If you ever loved hip hop with any sincerity, then these last few days were absolute torture to you.
The world lost a truly gifted mind in one Albert T'Chaka Johnson, author, theorist, visionary, publisher and what started it all, poet Prodigy of immortal hip hop duo Mobb Deep. Prodigy was one of the very first MCs whose lyrics I obsessed about, simply because of how much he enforced an expression we've learned round these parts: 'Oratory can be magic'. There was a six-year period where Prodigy wasted zero words in his lyrics: Each and every line he delivered then was a timeless quotable enshrined in hip hop history.
I've already raved about how much of an impact dude's material left on my psyche, and undoubtedly countless others. So what I choose to highlight today is another side few people focus on when studying greats like him: Business mentality. It's no secret that P wasn't given the tools to be a Dr. Dre or a Jay-Z in his business life. But he did find a workaround, eventually. I recently watched his interview with Elliot Wilson where he talks about his numerous recent business evolutions, from a publishing company to a record label, and it struck me just how much he bigged up my subject for today in that particular field. See according to P, it was actually the Wu-Tang Clan who schooled him on how to move within the industry, how to establish relations with figures from various fields and learn as much as possible from each field so as to have more control over your shit. So I feel it's only appropriate to continue talking about the second most important time period in this act's business history. That, and the fact that P's last public appearance was headlining alongside Nas and two Wu members. This post is for you, Cellblock P. Rest In Peace, Albert Johnson.
'Twas the dawn of the new millenium. The Y2K craze turned out to be one monstrous disappointment of a hoax, and George W. Bush was about to force America into yet another war.
In the rap industry, however, the once-mighty Wu banner has been nearly forsaken by their most ardent supporters. The blame was shifted around within the camp, with arguments ranging from too many Wu-Affiliate material to lacklustre projects from some Wu Generals such as RZA, Cappadonna, Golden Arms and Raekwon to horseshit promotion of worthy albums from the likes of Method Man, GZA & Inspectah Deck. Everyone was pointing fingers at everyone else. Only one member stood silently in the shadows, observing everyone else and patiently plotting his next move. His name? Masta Killa.
You didn't think I was going to imply that Dennis Coles bka Ghostface Killah aka Ironman aka Tony Starks aka Pretty Toney aka P.Tone aka The Wallabee Champ aka Ghostdini The Great would sit idly by and watch this happen, did you? Patience is not a trait this man is particularly known for. Simply put, when Dennis saw all this mess unfold, he decided to take matters into his own hands. Add that to the fact that GFK felt that his previous work on the revolutionary twin albums Only Built 4 Cuban Linx... and Ironman wasn't properly compensated, and you've got one driven human being. Hell, I'd be that pissed off as well had I had an album credited to me sell over one million units without me getting enough to show for it.
The world lost a truly gifted mind in one Albert T'Chaka Johnson, author, theorist, visionary, publisher and what started it all, poet Prodigy of immortal hip hop duo Mobb Deep. Prodigy was one of the very first MCs whose lyrics I obsessed about, simply because of how much he enforced an expression we've learned round these parts: 'Oratory can be magic'. There was a six-year period where Prodigy wasted zero words in his lyrics: Each and every line he delivered then was a timeless quotable enshrined in hip hop history.
I've already raved about how much of an impact dude's material left on my psyche, and undoubtedly countless others. So what I choose to highlight today is another side few people focus on when studying greats like him: Business mentality. It's no secret that P wasn't given the tools to be a Dr. Dre or a Jay-Z in his business life. But he did find a workaround, eventually. I recently watched his interview with Elliot Wilson where he talks about his numerous recent business evolutions, from a publishing company to a record label, and it struck me just how much he bigged up my subject for today in that particular field. See according to P, it was actually the Wu-Tang Clan who schooled him on how to move within the industry, how to establish relations with figures from various fields and learn as much as possible from each field so as to have more control over your shit. So I feel it's only appropriate to continue talking about the second most important time period in this act's business history. That, and the fact that P's last public appearance was headlining alongside Nas and two Wu members. This post is for you, Cellblock P. Rest In Peace, Albert Johnson.
'Twas the dawn of the new millenium. The Y2K craze turned out to be one monstrous disappointment of a hoax, and George W. Bush was about to force America into yet another war.
