no you didnt, youve said that many times in the past.Quote:
Originally Posted by beautifulrock
Your a faggot, and your bum ass opinions have been voided for time.
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no you didnt, youve said that many times in the past.Quote:
Originally Posted by beautifulrock
Your a faggot, and your bum ass opinions have been voided for time.
Superior album....9.5/10
This album is basically takin shots at todays mainstream emcees and I love every bit of it. From intro to outro nothin but great material. Rae and Ghost spit fire, Deck and Ugod come correct.
Radiant Jewels, Ill Figures, NYC Crack...illest joints on the album
Kill to hard, Harbour masters, Evil deeds...straight heat
Sound the horns...great sleeper joint.
This album didn't need the other Wu members IMO...everybody came correct.
fuck NYC Crack.Thea ruins the whole song.
haaahahahahahahhahh, see? fired up.Quote:
Originally Posted by GHOSTLACED
it's good over hyped give it one year it the standard normal distribution will shift
My only real problem is that the 2 weakest beats in my opinion - Harbo[u]r Masters and Ill Figures - are on the longest songs.
I'll rate it within a week, it needs a few more listens before judgement.
u listening to Ill Figures with a subwoofer?Quote:
Originally Posted by -The A to the Z-
http://www.hiphopdx.com/index/review...-chamber-music
Since 2000’s The W, the Wu-Tang Clan has descended from the fiercest emcee collective in history, to a group using its brand above skills to move albums from shelves. Whereas Iron Flag [click to read] took a dark, radio-defying turn, 8 Diagrams [click to read] lacked the sincerity and quality expected from a six year hiatus. Perhaps the biggest surprise yet at 2009’s halfway point, Wu-Tang Chamber Music comes not as true group effort (Masta Killa, GZA and Method Man have no involvement), but a RZA-helmed project with influential ‘80s and ‘90s emcees on the side, that is easily the best collective offering in nine or more years.
“Ill Figures” [click to listen] is an outstanding example of ‘90s New York lyricism. Paired with Kool G Rap [click to read], one can hear side-by-side a primary source in Raekwon’s [click to read] knack for cadence and slang. M.O.P. separates the mellow wordplay with anger and angst, as to be expected from Brownsville’s finest. “Kill Too Hard” is as upbeat as Wu ever gets, with Inspectah Deck [click to read] tearing through the live percussion with his superb timing and syncopated delivery that made the first and second renditions of “Protect Ya Neck” so lively. U-God [click to read] comes close behind, arguably having a career year, as demonstrated in his just-released Dopium effort [click to read], also boasting throwback deliveries. Another Juice Crew alum, this time Masta Ace [click to read] appears on the track, benefiting from the rugged company, and sounding more threatening than he has since he ripped High & Mighty a new one in 2001 on “Acknowledge.” These guest appearances break the inner circle traditionally impermeable on Wu releases, and from Sadat X [click to read] to AZ [click to read] to Havoc [click to read], all guests seemed to bring this project brutal reminders that the ‘90s rhyme-ethic never left.
Beyond simply cool collaborations, it is a lot of personal attention that separated this work apart from Think Differently, Ghost Dog soundtrack, or other honest, but ultimately lukewarm Wu-Tang Music Group releases. Eerie interludes, crafted by the RZA with vocal samples and monologue mortar the songs nicely. These jewels help make this compilation feel like an album, and build towards the songs, a formula employed on the epic classic Enter The 36 Chambers 15 years ago. RZA also dusted off the rhyme book, and graces “NYC Crack” with a nostalgic entrance, and the kind of uncensored verse that returns the "Abbot" to New York subject matter, back from Hollywood hiatus.
The primary upgrade on this project versus 8 Diagrams or Iron Flag is production. Although he shares duties with RZA, Fizzy Womack – better known as M.O.P.’s Lil Fame deserves huge recognition for his co-production on seven of the album’s finest records. Repeatedly joined by Andrew Kelley, Noah Rubin and longtime Koch record exec Bob Perry, it’s truly unclear who is doing what. Still, the percussion elements are very much in the vein of the same sample kits RZA was employing on the early ‘90s archetypal Wu material. Additionally, The Revelations, a ‘70s-sounding Funk outfit give the brass and keys necessary to save on sample budgets altogether. A bit cleaner than RZA, the sound is most comparable to 1993’s “Wu-Tang: 7th Chamber, Pt. 2.” Whether First Family, Revelations, or RZA on the track, this is a consistent Wu-Tang sound, belonging to one unit of producers – something that often felt lost in the a la carte duties of True Master and Mathematics in the last decade.
