Wu Tang Clan released “Hi,” a new single alongside Texas, on Tuesday, December 1.
Recognized as one of the pioneers of the grimy, raw, hard-nosed sound, Wu Tang Clan’s status as international stars is not to be underestimated. They were synonymous with New York for almost three-decades. Their reputation as one of the most influential factions in Hip Hop history has seen their popularity soar in nations throughout the world, one being Scotland.
It was February 9, 1998, when Clan members Method Man and RZA joined Scottish pop-rock outfit, Texas, on stage at the Brit Awards in London. The two factions were performing the remix to the latter’s top 10 UK charting single, “Say What you Want.” Now, over twenty years later, the two groups have collaborated on another trans-cultural record, “Hi.”
Featuring RZA, Ghostface Killah and with vocals from Sharleen Spiteri, the record came about during RZA’s time in Glasgow. Whilst the Clan head honcho was filming a documentary, he connected with Spiteri and subsequently contributed a verse the Wu Tang Clan track, “Hi.”
A fast-paced alternative record, the music video opens up with Top Boy actor, Kadeem Ramsay, watching footage of their iconic performance at the Brit Awards. The television then segues into a more recent interview between RZA and Spiteri in which they discuss their yearn to work together again. Ramsay’s character is a super-fan of the two groups, as his room is filled with posters, memorabilia, as well as a shirt with a picture from the 1998 Brit Awards plastered on it.
Throughout the Wu Tang Clan “Hi” music video, he is seen performing routine tasks such as; picking out an outfit, driving his car and getting a tattoo. It is revealed that he kidnapped Spiteri in an attempt to get the two groups to collaborate once again. Spiteri responds by facetiming RZA, and after a short conversation, he obliges to the request. Spiteri and Ramsay then share a smoke, as she lightly ridicules his poor attempt at tying her up.
After a groundbreaking debut album — Enter the Wu-Tang (36 Chambers) — and a host of successful solo projects (GZA’s Liquid Swords, Method Man’s Tical, Raekwon’s Only Built 4 Cuban Linx, to name a few), the clan were in high-demand. They had accomplished a rare feat in the world of music. It established many of their members as individual stars, whose popularity could rival the group’s.
The ego that accompanies success of such magnitude is liable to create division within any faction. It helped break up the Fugees. The clan is no ordinary group. Displaying their idiosyncrasy within a world of hip hop came with the release of their second LP, 1997’s Wu Tang Forever. The lead single “Triumph,” was a record that rang through the air waves. It was the first (and only) song where all nine Clan members rapped on. Moreover, it also introduced affiliate and later member Cappadonna.
The record ran for 5 minutes and 38 seconds, with no chorus or break, except for the energetic opening monologue from Ol’ Dirty Bastard and a short interlude. Inspectah Deck began the track, followed by Method Man, Cappadonna, ODB’s interlude, U-God, RZA, GZA, Masta Killa, Ghostface Killah, with Raekwon concluding the record.
About the Track
In an interview with Power 106 radio station, RZA broke down the production on the record. He divulged that they recorded “Triumph” in Los Angeles. Musically he combined his new Yamaha keyboard V71 series with his ASR-10, MPC and Nord lead keyboard. His goal was to make a track with classical sounds, but still grab hip-hop with a touch of soul. While the drums meet classic hip hop, the strings added a new element.
When asked about not having a chorus, he explained that for every Wu-Tang project, he wanted to have a song that reminded the people of their first record “Protect Ya Neck” with great rapping and a strong beat to compliment.
Speaking to DJ Vlad, Inspectah Deck — whose opening verse is one of the most-heralded in hip hop history — he acknowledged that using his “Triumph” verse twice helped his legacy, as it was originally recorded for Tony Touch’s 50 MC’sVol. 1 tape. RZA made the beat at around 5 a.m., as he and Ol Dirty Bastard were the only ones up. Inspectah Deck explains he could hear the kicks and snares from his room. He knew it was a smash-hit. He got up and asked to get on the record. Later that day the rest of the group had jumped on as well, because his verse was so outstanding.
Sampled to Example
“Triumph” samples “Just Found Me” and its multiple elements of soul, disco and fuck music, by the Rance Allen Group. It also sampled “To the Garden of the Temple” from the 1983 film Duel to the Death, and some lyrics from “Da Mystery of Chessboxin” from the Clan’s own 36 chambersLP.
Besides the mind-blowing lyrics and production, “Triumph” is known for its incredible video, with Rush Hourdirector Brett Ratner behind the camera. It was one of the more expensive music videos of 1997 costing around $800,000. The video begins with breaking news: a massive swarm of killer bees attacking New York. Ol Dirty Bastard is up on a skyscraper surrounded by police helicopters and officers with their guns drawn.
Interesting enough, ODB wasn’t actually in the video. Always one to act on a whim, Ol’ Dirty was uninterested in filming the video since he didn’t have an official verse, he left the set before filming began. It forced the director to get a stand in.
Inspectah Deck is seen climbing the side of the building when “ODB” jumps off, as the bees follow in his path. Meanwhile Method Man and the other Clan members arrive on motorcycles, shooting fireballs at the bees. The bees are then seen passing through Cappadonna’s lair while U-God is seen burning down the forest. RZA appears with angel-like wings, later transforming into the killer bees and killing the Alcatraz prison guards. We then see GZA from space viewing the mayhem. A celestial God like figure.
