Back on ODB a bit: I've already mentioned in this blog of mine that he's a force to be reckoned with. When contained. This is such an important detail, because throughout ODB's run with the Wu-Tang Clan stans have come across some instances where ODB goes in the booth completely uninhibited. Now, while that may lead to tremendous entertainment value on stage, it's a major detriment to studio sessions. Often times, it may lead to the pissing away of countless amounts of money wasted on sessions booked only for the star attraction to come simply too damn intoxicated to do anything. Unfortunately, this was the norm for ODB.
Again, I cannot stress enough how an addiction utterly destroys some human beings: Without professional help, they simply can't resist these urges no matter WHAT is on the line. Of course when one's dealing with not one, but multiple addictions, forget about it. Which is precisely what sent ODB on a downward spiral immediately after the five-year plan came to an end with the venerable Wu-Tang Forever (celebrating its 20th anniversary earlier this month). It even quickly reached a point where ODB blatantly records a cry for help to whomever loved him right before unleashing his greatest lyrical contribution ever on the song Diesel off of the Soul In The Hole OST. Seriously, go listen to that song. He was pretty goddamn haunting on it. However, it's almost like the more erratic ODB's demons were, the more he was accepted into the mainstream. A fucking filthy dichotomy if you ask me.
Because all the shit dude was going through still didn't stop him from working his ass off. Various cameos he did for his Wu family, namely Kiss Of A Black Widow, Shining Star and Crash Your Crew, along with a reportedly significant contribution to the scoring of the movie Bulworth, alongside the legendary Ennio Morricone and DJ Muggs (!!!!!), briefly had him overthrow Mef as the most in-demand act from the Wu camp. Teeny tiny added tidbit here: he was also featured in Pras' Ghetto Supastar from said movie's OST. Teeny tiny hit, that one was, and rightfully so. And who can forget that minuscule incident where our host for the evening crashed an obscure event called the fucking Grammys, immortalizing himself and his group with the statement: "Wu-Tang is for the children!"
So the fuckfaces over at Elektra gathered that this was a ripe time for another ODB album, resulting in them commissioning The friggin' Neptunes to helm the very first single by a Wu General not produced by the Wu's in-house production team, the Wu-Elements. The result, Got Your Money was a hit big enough to get radio play to this very day. On certain 90s-themed radio stations, of course because come on. Back on the album a bit: Now granted, It's an excellent idea to capitalize on any sort of surge to his popularity. On paper. Said fuckfaces at Elektra, as is always the case with hip hop music, fail to recognize what made characters like ODB create good music: The controlled environment these unstable characters need to operate. And nobody provided those optimum recording conditions better than one Robert Diggs, bka Cousin RZA. It's a given that whenever the fuck RZA got ODB focused in the booth, they produced magic together. Look at ODB's debut, man. No more proof needed. However, it was interesting to say the very least to see just how son will handle himself when free of all these inhibitions, given that Elektra were serving him a mainstream sampler of beats during said sessions, where they brought in The abovementioned Neptunes and Irv Gotti among other nonames. However, they were smart to still include RZA and whomever he wanted to bring to the table, So naturally he brought another Wu-Element with him and Buddha Monk, whose yet another ODB cousin and co-founder of ODB's weed carrier group Brooklyn Zu.
Here's what happened:
RECOGNIZE (FEATURING PHARRELL)
The Neptunes' debut on a Wu-related album, people. This particular song sounds exactly like what you expected: radio-whoring as shit. Weirdly, beats like this don't really discredit ODB in the slightest, because if there was one member from the Wu who didn't sound out of place rhyming over beats like this, it was Dirt McGirt here. Chris Rock is also introducing our host apparently, so there's that. At least ODB sounds like he's having fun, even if he is too fucking drunk to finish his second verse. Following which some uncredited rapper decides to spit a verse that leaves absolutely no lasting impression whatsoever. And Pharrell's falsetto hook was an absolute earsore. I'm sorry but this was no way to start an album.
The Neptunes' debut on a Wu-related album, people. This particular song sounds exactly like what you expected: radio-whoring as shit. Weirdly, beats like this don't really discredit ODB in the slightest, because if there was one member from the Wu who didn't sound out of place rhyming over beats like this, it was Dirt McGirt here. Chris Rock is also introducing our host apparently, so there's that. At least ODB sounds like he's having fun, even if he is too fucking drunk to finish his second verse. Following which some uncredited rapper decides to spit a verse that leaves absolutely no lasting impression whatsoever. And Pharrell's falsetto hook was an absolute earsore. I'm sorry but this was no way to start an album.
I CAN'T WAIT
So ODB's speed rhyming to a news flash tune now. You have Irv Gotti to thank for that. There are no words.