Wu-Tang Chamber Music is a lot deeper than a low-budget olive branch between the Brothers Wu and their onetime peers. Instead, this may indeed be the group’s life-blood, and formula to appease the loyal fans searching for both evolution and integrity. The Wu has never sounded so connected to their roots in Hip Hop and roots within themselves, for one of the sweetest surprises of this year.
http://vinylmeltdown.com/2009/06/wu-...chamber-music/
Garnering much speculation when it was first announced, Chamber Music made heads everywhere wonder if Wu-tang was releasing another full length album so soon after their substandard 2007 drop, 8 Diagrams. Others speculated that Chamber Music would merely be a collection of b-sides and recycled verses. Where the album actually falls is somewhere in between these two conjectures. Not quite a studio album, not quite a mixtape, Chamber Music is a compilation album masterminded by RZA which features a good spread of Wu-Tang MCs alongside renown hip hop artists over beats formulated by soul band The Revelations in conjunction with the RZA himself.
If a tracklist 17 songs deep seems incongruous alongside a 35-minute runtime, it isn’t a mistake. Unfortunately, literally every other song on the album is an interlude, each of which features either RZA briefly waxing philosophical over some Revelations jamming, a classic Wu-style dubbed kung fu movie sample, or a combination of both; in other words, nine tracks worth of useless filler. Now this amount of filler would barely be acceptable on a full-length, 70-minute + joint, so putting nine interlude tracks on a 35-minute compilation album is simply embarrassing, straight up. The lack of actual songs on Chamber Music attests to the presumably rushed nature of the album, and the omission of fan favorites GZA and Method Man cements it.
On the plus side, RZA and the crew were still able to do a lot of things right with this album. For one, it features a long list of respected rap veterans: Masta Ace, Kool G Rap, Cormega, Havoc (from Mobb Deep), M.O.P., AZ, Sadat X, and Sean Price. Each of these artists are excellent picks and sound at home alongside Wu-Tang members Raekwon, Ghostface, Inspectah Deck, U-God, and RZA. Having a superior guest list doesn’t necessarily equate to a superior album, but on Chamber Music the guests don’t disappoint and we’re given only solid verses all the way through the eight actual rap songs. Sonically, the Revelations offer an excellent emulation of the original Wu sound while still effectively capturing that “live band” element that RZA was going for with this release.
All things considered, Chamber Music offers some of the best Wu-Tang music we’ve heard in a while and if it’s any indication of what their next project will sound like, Wu heads will not be disappointed in the coming future.
http://mog.com/blog_posts/1372515/mogbar
RZA, the executive producer of this album, has made it clear that Chamber Music isn't a Wu Tang Clan album, as it doesn't feature all of the members of the clan. Instead the album's sound is clearly "inspired" by Wu's early sound trademarked in Enter The Wu Tang: 36 Chambers, without using samples in the production. All of the beats are live music beds by a band called The Revelations.
The fact that no samples are used changes the overall presentation of the sound. Die-hard Wu Tang fans might be surprised by how clean this album sounds. That gritty 36 Chambers style isn't apparent in Chamber Music, no matter how hard they may try to reclaim it.
Not to say that a live band didn't provide an interesting alternative angle to the Wu Tang sound, it did. Headbangers like "Sound The Horns" couldn't have been accomplished in the level that they were without The Revelations.
That gulliness though, has always been a staple of Wu Tang Clan that I really enjoyed. And although the emcees stay as hard as ever, the real instruments take away from that feeling you get when listening to Wu's earlier work.
Either way, with original clan members like Ghostface, Inspectah Deck, RZA, U-God, and Raekwon contributing verses as well as artists like AZ, Masta Ace, Havoc, Kool G Rap, duo M.O.P., and more making guest appearances, you know the rhymes are going to be up to a high standard.
One thing I was a bit disappointed by is the fact that over half (9) of the 17 tracks on the album are under 1:30 minutes. Most of those tracks are just RZA going on about buddhas or kung fu flicks, others are just short instrumentals.
So with literally every other track being a skit or instrumental, that leaves us with only 8 solid songs. But even with those 8 being quality tracks, worth at least a couple listens, they can't do much in saving the overall playback value of the album.
At the least I would cop a couple of tracks from Chamber Music just to hold you over until the real Wu album comes, but it isn't worth the full $17.99 that iTunes will undoubtedly charge for the whole thing.
Cop it off Amazon for $9.99.
Best Tracks:
"Ill Figures", "Evil Deeds", "Sound The Horns"
Grade: C+
niceQuote:
Originally Posted by vay727
Lovely to see HipHopDX giving high rating - they're pretty stingy with their Xs.
Mog review don't mean shit (I say this of course as a Wu Tang dickrider, what they say is pretty valid - 'cept that the album is pretty bloody close to the 'gritty 36 Chamber style'.)
if length and interludes is the only complaint about a cd, than thats a good thing. There isnt 1 subpar song on the album(in my opinion), let alone whack.
I thought you were gonna fuck off already?Quote:
Originally Posted by Sultan Stringer
http://photos-g.ak.fbcdn.net/hphotos..._3891886_n.jpgQuote:
Originally Posted by benzo
Damn, I just saw a commercial for this on MTV2, I didn't know this was out already, I will cop tonight...
Just got mine. I ve yet to hear anything from it, but i am going by word of mouf.
I just threw it on, I'm on track 8, and I'm feeling this shit, RZa isn't using his wack flow either...
