tang at the same time, so even though we didn't actually collaborate on this post, it has been edited together to appear as though we were at least on the same planet while writing. Think of it as the blogger equivalent of having someone e-mail you a guest verse that your producer has to work into the overall song somehow. As always, I will appear in italics, but they're just be more of me this go-round. Leave some messages for us below.)

It's hardly unheard of for a rapper, fresh off a critically lauded and (relatively) commercially successful project, to rest on his laurels and release an album full of filler and throwaway tracks. But, every once in a while, an MC will go the Raekwon route. After 2009's unexpected winner Only Built 4 Cuban Linx...Pt. II, Shallah Raekwon made a serious effort not to squander the goodwill, newly regained after two extremely poor solo efforts. He ramped up his visibility and output near around 1000%, making high-profile appearances with The Black Keys (on Blakroc), Curren$y, Justin Bieber (of all people), and Kanye West, among others. Additionally, he put out another album with fellow Wu-Gambinos Ghostface Killah and Method Man (the (admittedly pretty disappointing) Wu-Massacre), announced a collaboration album with Kool G Rap (which may never actually happen), and teased that a third installment of what is now the Cuban Linx series will eventually happen, although its release date is undetermined.

Until then, Rae decided to do his best to a) keep his fans and b) convince us that his new addiction is fulfilling all of his big plans, so here we are with his fifth solo effort, Shaolin Vs. Wu-Tang, with its badass album cover art (and goofy liner notes) and a list of stylistically close-knit guest appearances.

(Shaolin Vs. Wu-Tang started off life as an actual Wu-Tang Clan project, Raekwon's response to his lack of interest in The RZA's production work on the last group effort, 8 Diagrams: it was threatened that Shaolin Vs. Wu-Tang would become a crew album that excluded Prince Rakeem from the proceedings entirely, as the Chef felt that the beats on 8 Diagrams weren't what Wu stans actually wanted to hear. (I disagree: 8 Diagrams is criminally underrated, but whatever.) This makes sense, as Shaolin Vs. Wu-Tang does sound like a perfect title for a Wu-Tang Clan album where the hook was that the remaining seven members of the Clan would spit over non-RZA beats. Perhaps sensing that there were absolutely zero Wu stans that actually wanted to hear that kind of shit, Raekwon decided instead to appropriate the title for his own solo project, explaining to anybody who would listen that the album was an internal struggle between his Wu-Tang side and his original Shaolin lifestyle, as he was a resident of Staten Island (or Shaolin) before The RZA scooped him up for the Wu.

Raekwon hasn't forgotten the original genesis of this project, though: he went out of his way to secure beats that he felt would double as fan service: dusty drums and kung-fu flick samples over melodic instrumentals, accompanied with the criminology-style rhymes of our host. Also, The RZA is still nowhere to be found. The Chef claims that RZA wouldn't have wanted to appear on a project that appears to take the WU's name in vain anyway, but in reality, RZA is currently in China filming a movie, so he probably wasn't available for even the least bit of guidance: the Clan even toured this past winter without Prince Rakeem. But apparently it's all love, as Raekwon is now open to working with The Abbott again, so I guess there's always Only Built 4 Cuban Linx...Pt, III.)

So let's take the plunge and explore how Raekwon envisions the struggle between Wu-Tang and his native Shaolin.

1. SHAOLIN VS. WU-TANG

A.R. MARKS: I give Rae credit for skipping an intro and kicking off with the title track. The kung-fu sample at the very beginning sets up the conflict between the Shaolin and the smaller, more specialized group of Wu-Tang, but the Scram Jones beat that it leads into leaves so much to be desired, such as a melody that doesn't sound like the score from Psycho looped into infinity. Rae shows some lyrical enthusiasm, but it's impossible to concentrate on his words over the wreckage of this beat, so let us skip ahead.

MAX: The kung-fu flick sound bite used to open the album takes on an entirely different meaning when you remember why The RZA isn't involved with this project. So there's that. Scram Jones does a credible imitation of a Wu-Element, his powerful instrumental introducing the album nicely, but Raekwon's two verses sound less engaging, as though he was picking random phrases out of a hat, Thom Yorke-style. At least he doesn't sound as though he's about to fall asleep behind the wheel, though, so that's a plus. Given the title of the song, I'm left wishing that this was one of those Wu-Tang posse cuts that the crew used to be so fond of doing: all it needs is the addition of the word “chamber” and it would be on.

2. EVERY SOLDIER IN THE HOOD (FEAT. METHOD MAN)

A: With such a clumsy title, it doesn't surprise me much that Erick Sermon's beat feels equally awkward and underdeveloped. With heavy synths and a bare-minimum backdrop of chanting and string-plucking, it makes a play for a “House of Flying Daggers” atmosphere, but comes across as plodding instead. Still, it is listenable at the very least, and it provides Meth and Rae with a nice mutually-fitting sonic platform. Even this early on, it's clear that Rae's breath control has gotten much better; along with his newly-discovered use of punch-ins, he sounds like he's reverse-aged seven years in the last two. Nicely done.

M: Upon first listen, this sounds nothing like what you would expect an Erick Sermon beat to be: playing through it a second time, I noticed the typical Sermon-esque flourishes hidden just underneath the surface distractions. Not his best work by a long shot: I guess I still stand by my recent statement that E-Double should just retire already. But both the Chef and (especially) Method Man sound rejuvenated, each delivering a single verse and expanding their overall reach accordingly. The chorus is too wordy for it to be catchy, but I'm willing to look past that if you two are.

3. SILVER RINGS (FEAT. GHOSTFACE KILLAH)

A: I appreciate that Rae included freshman Wu-Element Cilvaringz on the album; the title of the track is even a shout-out to the producer. Returning the favor, Ringz cooks up a pretty nice Shaolin-style instrumental, replete with Kung-Fu samples and a short Ol' Dirty vocal. It's still a bit slow, but the strings pick up some momentum when Ghost jumps on it; it also bleeds perfectly (if abruptly) into the next track.

M: Producer Cilvaringz lands a spot on Shaolin vs. Wu-Tang, lending musical accompaniment to the rantings of the Chef and his partner in crime Ghostface Killah, and every element sounds as though it could have fit seamlessly on Only Built 4 Cuban Linx...Pt. II. Rae mentions that the third chapter in his Cuban Linx saga is coming, but there's absolutely no timetable, so you should just shut the fuck up about it already, and Ghost uses the catchy beat to, um, catch wreck, sounding just as good as he did on the surprisingly entertaining Apollo Kids. For his part, Cilva even found a way to include the late Ol' Dirty Bastard in the mix, using a vocal sample from “As High As Wu-Tang Get”. Not bad at all.

4. CHOP CHOP NINJA (FEAT. INSPECTAH DECK & ESTELE)

A: It seems as though thinking up all those Wu-related titles might be taking a turn for the tedious in the Chef's case, but that aside, this track is pretty damn good, continuing the album's upward curve. It opens with an acapella of Estelle's beautifully-sung chorus, and while the beat consists almost exclusively of kung-fu samples, drums, and a very, very low string backing, Rae and (especially) Deck wreck the fuck out of this track, making me think Deck should ask Rae to executive-produce his next project, Capone-N-Noreaga style.

