Oh, I've been waiting for a crack at this album for a while, now. Strap in.
I feel like I've been harping for a while now on the fact that 1997 was a landmark year for the Wu-Tang Clan and its brand, but if you don't know who I'm talking about here by any chance, how the fuck did you get here? Of all the countless distractions the internet offers, you come over to mines. Oh well, bonus traffic. Yay.
Nobody can talk about the Wu as an idea without talking about its chief architect, Robert Diggs bka RZA. I feel that I've talked about him so much these past few posts (both praising him to the heavens & dissing the ever-living shit outta him) that I'm exhausted from the mere mention of his name but the fact remains that he's the man behind one of the most influential hip hop movements of all time, and history will reflect that no matter how bad he fucks up.
Back to the year 1997 for a bit: This particular year was the culmination of Bobby's lauded '5-year plan' in which he would take his crew, comprising of nine friggin' people, from absolute irrelevancy to straight up superstardom. Judging by the fact that Wu-Tang Forever sold a ton of copies and rivals its predecessor, the revered Enter The Wu-Tang (36 Chambers) in critical acclaim (I even feel it eclipsed it.), I think it's fair to say that he succeeded big time. His next move was to promptly relinquish control of his cohorts' solo careers after his dictatorial guidance led them to success, and to be fair, I think that was the only way forward.
Now aside from his day job as Wu führer, Bobby has also dabbled in another hip hop venture, although one not as commercially dominant as that W but still very respected: That of the Gravediggaz, where he shared MC duties with former Stetsasonic mainstay Frukwan and the late great OG anomaly Too Poetic. In this group's amazing debut N****mortis, or 6 Feet Deep as it's known Stateside, Bobby got the chance to greatly broaden his horizons as an MC. Although by 97, the Wu brand had gotten so big that their second album, The Pick, The Sickle & The Shovel released that same year, had become an official Wu-Affiliate record, with Rob relegating himself as main guest on what was mostly a duo album. Despite not being that big of a seller, the album still managed to become Gravediggaz' biggest commercial hit while being as critically acclaimed as its predecessor, although for a variety of different reasons. I've talked about these dudes enough, goddamnit, go read my reviews of theirs for more.
Now, you ask me what was my point of all this ranting, right? It's that up until that point, every long-term musical venture this dude has committed to has been critically lauded one way or another. So when he announced that he was going to put out a solo project where he had total unhindered freedom to express his artistic ideas, many a Wu Stan (and back then, they were a lot) had recurring wet dreams fantasizing about how it was going to bring the next revolutionary stage in Robert Diggs' musical career. And when he dropped Tragedy, his debut single for the upcoming album called The Cure, it seemed everyone was getting their wish. Then life came with its oh-so-precious lemons: RZA dropped B.O.B.B.Y. and everybody who ever loved the Wu suddenly felt an emptiness welling up in their souls.
The official explanation behind this new direction Bobby was heading in was that the entire album was to be a concept record telling the story of yet another alias: Bobby Digital, basically a hedonistic super-powered thug. He later explains that "this persona had to come out of him or else he'd become emotionally unbalanced." Yeah, his significant other cheated on him and obviously it ended in an ugly fashion. Don't get me wrong, this can lead to phenomenal music. Listen to Phil Collins' first two albums, you'll recognize. They all do. Anyway as I said above, quite the bunch of Wu stans were excited at this new direction.
In fact, five hundred thousands of those Wu stans bought Bobby Digital's resulting album, In Stereo, in the States alone. I would say you're here to see if it deserved those numbers, I'm just psychic like that.
Of course, you know that I'm reviewing the Japanese version, right?
INTRO
You know, Diggs? I'd forgive the German shouting, even though that probably came from a racist viewpoint. Hell, I'd even forgive your shitty command of the keyboards. What I won't forgive, however, is the overwhelming pretentiousness on this bullshit. I don't care if it's half a minute long, you get fuck you points for this, Diggs.
B.O.B.B.Y.
This shit is such a huge step back for Bobby Digital. Merely one proper song in this shit and Robert Diggs, the real person, comes across as a whiny, attention whoring nutcase. How is this possible? Musically this is one mind-numbingly boring instrumental. The genius of cuts like Assassination Day seems to have all but evaporated. And lyrically, the punchline attempts, while good when compared to the rest of the competition then and magnificent compared to the shit you've been subjected to in the mainstream for the past 14 years, are so beneath Bobby's true capabilities, it's physically sickening. But the worst part about this abortion is, by far, the hook. Another fuck you point for the hook alone, Diggs.