Quote:
Originally Posted by Don Universo
Iron flag was my besy WU-Album after the classics. chamber music is nice.
aside from the ridiculousness of the skits, I'm loving this album (or i'll just call it a cd)..
"you gonna lead em to some grazing green grass..." lol
i like this album im feeling it i could bump this for awhile
9/10, for me this thing is on par with The W (which i used to hate but time changes everything).
I do have a problem with two things relating to the album though. The first is the way people are reviewing it. Filler tracks have never bothered me because you are not forced to listen to them, they are easily skippable. If an album has 30 songs and 15 are filler (i.e. Tical 2000) it still leaves you with 15 good songs. In the same way this album has 9 filler tracks still leaving you with 8 amazing songs. Well shit, Illmatic only had 10 tracks and of them 8 were amazing so whats the differece. Im pretty sure if a short interlude was added in between each song it wouldnt take away from it being a classic.
Now yes, in some cases its distracting, but on this CD the interludes blend in with the songs to the point that i didnt even realize when one ended and the other began (well I did, but w.e.)
Second thing is the douchebaggery of the marketing (I guess you can call it). In the past, all wu skits are included at the end or beginning (sometimes middle of songs) but on here, at first glance you look at the packaging and you see 17 tracks. None of them are labeled as skits or interludes. THAT is kind of annoying. I knew before i bought it that there was only 8 songs, but I can see others getting pissed about it.
Also i think if they spent a couple extra months and got meth, gza and killa involved and turned it into a full Wu album, it would have been amazing and the redemption RZA talks about in the intro.
Either way, i rate the CD in its entirety a 7/10 (i enjoyed some of the skits) and i rate the actual music a 9/10....all the guests come correct and even outshine wu on some tracks (Cormega)
i think the interludes were pretty cool to the overall listening experience. i thought i was going to hate them, but if it comes down to it, i wouldn't have a problem letting it play all the way through.
favorite verse is probably deck on sound the horns. awesome flow on that
best thing about this is probably the packaging/case haha. album artwork is awesome from the front to back cover and everything in between, including the CD itself with the splattered blood and the tao te ching verses. ill shit
the interludes aren't bad, they do go with the record, but i'm not gonna pay full-length price for an ep.
Yes they do. You can playu this the whole way through. If they drop a pt. 2 I nominate, Beanie Sigel, Common, D-Block, Rakim, Black Thought, and get some Killah Beez on it. Peace. I'm reviewing this next week. stay Tuned.Quote:
Originally Posted by DrBold241
I'ma have to give it a thorough listen; I ain't like it the first spin.
10 dollars at best buyQuote:
Originally Posted by DrBold241
Yea, can't wait, especially after you called Transformers 2 a "great" movie.Quote:
Originally Posted by Hollow Dartz
Shit!!!, The Wu is back on map with this I tell u!!! All my friends are on it!!! Shit's really nostalgic... Kinda felt "The W" album energy somehow... shit's tight!
this isnt a REAL new album.... isit ?
Call it what you like, it's new material and it sure as hell feels like a Wu album. Only thing calling into question whether this is a real album or not is the length.Quote:
Originally Posted by 6 Brix
No RZA has said its not a Clan album considering its missing 4 members. More in the vein of Wu Meets Indie
word...something like "Wu meets NY rap legends"
and yo...Havoc fucks everything up IMO.
i respect dude as a producer, but i think he's mad garbage on the mic
i think his verse is dope... some review sites think his twitter line kills itQuote:
Originally Posted by Cappadonna36
another positive review
http://www.411mania.com/music/album_...sic-Review.htm
Wu-Tang Clan - Wu-Tang Chamber Music Review
Posted by Patrick Robinson on 07.04.2009
After the mixed reception that 8 Diagrams received, the Clan has returned with another album that RZA promises is a throwback to the sound on their debut album! Is it really the taste of nostalgia the fans have been craving, or is it just an empty promise?
The Wu-Tang Clan are arguably one of the greatest rap groups ever, not to mention the largest. Their debut album Enter The Wu-Tang (36 Chambers) is a certified Classic, and their follow up album, Wu-Tang Forever is hailed as one of the best double disc albums in the history of hip-hop.
In recent years though, long time fans have watched as Ol’ Dirty Bastard’s death and internal conflicts resulted in a long hiatus from the hip-hop game. Their comeback album, 8 Diagrams in 2007 was welcomed, but largely viewed as being disappointing compared to what they are capable of.
Fast forward to 2009, and we are presented with Wu-Tang Chamber Music, a project executive produced by RZA which he describes as: “totally in the chamber, or in the mind-frame of Wu-Tang like in the [Enter the Wu-Tang (36 Chambers)] days. But it's not a Wu-Tang album. The whole Clan's not on this album. But it couldn't be in any other category but Wu-Tang”
With that in mind, is Wu-Tang Chamber Music indeed a throwback to the group’s Classic debut that fans have been craving for?