In the rap industry, however, the once-mighty Wu banner has been nearly forsaken by their most ardent supporters. The blame was shifted around within the camp, with arguments ranging from too many Wu-Affiliate material to lacklustre projects from some Wu Generals such as RZA, Cappadonna, Golden Arms and Raekwon to horseshit promotion of worthy albums from the likes of Method Man, GZA & Inspectah Deck. Everyone was pointing fingers at everyone else. Only one member stood silently in the shadows, observing everyone else and patiently plotting his next move. His name? Masta Killa.
You didn't think I was going to imply that Dennis Coles bka Ghostface Killah aka Ironman aka Tony Starks aka Pretty Toney aka P.Tone aka The Wallabee Champ aka Ghostdini The Great would sit idly by and watch this happen, did you? Patience is not a trait this man is particularly known for. Simply put, when Dennis saw all this mess unfold, he decided to take matters into his own hands. Add that to the fact that GFK felt that his previous work on the revolutionary twin albums Only Built 4 Cuban Linx... and Ironman wasn't properly compensated, and you've got one driven human being. Hell, I'd be that pissed off as well had I had an album credited to me sell over one million units without me getting enough to show for it.
Also of significant incentive to GFK is the fact that when all the dust settled, it was his partner Raekwon who was awarded all the media hype and all the perks that came with it: accolades, guest appearances, etc. Meanwhile, GFK was restricted to Wu-related albums only, with a very marginal few crediting him for the scorching venom he was spewing on albums like Wu-Tang Forever (the Wu's best material ever, group or solo) Of those few, however, was one who knew just how to disperse all of GFK’s woes moving forward. That, of course, was his brother-in-law (Former? Current? DKDC) RZA. RZA pimped the ever-living shit outta GFK’s verses on various Wu-related albums, further wetting the appetite of ravenous Wu fans who still believed in the product. Interest continued to grow while GFK soldiered on with his amazing Forever form, until he appeared on Blackout!, the debut collaboration album between Mef and Hit Squad general Redman. The exposure that album received rubbed off on GFK’s image and it was finally time to make an album.
Now, since RZA relinquished dictatorship over the Wu's solo careers post-Forever, every Wu General who released a solo album after that made it a point to diversify his beat selections. Naturally, fans didn't know what to expect from GFK. So when he brought in dudes ranging from Junkyard Juju from the motherfucking Beatnuts to the UMCs' Haas G to familiar Wu collaborator Carlos '6 July' Broady, people initially thought nothing of it. Everyone gave our host his beats and left the building. It was then that RZA decided to step in and rework every single beat given to the project, which was done to establish consistency very quickly dwindling from the rap scene then. Which must've been great news for GFK, as one of the songs supposed to be on the album, Cobra Clutch, was relegated to the Wu vanity album The Swarm.
Don't think for a second that this move hurt GFK’s reputation, as the song drove hip hop heads worldwide absolutely apeshit for it, hailing it as the best song off the gold-selling compilation. (You read correctly. A mere compilation record from Wu and friends sold five hundred thousand copies on the strength of the Wu brand alone.) Less than a year after that, the DJ Mathematics-produced Mighty Healthy was unleashed on the masses and it drove people further into delirium for this project. Suddenly, there was a possibility that GFK was sitting on the album of the decade. Literally.
Interesting of note, GFK actually left the States and spent some time in Africa to write the album's lyrics, with RZA following him there to tighten up everything. This was done to parallel his trip with Raekwon to the Bahamas to write Cuban Linx, where RZA followed them there as well. Maybe it's a viable inspiration tactic. Maybe it's an excuse to splurge the label's money. Who knows. Thank God, I'm not a rapper.
Supreme Clientele sold five hundred thousand units within one month only in the US alone. Also, it shared the year of release with the Wu's third opus The W. From hereon out, GFK would continue to release a solo album every year the Wu dropped to this very day. Time to find out if his gamble here paid off and if it really was the album of the decade:
INTRO
Now, since RZA relinquished dictatorship over the Wu's solo careers post-Forever, every Wu General who released a solo album after that made it a point to diversify his beat selections. Naturally, fans didn't know what to expect from GFK. So when he brought in dudes ranging from Junkyard Juju from the motherfucking Beatnuts to the UMCs' Haas G to familiar Wu collaborator Carlos '6 July' Broady, people initially thought nothing of it. Everyone gave our host his beats and left the building. It was then that RZA decided to step in and rework every single beat given to the project, which was done to establish consistency very quickly dwindling from the rap scene then. Which must've been great news for GFK, as one of the songs supposed to be on the album, Cobra Clutch, was relegated to the Wu vanity album The Swarm.