M: Holy fucking shit, is that really the title Raekwon decided to run with? That's fucking hilarious! But the rest of the track isn't played for laughs, and the song suffers for it. The Bluerocks beat (when it eventually kicks in) sounds disjointed and overdoses on the kung-fu flick samples, and Estelle's singing makes absolutely zero sense within the context of this song: she sounds technically proficient, but wasn't necessary in the least bit. So with the musical element faltering, the song fails as a whole, but Inspectah Deck sounded alright, and I enjoyed Raekwon's first verse, describing a battle he's currently having with a fucking ninja (no, seriously), one where he's getting his ass handed to him. So that was nice.

5. BUTTER KNIVES

A: This song leaked a while back, but it sounds even better within the context of the album. It's a noir masterpiece, somewhat akin to Inspectah Deck's “A Lil Story”, if a bit more claustrophobic, and quite visual, thanks to the switch-ups and kung-fu samples inherent. Rae's tale is a trademark first-person narrative that recalls some of his best lyrical work, both in wordplay and delivery, from the 1990's. A-plus.

M: Bronze Nazareth's instrumental is fucking dope in an old-school Wu-Tang way, and the Chef comes out to play, delivering a performance that rivals his early work easily. Also, he actually interacts with the kung-fu flick sample on more than one occasion: how fucking golden is that? This early teaser single gave me high hopes for Shaolin vs. Wu-Tang, so I have to give credit to both Bronzey and Raekwon for delivering a hot song. (I guess I also have to share the blame between the two of them, as well, since the project isn't working for me as well as I had hoped, although this is by no means a Wu-Massacre situation.) The only way that this shit could have been any better is if Rae remixed it with his Wu brethren. That was a hint, by the way.

6. SNAKE POND

A: Here comes an unexpected, but highly welcome, change in the sound of Shaolin Vs. Wu-Tang. Newcomer Selasi's instrumental is exceptional, with its highly hypnotic use of eastern flutes and vocal samples. It's a bit short at two-and-a-half minutes, with Rae spitting straight through, lacing us with another crime story, this one more linear and explanatory. Five thumbs up.

M: Although the fan service of including kung-fu flick samples continues, it's limited only to the intro of this track, which signals an overall shift in our host's focus, as “Snake Pond” is a coldhearted crime tale from one of the masters of the sub-genre. Selasi's instrumental lends a surreal vibe to the Chef's narrative, while still managing to make heads nod, which is a hard feat to master. Raekwon's storytelling abilities appear to have only improved with age: even though he kind of trails off at the very end, the rest of the tale is so good that you won't give much of a fuck about such a minor misstep.

7. CRANE STYLE (FEAT. BUSTA RHYMES)

A: Once again, the songs transition effortlessly, keeping things smooth and tightly-knit. This song's even shorter at two minutes, but it continues on the organic Far East-trend established with “Snake Pond,” so these two could be considered a suite. In high contrast to his first contribution, Scram Jones comes back through to provide what sounds like his own take on the previous track. Busta rips the living fuck out of the song, too.

M: Although the title suggests otherwise, this track is also more up a solo Raekwon's alley. Busta Rhymes continues to use his guest vocals as social currency, racking up favors by allowing his friends in the industry to tack on his cameo appearances: I predict that his next solo album, whenever the hell that shit drops, will feature a metric ton of guest spots, at least two of them coming from Raekwon himself. Even though the track itself doesn't fit on the Wu-Tang portion of Shaolin vs. Wu-Tang, the instrumental, oddly, does sound like something The RZA could have whipped up during his “Let My N----z Live” days. Raekwon sounds alright, and Busta pulls that old trick where he calms the fuck down, forcing you to pay attention, and as a result, this short song (clocking in at less that two minutes!) isn't bad at all, even though the Chef is upstaged a bit by his invited guest.

8. ROCK N ROLL (FEAT. GHOSTFACE KILLAH, JIM JONES, & KOBE)

A: Switching back to what is clearly the Shaolin side (drum-heavy, melody-light synth concoctions), Rae plays host to Ghostface and Jim Jones over a highly contemporary-sounding track provided by the lukewarm DJ Khalil. This joint, however, feels nice within the context of the album, if not utter flames in itself. As expected, Jimmy fails to quite live up too his cohorts, although he kicks a listenable verse at least.

M: Um, what the mother fuck? “Rock N Roll” sounds like a Raekwon bid for mainstream acceptance, as DJ Khalil's beat is idiosyncratic enough for the general hip hop audience to proclaim its brilliance (because it's so “different”) even though everything about it sounds artificial. Vocalist Kobe, who is credited in the liner notes but apparently isn't welcome in Back Cover Land, should never be allowed to sing a chorus on a Wu-Tang song ever again, especially one that uses the names “Bon Jovi” and “Mick Jagger” as euphemisms for drugs. (You had best believe that Raekwon is kicking himself right now: if only he had the foresight to refer to the illicit substance as “Charlie Sheen”, he would look like a fucking prophet right now.) Rae and Ghost, tag team extraordinaire, sound okay enough, despite Khalil's best efforts, but the song dies a slow and painful death once Jim Jones takes to the mic. I'm kidding: the track was dead on arrival once it was first announced that Jimmy would be drinking his Kool-Aid on here. Although he does refer to cocaine at one point as “Sheila E.”, which was kind of funny, I have to admit.

9. RICH AND BLACK (FEAT. NAS)

A: The differing sonic styles of the album come together most fully on this track, the Grind Music team (that's Sean C. & LV, late of Diddy's brief reiteration of The Hitmen) lighting up a beat that flawlessly recalls the violin-driven, Trackmasters-esque sound of the mid-to-late 90's, when shit like Ruff Ryders and Big Pun would actually play in clubs. Nas, providing a make-up appearance for missing his date on Only Built 4 Cuban Linx...Pt. II, proves he retains his undeniable chemistry with Shallah, and the pair flow back and forth nicely. There follows an interlude that brings us back to the Shaolin/Wu conflict, and we're off again.

M: Nasir Jones wasn't able to contribute a promised guest verse to Only Built 4 Cuban Linx...Pt. II due to his divorce proceedings (an excuse I never really bought, but whatever), but after realizing that his fans actually wanted to hear them on a follow-up to their classic “Verbal Intercourse”, he finally relented. Unfortunately, this shit was not worth the wait. Both artists sound polished enough, and the beat wasn't terrible, but the two elements don't blend well together. I found myself more fascinated by the short interlude at the end of the track than I was for the entirety of the song. By the way, both Nas and Ghostface Killah are signed to Def Jam Records: why in the fuck haven't they ever worked together? I'm going to start the rumor now: Ghostface Killah fucked Nasir's baby's mother in the backseat of his car.

10. FROM THE HILLS (FEAT. METHOD MAN & RAHEEM DEVAUGHN)

A: A triumphant horn-driven beat keeps us squarely in Wu-Tang territory, as Raheem sings his hook about the hills of the Wu-Tang, so we can assume the triumph as Raekwon describes his ascension from the old antics to a new life. Method drops in with a verse that's much more engaging than his last one, so this one's a winner all around.

M: I had no problem with Raheem DeVaughn appearing on Ghostface Killah's R&B album, because he actually fit in with what Pretty Toney was trying to do. Not so much on here: the guest crooner sounds out of place, singing his heart out with no real payoff. Not that removing his vocals would have helped much anyway: both Raekwon and a returning Method Man sound bored as shit over this plodding Kenny Dope instrumental. But still, I'm sure he's still sitting around wondering just how in the fuck he ended up on Shaolin vs. Wu-Tang in the first place.