Tracks
1. Redemption
2. Kill Too Hard Ft. Inspectah Deck, U-God & Masta Ace
3. The Abbot (RZA)
4. Harbor Masters Ft. Ghostface Killah, Inspectah Deck & AZ
5. Sheep State (RZA)
6. Radiant Jewels Ft. Raekwon, Cormega & Sean Price
7. Supreme Architecture (RZA)
8. Evil Deeds Ft. Ghostface Killah, RZA & Havoc
9. Wise Men (RZA)
10. I Wish You Were Here Ft. Ghostface Killah & Tre Williams
11. Fatal Hesitation
12. Ill Figures Ft. Raekwon, M.O.P. & Kool G Rap
13. Free Like ODB (RZA)
14. Sound The Horns Ft. Inspectah Deck, U-God & Sadat X
15. Enlightened Statues (RZA)
16. NYC Crack Ft. RZA & Thea Van Seijen
17. One Last Question…
I should explain the album’s structure before we get into the thick of the review for those who may not be aware of it. Wu-Tang Chamber Music is a collection of 8 songs, each proceeded by an Interlude of sorts, and rounded out with one as well. The tracks with (RZA) denoted next to them represent Interludes where RZA gives his thoughts on various topics, such as what “The Abbot” represents in kung-fu movies and how it relates to his position in the Wu-Tang Clan. Tracks 1 and 11 on the other hand, are samples from old kung-fu movies, much like what was found on Enter The Wu-Tang (36 Chambers).
With that in mind, it’s probably better to consider this as a ‘mood album’ as rather than try and craft a whole new project, RZA has aimed to try and recapture the essence of what made their debut album so popular, and he largely succeeds on Wu-Tang Chamber Music. The production was overseen by RZA to ensure that it was faithful to his original sound, but is mostly handled by The Revelations, a soul band from Brooklyn, and interestingly, Lil Fame from M.O.P. going under the “Fizzy Womack” alias. The grimy-sounding drums on “Harbor Masters” and “Ill Figures” sound like they were lifted straight out of a recording session from 1993. The opening seconds of “Kill Too Hard” will also transport a Wu-Tang fan to the 36 Chambers / Liquid Swords style of RZA’s production.
Lyrically, there’s a feel of the 90s New York lyricism which has been sorely lacking in the hip-hop game in recent years. Inspectah Deck reminds us why he’s one of the best jump-off artist’s with his opening verse on “Kill Too Hard” as he rips into the light percussion on the track. U-God also seems to have become invigorated since 8 Diagrams, as he keeps pace with Deck with ease. The Masta Ace of A Long Hot Summer seems to be forgotten as he opens up with “I’m going to the Summer Jam concert to bash your hero”, sounding more aggressive on this one verse than he has in years as he closes out with “It’s your boy Ace, BK’s own, all you ringtone rap dudes please stay home”.
“Radiant Jewels” is the best track on the album as Raekwon reminds us why Only Built 4 Cuban Linx II is still a highly anticipated album. Over light production backed by a mild string loop, Rae opens up the track for Cormega to absolutely steal the show with a stunning verse which should act as a refresher as to why Cormega was once mentioned alongside Nas and AZ as one of New York’s names to watch. Sean Price rounds out the track, and although his verse isn’t as good as Cormega’s, he certainly holds his own.
The guests on Wu-Tang Chamber Music are largely outside the usual circle of Wu-Tang affiliates. Havoc proves that his skills as a lyricist have improved greatly since Mobb Deep’s early years on “Evil Deeds”. M.O.P.’s presence on “Ill Figures” will make you wonder what a RZA-headed M.O.P. album would sound like (here’s a hint: Damn good) and listening to Kool G Rap gives you an insight to Ghost and Rae’s slang-driven style of rap as one of the pioneer’s of hip-hop from back in the day.
There are a couple of problems which may put you off about this album though. Firstly, it’s really only 8 songs and 9 Interludes (albeit fairly good ones that enhance the mood), and running for just over 35 minutes, makes it feel more like an EP and a fully fledged album. Secondly, a couple of the songs are censored (on my version anyway) for some inexplicable reason, despite the others containing profanity etc. It was quite distracting on “Harbor Masters” to miss every other word during Ghost’s verse. Finally, Method Man, GZA and Masta Killa are missing from the project. I understand that Meth is touring for Blackout! 2, but where are GZA and Masta Killa? As a big fan of GZA’s work, it was a bit disappointing in that sense too.
(THIS GUY DEF WAS REVIEWING A BOOTLEG, THE VERSION YOU BUY IN THE STORE IS UNCENSORED)
The 411: This one certainly isn’t for the mainstream, but for the fans who were a little frustrated with the direction that 8 Diagrams took and crave that 90s sound from the Clan. Wu-Tang fans should definitely check this one out, and for those who may be unfamiliar with the ruckus, this should be your first stop in discovering just what made the Clan so popular back in the day.