During GZA’s verse there is a brief cut to the 1915 film The Birth of a Nation, he then makes a gesture to the bees and they swarm back down to Manhattan in the form of Masta Killa who stood on a tower in the form of the Wu-Tang Symbol. A crowd gathering around him. At the end of the video, the bees make their way to a club where Ghostface and Raekwon are raping, with Quincy Jones is in the audience.
One of the strangest and creative visuals in hip hop history “Triumph” changed how people looked at videos all together.
Lyrical Highlights
While he didn’t have an official verse, Ol’ Dirty Bastard left his mark in his own unique way.
“What? Y’all thought y’all wasn’t gonna see me?
I’m the Osiris of this shit
Wu-Tang is here forever, motherfuckers
This like, this ’97”
Inspectah Deck began the song with his now-legendary verse that made him known as hip hop’s “set it off” man. He makes listeners immediately wake up with his intricate rhyme patterns and word choices, taking over the record.
“I bomb atomically, Socrates’ philosophies and hypotheses
Can’t define how I be dropping these mockeries
Lyrically perform armed robbery
Flee with the lottery, possibly they spotted me
Battle-scarred Shogun, explosion when my pen hits tremendous
Ultraviolet shine blind forensics
I inspect you through the future see millennium
Killa Beez sold fifty gold, sixty platinum
Shackling the masses with drastic rap tactics”
Cappadonna rapped like he had something to prove being that he had to live up to what the others were doing. He wasn’t an official member at that point but you couldn’t tell with how he was flowing.
“I twist darts from the heart, tried and true
Loop my voice on the LP
Martini on the slang rocks, certified chatterbox
Vocabulary ‘Donna talking, tell your story walking”
Creating A Legacy
“Triumph” is one of Wu-Tangs most legendary tracks and it holds a special place in hip hop history. Their rapping ability was never in doubt, but the music video gave them a chance to showcase their visual creativity. As we look back at some of Wu-Tangs best tracks, “Triumph” stands the test of time because it epitomizes Wu-Tang Forever and as the lead single it exceeded expectations, as many radio stations and labels initially didn’t want to run the record because they felt it was too long. It’s safe to say, the Clan proved all doubters wrong.
Since March, the Coronavirus global pandemic and government shutdown had left many people in their homes stuck with nothing to do. That is until, famed producers Hit-Boy and Boy-Wonder began the Verzuzcraze on Instagram Live, playing their most popular records back-and-forth. Timbaland and Swizz Beats expanded on the phenomenon, elevating it by pairing older, iconic acts together to showcase their catalogs in a 20-song format.
Verzuz battles have helped keep the general public’s minds off of the pandemic and the success from each ensuing battle has fans creating dream matchups of who they want to see next, and which artist they want paired with who. One of the artists that many fans want to see step into the ring is Jay-Z. Widely considered as one of, if not the greatest rapper ever, conversations surrounding a potential Hov battle have people asking two questions: given his immense stature, would he actually do a Versuz battle? And, who exactly would be his opponent?
The first names that have been tossed around are his long-time rival Nas and Lil Wayne. Nas and Jay-Z’s rivalry is well-documented and dates back to the late 90’s. Their problems began when Nas turned Hov down for a feature on Jay-Z’s song “Dead Presidents” off of the Reasonable Doubt LP, because Nas’ voice was sampled for the record. With that, animosity began to build, as both rappers exchanged shots for years throughout multiple songs until the rivalry met its climax in 2001.
https://vimeo.com/316958866
First came Jay-Z’s “Take Over” from his Blueprint album, while Nas replied a few months later with “Ether.” Their battle marked Nas’ to hip-hop superiority, as well as the first real loss by Jay-Z. It only makes sense that their convoluted history has fans yearning for a Verzus battle between the two.
While Lil Wayne’s case is centered on his dominance of the rap game during the mid-to-late 2000’s, he has also had a healthy rivalry with Jay-Z with the two sharing subliminal shots at each other on various records. While all these names are legendary in their own right, the best opponent for Jay-Z isn’t Lil Wayne or Nas, but none other Method Man.
Making a name for himself in the early 90’s as the face of the most gritty and diverse group in hip-hop history, Wu Tang Clan, Meth has been a part of many classic albums in his own right. From his work with the Clan, his own solo albums and guest features, he has enough in his arsenal to give Jay-Z his toughest matchup in a Versuz Battle.
Why Meth and not Nas or Wayne
Some will say that Method Man isn’t a better choice to battle Jay over Nas or Lil Wayne and they would be wrong. Artists have egos and want to be matched up with other rappers whom they believe are of their stature. Jay-Z is at the pinnacle of hip-hop as a mogul, artist and legend. He is constantly praised by hip-hop media outlets who have been the main reason for him being mentioned as the “G.O.A.T.” in recent years. Prior to his success as a businessman, that title was reserved for the likes of Tupac Shakur, The Notorious B.I.G., Rakim, LL Cool J, and Nas.