11. LAST TRIP TO SCOTLAND (FEAT. LLOYD BANKS)

M: When Shaolin vs. Wu-Tang's tracklisting was revealed, I found myself dreading three specific guest appearances: Jim Jones, Rick Ross, and G-Unit's Lloyd Banks. Jimmy was as awful as I had anticipated, and I haven't yet gotten to Richard's contribution, but it turns out that Banks has actually stepped his game up a tad bit. He doesn't sound all that great, but he's decent when paired with Raekwon's visceral crime storytelling. (Scram Jones's beat goes a long way toward helping this track work.) I did find it funny that Banks refers to someone as “Shorty Shit Stain”, though, since that's the rap name of one of Ol' Dirty Bastard's weed carriers.

A: Returning the favor for the excellent song “Die One Day,” off of the most recent Banks effort, the G-Unit member follow's Rae's characteristically vivid verse with a similarly skilled offering, proving that these two gravel-voiced MCs share a chemistry akin to Rae's connection with Prodigy and Nas of old. The beat is pleasant and exhibits tension, if not a whole lot in the way of development, holding the door open for Rae and Lloyd's verses and then politely exiting the building...

12. FERRY BOAT KILLAZ

A: ...to make way for a much more ostentatious, attention-whoring but substance-lacking beat (unfortunately provided by The Alchemist) that insists you listen to its monotonous jabbering in such a shrill manner that you desperately seek a way out, which is helpfully provided by the skip button.

M: I found this shit to be boring as fuck, but that's to be expected when you're dealing with a producer as hit-or-miss as The Alchemist: his work on “Ferry Boat Killaz” sounded like it should be incidental music for a Gymkata knockoff. Chef Raekwon sounds fatigued for the very first time on Shaolin vs. Wu-Tang: it's almost as though this song was recorded during what was supposed to be his nap time. The best thing about this song is its title, which sounds like it should share a name with a paperback pulp crime novel. But the song sucked otherwise.

13. DART SCHOOL

A: This is what we're talking about. Mathematics' horn-and-harp-driven concoction paves a yellow brick road that Raekwon subsequently shreds, stone by stone, with his spirited vocals.

M: The song title on here was promising as well, but the track doesn't deliver the goods: Allah Math's instrumental is a mismatch for Raekwon's crime-tinted tales, and the marriage is annulled fairly quickly. I'm not sure why the Chef is taking it upon himself to carry the Wu-Tang load, but that motherfucker really needs to relent and ask his friends for some help: this is another one of those tracks that might have worked better had everyone been throwing their darts around.

14. MOLASSES (FEAT. RICK ROSS & GHOSTFACE KILLAH)

A: Rick Ross? Rick Ross? Rick Ross? The recently de-incarcerated former drug dealer? Nope, the rapper, who jumps into the ingratiatingly simple horn-laced sonic proceedings after Raekwon licks off his first verse, and sounds surprisingly pretty dang good doing it. The Chef obviously felt the need to keep control of the track here, as he kicks an additional verse after each one of his guests are finished.

M: Raekwon has struck up a friendship with former corrections officer Rick Ross, so, unfortunately, I say this collaboration coming. And Ross sounds just as bad on a Wu-Tang album as you would suspect: the poor guy sounds like he's so out of breath, he records each of his bars individually. However, Raekwon and Ghostface Killah also have zero chemistry on here: it's painfully obvious that they wrote and recorded their verses completely independent of each other. Which is too bad, as the Xtreme Beats instrumental is a throwback to the Wu-Element sound of yore. Oh well.

15. THE SCROLL

A: Surprisingly produced by Dilated Peoples' Evidence (who does some pretty decent beats, and thankfully fails to add his own vocals here), the beat—a low, hypnotic affair that recalls early Organized Noize work—builds and develops in perfect unison with the growing tension in Rae's verse. The result is a new direction for the Chef, one which surprisingly turns out very well indeed—and makes me wonder how Raekwon would fit over more Dungeon Family production (not counting his existing work with OutKast/Big Boi).

M: First off, that title is awesome. It has fuck-all to do with the song, but it sounds epic. And Evidence's slow build of a built is fucking brilliant: for best results, you should listen to it with noise-canceling headphones and let your mind wander. (As I am absolutely not a fan of Dilated Peoples, I'm just as surprised as you are.) And it's nice to know that there is no possible way that our host could use the phrase “nighttime vultures” on the chorus without thinking of his contribution to Mobb Deep's classic song of the same name. However, Rae's lyrics just didn't do it for me on here: his story sounded stale, and it didn't keep my interest. Of course, it doesn't help that I was so distracted by the music. An instrumental would be appreciated (hint, hint).

16. MASTERS OF OUR FATES (FEAT. BLACK THOUGHT)

M: Black Thought (of The Roots) continues his world tour, leading up to his inevitable solo debut, by guesting on here after having done a similar favor for Ghostface Killah. And just like it did on Apollo Kids, the beat fails him on here: Thought sounds fucking amazing over hard instrumentals, so I don't understand why Raekwon decided to restrain him by selecting the end music to a fictional 1970s melodrama. Tariq gets off a few good bars, but the odds were stacked against him from the start. This was disappointing.

A: The last real track on the album begets the much-anticipated collaboration between Rae and Black Thought. At times, the soft string background comes across as a less robust reworking of the ending theme to the Star Wars series. Over the beat by newcomer Tommy Nova, Rae and Thought mesh beautifully with respective tales of overcoming hardships set out for them. A fitting and compelling way to end the album, not counting...

17. WU CHANT (OUTRO)

A: ...the album intro that Raekwon cut from the beginning, only to sneak it in on us here at the end! You crafty bastard!

M: Producer Nova redeems himself for that “Masters Of Our Fate” shit by sampling Ennio Morricone's fantastic “The Ecstasy Of Gold” during this otherwise unnecessary rap album intro. In all fairness, though, hearing people shout “Wu-Tang!” takes me all the way back to 1993, which was the overall point, so I'll let it go.

(The iTunes version of Shaolin Vs. Wu-Tang contains two additional bonus tracks, which I am going to attack solo.)

18. WU CRIME (FEAT. GZA/GENIUS & KILLAH PRIEST)

It's curious that a song that panders so greatly to the Wu stans would be left to die as an iTunes exclusive (unless you're a marketing executive, of course). While I would love to tell you two that “Wu Crime” is worth its weight in honey-dipped blunts, it's merely alright. All three artists, who clearly represent the Wu-Tang side of the album title, weave their respective tales over BT's Shaolin-esque instrumental, and while Raekwon sounds okay enough and The Genius does as well as he always does, the true star of this track is Killah Priest, who has been on a comeback tour of late, with a guest appearance on Apollo Kids and now this: his contribution reminded me of his verse on Ol' Dirty Bastard's modern classic “Snakes” in that it just sounded fucking good. I'm still left feeling that the Chef dropped the ball on this song, though; it should have been so much more.

19. YOUR WORLD & MY WORLD (FEAT. HAVOC)

Mobb Deep's Havoc ends the digital version of Shaolin Vs. Wu-Tang with a non-Havocy instrumental, which Raekwon attempts to dismantle (and mildly succeeding at that). It sounded engaging enough while it was playing, and I found it kind of funny that Raekwon felt it was appropriate to announce the beginning of Hav's ending verse with yet another kung-fu flick sample, but the guest star, who must be fucking thrilled that Prodigy has come home, caps off the evening with a disappointing contribution. This song was left off of the regular retail version for a reason.