Final Score: 8.0 [ Very Good ] legend
another positive review
http://www.examiner.com/x-14684-HipH...-Chamber-Music
Review: Wu-Tang Chamber Music
July 4, 12:49 PM
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Wu-Tang Chamber Music, E1 Music
Wu-Tang Chamber Music is not an official Wu-Tang Clan album, but a compilation of songs overseen by Wu-Tang mastermind RZA. What makes Chamber music unique is the use of live instrumentation as opposed to samples.
The live music is provided by a soul band from Brooklyn, NY called The Revelations. Lil' Fame from M.O.P, under the moniker Fizzy Womack contributes to all but one of the full length songs.
Chamber Music is an album full of live music, yet still has the gritty sound of dusty samples that RZA introduced to the world on 1993's Enter the Wu-Tang (36 Chambers).
“This album has a very live element of today’s musicians playing the vibe of Wu-Tang", said RZA. "The vibe we would normally sample, the vibe of things that we would accumulate through old soul songs, jazz songs, kung-fu movies whatever, now you’ve got musicians that can play this vibe with Wu-Tang MC’s rapping over it. The goal of this album is definitely paying homage to our early sound. On this album, we make it sound like it was in the 36 Chambers era. To me, what also adds to this album, you’ve got the Wu-Tang MC's but you also got your other favorite MC's from that era like Havoc, Cormega and others."
Five of the remaining 8 Clan members appear on Chamber Music in addition to some of New York City's best MC's from the 1990's. Joining the Wu-Tang Clan is M.O.P, Masta Ace, Sadat X, AZ, Cormega, Havoc, Sean Price, and Kool G. Rap.
Normally forgotten Clan members Inspectah Deck and U-God bring their A-game to Chamber Music. On Kill Too Hard Deck raps, Ain't nuttin' gonna stop kid from gettin' his due/No, your feet's not big enough to fit in his shoes. On the same track U-God gripes about his status within the Clan, My apartment is a hole in the wall/Pass me the rock, stop holding the ball.
On Harbor Masters the Clan's most consistent MC, Ghostface Killah trades rhymes with Inspectah Deck and AZ over a replayed drum loop and funky guitars.
I Wish You Were Here is a remake of the 1975 Al Green song of the same name. It features Tre Williams playing the part of Reverend Al, and Ghostface Killah cozying up to his favorite girl--What up boo, you know that Ghost loves you/I get butterflies when we hug and kiss, do you?
Ill Figures sounds like a cypher session with some of the hardest MC's in the history of rap music. Raekwon, M.O.P, and Kool G. Rap try to out-gangsta each on this track. Raekwon spits, I love gettin' dressed up, sweats and techs/Ride around the hood good, gettin' Gotti respect.
RZA closes out Chamber Music with a solo song titled NYC Crack. NYC Crack is braggadocio battle rap with the Wu-Tang Clan's abbot proclaiming his greatness, I got forty million records sold, some platinum, some gold/Some we just put out to meet the tax code/Your career will be shorter than the 21st of December/You'll be one of those thousand rappers no one remembers/While my name is carved on trophies, colleges recite my bars/You can look up and see my name upon the stars.
The problem with Chamber Music is there are more interludes than actual songs. In between tracks RZA speaks over live instrumentation connecting the previous song to the next. It also doesn't help matters that Chamber Music clocks in at just under 36 minutes in length.
Method Man, GZA, and Masta Killa are the three Clan members who do not appear on Chamber Music. GZA is the elder statesmen of the group while Method Man is the most popular and charismatic. It would have been nice to hear their contributions to this project.
All around Wu-Tang Chamber Music is a good album despite those omissions. The shortness of the CD and the abundance of interludes over songs just leaves the listener wanting more.
Wu-Tang Chamber Music gets 4 MPC's.
another positive review
http://www.nappyafro.com/2009/07/03/...chamber-music/
With love comes jealousy. And a strong rise always leaves room for a rough fall. However, I never understood why Wu-Tang caught such strong hate after Wu-Tang Forever. It may have been over saturation of the market between the highly successful classic 36 Chambers; with the addition of successful solo efforts from the members as well. The concept of a group of strong rappers and producers creating superb group work then boosting their own singles cred was a huge success; a formula still flawed to this day due to ego.
As mentioned though, over saturation led to Wu-Tang only holding to a loyal fanbase; the climate of music and new artists taking the place of the Shaolin street sweepers. But why do people talk about the Wu like they can’t spit or something? 5 albums deep and quality material along the way. But if a good album happens and nobody listens…did it really happen?
There’s your philosophical question for the day, in the spirit of the Shaolin monk.
But it now leads us to Chamber Music, a compilation album endorsed by the Clan, featuring 5 [Inspectah Deck, Ghkostface Killah(!!!), U-God, Raekwon, and RZA] of the standing 8 members of Wu-Tang [We miss you ODB. I like it raaaaaaw too.] with two interesting concepts introduced by lead producer RZA, naturally. The first are features by a who’s who of NY spitters from Havoc of Mobb Deep to M.O.P; adding a fresh sound to the familiar Wu-Tang rhymes and beats we know and love. The second, a very welcome decision, is the use of LIVE instruments from soul band, The Revelations.