Don't think for a second that this move hurt GFK’s reputation, as the song drove hip hop heads worldwide absolutely apeshit for it, hailing it as the best song off the gold-selling compilation. (You read correctly. A mere compilation record from Wu and friends sold five hundred thousand copies on the strength of the Wu brand alone.) Less than a year after that, the DJ Mathematics-produced Mighty Healthy was unleashed on the masses and it drove people further into delirium for this project. Suddenly, there was a possibility that GFK was sitting on the album of the decade. Literally.
Interesting of note, GFK actually left the States and spent some time in Africa to write the album's lyrics, with RZA following him there to tighten up everything. This was done to parallel his trip with Raekwon to the Bahamas to write Cuban Linx, where RZA followed them there as well. Maybe it's a viable inspiration tactic. Maybe it's an excuse to splurge the label's money. Who knows. Thank God, I'm not a rapper.
Supreme Clientele sold five hundred thousand units within one month only in the US alone. Also, it shared the year of release with the Wu's third opus The W. From hereon out, GFK would continue to release a solo album every year the Wu dropped to this very day. Time to find out if his gamble here paid off and if it really was the album of the decade:
INTRO
RZA places a couple of bits from the Ironman 60s show. This would later come back to bite GFK in the ass.
NUTMEG (FEATURING RZA)
Black Moes-Art, producer of the timeless Soul In The Hole OST title track (Seriously. If you haven't heard it, go do so now), blesses Dennis with an Eddie Holman-sampling banger. GFK busts out the gate as if he's never proven anything to anyone in this rap game, spitting two verses so chock full of references they perfectly exhibit just how peerless the stream-of-consciousness style can be when done right. You'd also notice that he's continuing the eviscerating flow change he introduced in 97 on Wu Forever. Bobby was so excited by said verses he simply had to jump in for the third verse. Already, this album's off to a fantastic start.
ONE
It's about damn time the Beatnuts were shown love here at BBR! Juju loops a Sweet Inspirations sample and transforms it into a goddamn True Master-style scorcher of beat. GFK launches into a storytelling rap describing a day in hood life. What's different here is that Ghostface meshes so many styles of MCing into this one song that the lone track become a full-blown saga of episodes, twisting and turning with every listen. Props to his dazzling display of assonance in the second verse. A magnificent continuance of the strengths GFK displayed in the 5-year plan. This shit will take your breath away.
SATURDAY NITE
A short but sweet tale describing GFK being harassed by cops, set to a sped up Lamont Dozier loop by 6 July. By now, anyone who read about Ghostface Killa on this blog should know how devastating his imagery showcases can be. It won't matter in the slightest that the whole song is a little over a minute and a half long.
GHOST DEINI (FEATURING SUPERB)
Let me mention that depending on which version you hear, the experience of this track will differ greatly. Because there are two versions of this track out there, both apparently sampling the same Michael Masser material. Difference is, one houses a timeless loop. The other's simply aight. Anyways, allow me to address a certain controversy insinuated in the past and one that hasn't really been addressed properly as far as I'm concerned: Former Wu-Affiliate and American Cream Team member Superb, currently serving a bid for raping a young girl for the second time, has infamously claimed to have written the entirety of this album. One look at this song's lyrics and you will immediately recognize that to be a fallacy. GFK rips his guest's contribution to shreds with patented lethal combinations of imagery and punchlines, while Perby settles with spitting his most well-known verse. I don't care if the verse was fairly good, son gets no props. Still, a timeless GFK display.
APOLLO KIDS (FEATURING RAEKWON)
The second single & Haas G's lone contribution to Supreme Clientele. This very well may be his best production ever, as he masterfully reworks a Solomon Burke excerpt into the thumping drum break. Then again, maybe that was RZA's doing. As I said: he did rework every beat on the damn thing. To every rapper in the mainstream today, fuck you for not learning more from this song in the effective ways of 'styling on punks'. Matter of fact, anybody thinking about making a braggadocious song for his catalog should thoroughly research the lyrics present here from both MCs. Prediction: You'll love this song.