UNSPOKEN WORD
Well, so much for the swearing off of sampling, right? I mean, you took time off your busy day to record that intro, Diggs. Busy doing what, I don't know but it couldn't have been more productive than whatever horseshit you call the previous song. And you still failed to make this beat interesting. I will say that the lyrics have improved a bit more.
SLOW-GRIND AFRICAN
Fuck this shit.
AIRWAVES
King Tech of Sway & King Tech produced this song. I must admit this is Bobby of the Digital tribe's most focused showing on the album so far. Apparently, King Tech liked this song so much he changed the name of the remix he eventually did in order to promote it as the lead single for him & Sway's then-upcoming album. They kept the beat & sliced off half of Bobby's verse in favor of adding a gazillion other rappers. The original is fairly dope, though.
LOVE JONES (FEATURING ANGEL CAKE)
Unlike this shit, where Digifuck here samples the exact same Mighty Ryeders record that DJ Muggs sampled multiple times. Here's the foul part: he samples it in the exact same speed. At least he didn't loop it in a similar way. Yay? None of that is why I hate this song, however. It's always the subject matter that these dickheads fuck up in choosing. Of course Bobby-O ain't helping matters by upping the sleaze in his bullshit Supreme Mathematics approach to infinity. If this song was a person, I'd forcefeed him milk and eggs that have expired two years ago.
NYC EVERYTHING (FEATURING METHOD MAN)
About damn time we got a Wu cameo! Bobby always seems to have an electric chemistry with Mef, as they both knock their contributions out the park per the Wu's usual standards. The beat and rhymes displayed on here were more of what Wu stans expected from the Bobby Digital concept. Makes a valid case for being my favorite song on the album. Nice!
MANTIS (FEATURING MASTA KILLA & TEKITHA)
A common misconception on this song is that Tekitha raps a verse, when she actually only contributes a wordy hook. Just to show you that heads can be very hypocritical when claiming that they 'listened' to a song by an act they're interested in. Bobby & the High Chief bring the house down with their unique brands of braggadocious rhymes, with Masta Killa actually upending Digi and bringing my favorite verse on this album
SLOW-GRIND FRENCH
Why hasn't someone bitchslapped Bobby for this type of horseshit, again?!
HOLOCAUST (SILKWORM) (FEATURING GHOSTFACE KILLAH, HOLOCAUST, DOC DOOM & MS. ROXY)
Most Wu stans were introduced to the Wu's West Coast imports, Black Knights of the North Star, on the Wu vanity album The Swarm, which bafflingly went gold despite receiving the shittiest of all marketing campaigns. That W was serious. Anyway, the group was actually a mashup of two groups, similar to what was attempted with Sunz of Man & Killarmy as well as the BCC's abandoned Fab 5 idea. It was painfully obvious from the get-go that the North Star half (who called themselves, gasp, the North Star) had no business on the mic, so it makes sense that Bobby would later pick the Black Knights half (who called themselves, gasp, the Black Knights) to appear on his album. Now, it's painfully obvious that Bob had a raging hard-on for the rhyming skills of Black Knights member Anthony Brown fka Holocaust nka Warcloud, to the point that he named this song after the fucker. I tell you, the bias here was very much warranted: This dude sets the song off with a verse so demanding that the remaining MCs were forced to imitate his style. Yes, even future critical darling Ghostface Killah. Am I the only one who thinks that the late Doc Doom sounds like he's doing his damnedest Ras Kass impersonation? By all means, I didn't mind, as this surely forced him to elevate his rhymes, which is always a good thing. The beat is where my gripe lies with this song: It's not really bad, per se, but it damn sure doesn't match the lyrical quality exhibited here. Oh, and Ms. Roxy's subdued delivery clearly only serves to contrast with high-octane songs like Reunited, because she will put you to sleep on slower ones like this. OK song.
TERRORIST (FEATURING KILLA SIN, DOM PACHINO, HOLOCAUST & DOC DOOM)
In a recurring Wu theme, Diggs hands away an entire song from his album to a certain act and no-shows said song to avoid stealing the spotlight. The move, in theory, is admirable, but the song needs to be an awesome one in order for this to work, which sadly isn't the case here. This Killarmy/Black Knights mashup is, in turn, named after Dom Pachino's then-pseudonym. Difference is, his performance doesn't warrant the naming of this song after him in the least, even though he clearly saved Holocaust's fuckup with a freestyle (which can only be heard on this Japanese version I'm reviewing. Go nuts, all you collector freaks.) Doc Doom and Killa Sin both deliver nicely, though. Unfortunately the beat drags the song down once again. Maybe it's because Bobby rushed this Digital concept of his way too soon, because there are a lot of beats that are underwhelming on this album.
