Wu - Tang Chamber Music

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

^ RZA was never a great rapper!?

wtf is up wiv that

Superior

Quote:

---

Originally Posted by theDZA

^ RZA was never a great rapper!?

wtf is up wiv that

---

RZA has a horrible voice. he has never been a good rapper.

stick to producing.

this album is trash too. I'm sick of these beats.
it aint the 90's no more

Quote:

---

Originally Posted by LiveFast

...

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."

....

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

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Breihan always brings the heat generally.

Quote:

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Originally Posted by lynskey

RZA has a horrible voice. he has never been a good rapper.

stick to producing.

this album is trash too. I'm sick of these beats.
it aint the 90's no more

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ent u the cat who said he prefers dopium over ob4cl and liquid swords?

i think you are...

finally got this through my door...gotta say i am really impressed and i'm looking foward to a part 2 - hopefully all the clan will be on it and it will be a lil bit longer

my favourite tracks have gotta be:

I Wish You Were Here - Ghostface and Tre Williams
and
NYC Crack - RZA and Thea

but all the tracks are hot and a very good sign of things to come from the clan

3.6/5 - sounds like a compilation, not an album. Beats soundin' waaaay too similar (the danger of usin' a life band with the same instruments on every track). "8 Diagrams" ripZ this shit to shreds - let the hate begin':D

Evil Deeds is my shit. I fuckin love that song.

Quote:

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Originally Posted by HAQ

3.6/5 - sounds like a compilation, not an album.

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Because it is a compilation.