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Wu Tang Clan

  • Enter The Wu-Tang
  • 36 Chambers
  • Wu-Tang Forever

    Wu Tang Clan

  • Public Enemy

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    Wu Tang Clan

    enter the wu tang 36 chambers wu tang forever

    I rip it hardcore, like porno-flick bitches / I roll with groups of ghetto bastards with biscuits

    Shaolin may refer to: The Shaolin Monastery (or the Shaolin Temple), a Chinese Buddhist monastery associated with the martial arts. Shaolin kung fu, the martial arts associated with that temple.

    Me and my man, my ace big Moe from the shelter / Bout to hit the skins, from this girl named Thelma / Now Thelma had a rep, that was higher than her neck / Every girl from Shaolin dissed her respect

    In media - Shaolin Temple (film), the 1982 martial arts film about the aforementioned monastery, featuring Shaolin-style martial arts. The 36th Chamber of Shaolin, 1978 film illustrating the tenets of Buddhist education. Shaolin Soccer, 2001 comedy film

    Yeahhh, torture motherfucker what? / (Torture nigga what?) / What? / I'll fuckin / I'll fuckin tie you to a fuckin bedpost / with your ass cheeks spread out and shit / Right? / Put a hanger on a fuckin stove and let that shit sit there / for like a half hour / Take it off and stick it in your ass slow like / Tssssssss

    See also - Mortal Kombat: Shaolin Monks, a video game. Xiaolin Showdown, the animated series. Staten Island, an area in New York nicknamed the Shaolin by the rappers of the Wu-Tang Clan

    Enter The Wu-Tang 36 Chambers 9 ( 1993 )
    Bring Da Ruckus / Shame On A Nigga / Clan In Da Front / 7th Chamber . Can It Be So Simple / Da Mystery Of Chessboxin / Wu Tang Clan Aint Nuttin To Fuck Wit / CREAM / METHOD Man / Protect Ya Neck / Tearz / Wu-Tang: 7th Chamber - Part II

    The RZA. The GZA. Ol' Dirty Bastard. Method Man. Raekwon. Inspectah Deck. Ghostface Killah. Masta Killa. U-God. We meet and greet and hear and respect them all during the course of this album. They each get their place and to encompass nine different characters/personalities within one rap group and to end up with an utterly cohesive whole is certainly to be applauded. Lyrically i'm not too sure about this. Sure, they created their own little world and it still sounded real. This sounds like a dangerous album and the raps come across powerfully, but the lyrics I can leave completely and just purely take in the sound of the words. Credit goes out to RZA for the production, this is a masterpiece of rap/hip-hop production, flowing easily, innovative for its time. The samples and speech are so well integrated between the main tracks they become as important a part of the album as the songs themselves. The smooth soul of 'Can It Be So Simple' provides some light relief right at the correct time musically, whilst the rap is as dangerous sounding as ever. Compare and contrast and make your point heard. These guys certainly did, the album was huge critically and still is considered one of the major hip-hop / rap albums. The Wu Tang guys split for numerous collaborations and projects both solo and with each other and there's no escaping these guys. We don't really want to escape them, some of the best rap music of the past ten years has been created by members of this collective.

    'Bring Da Ruckus' is an exhilarating opening, a typical rap piece of bravado over a minimalistic beat, reducing the commercial g-funk production of the likes of Dr Dre and the commercial rap sounds to something approaching old-school, yet with defiantly innovative touches. The back-beat becomes just that, they aint trying to hide the words and the delivery behind fake soul/funk music designed purely to appeal to the masses. Every track is strong but the next super strong slice of class if that's the correct term to use arrives with the mighty 'Wu-Tang Clan Aint Nuttin To Fuck Wit' and you believe them. 'CREAM' has some kind of almost ghostly musical backing that really isn't there but the simple little addictive melody gets in your brain. The verses almost aren't there either, but the rap is super smooth and everything just falls together somehow. 'METHOD Man' gets all funky beats on us, 'Tearz' again focuses on violent city life, introduces some motown-esque soul, a brief sample floating through the air like the sound of crying across a motorway. Again, yet again, the rap convinces through sheer raw enthusiasm, accomplishment and delivery. You can rewind and play the album again unlike certain Public Enemy albums where the production and the beats and the screech and scrawl are so intense it's like being hit about the head. Or commercial rap productions where every track sounds more or less the same. There's a little of that here too, but the differing stars of Wu Tang Clan keep it interesting with their contrasting approaches. The metaphors and the lyrics that look rubbish on paper sound great when rapped. Ain't that what it's all meant to be about, sounding great? A wonderful album.

