Wu-Tang Clan - "Enter the Wu-Tang: 36 Chambers"

“Enter the Wu-Tang: 36 Chambers” was released on November 9, 1993 on Loud Records. An important date for Hip Hop heads as A Tribe Called Quest also released their classic “Midnight Marauders” on the same day. The title of the album pays homage to two martial arts films (“Enter the Dragon” and “The 36^th Chamber of Shaolin”) that inspired the group.  “36 Chambers” was the Wu-Tang’s group debut and the catalyst for a style, a culture and several successful careers. The production was handled by the RZA, who manipulated samples from old Soul records transforming them into a rugged landscape for their lyrics. The album features vocals from the RZA, the GZA, Ol’ Dirty Bastard, Method Man, Masta Killah, Inspectah Deck, U-God, Raekwon and Ghostface Killah. All having their own unique style but also maintaining a rough, raw and aggressive tone throughout. “Enter the Wu-Tang: 36 Chambers” is probably one of the most important albums to come out due to its impact not only on Hip Hop but on popular culture.

Guest choice: Mike T's (@mike_t_bvnm) second appearance on the blog

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Chris: Mike, what did you know of the Wu-Tang Clan before this review and why did you want to review "Enter the Wu-Tang: 36 Chambers"?

Mike: To be honest I didn’t know really anything about Wu-Tang. Just that they were a Hip Hop group from the early 90’s, and that they had a member Ol’ Dirty Bastard. I wanted to review this because I know a few diehard fans, and in the past year Bearded Villains have been doing Wu-Tang Wednesdays, so I wanted to get a better understanding why Wu-Tang. What set them apart from other rap groups from around the time? One thing I noticed with these fans, it wasn’t just “I’m a fan” it was a lifestyle for them. Wu-Tang fans really take on that “live by the sword, die by the sword” mentality, so I felt “Enter the Wu-Tang: The 36^th Chamber” was a good place to start because this was their first album. This was a great place to start because its where the group started.

Chris: That’s true. I do know a lot of very loyal Wu-Tang fans. Some of them have even put ink to their skin to show their allegiance. I definitely consider myself to be a fan of their music and probably a little more so when I was younger. I remember kind of around the time that their second album “Wu-Tang Forever” dropped, I had drawn a white Wu-Tang symbol in whiteout on to the back of my backpack. I also had a “Enter the Wu-Tang” poster hanging up in my bedroom.

So "Enter the Wu-Tang: 36 Chambers" was recorded with an extremely low budget. The recording space was small and the equipment they used wasn't the most expensive. What did you think of the overall quality of the production? Does it detract from its overall quality or does it enhance it?

Mike: This album had a very unique sound right off the get go. It was one of the very first things I noticed about the aesthetic of the album. It’s a very raw sounding album. The sound reminded me of being at a small little hole in the wall concert venue. Like they recorded this album in front of like 15 people at a show. I think this sound gave the album its own identity in a sense. It lets the listener appreciate the talent of the artists. They didn’t need high production equipment to put out their material. If the album was over produced like a lot of albums nowadays I feel it would have lost its authenticity. I personally don’t think it detracts from the quality. These artists were raw, so it fits who they were I feel. If anything I think it enhances the experience for the listener.

Chris: I agree. I, to this day, prefer the gritty of this recording. A lot of music being made today is a little too clean for my palate.

So I read that to decide who was going to be on each track, the RZA would have the guys battle to see who would earn the right to be on the song. Which rapper or rappers stand out for you on this album?

Mike: This is a hard question to answer. Strictly because the only MC’s I can distinctly make out is Method Man, and ODB. ODB for me is easily the easiest one to point out. This was just because of how unique his voice, and style was. Method Man is probably the second one I can make out. The rest because I can’t put a face to name makes it hard. This I think was just due to I didn’t look up interviews or anything going into this review. I wanted to experience the Wu for what the album was. I didn’t want anything to take away from the listening experience for this. But I think you can hear how they took that rap battle feel, and put it towards this album. It really did just feel like a cypher every time a track came on. Just one after another.