Despite the hate they catch, I was quite excited to hear about this release. Does this look to be another quality offering from a group not given enough credit for releasing them, or does this look to be a cash-in on a recognized standard in Hip-Hop? No subtitles for this one, but I’ll make my words clear and true on this.
1. Redemption (Intro)
Produced by The Revelations, Bob Perry, & Noah Rubin
The excerpt for this song makes complete sense when you think about it, featuring a old-time cinema intro for that feel of something epic. Military style drums and strings help set the tone of a disgraced warrior taking his last shot at redeeming the glory of his clan’s name. Beautiful way to set the tone of this album, the intro quite fitting. For those who know the Clan’s history, it resonates.
2. Kill Too Hard
Featuring Inspectah Deck, U-God, & Masta Ace; Produced by Gintas Junusonis & Fizzy Womack
Definitely feeling the beat. Sounds like one that Camp Lo would have hopped on with no question with the old school swag to it. Fortunately, the trio of rhymers know exactly what to do with this. All three move with a pretty brisk pace to the short track, but it’s a great way to start the album on an energized note. This is good ol’ fashioned NY street spit and there isn’t a thing wrong with that. Only gripe would be length, but that’s just nitpicking. Thumbs up.
3. The Abbot (Skit)
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
RZA kicks some knowledge in the form of an old Kung-Fu adage about an Abbot. The background music is ominous, another taste of what The Revelations can do. I’m ready to hear them on an actual song at this point. Worth listening to for the message.
4. Harbor Masters
Featuring Ghostface Killah, Inspectah Deck, & AZ; Produced by Andrew Kelley, Noah Rubin, & Fizzy Womack
Enjoying the old school feel of the beats thus far. Nothing terribly complicated, just good drum patterns with the right elements added to keep them moving. Ghostface brings the bravado and wild metaphors, describing a level of lavishness on a Jay-Z level. Deck and AZ also tell tales of rocking the show and all the spoils that come with it. Nice cruising song or just something to vibe to. I can appreciate a track like this, with “swag” tracks that try to do too much. They express that point without all the fat. Frank Lucas style, ya dig?
5. Sheep State
Featuring RZA; Produced by The Revelations, Bob Perry, Noah Rubin
More proverbs from The RZA. Another ominous overlay by the talented Revelations. I wish he’d space these things out though. Especially at the start of the album! Can we hit them over the head with some heat first before all the window dressing? It’s not that he doesn’t have a point to what he’s saying…just very ill-placed.
6. Radiant Jewels
Featuring Raekwon, Cormega, & Sean Price; Produced by Andrew Kelley, Noah Rubin, & Fizzy Womack
Beautiful.
This makes up for that ill-placed skit. In a big way.
Raekwon bursts out the gate with a wonderfully gutter verse. It’s almost impossible for Cormega and Price to catch up, but they show no lack of trying. I cannot express the simple beauty of this beat. Drum pattern and a well placed string set. Classy. A stark contrast to the venomous words laid over it, but it all blends together perfectly.
Easily the best of this album thus far. The song lives up to the title and all parties involved should be proud. Why Raekwon doesn’t get more respect, I’ll never know. His verse alone could stand against the current heavy-hitters.
7. Supreme Architecture
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
Another RZA proverb. Another ill-placed time for it. Again, no problem with what he’s saying or what is backgrounding it. It just throws the flow all off. Moving on.
8. Evil Deeds
Featuring Ghostface Killah, RZA, & Havoc of Mobb Deep; Andrew Kelley, Noah Rubin, & Fizzy Womack
This team of Kelley, Rubin, and Womack is a blessing. They have yet to falter on the production and this is another standout. There production is the level of class that Rick Ross was going for in Deeper Than Rap; this team making it seem effortless track after track.
A seductively played piano backs a ominous drum pattern; Killah, RZA, and Havoc digging into a dark place to pull their rhymes, reveling in the sins they’ve committed while reminding you they’d gladly commit more. The piano breakdown mixed with RZA’s hook is also delightful. The track is engrossing and I’m simply amazed at how well they’ve brought this together. This trio of producers need more work and when they get it, they need rappers as skilled as the three that murdered this track. We have another standout.
Props to Havoc for dropping the first GOOD Twitter punch I’ve heard. “I ain’t wit that Twitter shit, nigga’s try to follow me.” Love it.
9. Wise Man
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
Copy and paste what I’ve said about these and keep it moving. Geez. We get it. Num-Yo-Ho-Renge-Kyo and all that jazz. More FIYAH please.
10. I Wish You Were Here
Featuring Ghostface Killah & Tre Williams; Produced by Bob Perry & Fizzy Womack
Warning you now, this beat is going to sound like an unfinished version of “I’d Rather Be With You” by Bootsy Collins. That is NOT a bad thing. Tre Williams belts a soulful hook to cater to this throwback; Ghostface’s stream of consciousness flow aiding to tell of a story of love lost. Tre takes the brunt work of the track, but Ghost simply NAILS it for the time he gets. I was NOT expecting a track like this from this album, but I am so pleasantly surprised.