Jay-Z has always been conscientious of how people perceive him. In a 2019 Breakfast Club interview, rapper T.I revealed that Jay-Z phoned him over comments he made where he stated that he believed Tupac Shakur was the greater emcee.
Jay-Z took some offense, which let the masses know that being considered the greatest is important to him. From his pespective, why go head-to-head with Nas again? Because of the extent of his radio catalog, he would would be the heavy favorite, to the point that most would write off Nas, just as they did in 2001.
While a Verzuz battle is meant to be hit-for-hit, we’ve seen them deviate from this course and highlight quality records over just radio-friendly music. In this scenario, Nas could come with 20 of his best records and possibly sneak a win from Jay-Z, and if he does, then his status among mainstream media as the best rapper ever would come into question.
The same thing can be said for Lil Wayne, only his win would come from his sizable radio catalog. If Jay-Z were to battle him and go hit-for-hit, there is a possibility that he would lose. Another overlooked aspect is that Nas, Lil Wayne and Jay-Z all have laid-back personalites, which might not be the most entertaining to the public as other battles have been. This is where Method Man comes in. As the host of TBS’ Drop the Mic, his personality is effervescent and thus would serve as better entertainment to audiences, as he would surely provide great banter during a Verzuz battle. Meth is not considered usually in the conversations for best rapper ever, he is thought of like Snoop Dogg; a dope rapper in their prime, who have been featured on great songs throughout their careers.
If Jay-Z were to get defeated by Method Man it would be more of a look for Meth and his catalog than a diminishment of Jay-Z’s. Meth is pulling from not only his catalog but the entire Wu-Tang Clan’s, as well as guest verses he has done throughout his career. If Jay-Z does defeat Method Man, then he can say he took down Method Man (who was at one point viewed as a better emcee than Jay-Z in the mid to late 90’s), while also claiming that his own catalog was able to overcome Wu-Tang Clan’s discography, which would make his case as the greatest ever stronger.
How Would Their Battle Go?
A battle between Method Man and Jay-Z would be interesting because of their contrasting styles. Meth has a gritty gutter style and has been known to rhyme over tougher beats. Jay-Z is smoother and rhymes on more polished sounding production. Meth might probably start off with his first single off the 36 Chambers album “Method Man” or “Protect Ya Neck,” the track that put the entire Wu on the map. This would put Jay-Z in a bind, as a lot of the early Wu Tang records are considered some of the best rap songs of all-time. This would probably force him into playing a lot of his older, more acclaimed work but, he would most likely still play some of his newer songs like “Story of OJ,” due to its popularity and current climate of the world, with race relations and internal bickering amongst the black community.
A major risk in this battle is sequencing. Would Jay-Z try and use his Billboard hits against Method Man with songs like “Déjà vu” with his wife Beyonce? While one of his highest charting songs ever, against Method Man, the underdog in this battle, it would not be wise to play those kind of records.
Method Man has gotten a bad rap for “whining” about being overlooked in his all-time ranking when people mention the greatest emcees. A Verzuz battle with Jay-Z not only brings new listeners to his already iconic catalog and also opens up discussions about where Method Man should be ranked in the pantheon of hip-hop greats. This also works in Jay-Z’s favor, as Method Man has a legendary and mostly underrated discography. If Jay-Z were to lose, it would be shocking but no one would question his superiority over Method Man in the rap hierarchy. If Hov wins, then he would reaffirm his status as the best rapper of all-time.
Here is a list of both MC’s potential versus picks.
“Bring da Ruckus,” from the Wu Tang Clan‘s debut 36 Chambers LP stands as one of the rawest songs in rap history. As the lead single, and intro track on the album, “Ruckus” set the tone and established the Wu as a crew to be reckoned with. Not a particular long record (4:12, with plenty of filler), each member of the Clan was tasked with establishing themselves as individuals in short yet, impactful verses. With that, came the birth of an organic (gutter) sound that has yet to be replicated.
cousin’ terror, quick damage ya whole era
The record was formatted to sound like a hip-hop cypher but, with a hook from RZA. Four verses and a bridge and everyone on the record went off with aggressive verses and flows. The song has three major samples, interpolating the drums from Melvin Bliss’s 1973 track “Synthetic Submission” and “CB#2” by Ralph Vargas and Carlos Bess. The song begins with a sample of the English version to the film, Shaolin Shadow Boxing.
In a 2015 interview with London-based music technology company Roli, RZA explains how he came up with the sound for Wu-Tang and how he came up with the beat for “Bring Da Ruckus.” He explained that he wanted to use sounds that represented New York City in his beats and sound effects to bring more color to their songs. “When we were making a song called ‘Bring Da Ruckus,’ we took the snare and put it in an elevator sound and recorded it.” He went on to reveal that the reason he used martial arts soundbites was to edit out curse words, thus making songs playable for radio, which he believes is what had kids gravitating to them. RZA loved manipulating sounds to make beats, to him, any kind of sound effect had a musical connotation to them that could be used for any beat.
Beginning with the skit from Shaolin Shadow Boxing, you get a raw and dingy sounding intro, RZA’s hook is then heard but, in a supporting role to the beat, as he shouts “bring da mother f**king ruckus” about four or five times before we get the first verse from Ghostface Killah.