THE GRAIN (FEATURING RZA)
RZA finally enters the fray of producers for the album, armed with two Rufus Thomas samples. Lyrically, he joins Dennis in another acclaimed tag team showcasing how hybrid the Wu really were back then. The way their visions interweave, with GFK’s stream-of-consciousness dream sequence clashing with RZA's vivid tale of GFK’s ugly run-in with the cops, prove once again the steep history of these two's friendship, dating back to their old stomping ground Stapleton. Storytime: I played the ever-living shit outta Def Jam: Vendetta and its sequel Fight For NY. As of this moment, I just realized that this song has been blasted into my brain a killion times already, but I was too dumbstruck to realize that until I researched GFK's video game appearances for this review. That factoid makes me appreciate this song a whole lot more. This be my shit.
BUCK 50 (FEATURING METHOD MAN, CAPPADONNA & REDMAN)
RZA is really out to redeem himself for his failure of a solo debut, being the gojazillionth producer to make a classic outta hip hop goldmine Hard Times by Baby Huey. And what better use of the smash of a beat than as background to a trademark Wu punchline posse cut that allows me to write the following: I finally get to review a Reggie Noble verse! Especially with him and Mef repaying GFK for his cameo on their exhilaratingly successful collaboration album, Blackout! And also, Cappadonna (aka Cappachino The Great aka Papi Wardrobe aka Oh Donna aka that dude who almost ruined Wu-Tang Forever aka he who was kicked out of the Wu camp for a long time and had to resort to driving a goddamn cab until he got back into the Clan's good graces) returns to BBR. Have no fear, though, everyone (even Oh Donna. Because this time, RZA contains his horseshit, see.) comes correct with said punchlines. Mef sounds inspired as all hell, which I always love since it tends to bring out some amazing lyrics outta the fucker. Also, I loved the way that Reggie interrupts Cap. It's almost like he's forcefully showing him how to body the beat. Furthermore, Dennis spits two amazing verses on here. This is one of the best posse cuts the Wu have ever made.
MIGHTY HEALTHY
So, if you know the Wu at all, you've heard this song or of it. Why? Because it's probably DJ Mathematics' best production ever. I'm not exaggerating. He apparently handled the dope-ass animation in the music video, as well. Not surprising since he is the one who designed the Wu-Tang logo. Flipping a Sylvers sample to the hip hop staple Synthetic Substitution drum break coupled with some trademark Kung fu sampling, Math gives GFK the perfect layup for the lyrical dunk of the decade that is Supreme Clientele's lead single. And best believe, Dennis appropriately came correct something lovely: He launches into two of his patented style-meshing verses, once again providing sagas within them that twist and shift upon each listen. By far, the Wu-est song on the album. Never come back to this blog again if you don't like this shit.
WOODROW THE BASE HEAD (SKIT)
NUTMEG (FEATURING RZA)
Black Moes-Art, producer of the timeless Soul In The Hole OST title track (Seriously. If you haven't heard it, go do so now), blesses Dennis with an Eddie Holman-sampling banger. GFK busts out the gate as if he's never proven anything to anyone in this rap game, spitting two verses so chock full of references they perfectly exhibit just how peerless the stream-of-consciousness style can be when done right. You'd also notice that he's continuing the eviscerating flow change he introduced in 97 on Wu Forever. Bobby was so excited by said verses he simply had to jump in for the third verse. Already, this album's off to a fantastic start.
ONE
It's about damn time the Beatnuts were shown love here at BBR! Juju loops a Sweet Inspirations sample and transforms it into a goddamn True Master-style scorcher of beat. GFK launches into a storytelling rap describing a day in hood life. What's different here is that Ghostface meshes so many styles of MCing into this one song that the lone track become a full-blown saga of episodes, twisting and turning with every listen. Props to his dazzling display of assonance in the second verse. A magnificent continuance of the strengths GFK displayed in the 5-year plan. This shit will take your breath away.
SATURDAY NITE
A short but sweet tale describing GFK being harassed by cops, set to a sped up Lamont Dozier loop by 6 July. By now, anyone who read about Ghostface Killa on this blog should know how devastating his imagery showcases can be. It won't matter in the slightest that the whole song is a little over a minute and a half long.
