(Looks at the above picture...) Right.
Robert Diggs has always had an interesting relationship with art. If his multi-faceted career is any indication, it's only going to get more interesting as time goes on. And you can't deny that interest never fails to generate, whether positive or negative, around the projects merely mentiong this dude's more popular pseudonym, The RZA. Nowhere is that particular duality more apparent than in his legendary career as co-founder and creative director of the immortal Wu-Tang Clan, which started as three-man battle rap crew Force Of The Imperial Masters later changed to All In Together Now Crew, where his first nickname was the Scientist along with cousins Gary Grice (the Specialist) and the late great Russell Jones (the Professor). RIP ODB. Now, according to all three members, Gary was the one who taught the other two how to rap. Which makes pretty logical sense, as some of their most well-known lyrics show clear signs of their lyrical lineage. While that's a discussion for a later time, I have reason to believe that only one of them was able to capitalize on the knowledge passed down to him, even though both were very lyrically capable. That, of course, would be our host in case you didn't pick up on my extremely obvious attempts at being vague.
But, two things our host was able to blow past his mentor in were his ability to realize concept and his ability to expand his horizons. As a true Wu fan knows: The latter ability manifested first with Bobby's first forays into production after the initial sessions of Gary's debut album, Words From The Genius. The former? That's what I'm here to shed some light on.
Before that, though. Remember all those corporate woes that Gary, by this point calling himself the Genius, suffered through when he made that album? Well, turns out all labels do the exact same shit to their artists, as hard as it is to believe. And Tommy Boy Records, who picked up Bobby under the nickname Prince Rakeem, weren't going to miss out on all the fun now, were they? If you think what happened between Cold Chillin' and the Genius was bad, Tommy Boy only allowed Prince Rakeem a three-song EP, unforgivably named Ooh I Love You Rakeem. And guess how many songs they gave this guy total creative freedom over? ONE. Understandably, Bobby was pissed. And after that abomination of an EP (which unfortunately wasted a fucking awesome Easy Mo Bee/RZA beat on a fucking sex rap) tanked to the depths of Hades, his Rakeemness found himself back on the streets without a label at the same time Cold Chillin' threw Gary to the wolves.
Now, Gary, Robert and Russell already split their time between Brooklyn, the borough of their birth, and Staten Island, the borough of Robert's then-residence where he knew a couple of battle rap crews. Most notable of which, of course, was the DMD (Dick M Down. Me neither.) Crew from Park Hill Projects. All In Together Now and DMD got into a competition in the past and, for the first time, All In Together were defeated by DMD by a technicality. Robert's signals went off. For in battling code back then, whomever defeats another in a worthy battle must collaborate with that person or crew. Add that to both crews bonding over the then-surprisingly-popular obsession with 70s and 80s kung-fu flicks, Robert obviously obsessing much more than the rest, and he had himself a concept to bond the guys over. So, after initial resistance, Gary, Robert & Russell added the DMD to their ranks, along with a few others, and the result became what is now known as the Wu-Tang Clan.
During those times, Bobby had been dramatically furthering his techniques through insane levels of focus to a level that finally enabled him to become a force to be reckoned with in the production game. A far cry from the work he exhibited on the Words From The Genius album and his abysmal EP, his beats now had a certain atmosphere to them. An atmosphere that only added as time went by to the growing mystique surrounding the man's venture. This increase in skill would only grow from that point, as many Wu fans already know, but it's always interesting to explore the true beginnings of Robert Diggs' magnificent journey behind the boards. Those beginnings and experimentations resulted in a demo tape easily found online, featuring Bobby going for dolo on various tracks and sharing the mic with some of his fellow MCs from the newly-dubbed Wu-Tang Clan on the rest.
Which is precisely why I listed this tape as a solo outing by Bobby and not as a Clan effort, simply for the fact that his Rakeemness is by far the MC with the most contributions to this outing. This offers me a great chance to showcase Bobby's beginnings as an MC, which contrast well with his production efforts. It should be noted, though, that the tape can only be found in extremely poor quality. Unless RZA somehow still has the original masters and decides to release them to the public in mint condition. Another issue is that there seem to be various track listings to said demo tape, which I'll attempt to rectify by including all the tracks I heard from the shit.