THE LAST WORD:

A: In a nutshell, this album is less ambitious than its predecessor, although that in no way lends itself to criticism of its quality; it's merely more focused, as Rae obviously felt he had doffed the expectations placed on Only Built 4 Cuban Linx...Pt. II for perfection and could settle in to his new groove, while exploring his own chamber within the Wu-Tang sound. Even further, it represents his struggle to take control of his career in the late 1990's and the early part of the millennium, when he tried to step away from The RZA's production and out on his own, to the displeasure of his fans. With Shaolin vs. Wu-Tang, Rae puts an end to the saga of disagreement between himself and the Abbott: he announced the album and its concept as a potential Wu-Tang group album after his public disagreement with RZA over the latter's production, but now that it has come to fruition, he shows a marked lack of interest in those conflicts, choosing instead to look forward with compelling results. RZA neither appears nor is mentioned anywhere on the album (not even as a shout-out in the liner notes, but you know who does get thanked? Motherfucking Justin Bieber. I'm not joking), and its cohesion and continually engaging sound is Raekwon's show-and-prove statement that, true to his own sentiment, he truly has become the master of his fate.

M: Although it starts off strong with its close attention to fan service, Shaolin vs. Wu-Tang falls apart by the halfway point, as it becomes yet another Raekwon solo album fulled with crime narratives. This wouldn't be a terrible development if the production was up to par: with few exceptions (most notably “The Scroll”, the music is a sonic mismatch for the content, and Chef Raekwon isn't awake enough to consciously build upon the sharp contrast. For an album entitled Shaolin vs. Wu-Tang, the needle points to the WU-Tang side of the scale only a handful of times, rendering the titular conflict a loss by default, as Raekwon chose his side before the recording sessions even began. Rae doesn't fully shed his Wu skin on here, but he doesn't embrace it either: he seems to believe that the mere act of throwing in sound bites from kung-fu flicks will appease the audience just enough to convince them to accept everything else he does on here. He's almost correct, but almost nothing Raekwon can do, short of washing my car and writing me a blank check, will ever make me feel okay with the presence of both Rick Ross and motherfucking Jim Jones on a Wu-Tang solo album. So Shaolin vs. Wu-Tang is a misfire, but an interesting one, as it is still worth listening to at least the first half. It skews more toward The Lex Diamonds Story than Immobilarity, so that was nice, but as his follow-up to Only Built 4 Cuban Linx...Pt. II, Raekwon falls short. Groan.

-A.R. Marks & Max

(Questions? Comments? Did you find the format of this post confusing? Leave your notes in the comments below.)

My Gut Reaction: Raekwon - Only Built 4 Cuban Linx...Pt. II (Gold Edition) (August 17, 2010)

In 2009, Raekwon the Chef did the unthinkable, at least in the world of hip hop: he not only released his long-promised sequel to his debut solo album, Only Built 4 Cuban Linx...Pt. II, but it was really fucking good, too.  Critics far and wide held it in extremely high regard, including yours truly, as we suddenly believed that the Wu-Tang Clan was finally back.

That feeling didn't last long, but it was fun while it lasted.

In August of 2010, the newly relevant Raekwon (who spend his summer appearing on damn near everybody's albums in an effort to keep his name alive) decided that what he really wanted for Christmas was to trick all of his loyal fans into paying cold hard cash for an album that they had already purchased.  Hence the horribly Photoshopped artwork for Only Built 4 Cuban Linx...Pt. II (Gold Edition), an iTunes-exclusive cash-in crafted strictly for the streets.

Raekwon claims that he crafted this for his hardcore fans, but it's hard not to feel cheated, especially since the only way you will ever have a hard copy of this special edition is if you download all of the extras and burn one yourself. Only Built 4 Cuban Linx...Pt. II (Gold Edition) isn't lacking for extras, though: in addition to featuring six new tracks (four remixes and two original songs taken from the cutting-room floor), it also contains every single music video Raekwon shot as promotional tools for the album, all seventy-six of them.  Oh, I'm sorry, I meant to write the number six; it just seems that Rae shot more because he marketed the shit out of the original project, because if not him, then who?

Odds are that Only Bulit 4 Cuban Linx...Pt. II (Gold Edition) isn't worth your money, so that isn't really my question.  This is more of a "how much of a waste of time is the album"-type of day, anyway.

1. THE NEW WU (REMIX) (FEAT. GHOSTFACE KILLAH & METHOD MAN)

Producer BT, who also worked on Wu-Massacre's “Criminology 2.5”, tries his hand at fucking up another RZA beat, although to be fair, this is more of an original composition that happens to share the same lyrics as its namesake. Raekwon's verse may sound sloppy when not juxtaposed with RZA's original loop, but BT manages to craft a haunting melody thanks to his use of sound bites from other Wu songs to set the mood (most specifically, the late Ol' Dirty Bastard's crooning from “Baby C'mon” and the Force M.D.'s intro to Ghostface Killah's “Daytona 500”). Ghost and Meth sound okay over the new music, but it isn't as though that re-recorded their verses or anything. Interesting, but ultimately unnecessary. Kind of like this entire project.

2. BROKEN SAFETY (REMIX) (FEAT. JADAKISS & STYLES P.)

Because what the original album cut was lacking was sound bites from kung-fu flicks, right? BT gives the Chef and two-thirds of The Lox a nondescript instrumental that, nevertheless, sounds good enough to hold the crime raps from these three. The Vincent Price sample from Michael Jackson's “Thriller” was a curious (and creepy) artistic choice. However, while this sounds alright, it isn't better than the first version, and it certainly isn't good enough for anybody to pay for.

3. PENITENTIARY (REMIX) (FEAT. GHOSTFACE KILLAH & TRAVIS BARKER)

Hip hop's favorite drummer that isn't ?uestlove, Travis Barker (The Source cover boy who is formerly of Blink 182), adds his instrumentation to BT's original production in a way that causes the song to sound louder, but relatively the same otherwise. Rae and Ghost still have the same chemistry that they first exhibited on the very first Wu-Tang Clan album, and I hope for more, better collaborations in the future. But there isn't anything “new” about this shit that I can recommend.

4. ABOUT ME (FEAT. THE GAME)

Wikipedia claims that, even though this was called a remix on blog press releases (although not on iTunes), this version of “About Me” is actually the original version, which makes sense, as The Game was once scheduled to appear on Only Built 4 Cuban Linx...Pt. II, to the general apathy of absolutely everyone. The beat is the same as the album version (as it was produced by Dr. Dre, it makes sense that Raekwon would want to get as much mileage out of it as possible), as is Rae's first verse, but instead of shifting into one of the most compelling Busta Rhymes performances in recent memory, we get a contribution from Jayceon Taylor, who sounds predictably not-so-secretly thrilled to be performing with a Dre prescription, followed by an alternate Rae verse to finish things off. Since Rae actually got rid of the most interesting aspect of the album version, there isn't much to recommend on here, unless you absolutely love scraps from the cutting-room floor. Sometimes, things are changed for a reason.

5. NEVER MATTER TO YOU (FEAT. BUN B)

One of only two unreleased songs on Only Built 4 Cuban Linx...Pt. II (Gold Edition), Chef Raekwon gets an assist from Bun B over this soulful Scram Jones concoction that is just short enough to not become annoying. Each rapper gets one verse to tell their side of the story, and they each sound polished and accomplished, as though they were grizzled veterans who are getting too old for this shit. This wasn't bad, but this “soul sample as a chorus” shit has got to stop.