Chris: That’s fair. Remembering back to when I was first listening to this album ODB and Method Man stood out to me as well. For me now though, this album really showcases Raekwon and Inspectah Deck. I think lyrically they were so far ahead at this point and that shows just be the shear fact of how many songs they were on. I’m glad that ODB stood out to you, like Method Man said, he’s the Ol’ Dirty Bastard because there is no father to his style. A lot of people don’t really appreciate how hard that style is. ODB is a treasure.

Wu-Tang Clan – “Shame on N***a”

Chris: The Wu-Tang Clan employed a nontraditional style. Nontraditional in the sense of their song structure, their free-associative lyricism, and their utilization of primarily Soul samples. What did you think of the Wu-Tang style and do you think that it had an effect on future generations of rappers?

Mike:  Their style is what set this apart from any other Hip Hop album I’ve listened to. They brought that “fighting style” from the movies they loved and applied it to their music. Everyone might have their small quirk to distinguish them, but as a whole they brought a new force to the hip hop scene. It was different listening to Hip Hop with very little hooks/choruses, but like I had said previously they brought that battle rap feel to the album. I’m sure they had a huge impact on future generations. Especially the underground Hip Hop scene. This might not be a rap style you’ll hear or see on the current mainstream Hip Hop scene, but real lyricists, and MC’s you can probably find someone that resembles a Wu-Tang feel.

Chris: Yeah, you’re right. The way they rhyme, they do kind of remind you of a pack of ninjas, each with their different style or different weaponry, but you also have songs like “Can It Be All So Simple”, “Tearz” or “C.R.E.A.M.” which are a little more introspective. I’ve always appreciated that about the WU. Also, I’ve always really dug the RZA’s use of soul samples, I think it serves as a cool juxtaposition.

Wendy Rene – “After Your Laughter”

Chris: What were some of your favorite tracks?

Mike: Favorite tracks from this album. This is a good one. “Bring Da Ruckus” is one for sure. It was a great track to open the album up to. For a record to have very little to no real hooks or choruses I liked this track a lot cause it instantly made your head bob. Plus, it got you saying “Bring da motha F@%$^*g Ruckus!”. “ “Wu-Tang: 7^th chamber” is a great example of just how they all can just jump on the track, and just go. Because what I really liked about this album, and these tracks was the samples of the Kung-Fu movies they incorporated. It gave me this mental image of someone with a mic, and tape recorder just sitting in front of the tv. Splicing the tapes together. This was a hard album to pick a favorite track for me. This was just because you can start this album, and just let it play. “C.R.E.A.M.” Is going to be up there. I felt I couldn’t narrow down favorites because the whole album felt like a movie. There’s always favorite parts of a movie, but as a whole it’s just good because of how different their sound was.

Chris: That’s funny. I remember the first time I put on this album and “Bring da motha…” comes on, I had to turn that shit down immediately! See, my parents used to censor us as kids so our way around that was to get our music from Colombia House and you’d just have to make sure that you got to the mail before one of them did. It was through Colombia House that I came up on “36 Chambers”.

Wu-Tang Clan – “Bring Da Ruckus”

There could be some other acts that tried to incorporate dialogue from Kung Fu movies before but none that I know of. Another example of the RZA’s genius!

Wu-Tang Clan Kung Fu movie samples

Chris: You watched "Wu-Tang: An American Safe." I haven't seen it yet. What did you think? and did it make you change how you felt about the album?

Mike: The show was good. As far as a Wu-Tang show I felt it was more of a back story show for each member of the Wu-Tang. It heavily focuses on Bobby Diggs Aka The RZA. I felt it was more of a show about each member, and them living in the projects of Staten Island. I would definitely recommend watching it if you haven’t seen it. I don’t really think it changed the way I felt about this album in particular, but more it gave me an appreciation for RZA. His work ethic to want to do music, and get away from the drug scene. I really liked how it showed the audience that RZA really wanted to bring the best rappers he knew around together, and succeed together. It was a very “everybody eats” mentality.

Chris: I’m sold. I definitely want to watch it.