GHOST DEINI (FEATURING SUPERB)
Let me mention that depending on which version you hear, the experience of this track will differ greatly. Because there are two versions of this track out there, both apparently sampling the same Michael Masser material. Difference is, one houses a timeless loop. The other's simply aight. Anyways, allow me to address a certain controversy insinuated in the past and one that hasn't really been addressed properly as far as I'm concerned: Former Wu-Affiliate and American Cream Team member Superb, currently serving a bid for raping a young girl for the second time, has infamously claimed to have written the entirety of this album. One look at this song's lyrics and you will immediately recognize that to be a fallacy. GFK rips his guest's contribution to shreds with patented lethal combinations of imagery and punchlines, while Perby settles with spitting his most well-known verse. I don't care if the verse was fairly good, son gets no props. Still, a timeless GFK display.
APOLLO KIDS (FEATURING RAEKWON)
The second single & Haas G's lone contribution to Supreme Clientele. This very well may be his best production ever, as he masterfully reworks a Solomon Burke excerpt into the thumping drum break. Then again, maybe that was RZA's doing. As I said: he did rework every beat on the damn thing. To every rapper in the mainstream today, fuck you for not learning more from this song in the effective ways of 'styling on punks'. Matter of fact, anybody thinking about making a braggadocious song for his catalog should thoroughly research the lyrics present here from both MCs. Prediction: You'll love this song.
THE GRAIN (FEATURING RZA)
RZA finally enters the fray of producers for the album, armed with two Rufus Thomas samples. Lyrically, he joins Dennis in another acclaimed tag team showcasing how hybrid the Wu really were back then. The way their visions interweave, with GFK’s stream-of-consciousness dream sequence clashing with RZA's vivid tale of GFK’s ugly run-in with the cops, prove once again the steep history of these two's friendship, dating back to their old stomping ground Stapleton. Storytime: I played the ever-living shit outta Def Jam: Vendetta and its sequel Fight For NY. As of this moment, I just realized that this song has been blasted into my brain a killion times already, but I was too dumbstruck to realize that until I researched GFK's video game appearances for this review. That factoid makes me appreciate this song a whole lot more. This be my shit.
BUCK 50 (FEATURING METHOD MAN, CAPPADONNA & REDMAN)
RZA is really out to redeem himself for his failure of a solo debut, being the gojazillionth producer to make a classic outta hip hop goldmine Hard Times by Baby Huey. And what better use of the smash of a beat than as background to a trademark Wu punchline posse cut that allows me to write the following: I finally get to review a Reggie Noble verse! Especially with him and Mef repaying GFK for his cameo on their exhilaratingly successful collaboration album, Blackout! And also, Cappadonna (aka Cappachino The Great aka Papi Wardrobe aka Oh Donna aka that dude who almost ruined Wu-Tang Forever aka he who was kicked out of the Wu camp for a long time and had to resort to driving a goddamn cab until he got back into the Clan's good graces) returns to BBR. Have no fear, though, everyone (even Oh Donna. Because this time, RZA contains his horseshit, see.) comes correct with said punchlines. Mef sounds inspired as all hell, which I always love since it tends to bring out some amazing lyrics outta the fucker. Also, I loved the way that Reggie interrupts Cap. It's almost like he's forcefully showing him how to body the beat. Furthermore, Dennis spits two amazing verses on here. This is one of the best posse cuts the Wu have ever made.
MIGHTY HEALTHY
So, if you know the Wu at all, you've heard this song or of it. Why? Because it's probably DJ Mathematics' best production ever. I'm not exaggerating. He apparently handled the dope-ass animation in the music video, as well. Not surprising since he is the one who designed the Wu-Tang logo. Flipping a Sylvers sample to the hip hop staple Synthetic Substitution drum break coupled with some trademark Kung fu sampling, Math gives GFK the perfect layup for the lyrical dunk of the decade that is Supreme Clientele's lead single. And best believe, Dennis appropriately came correct something lovely: He launches into two of his patented style-meshing verses, once again providing sagas within them that twist and shift upon each listen. By far, the Wu-est song on the album. Never come back to this blog again if you don't like this shit.
WOODROW THE BASE HEAD (SKIT)
Fuck this skit, fuck Perby and fuck GFK for including this horseshit on the album.
STAY TRUE (FEATURING 62ND ASSASSIN)
I find it absolutely hilarious that GFK called this throughout the album's crafting process 'Deck's Beat'. An acute window inside the mind of our host, who was so enamored with the beat to Deck's Elevation that he decided to jack it wholesale and call it said name, laying said fact out bare. Anyway, Dennis spits one flossy-ass one-verse wonder that still retains his incredible talent for off-the-wall references. Yet again, another song by a Wu General ends with 62nd Assassin singing something that neither adds nor detracts from said song. Remember Glaciers Of Ice?
