This album is different that's for sure, it sounds t
Rushed,.
This album is different that's for sure, it sounds t
Rushed,.
My evidence, my own testament, written on wood
Twelve tribes layin at the head of corners in hoods
Hell razah
I don't understand that obsession for the "classic wu sound". It seems to me a lot has happened since the first round of solos and it's time some people in here catch up to the plot.Originally Posted by claaa7
Comme les anges à l'œil fauve
Je reviendrai dans ton alcôve
Et vers toi glisserai sans bruit
Comme les ombres de la nuit.
^^ not only that but the classic Wu sound has barely been sighted since about 1996. Forever wasn't exactly the classic Wu Sound.
The whole "Wu sound" thing has become a generic label with no real meaning.
Posts by The Hound are signed TH.
Quoting ≠ Agreement.
Wu-Tang Clan: A Better Tomorrow
A requiem for rappers passing in the night
BY KAHRON SPEARMAN, 4:20PM, WED. DEC. 10
Wu-Tang Clan: A Better Tomorrow
Being an admirer of Staten Island rap collective Wu-Tang Clan feels analogous to the constant rekindling of a relationship. Friends remind you that your time together has long passed expiration, but you fall back into it anyway. Of course, it doesn’t work. Really, what did you expect? Welcome to A Better Tomorrow.
Rick Rubin-assisted “Ruckus in B Minor” begins the Dec. 2 release with the bang of a pump-action pellet gun, GZA’s scientific verse cutting through during the first beat switch. It sets up the listener for RZA’s sonic theme of love action production, better suited to a film soundtrack. Discouragement starts on the very next track, “Felt,” an uninspired faux drum & bass blend.
“40th Street Black/We Will Fight” plays like a high quality demo RZA and Mathematics decided to stop pondering over and left as is. Method Man’s voice, a constant on the album, shines on “Mistaken Identity,” which evolves into an instrumental jam of septic proportions. Raekwon’s solo cut, “Crushing Egos,” appears to be RZA’s peace offering following years of contention over money and production quality.
In fact, Raekwon only appears on cuts fitting of his personal sound. The other members try snapping off on everything with varying degrees of success. Then there’s the general inability of everyone involved to suspend disbelief, as is the case on “Hold the Heater,” wherein RZA laughably claims the group can still keep “rugged” and “raw” over softer-than-Charmin production.
Worst offender, “Preacher’s Daughter” suffers from horrible execution in all directions. That’s in addition to containing the weakest hook on any Wu album after the atrocity of the preceding “Miracle.” Worse still, as with any doomed relationship, some good times are sprinkled in.
The last third of the album, starting with schizophrenic 4th Disciple production “Pioneer the Frontier,” offers what the album should’ve been. Standouts “Necklace” and “Ron O’Neal” would’ve been outstanding support tracks on prior efforts.
Troubles reappear on the title track, with its gross over use of the Harold Melvin & the Bluenotes sample, and continue through the end. The saccharine sweet positivity, for both their longevity and hopeful resolutions of world ills, remain exhibit A in the gruesome wreckage presented the listener. The most appalling attribute of the project, aside from the obvious dysfunction, is that RZA has lost his previously uncanny ear.
Once unstoppable, he’s become rap’s version of cruiserweight Roy Jones Jr., the slower, hittable version of an all-time great. General, and perhaps inevitable, decline also shows on the rest of the clan. In the cases of Ghost and Rae, their disinterest is palpable.
While making the album, Raekwon went public on both RZA’s control issues and the severe lack of production quality, even occasionally boycotting sessions. The outcome proves his apprehension was based in tark reality. Wu-Tang is broken.
A Better Tomorrow isn’t only the sound of people grown apart. It’s the soundtrack for ships passing in the night – from opposite sides of an ocean.
http://www.austinchronicle.com/daily...tter-tomorrow/
We do it for the people.
I'm not sure who did the drumming on "never let go" but it's on some next level production. I need to look at the booklet. . Not sure if rza's drum game has advanced that much or if he got some professional drummers.
Wu-Tang Forever is part of what ppl consider "the classic Wu sound". 1993-97, is often the time period that is given that phrase. Because none of the albums during that era really sound anything alike (as in repetitive), yet they still carry a sound that became famously known as the "Wu-Tang sound". Forever is sort of the last chapter of that sound. Everything after that, for the most part, seems to be either a different variation/experimentation of the Wu sound, or a throwback, trying to recapture it's original vibe.
Last edited by TheWuSepticTank; 12-11-2014 at 03:07 AM.