BOBBY DID IT (SPANISH FLY) (FEATURING GHOSTFACE KILLAH, ISLORD, TIMBO KING, JAMIE SOMMERS & NDIRA)
This beat doesn't sound Spanish in the least, but it does sound a step better than the previous two. So, um, why was Islord chosen to open the song again? His delivery is irritatingly bad and always has been. And it ain't like he's some blazing lyricist either, for his bars are incredibly generic. Anyway, Royal Fam's Timbo King manages to pick up the scraps enough for you to continue listeing to this song, then Bobby and Ghost give it a shove further in the right direction, until Wu affiliate Jamie Sommers forces the track to a complete halt with her Lil Kim/Foxy Brown interpretation. And Ndira is an absolute earsore with her forced hook and adlibs, done in Spanish by the way! Not that there's anything wrong with the Spanish language but the idea is so friggin' tacky it will piss you off. Yeah overall, this one's pretty meh.
HANDWRITING ON THE WALL (FEATURING RAS KASS)
So Razzy actually shows up? Nice! Except when you realize this is an extended intro with a boring-ass beat. Groan.
KISS OF THE BLACK WIDOW (FEATURING OL' DIRTY BASTARD)
The Abbott of the Wu-Tang Clan chose to include an Inspectah Deck beat on his album out of all the available Wu-Elements on-call. That should tell you something about where Deck could've went had he focused a bit more on his beatmaking. That being said, the Portishead sample is pretty effective as a standalone, but when combined with this lyrical failure to capitalize on the intended concept, it falls flat on its face. Further points down for the late great ODB using a portion of his verse from Big Daddy Kane's Show & Prove. Frustrating misfire.
SLOW-GRIND ITALIAN
Fuck you, Diggs!
MY LOVIN' IS DIGI (FEATURING THE FORCE MD'S & MS. ROXY)
Dammit! What is it with Bobby wasting these amazing beats on unworthy rhymes. This could've really been an amazing song, instead of the elaborately planned sex romp it ended up to be. And it ain't like Bobby's covering new lyrical ground, either. Fuck this song and fuck everyone on it for making it.
DOMESTIC VIOLENCE (FEATURING JAMIE SOMMERS & MS. ROXY)
Ms. Roxy's back again, and I wonder what I'm gonna think of this song. Yep. I friggin' hate this one the most. First off, Jamie Sommers should be barred from ever touching a microphone ever again because of her insanely horrible delivery, Ms. Roxy blesses you with her worst performance, straight up. This will be the last time I say this: I am staunchly and firmly against any form of misogyny showcased on record, whether it be belittling a woman's mind or body, so fuck Bobby's lyrics here, even if they were based on a true story, freedom of speech be damned. Fuck this song. I don't give a fuck how common the subject matter is. This song is an utter embarrasment.
PROJECT TALK (FEATURING BERETTA 9)
Bob and Killarmy's Beretta 9 choose to enact their own version of the Run-DMC rhyming formula. And to this I ask: You really couldn't get Cousin Gary aka GZA for this, huh Diggs? The end result is OK, I guess. I will say that the beat reminds you of the eclectic sound that made you fall in love with this dude's production in the first place. Shout out to the sounds he used here that he introduced on The Projects from Wu Forever.
LAB DRUNK
By far, my favorite solo song on the album where Robert rhymes by his damn self for a change. No guests. No fancy bullshit. Just him, his rhymes and his anger. I friggin' love this side of Bobby, as he sounds like a rabid, wounded animal lashing out at any who come close, which is a style he excelled at ever since his Gravedigga days. The beat is mercilessly relentless, as well, which adds to the overall feeling that this dude is not to be approached right now. Awesome song!
FUCK WHAT YOU THINK (FEATURING 9TH PRINCE & ISLORD)
Islord, personality vacuum extraordinaire returns with his Killarmy brethren and Bobby's blood brethren 9th Prince to share a track with Diggs to flex their lyrical supremacy. Problem is, the beat is some grade-A sleep-inducing bullshit. You don't really need to waste your time with this song.