6. ROCKSTARS (FEAT. INSPECTAH DECK, GZA/GENIUS, THEA VAN SEIJEN, & STONE MECCA)

This long-rumored track actually exists, but as expected, it's as underwhelming as most anything you have to wait an extended period of time for. (The original Only Built 4 Cuban Linx...Pt. II is mysteriously exempt from this rule.) The RZA's beat is uncharacteristically suck-ass: “boring” doesn't even begin to describe it. As such, it makes complete sense why it was dropped from the final product. Rae and GZA/Genius sound alright, all things considered, but Inspectah Deck attempts a double-time flow that ends up making him sound like he's regressed back to the third grade and has no business rhyming when he can't even legally drink and/or drive yet. He comes off as the amateur I fear he really is: had it not been for the Wu affiliation, would he even be a part of our chosen genre? Sadly, I think not. Thea van Seijen's singing (and Stone Mecca's background crooning) is also immaterial: the song features an overall blandness that renders it what I like to call a fucking disappointment. But hey, the song actually exists, so that counts for something, right? No.

THE LAST WORD: It's hard to tell what audience Only Built 4 Cuban Linx...Pt. II (Gold Edition) was created for. Hardcore Wu stans who ran out opening week to pick up the original project won't necessarily want a double-dip filled with inferior remixes, and the album itself isn't a good starting point for new Wu fans, as a working knowledge of the original Only Built 4 Cuban Linx... is required (but not mandatory) to maximize your enjoyment. If you've never heard of Raekwon, then you aren't buying this album anyway. While it is nice that Raekwon is offering a separate bundle of just the new additions, none of the tracks on Only Built 4 Cuban Linx...Pt. II (Gold Edition) is worth paying your hard-earned money for, as not a one adds anything new to the original menu, nor do they add to the album's storyline. Even Wu stans like myself should find other, more practical uses for their money, such as spending it on crack, or donating it to the Tea Party (which is kind of the same thing). Raekwon absolutely deserves your money, but not for this unfortunate cash-in: pick up the original version instead, unless you absolutely want to own all of the music videos from the project, of which only one (“House Of Flying Daggers”) is even remotely interesting. (If you're a glutton for punishment, there is also a “Gold Deluxe Edition” that contains the original album, both international bonus tracks, and all of the Gold Edition extras.) Perhaps Raekwon could have moved more copies of this shit by including his Justin Bieber collaboration, “Runaway Love (Remix)”, as a bonus, but even he's smart enough to not anger his longtime supporters like that. Walk on by, you two.

-Max

RELATED POSTS:

Wu-Tang Clan write-ups. Click here.

My Gut Reaction: Method Man, Ghostface Killah, & Raekwon - Wu-Massacre (March 30, 2010)

When the concept of Wu-Massacre was announced last year, I shrieked like a little schoolgirl. What Wu stan wouldn't? A collaborative effort by three members of the Wu-Tang Clan, as opposed to yet another solo album? The posse cuts on the solo albums were typically the highlight anyway: the members of the Wu-Tang Clan sounded (mostly) good alone, but when combined with their brethren, it was akin to mixing chemicals and having the beaker explode with joy and/or spunk. So when I first heard that Method Man, Ghostface Killah, and Raekwon would be joining forces to battle the dark side, I was, obviously, excited. There was even an article where Ghost was quoted as saying that these three are not forming a new group, because they were already in the Clan, leading me to believe that Wu-Massacre wouldn't betray the original intentions of the Wu: to take over the game using creativity instead of cliché.


Wu-Massacre quickly jumped to the top of the list of Wu-Tang Clan projects that I actually wanted to hear. (Astute followers of HHID will notice that, as of this writing, I still haven't written about Ghost's Ghostdini: The Wizard of Poetry In Emerald City, the posthumous Ol' Dirty Bastard “album”, or Inspectah Deck's Manifesto. Just because I love the Wu doesn't mean that I need to go batshit crazy about every album, you know. I still haven't reviewed the first Afro Samurai soundtrack, either.)


And then the concerns started appearing.


First of all, Wu-Massacre was going to be released on Def Jam Records, a label that (a) has had issues in the past with marketing Method Man and Ghostface Killah albums (Raekwon is essentially an A-list indie rapper), and (b) sucks balls today, with its emphasis on artists such as Rick Ross. But that was still workable, because Def Jam is still a major, and that just means that there may be more facings of Wu-Massacre on store shelves at Best Buy. This could still work.


And then the tracklisting leaked. Wu-Massacre only features twelve tracks, two of which are (what I assume as unnecessary) skits. Ten tracks total. Well, that isn't a big deal, right? Put our three hosts on every track, with the occasional guest (names such as Deck and (ugh, really?) Cappadonna were thrown about), and ten tracks could stretch out fairly easily. It's better to have Wu-Massacre half short and twice strong, right? All killer, no filler?


When I read about who would be contributing beats to Wu-Massacre, a sinking feeling started to seep in, because the only person I actually wanted to see on the fucking album, The Rza, only handled the beat on one song. I realize that the guy is busy, but if music is his first love, one would think that Bobby Digital would have some extra instrumentals lying around in the lab that he could hand over to the guys he broke through with. But, sadly, even this is something I can work around: it isn't as if The Rza is known these days to handle an entire album that isn't his own.


Man, Wu stans can rationalize everything, can't they?


Excitement on the Interweb reached a boiling point when the album artwork leaked, as it is fucking badass. Comic book fans especially were thrown for a loop, as Wu-Massacre now held the promise of being the comeback Wu-Tang Clan album that fans have been waiting for ever since the disappointing (to everyone else, maybe, but not me) 8 Diagrams dropped. Even with Def Jam leaking single after single to various blogs, I remained as amped up for Wu-Massacre as I was for the Slaughterhouse album. There was no way that this album could be a complete fuck-up, right?


And then Wu-Massacre rushed out of the faucet. And mixed in with the praise of Meth, Ghost, and Rae's latest opus were some very detailed criticisms of the project.


And then Method Man apologized for Wu-Massacre, saying that Def Jam rushed the final product (which is weird, since it was originally supposed to drop back in December but was pushed back to today) and that he, Ghost, and Rae didn't get to make the album that they wanted. Meth also told whoever would listen that there wasn't a time when all three rappers appeared in the same room together while creating Wu-Massacre, as they were all busy with other commitments (Rae, in particular, was too busy pimping Only Built 4 Cuban Linx...Pt. II). It was also revealed that our three hosts for the evening had nothing to do with the promotion for the album: the label took the reigns and handled it all, implying that they also had no input on the cool-as-fuck artwork and that Wu-Massacre, as a whole, was a Def Jam construct more so than an actual album.


Fuck.