I’m also impressed that rappers try tracks like this and get it ALL wrong. Meanwhile, Starky Love [Ghostface ya’ll, keep up!], Tre, and their producers make this such an easy exercise in spitting your feelings. This album is hitting a block of hot tracks ever since Radiant Jewels and I’m hoping it continues. Another keeper and a go-to for how to do love profession in Hip-Hop RIGHT.
11. Fatal Hesitation
Produced by The Revelations, Bob Perry, & Noah Rubin
The same as the RZA “proverbs” just without RZA and an extended Kung-Fu movie quote. I get the sudden urge to see the Adult Swim blurbs after so many of these. Moving on…
12. Ill Figures
Featuring Raekown, M.O.P., & Kool G Rap; Produced by Fizzy Womack & Josh Werner
Minimalist drums that compound harder where the hook should be. It’s intense, focused, and so are the rappers. It’s a stripped down hustle anthem, but done very well. No hooks from anyone and it backhands you with sudden metaphors and earnest real talk from all three. In a world of over-production, this is definitely refreshing to hear and I only wish it was longer. I definitely wouldn’t skip this and I am enjoying that the album is bucking a lot of hip-hop conventions in everything from layout to production. Another winner as the hot block continues for this album.
13. Free Like ODB
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
RZA’s earnest thoughts about ODB set to a crazy drum solo. Of all of these skits like this, this definitely would be the most touching.
14. Sound The Horns
Featuring Inspectah Deck, U-God, & Sadat X; Produced by Andrew Kelley, Noah Rubin, Fizzy Womack, Gintas Janusonis, & Josh Werner
I want to like this beat. I like everything about it but the obnoxious set of horns at the beginning and peak up in the song. You’ll know em’ when you hear em’. Otherwise, we’ve got some good old fashioned up North bragging, boasting, and smack-talking. I can’t say there’s anything bad about the track aside from that horn selection. It’s just a good track.
The problem is, it is merely good compared to so much great before it. Tough listening to this after that nice block of heat prior. On its own merits, perfectly fine; but the placement creates a quick dip for the streak the album is on.
15. Enlightened Status
Featuring RZA; Produced by The Revelations, Bob Perry, & Noah Rubin
I’ll take this time to say, the Revelations should have been used on a track. I feel they’re wasted just doing these skits when I can already think of some awesome ways they could have contributed to the previous tracks. Hell, imagine what they could have crafted left to their own devices? Oh well…you know what happens here. Next.
16. NYC Crack
Featuring RZA & Thea Van Seijen; Produced by RZA, Fizzy Womack, & Andrew Kelley
This would be at home on the Afro Samurai soundtrack I love this track. RZA’s flow is driven and this beat sounds like it was made in another dimension in the best way possible. Van Seijen adds another other-worldly quality to this track, her Dutch wail making for a left field hook the likes of which would be tough to forget. Haunting and a mash of elements that create something worthy of listen after listen. You just need to hear it.
17. One Last Question…
Featuring RZA
10 seconds. Someone asks RZA what type of Buddah he’d be. I would have rather they closed with a song, but oh well.
Bottom Line:
I am simply blown away at the QUALITY of this album. The production is top shelf and layered to give it a sound unique to anything you’d hear out right now. The rappers all bring the heat. Even when one of them outshines everyone else on a track [i.e. Raekown in "Radiant Jewels"] the others still turn in worthy efforts that aren’t phoned in. I listen to this and wonder why Wu-Tang catches the hate they catch. If it weren’t for the average, compared to what else is on display, nature of “Sound The Horns” and the ill-advised placements of the skits, this would be a perfect album that I would defend to the death for a 5 star treatment.
This is an album that was crafted by rappers sure of their skill. No need for over-production, over the top features, or other gimmicks. Listening to it and thinking more about the intro…I wouldn’t be surprised if everybody involved challenges themselves to go above and beyond what everyone was used to. I’m talking for not just the Clan, but Hip-Hop as well. They’ve bent conventions and crafted something daring. For the Wu haters out there; I dare you to deny this offering. It’s a CD that can be learned from and appreciated on many levels and I encourage fans of HIP-HOP to listen it.
The production team of Kelley, Womack, and Rubin deserves major respect for a hell of a coming out party production-wise. RZA, Ghostface, and the like spit as if they were unsigned; hungry to prove themselves. It brings an energy level and mastery of their styles that helps craft something elevated from the usual. No one should be ashamed of their contributions to this album…well…maybe RZA. A SKIT AFTER EVERY SONG MAN?! Geez.
Cut the skits and get straight to the music and you have one of the best albums of this year. I expected good, I was not expecting this. Go out of your way to give this a listen, Wu-Tang fan or not and you will get a glimpse of what skill mixed with sheer creativity can get you. The score would be higher if not for the broken flow due to the skits.