STAY TUNED.
24k copies sold in the first week. They must be slutted.
I would say Silent Weapons and Heavy mental ('98) both still very much carried that Wu sound. With Sunz album the fading into a newer sound started. Supreme Clientele had the best known link to that 93-98 era on the majority of songs. Cuban Linx II was in between old and new, but well executed due to the way the album was arranged.
Ghost Dog was the "Wu Sound" too IMO
That's really just the golden era of Wu-Tang though. I see the "Wu Sound" thrown around a lot but not many Wu-Tang records sound a like, probably 36C and RTT36C being the closest and that's why RZA was so door because all of the shit was different specific for the artist. The Clan albums are all different.
To me the Wu-Sound is whatever a fan makes of what Wu-Tang means to them since that's why I see it thrown around a lot but people differ on what they call it. The Wu sound to me is 36Chambers
Posts by The Hound are signed TH.
Quoting ≠ Agreement.
Yeah exactly, that's kinda what I mean. After Forever, It was the albums from Killarmy, Priest, Sunz, Cappa etc that heavily maintained the Wu sound. I know because those were the albums that sustained me when i was feenin' for that Wu sound the most during that 98-99 period. I should've clarified, I meant as far the 9 generals go, it somewhat dwindled during that time. Because the second round of solos didn't hit as hard. So for them, Forever was sort of the last chapter of that definitive sound. It wasn't until Supreme Clientele was it fully recaptured.
Last edited by TheWuSepticTank; 12-11-2014 at 03:54 PM.
I like Ghost's verse on Miracle. Throwback.
"Ghost Dog was the "Wu Sound" too IMO"
^ Yes it is, I agree.
Yeah, Return To the 36 definitely sounded the most like Enter, and fittingly so, since it was "Dirty's version" of it. When you say the golden era of Wu though, that has to encapsulate those 7 albums from 93 to 97. Because that's when their sound was born and evolving (through the solos), and capped off when they came back together as unit on Forever. And that was the last truly great Wu collective album imo.
The Wu sound for me is fully encapsulated from 36 to Forever. Because like i said, when it started with 36, it continued with the solos. Because if you say its just with 36, then thats basically saying every album after should sound like that first album. Which is why, it was brilliant that RZA was able to accomplish experimenting with the sound and giving it new life with each album...without it ever sounding redundant. At the same time, keeping true to what made their debut compelling.
And it starts with the generals, so any affiliate albums after or during that period is maintaining the sound, that's how I see it.
Last edited by TheWuSepticTank; 12-11-2014 at 06:19 PM.
Wu-Tang's still good, but they fell off when they started worrying about what people thought about them.
They used to be like...
"What's up. We're the Wu-Tang Clan. Yeah, it's an Asian name, fuck you. We like obscure kung fu movies, and comic books, back when liking comic books wasn't cool. We speak in weird slang over weird beats and are not dumbing it down for you. We hate R&B and don't care what everybody else is doing. Meth smokes weed. RZA's the Abbot. Ghost is weird and abstract and emotional. Inspectah Deck name-drops philosophers like Socrates. Rae's hungry. GZA's awake. ODB is alive. U-God & Masta Killa & Cappadonna are great in small doses. You don't like it? Fuck you."
Now they're like...
"What's up. We're the Wu-Tang Clan. We want everyone to like us. Here's a song for the ladies, here's a song for the club, whatever you want - WHAT DO YOU WANT?! We like popular television shows and movies. We speak in typical slang over typical beats and are willing to dumb it down for you. It's all part our to plan to slowly turn into The LOX. Maybe we'll throw in a kung fu sample or a comic book reference, but that's not really our thing. We love R&B - every album has to be full of pretty R&B hooks, and one of us made a whole R&B album. We care deeply about what everybody else is doing - we're even open to dubstep remixes. Meth HATES it when you bring up weed. RZA's the leader who nobody believes in or wants to follow. Ghost is normal and direct and workmanlike. Inspectah Deck name-drops popular TV shows like The Big Bang Theory. Rae's well-fed. GZA's asleep. ODB is dead. U-God, Masta Killa and Cappadonna are now the stars, and get the most mic time. You don't like it? Let us know what to do, we aim to please!"
Last edited by FakeAlias; 12-11-2014 at 11:34 PM.
lmao, can't say I agree with everything but at the very least this was an entertaining read and there are some valid points in there. But I guess it's not a bad thing to embrace the fact that some things do change over time. You don't want to wake up in 1993 every day.
Retired.
this has never not been the caseRae's well-fed.
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