1. CRIMINOLOGY 2.5
I remember when “Criminology 2” (or “Criminology '09”) first hit the Interweb as a way to promote Raekwon's last album Return To Relevancy. I even mentioned in the comment box (back when I still had one, before it just became ridiculous to maintain) that I was underwhelmed. Today, I still am, but the funny thing, is, this is an entirely different song. While there isn't any way to top the original (from Only Built 4 Cuban Linx...), a good effort would have, I don't know, actually included Raekwon, since it's his fucking song and all; instead, he appears to have gone A.W.O.L. on the very first track on Wu-Massacre. (Which is even weirder when you consider that Ghostface Killah is speaking directly to the Chef at the beginning of the track.) For the record, “Criminology '09” adhered very closely to its predecessor's formula, with BT's beat trying its best to not flat-out copy The Rza's handiwork, and the original “Criminology 2.5” that Def Jam leaked to Blogland was “Criminology '09” with a Method Man homage to the original track tacked onto the end: the version that actually made the final cut retains Meth's verse, erases Rae (that's right, regardless of how it reads on the back cover, the Chef fails to appear on this track), and alters Ghostface entirely: instead of his original contribution, his verse from Rae's “The Badlands” (a European bonus track from Return To Relevancy) opens the album instead. What the fuck? The fact that all three stars now fail to appear on the very first fucking song on Wu-Massacre concerns me more than a little bit.


2. MEF VS. CHEF 2
For the most part, the Wu-Tang Clan don't do well with sequels. (I'm talking about sequels to individual songs, not album titles.) So kicking off Wu-Massacre with two follow-up tracks is uncharacteristic at beat. The appeal of the first “Mef Vs. Chef” (from Tical) was the lyrical battle that sounded as though The Rza recorded the two participants inside an actual boxing ring, as Meth and Rae went toe to toe, bar for bar (at least, until Rae flubbed his lines and threw the fight, a curious goof that Meth included on the album anyway). The Mathematics beat doesn't even try to approximate Prince Rakeem, meaning that both artists (Ghostface Killah, seemingly upset that his name isn't in the title of the song, rightfully sits this one out) are stuck passing the mic back and forth over a truly shitty instrumental, rendering all of their rhymes inconsequential. So far, this album is making my soul cry.


3. YA MOMS SKIT
Entirely unnecessary. Oh, I get it: they're trying to recreate the feeling of listening to the skit that preceded “Method Man” on Enter The Wu-Tang (36 Chambers) for the first time. It just isn't funny.


4. SMOOTH SAILING REMIX (FEAT SOLOMON CHILDS & STREETLIFE)
After finishing the sandwich that he picked up from a street vendor during the last track, Ghost tags Raekwon out and spits over a Ty Fyffe instrumental that he sounds custom built for. I'm not sure where the original version of this song ended up, but this remix would have worked better has Solomon Childs been erased from the master tapes, since his chorus is altogether terrible. Meth's boy Streetlife, who makes his obligatory appearance because this is, in fact, a Method Man album in some fashion, also performs an embarrassing verse, attempting to drop the names of all of the Wu members in a clever way, coming across as a mentally retarded follower of The Game. Dude, you've been rhyming since Tical: there's no excuse for you to sound like a fucking rookie now.


5. OUR DREAMS
Finally, Wu-Massacre supplies listeners with a song that features all three of our hosts: fittingly enough, this is where The Rza puts in his only work behind the boards, flipping Michael Jackson's “We're Almost There” (are MJ's younger recordings less expensive than his post-Off The Wall output? Would this song have even happened had Jackson not passed away last year? Who knows?) into what I believe is one of his most boring beats ever. (Some would call this the work of a more mature Wu-Tang Clan. To that I say: who in the hell wants to hear a more mature Wu-Tang Clan?) Ghost, Meth, and Rae all mesh with the dull instrumental fairly effortlessly, though, so that counts for something. But this shit did absolutely nothing for me. Okay, I lied: the video for this song actually made me laugh, as its homage to David Fincher's Seven (which still holds up, by the way) has absolutely nothing to do with the subject matter.


6. GUNSHOWERS (FEAT INSPECTAH DECK & SUN GOD)
Digem's awkward, intermittent beat might have worked for a hungry mixtape rapper, but not for these established veterans. Rae takes yet another nap (I hope he gets his narcolepsy treated very soon, as I'm getting worried for his well-being) while Meth channels the late Russell Jones on the hook. Ghostface Killah suffers through a cold or something: his verse sounds as though it was performed by Cappadonna. Sun God tries yet again to earn his father's respect, but Ghost pays no attention, of course, because he was nursing the sniffles. In a shocking turn of events, Inspectah Deck atones for the crappy The Resident Patient 2 by actually sounding decent. But when you do okay work on a shitty song, does anybody ever truly hear it?


7. DANGEROUS
Right now, I'm upset that all of the tracks Def Jam leaked to the Interweb from Wu-Massacre implied that Meth, Ghost, and Rae would appear on every song. I'm considering filing a lawsuit against Def Jam for false advertising. It would be one thing if this was a Method Man solo album “featuring Ghostface Killah and Raekwon”, but they all share equal billing, so what the hell, man? Anyway, this song is pretty awful. Apparently, the Wu-Tang Clan that I've grown up with has been badgered into recording material that the label thought would result in more sales, regardless of how well they fit into the Wu canon. Suckers! Nobody buys Wu-Tang Clan albums in 2010!


8. PIMPIN' CHIPP
In what is a bad sign for the trio but a good look for fans of Ghostface Killah, Tony Starks rides for dolo on yet another of his patented storytelling film treatment raps, one that doesn't sound quite as good as his past work, but is still quite enjoyable, as it probably would have fit in well on The Big Doe Rehab. In fact, I wouldn't be surprised to discover that Wu-Massacre was made up solely of outtakes from the solo albums of our three hosts. The coda on here threw me off, but the tale itself was alright.


9. HOW TO PAY RENT SKIT (FEAT TRACY MORGAN)
What the fuck?


10. MIRANDA
This sounds as though it was dropped from the final tracklisting of Only Built 4 Cuban Linx...Pt. II. The Mathematics piano loop does not grow annoying over time, and Rae, Ghost, and Meth all shoot the shit about women (or possibly the same girl). This was actually pretty ill: easily the best song on Wu-Massacre thus far. Hell, this will probably end up being the best song overall, seeing as though there are only two songs left.


11. YOUNGSTOWN HEIST (FEAT TRIFE DA GOD, SHEEK LOUCH, & BULLY)
In what is probably another leftover from a Ghost solo project, Pretty Toney leaves Method Man and Raekwon stranded on the side of the highway while his friends from the old neighborhood plan a robbery. There's nothing inherently wrong with this track, aside from the fact that it betrays the concept of Wu-Massacre: in fact, I found it kind of entertaining. I'm led to believe that a collaborative effort between Ghostface Killah and The Lox may prove more fruitful, relevant, and profitable than this album, though. Come on, you know you two have thought of the same idea before.


12. IT'S THAT WU SHIT
Wu-Massacre ends abruptly not with a posse cut or a sound bite from a kung-fu flick, but with a track that sounds the least like a Wu-Tang Clan song in the group's lengthy history. Ghost and Meth attempt to throw listeners some lyrical darts, but end up cowering in fear behind the oppressive Scram Jones regime of a beat. I believe that there is no worse way for this album to have ended, and I've listened to a lot of garbage because of this blog. I actually feel betrayed.