With offerings this good, I hope Wu-Tang lives forever. Haters be damned.
nappyPicks: “Radiant Jewels”, “Evil Deeds”, “NYC Crack”, & “I Wish You Were Here”
best track is "kill too hard" hands down...evil deeds is a close 2nd...inspectah deck is on the right way again...he kills it...NYC Crack would be dope but thea sounds really bad...nothing new though...thanks rza to put her on a track again, she really is a 90ties legend...whatever fuck it...
Chamber Music review from from hipster heaven- pitchfork.com:
http://pitchfork.com/reviews/albums/...r-music-vol-1/
Wu-Tang Clan
Wu-Tang: Chamber Music (Vol. 1)
[E1; 2009]
7.5 out of 10
First things first: Wu-Tang Chamber Music is not a Wu-Tang Clan album, despite the presence of that W logo on the cover. About half the verses on the album come not from Wu members but from fellow Carhartt-era rap vets like Sean Price and Cormega. I guess Old 90s Rap Dudes Chamber Music didn't have the same ring. There's no Method Man, no GZA. RZA doesn't produce any beats, though we do hear his voice over and over. Second: Wu-Tang Chamber Music is only barely an album. Of the 17 tracks on the CD, only eight are actual songs; the rest are strictly interstitial pieces, kung-fu movie samples, or bits of marble-mouthed mythology already familiar to anyone who read The Wu-Tang Manual.
And make no mistake: People who read The Wu-Tang Manual are definitely the target audience here. The mere existence of this LP has a weird late-90s quality to it; it's a throwback to the time when record-store shelves were crammed with with albums by vaguely Wu-affiliated crews like Killarmy and Sunz of Man, when labels would rush out any old crap they could slap that W logo on. A decade on, it's oddly comforting that a label would aim for your Wu-Tang consumer dollar even when that dollar barely exists anymore.
But if Wu-Tang Chamber Music is a hackneyed cash-grab, it's a pretty good hackneyed cash grab. Because once you get past the brevity and the non-Wuness of it all, there is some beautifully executed hardhead grown-folks rap shit on here. The music comes from the Brooklyn soul band the Revelations, who do live-band rap music as well as just about anyone, which is to say that you can't tell you're hearing a live band most of the time. There's an organic old-soul crackle to the incendiary trumpet-bursts on "Sound the Horns" or the slow-rolling bassline on "Ill Figures", but that warmth is the sort of warmth that the better East Coast producers can get out of old records. And so credit might be due to Fizzy Womack, otherwise known as M.O.P.'s Lil Fame, probably the best beatmaker currently working the underground NYC circuit. Fizzy co-produced every actual song on the album, and these tracks have a hard-hitting simplicity that probably serves a quickie all-posse album like this one better than RZA's choked paranoia would. And because the Revelations play music even during the interludes, those bits never fuck up the flow of the album.
And it certainly helps that most of the craggy veterans here, Wu and otherwise, go in hard on this thing. Most of these songs don't have actual choruses, so gnarled shit-talk is the focus here, and the assembled old gods still do it well. On "Ill Figures", Kool G Rap does twisted-up, lispy, half-off-beat gun-talk so well that you'd probably guess he'd been doing it for decades even if you didn't know. Inspectah Deck, on "Sound the Horns", comes with easily one of the top five C. Thomas Howell name-checks I've ever heard on a rap song: "The sound of the horns says it's on / We storm through like C. Thomas, Red Dawn." ("P. Swayze" would've fit in just as well there, but Deck never goes the obvious route.) Cormega remains one of the only rappers who can get away with a line about "lyrical elevation causes mental stimulation" because he throws that in the middle of a verse so jammed with internal rhymes and left turns ("this is a lyrical aqueduct"?) that you only barely notice. Even RZA, never a great rapper, comes with at least one hot line: "My moms put gunpowder inside my Similac."
And in his three appearances here, Ghostface Killah maintains his status as Wu-Tang's MVP, ranting about the shrooms on his tour rider on "Harbor Masters" or kicking unbelievably badass warnings on "Evil Deeds": "Don't ever come at me sideways, hands in ya pocket/ Cuz I will turn to Steven Seagal, rip ya arm out ya socket." But Ghostface's highlight, and the album's, comes on "I Wish You Were Here", the one moment of tenderness in the midst of all those boxcutter threats. Over a slow, quavery soul-jam beat, Ghost bleats out one of those emotive sex-rap verses that he does better than anyone else before ceding the spotlight to a raspy old-school soul clinic from singer Tre Williams, who comes off like Gerald Alston on 8 Diagrams' "Stick Me for My Riches".
So, OK, the various rappers here can lay on the get-off-my-lawn stuff a little thick. (Topics railed against include Hot 97's Summer Jam, skinny jeans, Twitter, and the ever-popular "ringtone rappers".) And there's really no compelling reason for this LP to exist beyond these guys' desire to remind us that they're alive. But I haven't heard an album full of anachronistic tough-guy stuff this satisfying in a long time. The world may have moved on to songs with the word "swag" in the title, but these guys are still out there, spitting grown-man gangsterisms to anyone who will listen. I call that nobility.
— Tom Breihan, July 6, 2009