“Ghostface catch the blast of a hype verse
My Glock burst, leave in a hearse, I did worse
I come rough, tough like an elephant tusk
Your head rush, fly like Egyptian musk
Aww sh*t, Wu-Tang Clan spark the wicks, an’
However, I master the trick just like Nixon
Causin’ terror, quick damage your whole era”
Ghostface is aggressive, setting the tone and stage for the others to follow. His verse embodied what RZA envisioned for the record, as he hoped for a pull no punches attitude from whoever rapped on the beat. The verse was quick but to the point, as Ghostface established himself as a someone to be reckoned with, bringing an attitude full of terror and dominance. Raekwon followed up, without a break from the chorus.
Given’ bystanders heart attacks
“No doubt, and you watch a corny n***a fold
Yeah, they fake and all that, carryin’ gats
But yo, my Clan rollin’ like forty macks
Now you act convinced, I guess it makes sense
Wu-Tang, yo, soooo represent!
I wait for one to act up, now I got him backed up
Gun to his neck now, react what?
And that’s one in the chamber, Wu-Tang banger
36 styles of danger”
Rae followed Ghost with a great verse painting a picture like he loves to do in his rhymes and directly putting you in the scenario that he paints. His tone and his delivery made you imagine him actually putting a gun to some one’s neck waiting on him to “act up.” Finishing up with a reminder that the clan was made up of different members, who each brought something to the table, or as he said, “36 styles of danger.”
36 Styles of Danger
Rapping third, Inspectah Deck might have had the best verse of the entire song, using wild terms, metaphors and rhyme schemes that kept the listener captivated. Like he said in his verse he verbally assaulted this track leaving listeners stunned like literal stun guns.
“I rip it, hardcore like porno-flick b***hes
I roll with groups of ghetto bastards with biscuits
Check it, my method on the microphone’s bangin’
Wu-Tang slang’ll leave your headpiece hangin’
Bust this, I’m kickin’ like Seagal: Out for Justice
The roughness, yes, the rudeness, ruckus
Redrum, I verbally assault with the tongue
Murder One, my style shocks your knot like a stun gun”
GZA (aka da Genius) was tasked with finishing off the record and he didn’t disappoint.
“Givin’ bystanders heart attacks
N***as try to flip, tell me, who is him?
I blow up his f***in’ prism, make it a vicious act of terrorism
You wanna bring it, so fuck it, come on and bring the ruckus!
And I provoke n***as to kick buckets
I’m wettin’ cream, I ain’t wettin’ fame
Who sellin’ ‘caine? I’m givin’ out a deadly game
It’s not the Russian, it’s the Wu-Tang crushin’ roulette
Slip up and get fucked like Suzette”
He ends the songs perfectly, adding to the theme of the record and showcasing his now famous lyricism.
“Bring Da Ruckus” is one of the more impactful intro songs in hip hop history. It highlighted four of the major members of the group, establishing their style and unique sound and slang, while also previewing a new era of hip hop, one that celebrated being from the streets not only in lyrics but in how the records were produced and mixed.
They say you never know how good something is until you try it, who knew that peanut butter and jelly would set the world ablaze? Sometimes, pairing opposites makes for a grand result. This was the case when pop star –Mariah Carey — remixed her hit record “Fantasy,” featuring the most erratic member of the Wu Tang Clan, ODB.
Also known as Ol’ Dirty Bastard — “because there ain’t no father to his style” — is recognized as one of the most raw, unorthodox, unpredictable and authentic personalities to ever grace hip hop. As such, he was an unusual pick to feature on Mariah Carey’s chart-topping single. Known for his free nature and wild behavior, the mixture of his tainted public image alongside Mariah Carey’s pristine image made for a head scratcher to many.
The late Ol’ Dirty Bastard has had his fair share of discrepancies
The original record was the lead single off her Mariah’s fifth studio album, 1995’s Daydream, written by Carey and Dave Hall and produced by Bad Boy Records.
Known primarily as a pop star, Mariah Carey wanted to make a splash in the hip-hop scene and personally requested to have ODB on the remix. In an interview with Genius, hip hop journalist, Rob Markman, praised her for making collaborations with hip hop artists popular, as she went on to explain why she was so intent on having Wu Tang’s bad boy on the record. Divulging that since she grew up in New York, she listened to the same music as everybody else, and since hip hop was major in New York, she loved it and wanted to incorporate some of their production in her music. Her fandom of the late rapper was the reason behind her request, despite the disapproval of label executives.
Sweet, sweet fantasy baby
In a 2016 Billboard feature, the backstory on how the record came together was revealed. Corey Rooney (A&R for the track), said he reached out to ODB, who wanted $15,000 to rap on the record and since it wouldn’t have put a dent in Mariah Carey’s budget, it was fine with him.
On the day of the recording, ODB showed up three hours late, drunk, and on the phone, arguing with his girlfriend. After the commotion, he asked for some Moet and a box of Newports before recording, to which Rooney responded that they were already behind schedule, which resulted in him accusing the assistants of being “white devils who don’t want to let black people have anything.” He ended up throwing a bottle of Heineken in disgust when it was all the crew could find.