DAILY ROUTINE (FEATURING BERETTA 9)
Final song for the evening is another Digital-Beretta 9 duet over another boring-ass instrumental. I will say, though, that Bobby sensed that he lost his audience halfway through this album, so he chose to up his lyrical product and delivery. Unfortunately, Beretta 9 never fit him nor did he attempt to rise to his level. On top of that, the hook is another infuriating failure on Diggs' part.
FINAL THOUGHTS
Oh, do I ever hate this album with a vengeance. It's not the fact that this album is a horrible debut from Robert Diggs that gets me the most, nor is it his sudden obsession with rhyming alongside dudes who have no dream of challenging him lyrically, a trait that continues to haunt his stubborn ass to this day. No, it's the indisputable fact that this guy was capable of so much more at the time of this album's recording and yet he purposefully chose not to give it his all. Which, as you may well know, is an unforgivable sin to Wu heads. And rightfully so: You're talking about the guy mostly responsible for the success of the Wu brand. How can he fuck up so badly? Thing is, maybe it really wasn't in his power to reach the heights he's set for himself back then. Maybe he exerted all of his creative brilliance on his revered '5-year plan' for his crew. But then a realization hits you: The fucker already completed The Cure before this album was even made. And all remaining pity for this man vanishes, and you start wishing for his failure so intensely that you hatch a plan to block his success at every turn, finally getting your revenge for that horrible disappointment that was In Stereo. Until you wake up from your nap, resulting from a combination of the sheer boredom you've experienced listening to this album and the sheer boredom you've experienced reading my review of it. You masochistic bastard, you.
WORTH IT?
Run! Don't let your Wu-stannery blind you! You'll thank me later. Or you can just download the songs I liked and flip off the rest. It's up to you.
TRACKS TO TRACK DOWN
SAMURAI SHODOWN
This song was off the wildly-uneven Ghost Dog OST which Bobby produced in its entirety, and it's a much more snug fit for what an MC of his background and credentials would go for with a 'Bobby Digital' superpowered character idea. The beat contains a stab of a Mad Lads sample that adds more depth to the overall picture. Pretty good. Why weren't you making songs like this on the debut again, Diggs?!
THE CHASE
Off the Bulworth OST, (brilliant movie, that!) Bobby basically does his own version of Run, with infinitely better results, as the theme fits his character like a fucking glove! The immediacy of his delivery combined with that random ass hook brings a sense of mirth sorely needed by Bob Digi. Add that with some pretty descriptive storytelling and a beat that's so full of said mirth that you won't help but enjoy this song! Now let the crushing realization that this could've been on the proper album sink in. I tell ya, this guy is downright shameless with his stubbornness, sometimes.
AND JUSTICE FOR ALL (FEATURING METHOD MAN, KILLA SIN, DOM PACHINO & ISLORD)
A prevalent MLK sample that has absolutely nothing to do with what the song's message is begins proceedings as the quintet run roughshod (with absolutely zero consideration for the title of the damn song, might I add) over the digital instrumental from the abovementioned '98 Swarm compilation, which admittedly sounds pretty damn good. Flying in the face of any notion believing that I hate the Digital Orchestra sound Bobby was pushing then. I just hate the bad songs. Dom Pachino sounds like he worked on his rhymes a bit, which is good. Still hate Islord.
THE ANTHEM (FEATURING TECH N9NE, EMINEM, XZIBIT, PHAROAHE MONCH, KOOL G RAP, CHINO XL & KRS-ONE)
Damn. Didn't you ever luck into this one, huh Diggs? Everyone mentioned above really do bring the ruckus something lovely. A common misconception is that Jayo Felony rhymed on this when he only provided a bridge. Hence why he's absent from my crediting. Anyone wanting to study punchlines may want to add this track to their list of references. And we're done.
For more on RZA's career, Digi Digi or otherwise, hit this.
In fact, five hundred thousands of those Wu stans bought Bobby Digital's resulting album, In Stereo, in the States alone. I would say you're here to see if it deserved those numbers, I'm just psychic like that.
Of course, you know that I'm reviewing the Japanese version, right?
INTRO
You know, Diggs? I'd forgive the German shouting, even though that probably came from a racist viewpoint. Hell, I'd even forgive your shitty command of the keyboards. What I won't forgive, however, is the overwhelming pretentiousness on this bullshit. I don't care if it's half a minute long, you get fuck you points for this, Diggs.