Enough talk. Is the tape worth your time?
ENTER THE WU-TANG
Any hardcore Wu fan will immediately recognize this beat, as it was later used for Bobby's other desperate experiment, Prince Paul's Gravediggaz. You read that correctly. Gravediggaz was Prince Paul's brainchild through and through. A fact he seems quite fond of, seeing as their 1994 sessions rank as his absolute favorite from all the work he's done throughout his legendary career. RIP Poetic. Comprised of two very different Johnny Mathis samples molded deftly by Bobby to compliment each other without alerting you in the slightest, Rakeem proceeds to outright attack his previous output. No, really: he dismisses the chorus of his debut single, Ooh We Love You Rakeem, showing it to be the last thing he'd ever want to be associated with. The RZA persona was definitely strong here, as you hear him cutting loose with the kung-fu punchlines and imagery he's known for today.
WU-TANG MASTER
One of the very first times his Rakeemness administers the use of kung-fu samples in his productions. If you listen carefully, you'll hear traces of a very famous Mohawks sample integrated seamlessly into the beat as Bobby lays down some more punchlines and threats like only he can. He would later reuse very few of the lyrics present on his Gravediggaz venture's Nowhere To Run, Nowhere To Hide.
PROBLEMZ
And what's this? Bobby sampled that Cymande note way before Diamond D?! This immediately jumped at me first time I heard this shit, no lie. The beat, in case you were still wondering, is a poor-quality slice of bliss. Rakeem was a ticking bomb waiting to happen in the hip hop game and believe me, the introspective lyrics of this song show that without question. This song removes any doubt to who was the true disciple of Gary Grice on the lyrical tip. A highlight for sure. Buckwild would sample this song brilliantly in an unused beat that would remain hidden until Celph Titled unearthed it and made a fucking classic out of it with Time Travels On off his fucking awesome Nineteen Ninety Now.
IT'S ALL ABOUT ME
Bobby decides it's contrast time by prescribing a positively whimsical beat and flipping it on its head by writing a three-verse punchline rap heightened with aggression and a kickass hook. Just once, I wish he would pull this song out in one of the massive Wu shows outside of the US. I guarantee you the chorus will blow the socks off a properly hyped-up crowd outside of the US. Why outside of the US might you ask? Because US hip hop concertgoers should be fucking ashamed of their pathetic attempts at crowd participation, that's why.
WHICH WAY IS UP
This track follows the tradition of dedicating each one of the present verses to telling a story of a troubled youth in the ghetto, relying on vivid imagery to relay the desired message e.g. Tragedy's Street Life, Real Live's Trilogy Of Error (if you're flexible). His Rakeemness is certainly no exception from these great MCs as he really gets his creative on, inadvertently laying the foundation to his timeless lyrical contributions to the Wu. Allow me to highlight Russell Jones, here known as Ason Unique, and his fucking hilarious ad-libs on this track. Complete with a white accent. This album shows a very good example of just how pivotal a role he played in the Wu as a whole.
TAKING HEADS OFF
Bobby's attempt at the Set It Off/Warm It Up formula of old school speed rap. I have to say he did a pretty good job, even though I usually hate this type of gimmick. Sampling a nicely-arranged drum-n-bass loop, Bobby prattles off in his now-familiar way. Fans of his early delivery style will cream their pants, guaranteed. And of course, no early album of this guy's is complete without him entering his patented shoutout mode at the end of the song.
IT'S MURDAH
This is more of a Prince Rakeem effort than it is a RZA's, if you get what I'm saying. Clearly an outtake of the wretched EP debacle, this could've help Bobby rectify his position and give the effing thing some more buzz. Even though he was already fucked with that debut single. Anyways, this is some mind-numbingly lazy display of your skills, your Rakeemness. I can't imagine what was going through your head as you wrote these boring-as-fuck punchlines I'm listening to at this moment. Oh well. Next!