Wu-Tang: An American Saga Official Trailer

Mike: I have a question, what was up with skits? So I have a love/hate relationship with skits, especially on this album. Sometimes they were a little long winded, I felt. Like the torture skit before “Method Man” it was funny but it was too long. I think that it would have helped if the skits were separate tracks instead an additional 2 minutes to the song.

Chris: Yeah, I hear you and that skit in particular was a little…

Mike: Haha yeah, it reminded of the “you know how I know you’re gay…” scene from “The 40-Year Old Virgin”

Wu-Tang Clan - "Torture Skit"

“You know how I know you’re gay”

Chris: Would you consider yourself to be a Wu-Tang Clan fan at this point? Has listening to "Enter the Wu-Tang" inspired you to check out any other Wu-Tang projects?

Mike: Would I consider myself a fan now? I would say yeah this turned me into a fan. I’ll be checking out more of their music. I’ve already checked out GZA’s solo album. I will be listening to more of the Wu-Tang as time goes. But I won’t say I’m a diehard fan just from this listen. It wasn’t something I grew up listening to. Granted they came out when I was 3 lol. But I’ll definitely be listening to more. I also want to check out each person’s solo project to really get a feel of how each member had their own style.

Chris: If you include the solo projects, the Wu-affiliates and their group projects you can definitely understand the Wu diehards. There is just an abundance of dope shit to listen to. It’s kind of cool that you can listen to their entire catalog now but man, I remember how the anticipation for the next Wu release felt and it hardly ever disappointed. Listening to it now, I think I might actually like it even more. Honestly, it was kind of refreshing to hear it again.

So in closing, did you know that Childish Gambino got his name from the Wu-Tang name generator?

Mike: Shut up! I didn’t know that.

Chris: Yup! Look up your’s! Mine is “Occultist Unlucky”

Mike: Mine is “Romanticist Quick”

https://wutangclan.net/name-generator/

Ghostface Killah - "Supreme Clientele"

“Supreme Clientele” is the second studio album by Wu-Tang Clan member Ghostface Killah. Released in February of 2000 on Epic Records, “Supreme Clientele” was well received by the Hip Hop listening community and has even been regarded as one of the best Wu-Tang Clan solo projects. Most of the lyrics for the album were written while Ghost was in Africa convalescing and seeking alternative treatments for diabetes, which he had recently been diagnosed with. Some of the production was handled by an assortment of producers (Mathematics, JuJu (of the Beatnuts), The Blaquesmiths, Carlos Bees, etc.) and a barber (Black Moes-art) but the bulk of it was handled by the RZA. During the middle of the time they were recording, Ghostface was sentenced and served six-months for attempted armed robbery, which push back the albums targeted release dated.  Despite health concerns and prison time, Ghostface was still able to put out another classic and prove that his debut (“Ironman”) was no fluke.

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Chris: Mike, do you have any memories from when you first heard “Supreme Clientele”?

Mike: I remember that I purchased it at Zia Records on University. Me and a friend had gone to Zia and he was pressuring me to buy the CD, so he could burn a copy for himself. It was a used copy and I had a coupon too! I remember I took the free neighborhood bus home and the second I got in my room, I threw it on and was taken back by its dopeness. It quickly became one of my all-time favorite albums.

Chris: I remember seeing the music video for “Cherchez La Ghost” for the first time and recognizing that the sample they used was the same song from Boyz N The Hood when Dough Boy was brushing his hair and his Mom was telling him he was going to be shit. I picked up the album at Circuit City not too long after that.

Boyz N The Hood “You Ain’t Shit” scene

Ghostface Killah feat. U-God – Cherchez LaGhost

Chris: What tracks stood out to you back then?

Mike: The first tracks that stood out to be me were “One” and “Child’s Play”. “One” because of the classic Ghostface Killah flow and I’m a sucker for beats that utilize a vocal for the sample. And since “Child’s Play” has a cohesive schoolyard nostalgia them, I feel like it was more palatable to the younger me. It was the only track I understood in that way.

Chris: Hahaha! “Child’s Play” was a favorite of mine as well. RZA’s flip of George Jackson’s “Aretha, Sing One for Me” is so dope.