The “Shimmy Shimmy Ya” rapper proved to live up to his reputation of being difficult to work with by only rapping one line at a time and napping in between lyrics. Eventually they were able to complete the verse but, had to pay him another $15,000 to appear in the video.
Gone but never forgotten
The remix differs slightly from the original, as it sampled Tom Tom Club’s 1981 record “Genius of Love” (per Mariah Carey’s request, as it was one of her favorite songs growing up), as well as, Dirty’s “Baby C’mon” and “Goin’ Down.”
The record made Mariah Carey he first female artist in history to have a record debut at the top of the Billboard 100, spending eight consecutive weeks at number 1. The cover for the single was done by photographer Steven Meisel and Mariah Carey made her directorial debut as she created the video concept and picked the location.
Carey and Dave Hall wrote the song about a woman who was in love with a man and every time she saw that man, she started having fantasies about him and a potential relationship that was impossible. ODB’s verse was nothing to write home about, as it was a drunken freestyle.
Oh, when you walk by every night
Talkin’ sweet and lookin’ fine
I get kinda hectic inside
Mmm, baby, I’m so into you
Darlin’, if you only knew
All the things that flow through my mind
Mariah set the mood with her opening verse singing about how the man walks through her mind and how she perceives him talking sweet to her. ODB’s verse was all over the place but his melodic flow carried him throughout the record.
Me and Mariah
Go back like babies with pacifiers (That’s right)
Old Dirt Dog’s no liar
Keep your fantasy hot like fire
Jump, jump, let me see you do the stump
Girls, let me see you shake your rump
Brothers, hit it from the back and front
And let’s do it, do it, do it, uh-huh
I’m a little bit of Country
I’m a little bit of Rock and Roll
And I’m soul to soul
Big letters, all big and bold
Old Dirty Bastard across the globe
While not that long, the verse was still impactful, as his raw and unorthodox rap style gave it the extra credibility it needed to appeal to hard-core hip-hop fans.
The influence of “Fantasy” has had a long-lasting effect. It introduced R&B to hip-hop — and with Mariah Carey’s status as a pop superstar — helped grow the genre. Yet, for many, the song will always be remembered for Ol’ Dirty Bastard’s iconic feature. Not because of the quality of his verse, but because his mere presence and his unapologetic way of living was a representation of everything hip hop was about and he didn’t change for anyone.
“French-vanilla, butter-pecan, chocolate-deluxe, even caramel sundaes is gettin’ touched, and scooped in my ice cream truck, Wu tears it up.”
Iconic lyrics, on an iconic beat, this Raekwon and Method Man collaboration is one of the many iconic records that have solidified RZA’s status as one of hip hop’s best producers. Yet, the man behind some of hip hop’s most recognizable beats isn’t finished composing songs about ice cream.
And as of recently, French-vanilla, butter-pecan, chocolate-deluxe ice cream will now be served from Good Humor ice cream trucks sans-racially insensitive undertones. Celebrating their 100thanniversary, the pioneers of the ice cream truck have decided to make a much-needed change to their marketing strategies, ditching their old theme — with racial undertones and history — for a fresher, more inclusive version, composed by the Wu Tang head honcho.
They called me up and was like ‘We gotta do something about this, Riz. We can change the dynamics, we can make a new ice cream jingle for a new era. We wanted to make a melody that includes all communities, that’s good for every driver, every kid.
– RZA in a social media video accompanied by the new jingle.
The old jingle “Turkey in a Straw” is tainted with a history of being performed in 19th century minstrel shows, with the lyrics often replaced in favor of more egregious options.
Good Humor has said in a statement that it is now “calling on all drivers to stop playing ‘Turkey in the Straw’ immediately” and, to ensure that, they have released the song as a free download for every ice cream truck to use.
The RZA endorsed jingle, keeps many of the same elements that will continue to endear children to ice cream trucks, while incorporating sped up drums, giving it a faster pace, as well as a hip hop feel.
It has been well established that Wu-Tang Clan remain to be one of Staten Island’s proudest musical groups. However, the groups most recognizable members such as Ghostface Killah, RZA, and GZA stand in the way of the groups lesser known but equally important members. Today, we focus on Masta Killa, one of the more obscure members of the famed Wu-Tang.
Born Elgin Turner in Brooklyn, 1969, Masta Killa, though one of Wu Tang’s lesser known members, proved himself to be a mainstay throughout the group’s evolution throughout the 90’s.
Masta Killa was the last to join the Wu Tang Clan and, subsequently, was not featured on the group’s debut single, “Protect Ya Neck.” The only Masta Killa feature on Wu-Tang’s debut album, Enter The Wu-Tang (38 Chambers) can be found towards the end of “Da Mystery of Chessboxin’.” Killa was one of the only members of Wu Tang that had not had a technical background in rap with almost zero experience as an MC. While the rest of Wu-Tang was recording verse after verse on 38 Chambers, Masta Killa was concentrating his efforts on perfecting his flow.
Masta Killa’s absence of rudimentary hip hop techniques led to him being taken under the wing of Wu-Tang founder, GZA. While the majority of Wu-Tang Clan’s members were known for their hyper and energetic flows, Killa and GZA in contrast had a much more relaxed and slow-paced, almost effortless flow. The similarities between the two are evident on the group’s sophomore album, Wu-Tang Forever, which saw improvements in Masta Killa’s technical ability. The two would continue to influence each other’s flow and delivery throughout the remainder of their both careers.