COLD BLOODED
The Neptunes are back, and they offer ODB with a straight up barf instrumental. Imagine the worst 8-bit game music you’ve ever heard in life and you wouldn't even be in the same universe as my disgust with this shit. It is to this that ODB chooses to cover the Rick James hit lending this song its name, thereby furthering the Rick James tribute he seems to intend this album to be. Don't you just love that cover up there? Anyway, this shit isn't worth your time at all.
GOT YOUR MONEY (FEATURING KELIS)
The lone single from the album. Neptunes really worked hard to make this a club banger for ODB, and it unsurprisingly worked. This song was even used in a Will Ferrell movie a couple of years back! Too bad Russell wasn't even able to make the goddamn video shoot for this. I don't know why, but in retrospect, that fact alone is indication enough of the chilling downward spiral he was headed towards. You already know my stance on misogynistic crap, by the way. Notice that I have yet to say a word about my opinion of Kelis. And I'm keeping it that way. Moving on.
ROLLIN' WIT YOU
Irving returns with the first serious attempt at giving Mr. McGirt a proper beat, and thank the Almighty, he's collected enough to finish his verses. His delivery alone will sell you on the outlandish shit coming outta his mouth, so the song has that. Although it does have a few good lines, as well. This was OK.
GETTING HIGH (BROOKLYN ZU FEATURING LA THE DARKMAN)
The Wu traditional cessation of a track to an act of your choice, normally a weed carrier act. Here, Brooklyn Zu bring in La The Darkman, surprisingly in demand on Wu-related albums back then, to help them assert themselves on another ODB album. Too bad that it didn't really work the way they planned, as La was head and shoulders above his costars 12 O' Clock (who can be very impressive) and Shorty Shit Stain (who, again, couldn't've picked a worse moniker for himself). Song's still misogynistic crap, by the way. Shame, as Brooklyn Zu's in-house producer Buddha Monk provides a pretty decent Labelle loop for the beat.
YOU DON'T WANT TO FUCK WITH ME
Irv bows out of this album with this production, which practically begs for ODB to lose his mind over. That last statement was not a compliment, as ODB got drunk outta his ass again. There are a couple of funny lines, but it's not an enjoyable experience to dig for them in a pile of shitty stream-of-consciousness lyrics. Yeah, this really sucked.
N**** PLEASE
Finally! Some semblance of order here! Hands down the best song on the entire album. Why? Because RZA finally got ODB focused enough to sound like the dude who blew your tops off in his debut. This was actually pretty awesome.
DIRT DOG
Both of Russell's cousins, RZA and Buddha Monk, produced this tame beat. It was calmed down on purpose, though, as they wanted you to focus on ODB's lone verse and just how batshit crazy his references could get. To that end, they succeeded. Hell, I enjoyed this shit.
I WANT PUSSY
Um, RZA? What the motherfuck?! Why'd you let ODB off the rails, again?! This is by far the most infuriating song on the album. And it's the fact that the beat is so goddamn awesome that pisses me off to no end, courtesy of a chillingly melodic Blood, Sweat & Tears loop. See, this is an ODB who is so far blown outta his fucking mind that he can't construct a single coherent thought throughout the whole shit! I repeat: What the motherfuck, RZA?!
GOOD MORNING HEARTACHE (FEATURING LIL' MO)
No lie, this song brought me to tears. Not because of Lil Mo's rendition of the Billie Holiday classic (Lil Mo really ain't that bad), but because of ODB's singing alongside her. In retrospect, it truly felt like ODB was singing the last remnants of his soul out to the public after his call for help on Diesel from the Soul In The Hole OST went unintentionally ignored by his loved ones, before being lost in the abyss of the following 5 years. Suddenly, the title of this song takes on a completely different meaning. Truly a heartache.
ALL IN TOGETHER NOW
True Master rounds out the final official track of the album with a trademark iron-clanging instrumental. And ODB's also collected enough to give you an entertaining two verses grouped with his over-the-top adlibs. It's not really a coincidence that the good songs on this album are produced by Wu-Elements and family.
CRACKER JACK (HIDDEN TRACK)
A soothing RZA production sampling the Emotions greets your ears as our host attempts to throw you off. Once he starts rhyming, though, you know you're in for another earsore of a song. And even though ODB is a bit more coherent than the travesty named I Want Pussy, it's still by no means an excuse to subject you to some more misogynistic crap. You'd think that the title would lead to something more interesting. I'm sorry but this was no way to end an album.
FINAL THOUGHTS
I don't care how much ODB solidifies himself as "the most mainstream Wu member", this entire album sounds like it was absolute torture to make, if the man's debut is anything to go by. How can one justify forcing a man with clear substance abuse problems to record an album without effectively getting rid of the main hindrance to said proceedings? Furthermore, those around him should've taken more action to prevent all the problems that led to his horrific jail stint from happening: All this time y'all spent with him and no one saw his meltdowns coming? I have a very hard time believing that. You fucks should've known better than to trust some money-hungry sacks of shit with helping the poor guy. The actual album? It's a friggin' nightmare as a whole, with quite a few glimpses into what made Russell Jones such a brilliant performer. Hell, at least three songs here were absolute knockers. And while the Billie Holiday cover is out of left field, it's painfully beautiful to listen to today, considering the hell ODB would go through during the following five years. It was a bone chilling experience for me.