WU-TANG (FEATURING ASON UNIQUE)
Behold, the unveiling of Ol' Dirty Bastard unto the universe! This is exactly how I wanted Russell to sound like throughout his entire career. These rhymes sound infinitely better when Russell reuses them for Baby C'mon off his debut. Now, before anyone reading this gets me wrong, allow me to clarify that I fucking LOVE ODB's entertaining nature. And I'm a sucker for his rhymes, when he actually performs them. (Anyone who thoroughly analyzed Return To The 36 Chambers: The Dirty Version, henceforth known on this blog as ODB's debut knows exactly what I'm talking about.) The man transforms into a one-man drunken Cirque De Soleil and is flat-out one of the greatest entertainers music has ever seen but, I truly believe that the ODB persona was his personal and professional downfall. Don't believe me? Watch RZA's speech at ODB's funeral. It's out there on YouTube. With that much god-given talent, couldn't you have come up with something a little more preserving for him, Bobby? That's right. RZA came up with the whole ODB gimmick for Russell, thereby setting him on the course he's taken. Which I believe to be RZA's greatest professional failure. Sure, it seemed like a good idea back then, but now? Sigh. Let's move on.
CUTTIN' HEADZ (FEATURING ASON UNIQUE)
This exact cut is found at the end of ODB's debut. It sounded awesome when it was made in 92, it sounded awesome when people first heard it in 95 on said debut and it still sounds fucking awesome in 2016.
THE WU IS COMIN' THRU (FEATURING ASON UNIQUE)
By this point, the true gravity of Ason's role within Rakeem's vision becomes clear as crystal. The man was supposed to be a co-anchor along with both his cousins. Bobby weaves a well-known Isaac Hayes sample into the beat as he and Ason rip this shit a new one, and I have to say Russell takes it. I'm not saying he's bad, but I know Rakeem can do better than this. On a different note, people trying to form groups or duos should really study the Wu for obvious reasons as I'm sick of forced teamwork, which is unfortunately prevalent today. Even among underground purists and legends.
FREESTYLE (FEATURING ASON UNIQUE)
Bobby and Russell ramp up the punchlines on that ESG sample. Now that's more like the Prince Rakeem I know! I must state my utter irritation at the fact that many people underrate Bobby on the mic, when he has shown time and again himself to be a phenomenal MC at the very least. Ason would make the first bars of his contribution here very famous on his debut single Brooklyn Zoo. and with that he exits the studio (he exits my custom playlist actually), waiting to make history with his brothers on their true debut, Enter the Wu-Tang (36 Chambers).
AFTER THE LAUGHTER (FEATURING GHOSTFACE KILLAH)
The early version of Tearz. Also, the true b-side for the early pressings of Protect Ya Neck, notable for being the sampling choice of one DJ Premier for Jeru The Damaja's classic joint Ain't The Devil Happy. You will recognize the laugh, trust me. Anyways, another thing this tape shows us is exactly how far ahead Mr. Diggs was in his delivery as a rapper than most of his Wu brethren during the making of this tape. Especially former project neighbor and future critical darling Dennis Coles bka Ghostface Killah aka Ironman aka Tony Starks aka Pretty Toney aka The Wallabee Champ, who sounds greener than that pet frog you're embarrassed you had in sixth grade when you went through that pet phase but your mom wouldn't let you buy a cat nor a dog because they ruin the curtains, the bedsheets, the towels, the rug, etc. I wish all green artists sound this good, though.
BRING DA RUCKUS (FEATURING RAEKWON & INSPECTAH DECK)
The debut of Park Hill's DMD Crew. This is an early version of the blood pumping opener of the Wu's legendary debut, complete with more melodious elements in the beat, a lack of Gary & Dennis and an unheard verse from DMD Crew's chef Corey Woods, who ironically cooks for reals these days in addition to his day job as Raekwon. One other thing I admire about Rae is his care in offering different verses every time you hear him. The man tries as much as possible to write new shit every time he enters the studio, and it shows in his work. Seriously, you rarely hear him repeat a verse he uses once. You have to take your hat off to that type of dedication. Oh, and Jason Hunter from the DMD Crew aka Inspectah Deck's verse is exactly the same as the released version. Of course, Bobby had to enter shoutout mode without contributing one verse. This is, after all, the first of two tracks where Bobby has no lyrical activity to speak of. All in all? Good shit.