B.O.B.B.Y.
This shit is such a huge step back for Bobby Digital. Merely one proper song in this shit and Robert Diggs, the real person, comes across as a whiny, attention whoring nutcase. How is this possible? Musically this is one mind-numbingly boring instrumental. The genius of cuts like Assassination Day seems to have all but evaporated. And lyrically, the punchline attempts, while good when compared to the rest of the competition then and magnificent compared to the shit you've been subjected to in the mainstream for the past 14 years, are so beneath Bobby's true capabilities, it's physically sickening. But the worst part about this abortion is, by far, the hook. Another fuck you point for the hook alone, Diggs.
UNSPOKEN WORD
Well, so much for the swearing off of sampling, right? I mean, you took time off your busy day to record that intro, Diggs. Busy doing what, I don't know but it couldn't have been more productive than whatever horseshit you call the previous song. And you still failed to make this beat interesting. I will say that the lyrics have improved a bit more.
SLOW-GRIND AFRICAN
Fuck this shit.
AIRWAVES
King Tech of Sway & King Tech produced this song. I must admit this is Bobby of the Digital tribe's most focused showing on the album so far. Apparently, King Tech liked this song so much he changed the name of the remix he eventually did in order to promote it as the lead single for him & Sway's then-upcoming album. They kept the beat & sliced off half of Bobby's verse in favor of adding a gazillion other rappers. The original is fairly dope, though.
LOVE JONES (FEATURING ANGEL CAKE)
Unlike this shit, where Digifuck here samples the exact same Mighty Ryeders record that DJ Muggs sampled multiple times. Here's the foul part: he samples it in the exact same speed. At least he didn't loop it in a similar way. Yay? None of that is why I hate this song, however. It's always the subject matter that these dickheads fuck up in choosing. Of course Bobby-O ain't helping matters by upping the sleaze in his bullshit Supreme Mathematics approach to infinity. If this song was a person, I'd forcefeed him milk and eggs that have expired two years ago.
NYC EVERYTHING (FEATURING METHOD MAN)
About damn time we got a Wu cameo! Bobby always seems to have an electric chemistry with Mef, as they both knock their contributions out the park per the Wu's usual standards. The beat and rhymes displayed on here were more of what Wu stans expected from the Bobby Digital concept. Makes a valid case for being my favorite song on the album. Nice!
MANTIS (FEATURING MASTA KILLA & TEKITHA)
A common misconception on this song is that Tekitha raps a verse, when she actually only contributes a wordy hook. Just to show you that heads can be very hypocritical when claiming that they 'listened' to a song by an act they're interested in. Bobby & the High Chief bring the house down with their unique brands of braggadocious rhymes, with Masta Killa actually upending Digi and bringing my favorite verse on this album
SLOW-GRIND FRENCH
Why hasn't someone bitchslapped Bobby for this type of horseshit, again?!
HOLOCAUST (SILKWORM) (FEATURING GHOSTFACE KILLAH, HOLOCAUST, DOC DOOM & MS. ROXY)
Most Wu stans were introduced to the Wu's West Coast imports, Black Knights of the North Star, on the Wu vanity album The Swarm, which bafflingly went gold despite receiving the shittiest of all marketing campaigns. That W was serious. Anyway, the group was actually a mashup of two groups, similar to what was attempted with Sunz of Man & Killarmy as well as the BCC's abandoned Fab 5 idea. It was painfully obvious from the get-go that the North Star half (who called themselves, gasp, the North Star) had no business on the mic, so it makes sense that Bobby would later pick the Black Knights half (who called themselves, gasp, the Black Knights) to appear on his album. Now, it's painfully obvious that Bob had a raging hard-on for the rhyming skills of Black Knights member Anthony Brown fka Holocaust nka Warcloud, to the point that he named this song after the fucker. I tell you, the bias here was very much warranted: This dude sets the song off with a verse so demanding that the remaining MCs were forced to imitate his style. Yes, even future critical darling Ghostface Killah. Am I the only one who thinks that the late Doc Doom sounds like he's doing his damnedest Ras Kass impersonation? By all means, I didn't mind, as this surely forced him to elevate his rhymes, which is always a good thing. The beat is where my gripe lies with this song: It's not really bad, per se, but it damn sure doesn't match the lyrical quality exhibited here. Oh, and Ms. Roxy's subdued delivery clearly only serves to contrast with high-octane songs like Reunited, because she will put you to sleep on slower ones like this. OK song.