Ghostface Killah – “Child’s Play”

George Jackson – “Aretha, Sing One For Me”

Chris: One thing that I’ve always found so dope about Ghost is willingness to sing on tracks. He doesn’t sing well, of course, but when he does, it adds this layer of ruggedness to the song that I find really enjoyable.

Mike:  Most definitely. It adds a unique depth to his overall sound. Very few other rappers have managed to pull it off.

Chris: Another thing I’ve been thinking about while listening to “Supreme Clientele” again, is the parallels between Ghostface and Tony Starks. They both are geniuses of their craft, they both have significant health issues, they’re both really vulnerable despite their huge personas.

Mike: Wow, that’s a great observation that’s never crossed my mind. It totally makes sense.

Chris:  Let’s talk about the song “Apollo Kids”. I read that Ghost had an issue with BET because they wouldn’t play the video on RapCity and to be honest, I had never seen the video for it until I started researching for this review. As far as the song itself, I’m not really a fan of it and I think it’s because of the beat. I actually prefer some of the remixes over the OG. Even with Ghost and Rae killing, I still can’t get with that beat.

Mike: I think the beat has less of a commercial appeal and that’s possibly why BET chose not to air the video.

Ghostface Killah feat. Raekwon – “Apollo Kids”

Chris: It must be so much fun for Ghost and Rae to be in the studio together. It’s like the only person who can legitimately go on after Ghost is Rae and vice versa. Those two guys are just on another level as far as the way their minds work and the lyrics they craft. It’s got to be an entertaining process for them when they’re recording but it’s also got to be ultra-competitive at the same time. It really seems like they bring out the best in one another.

Mike: I completely agree. Two of the best MCs ever, that could nearly be considered their own group.

Chris: So I take then that you’re a fan of the “stream of consciousness” rap style?

Mike: Very much so. It adds a level of relatability that makes it feel like you are in their shoes.

Chris: I hear that. The criticism that you always hear about “stream of consciousness” style is that it’s just a bunch of meaningless phrases thrown together and that it doesn’t really mean anything. I see where that is coming from but I feel like it’s shortsighted. If you think of Ghost’s voice as an instrument and his lyrics as the notes, when he’s rapping it’s almost like avant-garde jazz and he’s just going for it.

Mike: That’s why Picasso is much more esteemed than some other artists. Abstract, when done correctly evokes more feeling in my opinion.

Chris: Definitely! It’s funny, it’s emotional, it’s slick, it’s thought provoking and it’s not a style that just anyone can master like Ghost has. There are quite a few people out there who consider “Supreme Clientele” to be the best of the Wu solo releases. What do you think? I don’t know if I’d go that far but I will say this though, it’s the best Wu project to come out in the 2000s and it’s the best 2^nd album by any Wu member.

Mike: It’s my favorite, but not the “best” per se, because the debuts all really solidified the Wu-Tang sound. Musically it is more diverse than the debuts, due to the out of house production offerings, so there’s that aspect to look at. So while it’s my favorite, it’s not influential, iconic, or definitively “Wu” as the debut solo joints were. I own very few albums and “Supreme Clientele”, Ironman” and “Only Built 4 Cuban Linx” are in that stack. That speaks for itself.

Chris: Yeah, that’s true. I guess the plan was to have different Wu affiliated producers to handle the production on the albums that were released during that time but after a quick look at the liner notes of “Supreme Clientele” it appears that RZA did the bulk of producing. What was your favorite track?

Mike: Too many to pick just one! “One” which was produced by JuJu from the Beatnuts is probably my favorite. I also love “Wu Banga” which was produced by Mathematics. I feel like that was the official Wu-Tang track of the new millennium, something we hadn’t heard since “Triumph”.

Chris: Some of my favorites are “Ghost Deini”, “Mighty Healthy” and “Child’s Play”

Ghostface Killah – “Mighty Healthy” (Metal Fingerz Blend)

Chris: Mike, is there anything that you wanted to add?

Mike: Just that this is probably the first album I didn’t have to “revisit” for the review because it has never left my rotation, it’s just that dope.