WORTH IT? Hell no. Some tracks here are even worth owning, but in no way can I recommend wasting anyone's time with the full package. Harsh but necessary.
TRACKS TO TRACK DOWN:
GHETTO SUPASTAR (THAT IS WHAT YOU ARE) (PRAS MICHEL SINGLE)
Off the OST of the legendary Bulworth movie. Pras (hands down the worst member in the Fugees, both creatively and personally) and Mya sound fake as all fuck, but Pras improves noticeably when sharing mic time with ODB. Russell still wipes the floor with him, though, as he will be the only thing you remember after listening to this track as he recounts the plot to the timeless flick in one go. Mya really sounds like a knockoff Britney Spears, which is repulsive in and of itself: It must be really painful to sound inferior to a plastic doll. Still, ODB alone makes the entire Fugees instrumental work. What can I say? The man's entertainment value, when coherent, goes a very long way.
SUSSUDIO (TRACK FROM URBAN RENEWAL)
I think it's about time BBR is introduced to a figure in music who has produced work that continues to resonate with me on a corporeal level: the universally-reviled Phil Collins. The general consensus being that he's an absolute tosser, I literally never experienced one instance proving him to be such at all. Not one. Nevertheless, songs like In The Air Tonight, Mama and many more during both his career in Genesis and his solo ventures prove that he flourished most when the music he wrote, co-wrote or performed was straight up visceral, very unlike his hit single Sussudio, which I can't stand these days simply of how unabashedly commercial it attempts to be. This track I'm reviewing here is from the ashtray holder that is the Urban Renewal Phil Collins Tribute album, where a bunch of notable early noughties hip hop and R&B juggernauts perform covers of Phil's most well-known hits. Quite possibly the absolute worst tribute album I've ever heard, mismatches from singers like Changing Faces (One More Night), Brandy & Ray J (Another Day In Paradise. Cringe.) and Lil Kim (forever ruining In The Air Tonight for everyone.) try their respective hands at "updating Phil's hits to a new audience". To the surprise of absolutely no one, the shit tanked: I literally have yet to come across a single sentient being who enjoys this album, no matter how big a fan they are of Kelis or the Neptunes. And herein lies another reason why an ODB on top of his game was simply unstoppable: Whoever compiled this garbage album actually delivers a spin on Sussudio that's even better than the original. All someone had to do was bring in two ODB battle acapellas that were recorded when he was functional and build a beat around them that mirrors Sussudio's melody. You cannot fathom how well his exuberance translates to a beat until you hear the end product, because none of the elements on this song were supposed to mesh together, and yet what you get is a song that can very well be entered into your ODB playlist of choice without skipping a beat. I can't give it a higher praise than that. And we're done.
SUSSUDIO (TRACK FROM URBAN RENEWAL)
I think it's about time BBR is introduced to a figure in music who has produced work that continues to resonate with me on a corporeal level: the universally-reviled Phil Collins. The general consensus being that he's an absolute tosser, I literally never experienced one instance proving him to be such at all. Not one. Nevertheless, songs like In The Air Tonight, Mama and many more during both his career in Genesis and his solo ventures prove that he flourished most when the music he wrote, co-wrote or performed was straight up visceral, very unlike his hit single Sussudio, which I can't stand these days simply of how unabashedly commercial it attempts to be. This track I'm reviewing here is from the ashtray holder that is the Urban Renewal Phil Collins Tribute album, where a bunch of notable early noughties hip hop and R&B juggernauts perform covers of Phil's most well-known hits. Quite possibly the absolute worst tribute album I've ever heard, mismatches from singers like Changing Faces (One More Night), Brandy & Ray J (Another Day In Paradise. Cringe.) and Lil Kim (forever ruining In The Air Tonight for everyone.) try their respective hands at "updating Phil's hits to a new audience". To the surprise of absolutely no one, the shit tanked: I literally have yet to come across a single sentient being who enjoys this album, no matter how big a fan they are of Kelis or the Neptunes. And herein lies another reason why an ODB on top of his game was simply unstoppable: Whoever compiled this garbage album actually delivers a spin on Sussudio that's even better than the original. All someone had to do was bring in two ODB battle acapellas that were recorded when he was functional and build a beat around them that mirrors Sussudio's melody. You cannot fathom how well his exuberance translates to a beat until you hear the end product, because none of the elements on this song were supposed to mesh together, and yet what you get is a song that can very well be entered into your ODB playlist of choice without skipping a beat. I can't give it a higher praise than that. And we're done.
Satisfied with this Dirty dosage? No? Have another, then.
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