TERRORIST (FEATURING KILLA SIN, DOM PACHINO, HOLOCAUST & DOC DOOM)
In a recurring Wu theme, Diggs hands away an entire song from his album to a certain act and no-shows said song to avoid stealing the spotlight. The move, in theory, is admirable, but the song needs to be an awesome one in order for this to work, which sadly isn't the case here. This Killarmy/Black Knights mashup is, in turn, named after Dom Pachino's then-pseudonym. Difference is, his performance doesn't warrant the naming of this song after him in the least, even though he clearly saved Holocaust's fuckup with a freestyle (which can only be heard on this Japanese version I'm reviewing. Go nuts, all you collector freaks.) Doc Doom and Killa Sin both deliver nicely, though. Unfortunately the beat drags the song down once again. Maybe it's because Bobby rushed this Digital concept of his way too soon, because there are a lot of beats that are underwhelming on this album.
BOBBY DID IT (SPANISH FLY) (FEATURING GHOSTFACE KILLAH, ISLORD, TIMBO KING, JAMIE SOMMERS & NDIRA)
This beat doesn't sound Spanish in the least, but it does sound a step better than the previous two. So, um, why was Islord chosen to open the song again? His delivery is irritatingly bad and always has been. And it ain't like he's some blazing lyricist either, for his bars are incredibly generic. Anyway, Royal Fam's Timbo King manages to pick up the scraps enough for you to continue listeing to this song, then Bobby and Ghost give it a shove further in the right direction, until Wu affiliate Jamie Sommers forces the track to a complete halt with her Lil Kim/Foxy Brown interpretation. And Ndira is an absolute earsore with her forced hook and adlibs, done in Spanish by the way! Not that there's anything wrong with the Spanish language but the idea is so friggin' tacky it will piss you off. Yeah overall, this one's pretty meh.
HANDWRITING ON THE WALL (FEATURING RAS KASS)
So Razzy actually shows up? Nice! Except when you realize this is an extended intro with a boring-ass beat. Groan.
KISS OF THE BLACK WIDOW (FEATURING OL' DIRTY BASTARD)
The Abbott of the Wu-Tang Clan chose to include an Inspectah Deck beat on his album out of all the available Wu-Elements on-call. That should tell you something about where Deck could've went had he focused a bit more on his beatmaking. That being said, the Portishead sample is pretty effective as a standalone, but when combined with this lyrical failure to capitalize on the intended concept, it falls flat on its face. Further points down for the late great ODB using a portion of his verse from Big Daddy Kane's Show & Prove. Frustrating misfire.
SLOW-GRIND ITALIAN
Fuck you, Diggs!
MY LOVIN' IS DIGI (FEATURING THE FORCE MD'S & MS. ROXY)
Dammit! What is it with Bobby wasting these amazing beats on unworthy rhymes. This could've really been an amazing song, instead of the elaborately planned sex romp it ended up to be. And it ain't like Bobby's covering new lyrical ground, either. Fuck this song and fuck everyone on it for making it.
DOMESTIC VIOLENCE (FEATURING JAMIE SOMMERS & MS. ROXY)
Ms. Roxy's back again, and I wonder what I'm gonna think of this song. Yep. I friggin' hate this one the most. First off, Jamie Sommers should be barred from ever touching a microphone ever again because of her insanely horrible delivery, Ms. Roxy blesses you with her worst performance, straight up. This will be the last time I say this: I am staunchly and firmly against any form of misogyny showcased on record, whether it be belittling a woman's mind or body, so fuck Bobby's lyrics here, even if they were based on a true story, freedom of speech be damned. Fuck this song. I don't give a fuck how common the subject matter is. This song is an utter embarrasment.
PROJECT TALK (FEATURING BERETTA 9)
Bob and Killarmy's Beretta 9 choose to enact their own version of the Run-DMC rhyming formula. And to this I ask: You really couldn't get Cousin Gary aka GZA for this, huh Diggs? The end result is OK, I guess. I will say that the beat reminds you of the eclectic sound that made you fall in love with this dude's production in the first place. Shout out to the sounds he used here that he introduced on The Projects from Wu Forever.
LAB DRUNK
By far, my favorite solo song on the album where Robert rhymes by his damn self for a change. No guests. No fancy bullshit. Just him, his rhymes and his anger. I friggin' love this side of Bobby, as he sounds like a rabid, wounded animal lashing out at any who come close, which is a style he excelled at ever since his Gravedigga days. The beat is mercilessly relentless, as well, which adds to the overall feeling that this dude is not to be approached right now. Awesome song!
