27. Wu-Tang Clan, "Enter the Wu-Tang (36 Chambers)"

 


I had this on in my car the other day and my sister, a white woman of indeterminate age, immediately perked up.  "Wu-Tang, huh?" she said.  "Totally important album.  Foundational." ( As you may recall, my sister has opinions about the seductive powers of 90s hip hop.)  She's absolutely right.  This album hasbecome part of the pantheon, a singular artistic achievement that is (rightfully) regarded as one of the most important hip hop albums, or just albums, of all time.

Built on a mashup of samples of classic soul and R&B and sounds lifted from kung-fu movies, the album was unlike anything anyone had ever done before.  Wu-Tang itself was a loose collective of nine or so rappers and DJs, and everyone brought something to the table, but it was RZA (nee Robert Diggs) who presided over the production and shaped the sound.

"C.R.E.A.M.," an instant classic, is a prime example of what's going on here.  Built on top of an obscure soul sample ("As Long as I've Got You" by The Charmels), the song features vocals from Raekwon, Inspectah Deck, and Method Man.  "Protect Ya Neck," the first single, is also a dense collab, with just about everyone rapping part of the song.  RZA grabs the seventh verse with his typical style:

Yo, chill with the feedback, black, we don't need that
It's 10 o'clock, ho, where the fuck's your seed at?
Feelin' mad hostile, wearing Aeropostale
Flowin' like Christ when I speaks the gospel
Stroll with the holy roll, then attack the globe with the buckus style
The ruckus, ten times ten men committin' mad sin
Turn the other cheek and I'll break your fuckin' chin

Part of RZA's genius was to pair the variety of voices he had at his disposal with the right backing material.  Ol Dirty Bastard's showmanship really comes through on "Da Mystery of Chessboxin'," while RZA and Ghostface Killah trade verses over samples from Wilson Pickett and Barbra Streisand on "Tearz," probably my favorite song on the album.

I have to admit, I came late to this album (not being especially plugged into hip hop in the 90s), but it immediately felt like a document, a road map to later sounds, and a singular vision all its own.  It's not in my Top 100, but I'm glad I got to revisit it.

Is this album in my personal Top 100? No.

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