WE MADE IT (FEATURING SUPERB, HELL RAZAH & CHIP BANKS)
WE MADE IT (FEATURING SUPERB, HELL RAZAH & CHIP BANKS)
After another excerpt from the 60s cartoon, an admittedly-dope 6 July beat, which is yet another hip hop example of how to sample a Syl Johnson classic, unveils itself. I'll also admit that I loathed this beat the first time I heard it, but it gradually grew on me so tread carefully. Maybe it's because friggin' Perby is the first voice you hear on the shit. Seriously, what was so special about this Perby cat that made RZA feature him so heavily everywhere back then?! Lyrically he's on par with friggin' Hell Razah from Sunz Of Man, which damn well ain't nothing to be proud of. Very few tag teams in the Wu camp are worse than the aforementioned two to share this song with. Oh well: At least Hell Razah isn't a convicted rapist. On the plus side, GFK and the late Chip Banks, one half of the Harlem Hoodz and leader of Raekwon's American Cream Team, bring the ruckus on here. All in all, a good song if one can somehow cut Perby the fuck out of it.
STROKE OF DEATH (FEATURING SOLOMON CHILDS & RZA)
Apparently, Chris Rock and some respectable bloggers are fans of this song. Well, allow me to tell Christopher Rock and said bloggers that they are fucked in the brain. The Harlem Underground Band sample is scratched for the sole purpose of giving you a brain tumor. What pisses me off even more is that the performances by GFK and RZA are absolutely sublime. Solomon Childs, however, sounds nowhere near as good as he did on the Pillage, so there's that. Sorry, RZA, but fuck this song.
IRON'S THEME - INTERMISSION
RZA commissions a Gap Mangione loop, where GFK sings along to its tune. Yes, he sings. I think that's all you need to know about this shit.
MALCOLM
Something called a Choo The Specializt produced this song, bookending it with a dope Malcolm X sample, with the actually dope instrumental a beautiful mesh of a John Coltrane & Duke Ellington loop with an Isaac Hayes sample. Come to think of it, maybe the Malcolm X excerpt is RZA's doing. Whatever. Dennis the Menace here decides it's time for him to dream himself into Malcolm's shoes when the latter was guarding his family, then add a few events from his own into said dream. Bet you won't find songs like this on a Jay-Z album.
WHO WOULD YOU FUCK (SKIT)
This you would find, however. Skip this barf.
CHILD'S PLAY
RZA brings a George Jackson-backed instrumental for his final beat on the album and backs away as GFK brings you a truly breathtaking session of storytelling about one of his crushes in his younger years. You really need to listen to this multiple times, actually. The sheer skill in storytelling he displays on here is simply mind-bending.
CHERCHEZ LA GHOST (FEATURING GOLDEN ARMS)
Unlike this dead-on-arrival horseshit. Carlos Bess, then already a young drumming legend, tries to bring Ghostie and Goldie here a club hit. To top it all off, you'd think that Goldie's the reason this song's absolute garbage but it's actually our host himself: GFK bit the first two bars from Mef's verse on the old I Gets Down For My Crown way back when, and proceeded to spit the most uninspired 6 bars I've ever heard from him. Uey follows up with a much more competent 8 bars utilizing his patented negative capability skills. None of this matters though, as the majority of the song is the vocals of some random R&B chick RZA probably picked up outta the blue and thought she was the next Aretha Franklin. And she calls herself Madame Majestic. Yeah, that'll convince everyone. Bottom line, her Cherchez LaFemme interpolation, along with the oh-so-original subject matter, ruins the entire song. Fuck this fake ass clowning.
WU BANGA 101 (FEATURING GZA, RAEKWON, CAPPADONNA & MASTA KILLA)
Now, this is more like it. DJ Mathematics is hell-bent on including kung fu samples on his beats here. Also, he samples a smooth Gladys Knight hit and turns it into a barren coliseum for the five Wu Generals to lyrically duke it out. And please believe, they duke it out something rough and rugged. Anytime Gary Grice sets off a Wu posse cut, the people following better bring their absolute A-game to the table, because he comes through with yet another of his timeless MCing lessons. This is also another Wu posse cut where GFK spits two sublime verses. Here Oh-Donna is even more contained than on Buck 50, which means his verse is even doper here. My lone gripe with this song is that Masta Killa's contribution was cut incredibly short because he was his usual immaculate self. Best song on the album, easy.