FUCK WHAT YOU THINK (FEATURING 9TH PRINCE & ISLORD)
Islord, personality vacuum extraordinaire returns with his Killarmy brethren and Bobby's blood brethren 9th Prince to share a track with Diggs to flex their lyrical supremacy. Problem is, the beat is some grade-A sleep-inducing bullshit. You don't really need to waste your time with this song.
DAILY ROUTINE (FEATURING BERETTA 9)
Final song for the evening is another Digital-Beretta 9 duet over another boring-ass instrumental. I will say, though, that Bobby sensed that he lost his audience halfway through this album, so he chose to up his lyrical product and delivery. Unfortunately, Beretta 9 never fit him nor did he attempt to rise to his level. On top of that, the hook is another infuriating failure on Diggs' part.
FINAL THOUGHTS
Oh, do I ever hate this album with a vengeance. It's not the fact that this album is a horrible debut from Robert Diggs that gets me the most, nor is it his sudden obsession with rhyming alongside dudes who have no dream of challenging him lyrically, a trait that continues to haunt his stubborn ass to this day. No, it's the indisputable fact that this guy was capable of so much more at the time of this album's recording and yet he purposefully chose not to give it his all. Which, as you may well know, is an unforgivable sin to Wu heads. And rightfully so: You're talking about the guy mostly responsible for the success of the Wu brand. How can he fuck up so badly? Thing is, maybe it really wasn't in his power to reach the heights he's set for himself back then. Maybe he exerted all of his creative brilliance on his revered '5-year plan' for his crew. But then a realization hits you: The fucker already completed The Cure before this album was even made. And all remaining pity for this man vanishes, and you start wishing for his failure so intensely that you hatch a plan to block his success at every turn, finally getting your revenge for that horrible disappointment that was In Stereo. Until you wake up from your nap, resulting from a combination of the sheer boredom you've experienced listening to this album and the sheer boredom you've experienced reading my review of it. You masochistic bastard, you.
WORTH IT?
Run! Don't let your Wu-stannery blind you! You'll thank me later. Or you can just download the songs I liked and flip off the rest. It's up to you.
TRACKS TO TRACK DOWN
SAMURAI SHODOWN
This song was off the wildly-uneven Ghost Dog OST which Bobby produced in its entirety, and it's a much more snug fit for what an MC of his background and credentials would go for with a 'Bobby Digital' superpowered character idea. The beat contains a stab of a Mad Lads sample that adds more depth to the overall picture. Pretty good. Why weren't you making songs like this on the debut again, Diggs?!
THE CHASE
Off the Bulworth OST, (brilliant movie, that!) Bobby basically does his own version of Run, with infinitely better results, as the theme fits his character like a fucking glove! The immediacy of his delivery combined with that random ass hook brings a sense of mirth sorely needed by Bob Digi. Add that with some pretty descriptive storytelling and a beat that's so full of said mirth that you won't help but enjoy this song! Now let the crushing realization that this could've been on the proper album sink in. I tell ya, this guy is downright shameless with his stubbornness, sometimes.
AND JUSTICE FOR ALL (FEATURING METHOD MAN, KILLA SIN, DOM PACHINO & ISLORD)
A prevalent MLK sample that has absolutely nothing to do with what the song's message is begins proceedings as the quintet run roughshod (with absolutely zero consideration for the title of the damn song, might I add) over the digital instrumental from the abovementioned '98 Swarm compilation, which admittedly sounds pretty damn good. Flying in the face of any notion believing that I hate the Digital Orchestra sound Bobby was pushing then. I just hate the bad songs. Dom Pachino sounds like he worked on his rhymes a bit, which is good. Still hate Islord.
THE ANTHEM (FEATURING TECH N9NE, EMINEM, XZIBIT, PHAROAHE MONCH, KOOL G RAP, CHINO XL & KRS-ONE)
Damn. Didn't you ever luck into this one, huh Diggs? Everyone mentioned above really do bring the ruckus something lovely. A common misconception is that Jayo Felony rhymed on this when he only provided a bridge. Hence why he's absent from my crediting. Anyone wanting to study punchlines may want to add this track to their list of references. And we're done.
For more on RZA's career, Digi Digi or otherwise, hit this.
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