Masta Killa’s solo career began in 2004 when he released No Said Date which was met with high praise from Wu-Tang fans. Songs such as “Old Man” helped to cement Killa’s solo career which would continue throughout the early 2000s with his latest album, Loyalty is Royalty, in 2017.
Shadowboxing is defined as: “boxing with an imaginary opponent especially as a form of training.” One usually shadowboxes when preparing for a combat sport. Hence the metaphorical brilliance of the GZA — aka the Genius — on his classic album, Liquid Swords. On the LP’s eight track “Shadowboxin’,” GZA and Method Man come together to topple their metaphorical challengers, with Method Man’s verse in particular being considered one of the best of his career.
Released as the fourth and final single off of 1995’s Liquid Swords (as the B-side to the “4th Chamber” track featuring Ghostface Killah and Killah Priest.) “Shadowboxin’” was produced by cohort RZA, the record samples Ann Peebles “Trouble, Heartaches & Sadness” off of her 1972 album, Straight from The Heart, 1993 hit-record “Slam” from Queens hip hop group, Onyx. As well as, the popular fight scene “Shaolin Monk vs Shadow Boxing Kung Fu” from martial arts film, Shaolin vs Lama.
Along with the looping drum kit, RZA uses turntables and distorts the chopped-up sample for a more grimy and raw sound, a common theme within the Wu Tang Clan catalog.
By 1995, Method man had become one of the more popular and in-demand rappers of the time, and while his crossover-appeal would bring an additional audience, it was his performance on said records that would make him a talking point. He set the tone, spewing out “F**k that” within the first couple of seconds of the song, almost like an impatient fighter, who no longer wishes to wait for his turn:
“I breaks it down to bone gristle
Ill speaking scud missile heat seeking
Johnny Blazing, nightmares like Wes Craven
N*** gunning, my third eye seen it coming before it happened”
He begins his verse aggressively, with an urgency of a man who has no time to spare and came out firing, with his flow, wittiness and clever word play on full display.
“Rap insomniac, fiend to catch a n**** snoozing
Slip the cardiac arrest me, exorcist Hip-Hop possess me
Crunch a n**** like a Nestle, you know my STEEZ
Burning to the third degree, sneaky a** alley cat top pedigree
The head toucher, industry party bum rusher
You don’t like it? D*** up in ya, f*** ya!”
He calls himself a “Rap insomniac,” conveying that he doesn’t tire of hip hop, while also paraphrasing that he is not to be slept on. The next few words further demonstrate this, as he is so addicted to hip hop culture that he is now a “fiend” and his only fix is to prey on those who aren’t as good or as dedicated to rap as he is, or in his words are “snoozing.” Hip hop is a competitive art form and Method Man makes it clear that he is out to outperform the competition.
Rap Insomniac
While always razor sharp, GZA’s style varies from Method Man’s aggressive approach. Always one to drop knowledge, his delivery resembles that of a slam poet, although he is just as lethal with his pen and confident in his abilities.
“I slay MCs back in the rec room era
My style broke motherfucking backs like Ken Patera
Most rap n****s came loud but unheard
Once I pulled out, round ’em off to the nearest third
Check these non-visual n****s, with tapes and a portrait
Flood the seminar trying to orbit this corporate
Industry, but what them n****s can’t see
Must break through like the Wu, unexpectedly
Protect Ya Neck, my sword still remains imperial
Before I blast the mic, RZA scratch off the serial
We reign all year round from June to June
While n****s bite immediately if not soon
Set the lynching and form the execution date
As this two thousand beyond slang suffocate”
Da Genius
He begins his verse with a jab, as he claims to “slay emcees.” While we don’t know who he is referring to, the ambiguity of his and Method Man’s verses are part of the song’s theme. He rhymes as if his lyrical vigor is directed at one or multiple people, though neither he nor Method Man mention anyone in particular. Or just maybe, their only competition is themselves, and they are simply shadowboxing.
The Genius and the late ODB in action
Method Man gets the final word, with the last verse something of an exclamation point to their lyrical exercise.
“When my mind start to clicking and the strategy
Is mastered the plot thicken, this be that Wu shit
I don’t give a cotton-pickin’ f**k
Flying guillotines here they come, bloody bastards
Hard times and killer tactics, spitting words plus
Semi-automatic slurs, peep the graphic
Novel from the genie bottle,”
The people’s choice: Method Man
“Shadowboxin” is one of hip hop’s truly flawless records and helped further the legacies of two of the Clan’s most lyrically potent rappers. This song along with is B-side, “4th Chamber,” are part of the reasons why Liquid Swords is so highly regarded within hip hop circles.
It has been sampled by Gang Starr in their 1998 record, “You Know my STEEZ” (a play on one of the records iconic lines). It was also sampled by rapper/producer Tony Touch and fellow Clan member Inspectah Deck and clan affiliate, Killa Sin, on their collaborative “Killa Armee Freestyle.”