CLYDE SMITH (SKIT)
OK, so you already know this is Raekwon responding on behalf of the Wu to Gorilla Curt's How To Rob. Which is why it's absolutely hilarious to me that neither the Wu nor Gorilla Curt never carried out their threats against each other throughout the years. Alas, GZA definitively finished the job in 08 with his Paper Plate track. Also of absolute hilarity to me is the fact that outta nowhere, Gorilla Curt decided to post a recent pic on his IG where he's chumming it up with them. Yes, Cheffy's in the picture.
IRON'S THEME - CONCLUSION
A myriad of the opening skit, another excerpt from the cartoon and the abovementioned intermission.
FINAL THOUGHTS
FINAL THOUGHTS
I'm saying it right now: RZA didn't even show this much care to his own solo debut. Something about Ghostface Killah's hunger for the spotlight led RZA to hop on board this project and ensure that it was a timeless record. Because you bet your doughy and warty ass this is what a proper follow-up to a five-year plan classic Wu solo should sound like. All the factors are there: consistency, brilliant material, skill. Best of all, GFK was notably learning how to be his own entity and still function as part of the bigger Wu umbrella. Don't get me wrong, Mef, GZA & Deck already accomplished this with their shit. But GFK is the only one to remain in fruitful collaboration with RZA while doing so. For that, Supreme Clientele gets the nudge ahead of the others' still-dope material. However, I guess this means that it still can't be recognized as a true GFK solo project, though. Nevertheless, everyone who heard this album and praised it to the heavens were not bullshitting you this time. If you haven't yet heard a Wu solo aside from the 5-year plan releases and you're pretty confused as to which one you should start with, this is definitely the one I'd recommend. UPDATE: Jamel Bibbs aka Lord Superb passed away in October 2018 after falling into a coma and never regaining consciousness. I will never speak ill of the dead on this blog, as what I wrote was when he was alive. Any future mentions of Lord Superb shall be just that: mentions.
WORTH IT? Read the sentence I wrote before UPDATE and go burn this album into your brain. Beat a dog senseless if you have to.
TRACKS TO TRACK DOWN:
COBRA CLUTCH
I'm pretty sure GFK is the only rapper in history to make a shampoo brand fit perfectly in a hardcore rap song. And what a lead single this could've been: DJ Mathematics samples Lyn Collins in the perfect compliment to GFK’s confrontational lyrics. This is where people started to notice that he was continuing his devastating upgrade to his style, one which he introduced on Wu Forever. Furthermore, the video perfectly showcased his goofy side, where he and RZA brilliantly and hilariously acted like a couple of damn fools. Is it me or are the scenes playing in the background of the video excerpts from RZA's long unreleased Bobby Digital movie?! That's right, he actually made one.
STAND UP (CHARLI BALTIMORE SONG)
The album housing this single went through a very weird form of development hell. Even the album itself is damn weird if you ask me. For one, there are a lot of hardcore Boom Bap producers on the shit. Two, RZA produced two songs for her. One of which is this single, complete with a video and everything. Charli and GFK begin the song with some sexual banter, until Charli ruins it for everyone by producing a very painful image as a sexual act. Oh, you'll know what I'm talking about when you hear it. GFK and Charli then proceed to demolish the track together with braggadocio that'll crack your head open. Well, maybe that applies to GFK a bit more than it does to Charli. OK, a lot more. Still, she really holds her own.
WISE
I mean come on: There really was no way in Hades this was gonna make the proper album. Now that that's outta the way: This song is the tits. The very first time where GFK commands his producer, RZA this time, to just let a certain R&B track play while he rhymes right on the shit. This would become a Ghostface Killah staple for a good goddamn reason, as these songs usually feature GFK at his most inspired. It all started here as Dennis eulogizes his fallen friend Wise, who may or may not be the late leader of Killarmy. You've already heard how potent GFK was on Impossible, so yeah that's what you're getting here. One of the best songs I've ever heard in my life. And we're done.
If this whipped up a ravenous appetite for more GFK, gahead.
If this whipped up a ravenous appetite for more GFK, gahead.
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