Ol’ Dirty Bastard (Russell Jones) has it hectic in real life (he was shot by robbers in Brooklyn in late ’94 and later arrested for breaking into a Queens house - and that was just for a start of his criminal career) he keeps it reckless on his riotous solo debut, the cover of which pictures him on a welfare ID card. Sandman.” A convincing evocation of blunted oblivion, Tical makes the most of its blurry focus and casual progress. Method Man spends a lot of the record smoking chronic and clearing his lyrical throat to no serious effect, but he occasionally coughs up a surprise: the heartfelt love jones of “All I Need,” the “I Will Survive” melodics of “Release Yo’ Delf,” the falsetto crooning of the guest-heavy “Mr. #Enter the wu tang 36 chambers genius series#(His eponymous track begins with a comical series of memorably vulgar threats.) His solo record, produced in woozy, disorienting pass-it-over-here behind-a-wall-of-muslin style by Rakeem (Robert Diggs), is a low, slow simmer of odd sounds, muted beats and the rapper’s cloudy delivery. With his husky voice, melodic flow and full-time sens-smoking hobby, Method Man is the most active and audible member on Enter the Wu-Tang. While watching the money pile up for that multi-platinum album, five Wu-Tang Clan members cut solo projects (and Prince Rakeem was in the Gravediggaz and launched the Razor Sharp label) in light of their creative diversity, the unanimity of the group’s album seems almost inconceivable in retrospect. Maintaining a stylistic and literal connection to New York’s old-school tradition, the crew pays tribute in the soulful “Can It Be All So Simple” (a song remade by Raekwon on his solo album) and follows through on the autobiographical “C.R.E.A.M.” Otherwise, the band’s head-swaying atmospheres are more effective than its rambling lyrics. #Enter the wu tang 36 chambers genius tv#Surprisingly cohesive and organized given all the mic competition (credit producer Rakeem for cool beats and the take-a-number verbal discipline), the album uses cinematic samples, TV references, team cheers and loosely arranged vocal weaves to shape inoffensive raps that flow loosely in carefully contained tracks. As Buddy Holly did for Lubbock and Elvis for Tupelo, the rough and ready Wu-Tang Clan - named after a cinematic tribe of martial artists - has put Richmond County on the map with one group album and a steady stream of solo records, all of which typify ’90s East Coast rap style: loping funk beats, a devotion to smoking pot (“tical”) and gangsta boasting that doesn’t trivialize sex or violence, dealing firmly with the big city’s relentless intensity and leaving random explosions of lurid melodrama to the Californians.Įnter the Wu-Tang (36 Chambers) introduces the extended crew: Prince Rakeem (The RZA), Method Man, Ol’ Dirty Bastard, Raekwon, U-God, Rebel INS, Ghost Face Killer and the Genius (GZA), only some of whom actually come from Staten Island. Historically, Staten Island hasn’t contributed much to the music world besides David Johansen, but after the prolific and massively successful Wu-Tang Clan, New York’s forgotten borough doesn’t really need to.
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