With one of the more iconic hooks in hip-hop history, “C.R.E.A.M” (Cash Rules Everything Around Me) is by far Wu-Tang Clan’s most popular record, making them household names. The single was on their debut LP Enter the Wu-Tang (36 Chambers) and is considered a magnum opus of hip hop music. When you combine Method Man’s unique — yet silky-smooth flow — along with Raekwon and Inspectah Deck’s cutting-edge lyricism, you have the makings of a classic record.
“C.R.E.A.M” was recorded by the group in July of 1993, but was officially released November 9, 1993 as the eighth track from the 36 Chambers LP. RZA — the group’s defacto leader and beat maker — produced the song by sampling the opening piano riff from Charmel’s 1967 record “As Long as I Got You,” with a perfectly placed set of looping drum kicks added on.
Despite all the praise the record received within the hip-hop community and its current status as a classic record, “C.R.E.A.M” was not a chart-topp. Debuting at number 96 on the U.S. Billboard Hot 100, it eventually peaked at number 60 later that week, also peaking at number 8 on the hottest hip-hop/R&B songs. It became certified gold officially in 2009, 15 years after its release.
“The Rza is just razor sharp, he always on point with the beats with the rhymes”
In an interview for 247HH (hip-hop), Raekwon revealed the meaning behind the song’s tittle, revealing that “cream” was a slang term for money kids around the neighborhood would use. Saying that it came from cartoons like, Tom & Jerry, where the titular cat — Jerry — would slap Tom (the mouse) with whipped cream as they would fight over food. As a result, “cream” became something that they said when they were fighting over money or. in general, want of a better financial situation.
He also revealed that the acronym “cash rules everything around me” came from group mate Method Man’s associate, Raid. Detailing that back then, people would write graffiti and would break words down to give them meaning so, Raid broke down “cream” to mean “cash rules everything around me.”
RZA shed light on how the record came about, in an interview with SiriusXM. Divulging that the name of the original track was “The Lifestyle of the Mega Rich” and it had about 8 minutes of material from Raekwon and Inspacteh Deck. He wanted them to condense their lyrics into more concise verses and thought it needed a great hook. That’s where Method Man came in to play. The most culturally transcendent of the group, RZA even acknowledged that it was Method Man’s melodic flow on the hook that took Wu-Tang from gold to Platinum.
In a more recent interview with DJ Vlad, Inspectah Deck revealed that it was the success of “C.R.E.A.M” that made him realize how big of a group they were. Recalling a memory from a show the clan in Webster Hall, noticing that many of his heroes were there to see the Clan perform. From Big Daddy Kane, to Tracy Lee and Q-Tip.
The songs music video paid homage to where each member of the group was from, as a form of imagery that added even more depth to the record. The music video begins in the projects of Staten Island and then sees the Clan make their way to a more lavish lifestyle, driving Mercedes and sipping champagne.
Raekwon And Inspectah Deck were the only members of the group to have verses on the record. With both relating to the harsh realities of being from the inner cities. Telling their life stories’ in each verse. Rae gives a timeline of his life from his move from to Staten Island and his time spent in New York City. His first two lines perfectly captures the environment he hails from.
“I grew up on the crime side the New York times side
Where staying alive was no jive.”
Continuing with more personal tales of being separated from his father with his mother leaving and moving the family to Staten Island.
“Second hands moms bounced on old man, then we moved to shaolin land”
He chronicled his entire life on this verse and gave descriptive accounts of his times in the inner-city. The story being told is raw, real and vivid, something the man known as “the chef” is known for. Finishing his verse with:
“Figured out I went the wrong route, so I got with sick a** clique and went all out
Catching kings from cross seas hauling MVP’s every week we make 40 g’s
N***a respect mine or here goes the tech nine ch-ch pow move from the gate now”
Inspectah Deck took a similar approach to Raekwon, with similar accounts, while his verse detailed his own attempts at preventing the youth from following a similar path.
“Spent 22 long hard years we still struggling
Survival got me bugging but I’m alive on arrival
I peep at the shape of the streets
And stay awake to the ways of the world cause sh*t is deep”
With Raekwon’s story-telling abilities an entire story was told in one perfectly executed verse. From this verse alone, we learn, that at 15 he had plans of making “cream” but, was sent to jail for selling drugs. Yet, he only sold drugs because he never had much and only wanted a piece of the finer things in life – a sentiment many incarcerated Black men can share in. In the end, his life was taken away for trying to get his version of the American dream.
“Life as a shorty shouldn’t be so rough.
Though I don’t know why I chose to smoke sess
I guess that the time when I’m not depressed
But I’m still depressed, and I ask; what’s it worth
Ready to give up so I seek the old Earth”
“C.R.E.A.M” has left behind a significant legacy in hip-hop. The song’s popularity helped shift the balance of power from the West coast to the East, even going on to transcend any tension between the differing coasts.
The record has been sampled or interpolated by Drake on “Pound Cake/Paris Morton Music 2,” Notorious B.I.G on his hit record “Notorious Thugs,” featuring Bone-Thugs-N-Harmony. Other artists include Joey Bada$$ on his song “Paper Trail$” as well as, Mos Def on “Mathematics.”
Ghostface Killah is one of the more renowned members of the Wu Tang Clan, lauded for his exceptional skills as an emcee, where he mixes detailed storytelling with a unique sense of imagery and style. Those abilities were ever-so-present on his second studio album Supreme Clientele. On the RZA produced album, he successfully implemented a trendsetting combination of lyrical excellence and story-telling exclusive only to him.