THE LAST WORD: What the fuck have I just suffered through? When Method Man, Ghostface Killah, and Raekwon announced their Wu-Massacre project last year, I admit my expectations may have been raised artificially higher than they should have been (I was still riding the high from Raekwon's comeback project), but the only thing that these three manage to massacre is the idea that anybody in the Wu-Tang Clan is still capable of recording a quality piece of work. Almost every single song on Wu-Massacre fucking sucks: every track sounds as though it was patched together in a hurry (which, admittedly, they were), as though Def Jam was putting together a mixtape to advertise a future joint album between these three, but no, this is the actual final product, and man, is it fucking disappointing. Having an “album” of this magnitude come in at less than thirty minutes in length is very fucking questionable. The idea of limiting yourself to only ten tracks is admirable only if most of the songs click. It seems that Def Jam put more thought into the (awesome) album artwork than it did the actual music on the plastic disc within the jewel case. Raekwon only appears on four out of twelve tracks: that may prove to be the smartest move he has made in his entire career. The brunt of this travesty is handled by Ghostface (nine tracks) and Method Man (eight tracks), which makes sense when you consider that these two are actual Def Jam employees, but they clearly were not entirely focused on what they were doing. Wu-Tang Clan fans will snatch this up anyway, but I'm here to warn you that you will not enjoy it. (Remember, nobody purchases albums just so they can have the artwork.) All Wu-Massacre has done is piss me off. All I can hope is that Rae, Meth, and Ghost atone for their misdeeds very soon, preferably on an indie label that won't fucking rush the product.


I realize that a large number of music critics are jumping aboard the Wu-Massacre bandwagon, possibly in an attempt to trick consumers into actively supporting artists who actually deserve the attention. While that is an admirable reason, and while I would love to see Wu-Massacre move more than one million units (as it may convince Def Jam to release more of these type of projects), I can't recommend that you two actively seek this album, as the path will lead only to sadness. Sigh.


WISHFUL THINKING: Since we've seen the worst of what the Wu has to offer, the next logical step would be to try this concept again, but this time with Inspectah Deck, Masta Killa, and Gza/Genius. Not only would a collaboration between these three be easier to pull off (none of them are signed with a major anymore), it could also reignite interest in the unsung heroes of the Clan (yeah, I'm merely including Deck in that category because of his past work and not his current output). They could even use the Three The Hard Way crew moniker that Meth, Ghost, and Rae were going to originally call themselves. If they take their time and hire quality producers (I'm realistic, so not every track needs to be handled by The Rza, but the Clan's leader should do more than just one fucking track) and convince the other group members to stop by and drop a verse or two, they could create a companion piece to Wu-Massacre that could eradicate the memory of what I just listened to and reinvent the Wu-Tang Clan at the same time. Just a thought, fellas.


-Max


RELATED POSTS:
Catch up on the Wu by clicking here. You may want to set aside a day or two: there's a lot of posts about the Clan. I'm just saying.

Reader Review: Raekwon - Only Built 4 Cuban Linx...Pt. II (September 8, 2009)

(Today, Banksta, who has written Wu-related Reader Reviews in the past, brings us (surprise!) another Wu-related review, this time for Raekwon's recent magnum opus, Only Built 4 Cuban Linx...Pt. II. You may have already left a comment on my original post, but be sure to show Banksta some love.)

Raekwon the Chef, alias Corey Woods, officially dropped his fourth solo offering on 8th September.

As you may have figured out from the title, said album is a sequel to Only Built 4 Cuban Linx..., his solo debut from 1995. It didn’t start the 'mafioso rap’ movement, but it certainly popularized it on a mass scale in hip hop. Only Built 4 Cuban Linx... introduced the world to Chef Raekwon, a Wu-Tang Clan member that wasn’t the most charismatic, nor was he the best lyricist, but he meticulously crafted crime stories on par with the novels sitting on your bookstore's shelves. Only Built 4 Cuban Linx... was also the only Wu-Tang album which was produced in full by The Rza, featuring some of his greatest work ever. It's generally considered to be one of the classic hip hop albums of our time.

I’m still surprised Only Built 4 Cuban Linx...Pt. II actually made it onto store shelves. It has arrived in a completely different form than what Rae originally promised, though: what was supposed to be fully produced by both Dr. Dre (as Raekwon was briefly signed to Aftermath, which was supposed to be the distributor of this project) and The Rza became an album with multiple producers claiming credit. It was pushed back and reworked so many times that most people gave up on the concept, which made it a shock when people were actually able to hold it in their hands. Raekwon elected not to promote the album on a wider scale: “Catalina”, one of two Dr. Dre productions that made the cut, could have received some airplay on MTV, and “New Wu” (or “Wu Ooh”) was only really accessible on YouTube by diehard fans that were actively searching for it.

But it's here, so let's see if it was worth the wait.

1. RETURN TO THE NORTH STAR (FEAT POPA WU)
Brought a tear to my eye. Judging simply from Popa Wu's speech, I consider Only Built 4 Cuban Linx...Pt. II an instant classic. Let's see if I'm right.

2. HOUSE OF FLYING DAGGERS (FEAT INSPECTAH DECK, GHOSTFACE KILAH, METHOD MAN, & GZA/GENIUS)
The Gza's vocals sound unnatural (his performance for the video of this track comes off as amateurish in comparison). (I still don't buy that Gza actually appears on the album, especially since he isn't credited on this track but is credited later on a different song, but album liner notes have been wrong before.) That being said, this song is fucking napalm, with everyone equally slaughtering J. Dilla's production. I would have to compare this track to “Guillotine (Swordz)”. “House Of Flying Daggers” is one of those Wu songs that I would give an 11/10 rating without a second thought: the only other example I can think of right now is the Gza's “4th Chamber”. This shit is fucking awesome.

3. SONNY'S MISSING
Vintage Raekwon crime rap, with producer Pete Rock providing a pretty good musical backdrop. This could probably be considered an unofficial sequel to the original album's “Knowledge God”. But maybe I like to think that because I like both tracks.

4. PYREX VISION
Corey, I don't understand: you brought one of the best hip hop producers of all time in for a song that only lasts fifty-five seconds? What the fuck?! Rae's performances on “Gun Will Go” (off of 8 Diagrams) and “Ill Figures” (from Wu-Tang Chamber Music) sounded like they were done while under the influence of speed and ADHD medication when compared to this. (And yes, I realize that was done on purpose.) Marley Marl's beat is really hot, though.

5. COLD OUTSIDE (FEAT GHOSTFACE KILLAH & SUGA BANG BANG)
Can also be referred to as “Rainy Dayz Pt. II”. This is, by far, the most theatrical song ever featured on a Wu-Tang solo album (I disagree: see the original "Rainy Dayz"), and it's fucking fantastic. I like Suga Bang Bang's singing,as he has a nice voice (he redeems himself for messing up many a song in the Wu's back catalog), and Raekwon spits well, but Tony Starks steals the entire show, passionately touching on topics ranging from a two-year-old strangled to death, not having enough money for bills, menthols and Christmas gifts, and finally ending with the troops in Iraq.

6. BLACK MOZART (FEAT INSPECTAH DECK, THE RZA, & TASH MAHOGANY)
Bobby Steels doesn't bother with spitting a verse; instead, he provides a musical backdrop that comes across as what The Psycho Realm's “Street Platoons” was aspiring to be. But it is nice to see that all Clansmen are present on Only Built 4 Cuban Linx...Pt. II (except for U-God, whose Golden Arms character (also called Lucky Hands at some intervals) died on “Knuckleheadz” from the original project, and, obviously, the late Ol' Dirty Bastard, although his presence is still felt on here). I wish the beat sounded a bit better, though.