YOU'RE ON (FEATURING SHAQUAN & BABY-U)
What's this? DMD Crew's Lamont Hawkins aka Golden Arms aka U-God aka Baby-U was a part of the Wu's early days on more than four bars? Why yes, my arrogant and judgmental reader. I am one of the very few who thinks he is all-deserving of his position as one of the nine original Wu generals, because no one can really point out to me a valid criticism against his group participations. Especially his teamwork during the 5-year plan. Now, in terms of his solo output? I not-so-wholeheartedly agree with the masses of hatred, for I believe he can write a good song once in a blue moon, and that trait has only gotten better since 2009. In other matters, if you must have it pointed out for you: Yes, DMD Crew's Shaquan is Cliffy Clifford Smith aka Method Man. And yes, he's the baby of the group. As evidenced by his slightly squeaky voice. Overall, the beat is a bit goofy and basic but Bobby and the DMD Crew make it work.
I GETS DOWN FOR MY CROWN (FEATURING SHAQUAN, BABY-U & INSPECTAH DECK)
The intro is a bit prophetic, huh? And the DMD Crew naturally get a posse cut of their very own,which is the second track without his Rakeemness in sight. Cliffy sets us off with some lines a diehard fan of the Wu might've heard before. On Ghostface's Cherchez La Ghost. Honestly, I thought it wasn't that bad that he bit from Mef considering they were only two bars, even if they admittedly were the opening two bars. Hated that song anyway but love this one. The sound effects are fucking hilarious, by the way. Golden Arms surprised the fuck outta me with how concise his punchlines sounded, while Mef and Deck were predictably dope. In the end, everybody involved in the making of this song follow Bobby into shoutout mode. What do you mean he shouted out people last?! Overall, this did it's job pretty damn well.
FINAL THOUGHTS:
To call this tape revealing would be too severe of an understatement. All but one of the present demos here are essential listening if you're a Wu fan, if only for what they show from the intricacies of the group's inner workings to the roles they fit in and how those roles shift. If you're not a Wu fan? Proceed at your own risk. The Wu tend to be a little niche sometimes, with various members obviously more appealing than others. However, everyone else ought to help themselves to a slice of musical history, as this measly tape showed clear signs of a hip hop revolution. One that would be infinitely perfected on their next attempt. All this info makes one appreciate Bobby's vision so much more, as you can clearly hear him throughout this whole batch of bootlegs already immersing himself in the role that would define him for the rest of his life. And doing so only in the way one does when he completely believes in his idea.
WORTH IT? Step away from the Future tape and go get this, now. This is the true Robert Diggs debut to me. You know, because it's an actual body of songs and not a three-joint embarrassment.
TRACKS TO TRACK DOWN:
DEADLY VENOMS
Now, to be fair: ONE of the three songs on that abysmal EP was, as I've previously mentioned, actually not that bad. In fact, it was fairly impressive. His Rakeemness' production hasn't experienced the dramatic shift seen above yet, but it shows signs of progress from his work on Words From The Genius nonetheless. Now onto the lyrics: I can vividly picture a Robert Diggs who is immensely frustrated with his label situation as he is desperately trying to wrestle some creative freedom out of them. The lyrics clearly reflect that as he, for the span of one single song, tries to convince the unfortunate souls who bought the piece of shit that the other two songs are mere contractual obligations. I imagine he failed, as he got so pissed off he came up with the Wu-Tang idea. So, I guess I should be thankful no one heard this in 91. That doesn't mean people should steer clear from it now, either, as the punchlines present really give a good example of how Prince Rakeem became the RZA and inadvertently compliment what is present on the abovementioned demo tape. Hell, if it weren't for the dramatic contrast in audio quality, I'd actually recommend cooping them up into one playlist and listening to them together. And we're done.
More Wu-ness? Here. And here for other RZA projects.