The lead single was the oft-sampled “Might Healthy,” which showcased his deadly skills as an emcee, as well as the kind of presence that would make him a mainstay of hip hop culture. Debuting at #7 on the Billboard 200, Supreme Clientele was the most acclaimed of each Wu Tang member’s respective sophomore effort. And ironically, the highlighted record — “Mighty Healthy” — was one of the few not produced by Wu Tang head honcho, RZA, with production being handle by producer and Wu Tang Clan DJ, Mathematics.
The iconic album cover
“Mighty Healthy” was partly inspired by Brooklyn based hip-hop group, Divine Force, and their single pack “Holy War (Live).” Divine Force was made up of emcees Sir Ibu, Lady Nefertiti and her brother Supreme and their DJ, Jizer. They were managed by Melquan, who also managed RZA (then known as Prince Rakeem), GZA (then known as Genius), and Ol’ Dirty Bastard, before 36 Chambers fame. “Holy War (live)” sampled drum patterns from Melvin Bliss’ “Synthetic Substitution,” an uncharted record that went on to become one of the most sampled songs in hip hop history.
On “Mighty Healthy,” Ghostface begins the sampling at around the 1:12 mark. You can hear him using Sir Ibu’s flow as well as some of his lyrics as a way of paying homage.
When we hug these mics, we get busy
Come have a good time with G-O-D
Make you snap your fingers or wiggle
Scream, shout, laugh or just giggle
Shake that body, party that body
Don’t f**k with ghost you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying, saying, saying
Sir Ibu’s lyrics on “Holy War (Live)” read:
“The wisdom that I’m speaking are words that I’m rhyming
The God of rhyme, Divine Force gets busy
Make you hip or hop or get dizzy
Make you snap your fingers or wiggle
Scream, shout or laugh or just giggle
That body, party that body
Don’t (F**k) with me you’ll feel sorry
That’s word, I’m not the herb
Understand what I’m saying?”
Besides the Divine Force interpolation, “Mighty Healthy” sampled records from other pioneers of hip hop, sampling “Wish I Could Talk to You” by The Sylvers, as well as, “Nobody Beats the Biz” by Biz Markie featuring T.J. Swan and “Funk President (People it’s Bad),” by James Brown (another heavily sampled artist).
Ghostface did much more than just interpolate others, and “Mighty Healthy” showcased some of the best rapping of his career. Heavily inspired by martial arts — much like the rest of the Clan – the song begins with a sound bite from the film Shaolin Rescuers. He starts his verse with his typical and colorfully descriptive lyrics.
Son trifling f**k, wildflower on the cycle and
Picked up the broom thought I was Michael in
West Brighton Pool, now I’m into Iron Duels
Turn nuns to Earth Whoopi, she at Allah school
He starts with an honest, yet blunt description of himself, then says he thought he was “Michael in West Brighton Pool”– a home goods store located in Staten Island — but the imagery, metaphors and double entendre are ever present, as “broom” is also slang for guns; in the next line he talks about now being into “iron duels,” (as a gun is made of steel). Before finishing off the bar with a Whoopi Goldberg reference, known best at the time for Sister Act, where she played a choir singer who had to relocate after having witnessed a murder and enters witness protection as a nun.
“The world can’t touch Ghost, purple tape Rae co-host
In his second verse, he continues his onslaught, first by paying homage to Sir Ibu on the bride before getting into his verse, setting it off with this”
Hit mics like Ted Koppel, rifle expert
Let off the Eiffel, burn a flag in your grass, spiteful
Ringleader set it off, rap Derek Jeter
Culprit, prince of the game wish you could see us
Ghost brags here, letting the audience know that he is better than most. Ted Koppel was a famous anchor and broadcaster for ABC and Nightline, from 1980 until the program’s end in 2005. Ghost continues by saying, he’s a rifle expert who lets off “the Eiffel,” and “burn a flag in your grass, spiteful” is his way of saying that after conquering his enemy with his superior weaponry, he will continue to acknowledge it to the world. Finishing off by labeling himself “ringleader” and the “rap Derek Jeter.” He continues his braggadocios rhyming throughout,
“Too hot to handle, one thought from scrambling the mandolin
Hundred game Wilt Chamberlain, smack ‘em, say when”
“Mighty Healthy” has meant a great deal to hip-hop and to Ghostface, with Complex Magazine even naming it his best song. It has also been sampled on a myriad of records, including “No More Parties in L.A” by Kanye West — off of his 2016 album The Life of Pablo. The chorus was heavily interpolated on the Pusha T and Kanye West collaboration “New God Flow,” as well as a J. Cole rendition titled “Mighty Crazy.”
“Mighty Healthy” is one of the many bright spots from Supreme Clientele, yet its enduring legacy within hip hop circles has solidified the album as a classic. Ghostface stuck to his style and made it something to behold, especially at a time when other rappers were changing their sounds to fit the new party and club theme music of the 2000’s. The album’s success also cemented him as one of the commercial faces of Wu Tang, a spot that had only been previously reserved for Method Man.