7. GIHAD (FEAT GHOSTFACE KILLAH)
Raekwon and Ghostface pair up again for this track. I remember reading a potential tracklisting for this album a few months ago, and this song was labeled as “G-Hide” for some reason. (The song's producer, Necro, also had his named misspelled, twisted into what could be considered as a racial slur. Has nobody ever heard of a fact-checker?) I was excited to see that a track entitled “Rockstars & Smoking Barrels”, featuring Gza/Genius and Inspectah Deck, was also slated to appear. While that obviously never happened, I still hope Raekwon will unleash the track eventually. As for this song itself, it sounds good, but Rae is outshined once again by his partner in rhyme.

8. NEW WU (FEAT GHOSTFACE KILLAH & METHOD MAN)
The first single, over a Rza beat from 1997, accompanied by a pretty shitty video, although watching the ridiculously amateurish acting from Bobby Digital was amusing enough. The song itself reminds me of “Ice Cream” and is really fucking good, but seriously, did all of Rza's production contributions have to be based on looping shit? We're all aware that the man is capable of much more creativity than this.

9. PENITENTIARY (FEAT GHOSTFACE KILLAH)
Not bad, even though the track is produced by someone who is known only by Raekwon and his own parents. Lou Diamonds does a back-and-forth with Pretty Toney, with the pendulum swinging his way far more often, and manages to keep listeners entertained.

10. BAGGIN' CRACK
I'm not a big fan of Erick Sermon's sound, but this song is alright, thanks to the Raekwon narrative. Thankfully,the song is shorter than two minutes in length.

11. SURGICAL GLOVES
Raekwon is straight-up sleepy on this one, but it's really fucking good. It reminds me of “Glaciers Of Ice”, although that song was really the shiznit, so maybe that's an unfair comparison. Regardless, don't mean to take anything away from The Alchemist's beat.

12. BROKEN SAFETY (FEAT JADAKISS & STYLES P)
I loved this joint when I first listened to it, and ain't a damn thing changed. The Scram Jones beat is impressive, with Lex Diamonds, Jadakiss, and Styles Pinero (no comment) ripping shit.

13. CANAL STREET
Sounds good, I suppose, but this song did nothing for me.

14. ASON JONES
A tribute to Ol' Dirty Bastard, my favorite Clansman. R.I.P. As his biggest fan, I appreciated the sound bites from the man himself, and J. Dilla's beat is decent, but the track as a whole doesn't hit me as hard as “Life Changes” or “Wasted Time”. Due to the subject matter, I will not categorize this song as good or bad, as I don't consider it to be right.

15. HAVE MERCY (FEAT BEANIE SIGEL & BLUE RASPBERRY)
Beanie Sigel neither adds nor detracts from this song, but the smooth instrumental (jacked from “Have Mercy On Me” by The East St. Louis Gospelletes) compliments the lyrics nicely. Kudos to Rae for luring former Wu-Tang go-to singer Blue Raspberry back into the studio, as she sounds really fucking good.

16. 10 BRICKS (FEAT GHOSTFACE KILLAH & CAPPADONNA)
Nice to see the prodigal son coming home. Ghostface, unsurprisingly, is the tits again, but Raekwon somehow coerced Cappadonna into actually sounding good, which was pleasant. The J. Dilla beat, while recycled from a previous project of his, also suits the proceedings. Nice!

17. FAT LADY SINGS
The title reminds me of the crappy Gza track from the second Soul Assassins album, but this song, the third and final of Rza's production efforts, isn't that bad. It makes for a decent interlude, at least.

18. CATALINA (FEAT LYFE JENNINGS)
I heard this Dr. Dre-produced track back when it originally leaked, and I wasn't impressed one bit. It sounds too tropical (it was even recorded in a studio called Avex Honolulu), as if Rae was chilling with Fidel Castro on a Cuban beach (which would be nowhere near Honolulu). Listening to it again, I'll concede that it's merely okay, even though it had 'radio-friendly' written all over it.

19. WE WILL ROB YOU (FEAT GZA/GENIUS, MASTA KILLA, & SLICK RICK)
The beat is so simplistic that I believe an average orangutan (albeit one with the knowledge of how to record a beat) would have no problem creating this loop. Kareem, Gza's son, somehow managed to do even less than an average orangutan would: he jacked this loop from “Hard Times” by Baby Huey (which also featured the loop The Rza stole for Ghostface Killah's “Buck 50”) and added a little of his own flavor. Still, this shit sounds damn good. Gza told Raekwon to pump the brakes, so he could rhyme circles around this song, and Slick Rick stays put in the land of the hook, but as for the other collaborator, it appears he wasn't aware of the concept of this track: I don't truly believe that Masta Killa would intentionally ruin a Wu-Tang Clan song. Which he doesn't, but he isn't that far off.

20. ABOUT ME (FEAT BUSTA RHYMES)
I liked this one from the very first first listen, and after digesting Only Built 4 Cuban Linx...Pt. II, I have to say that “About Me” is much better than “Catalina”. The interesting thing here is Busta Rhymes, who (1) isn't credited on the back cover, (2) gives a really fucking good performance, and (3) sounds like he's taking a shit. I'm fully aware that a lot of people hate Dr. Dre's production on Only Built 4 Cuban Linx...Pt. II, but I still thought this was really good.

21. MEAN STREETS (FEAT INSPECTAH DECK, GHOSTFACE KILLAH, & SUGA BANG BANG)
This one is really fucking good, as Rae, Deck, and Masta Killa set the beat on fire. “Mean Streets” reminds me not of anything from the original project, but of “Nightshift” instead, a leftover from Inspectah Deck's Uncontrolled Substance, which crushed 90 percent of songs that actually made that album. Now, with U-God's decent Dopium, Inspectah Deck officially has the least successful solo career of all of the Wu-Tang Clan. Oh well.

22. KISS THE RING (FEAT INSPECTAH DECK & MASTA KILLA)
Scram Jones samples Elton John “Goodbye Yellow Brick Road”, but everyone already knows that. A perfect ending to the Cuban Linx saga. Except that it isn't, if you live in Europe.

Overseas, Only Built 4 Cuban Linx...Pt. II contains the following two bonus tracks.

23. WALK WIT ME
I don't actually own the Eurpoean version of this album, but I'll run through the bonus songs anyway. On here, Scram Jones proves why Rae considered him worthy for Only Built 4 Cuban Linx...Pt. II, and the video is also really fucking good.

24. THE BADLANDS (FEAT GHOSTFACE KILLAH)
BT brings a beat which makes Ghostface go mad (just like he did on “Criminology”), and Raekwon is also fully awake. A really nice way to end things.

FINAL THOUGHTS: Since I consider Only Built 4 Cuban Linx... as more of a Rza effort than Corey's, Only Built 4 Cuban Linx...Pt. II is, hands down, Raekwon's best solo album. I love this shit as much as the first one, too. Congratulations, Raekwon. Everyone should salute, and toast to the best who's done it. Now I only need to hear Detox, The Cure and Only Built 4 Cuban Linx...Pt. III, and my life will be complete.

BUY OR BURN: I think you should get your hands on this as soon as fucking possible. Really. If you consider yourself a fan of hip hop music, this is a must-buy, if only because we should all help promote the good shit instead of the more popular, crappy stuff.

BEST TRACKS: “House of Flying Daggers”; “Cold Outside”; “Black Mozart”; “Kiss The Ring”; “10 Bricks”; “Pyrex Vision”; “Broken Safety”; “Surgical Gloves”; “We Will Rob You”; “About Me”; “Penitentiary”

-Banksta

(Questions? Comments? Concerns? Leave your comments below, and be sure to check out my original review when you get a chance.)