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    Readers Comments

    Will muggwort@netzero.com
    "Shaolin" is Wu-slang which refers to Staten island. I have to politely disagree with your assertion that 36 Chambers is lacking in good lyrics: it is overbrimming with them. You mention that you find the literary quality of the words lacking but they assume magical qualities when rapped. That's highely logical duuuude -- rap is it's own poetry style. It is a completely different format than conventional poetry/lyrics and to a very large degree RAP is only as good as it SOUNDS. That being said, we can both agree the rhymes sound ace. The words are more complex than you seem to think -- ciphered with religious/drug slang. And I'd say given the rap format they're prolly better than ANY rap being made today. I'd give 36 Chambers a 10+ and can't wait for you to review ghostface. We eat fish, tossed salads and make rap ballads
    The biochemical slang lord'll throw the arrows in the dope fiend
    Vocal chords switch laser beams my triple sevens
    Broke the slo! t machines out in Queens, Grey Poupon is rebel on rap
    Smack on, swing like batons, most want niggas smoked like Hilshire Farms
    Check the gun we sew, underneath my shoe lies the tap
    That attract bow-legged bitches with wide horse gaps
    In steel mills iron he'll smoke the blow on Duns
    You run heroins, Primatine mist is afraid of my lungs
    Turn my channel, it'll blow your whole bench off the panel
    Like 80 roman candles that backfired then slammed you
    Every day is like a video shoot, check this shit
    I take you back to Playboy, stash guns and whips
    Picture afro, big shish-ka-bobs and daishikis
    1000 civil marched blazed their
    Keep on slammin' Adrian!

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    Wu Tang Forever ( 1997 )
    Wu-Revolution / Reunited / For Heavens Sake / Cash Still Rules-Scary Hours (Still Don't Nothing Move But The Money) / Visionz / As High As Wu-Tang Get / Severe Punishment / Older Gods / Maria / A Better Tomorrow / It's Yourz / Intro / Triumph / Impossible / Little Ghetto Boys / Deadly Melody / The City / The Projects / Bells Of War / The M.G.M. / Dog Sh*t / Duck Seazon / Hellz Wind Staff / Heaterz / Black Shampoo / Second Coming / The Closing

    A double hip-hop album that takes many listens to assimilate, the Wu-Tang certainly went all out it when it came round to making a follow-up to their classic debut. The album received mixed reviews upon release and still delights and bewilders to this day. Producer RZA needed a double-album to be able to fit in the full nine man collective at the time, I guess. The sound has changed, the album sounds less claustrophobic? The beats are rather more straightforward ( commercial? ) than previously, although RZA earns his money with some great arranging and clever use of samples. RZA had changed in the years since the debut, honing his skills on a variety of solo Wu-Tang projects, projects that also helped the various MCs to find their own voices. Yet, a double album? There isn't enough real high-points here to keep the interest up at a high level. Oh, nothing here is particularly bad, yet we wait and wait for the classic material a group like Wu Tang Clan 'should be' presenting. Well, generally the first disc operates fairly cohesively as a whole whilst the 2nd disc varies far more in both style and quality.

    The album opens with 'Wu-Revolution' performed by Popa Wu and Uncle Pete. It lasts nearly seven minutes, has slow, dubby beats and forgettable rapping/speaking. It's no kind of way to entice people in. Thankfully then, 'Reunited' is absolutely great. GZA, Ol' Dirty Bastard and RZA provide the raps for the first three verses with 'Method Man' tidying the ends together to close. A violin sample provides the main musical highlight, it's a pretty striking and succesful track. The variety on the album is demonstrated well by the heavy musical lines and distinctive raps of 'For Heaven's Sake', especially the first verse provided by Inspector Deck. 'As High As Wu-Tang Get' gives GZA ( joined by Method Man and ODB ) chance to shine whilst RZA mixes up a bass heavy, groovy backing. Excellent stuff and one of the highlights of the first disk. A cohesive first half of the album musically, mixing in the violin with piano parts here and there and sparse, although heavy, mid-tempo beats.

    Disc two opens thus A lot of niggaz trying to take hip-hop / and make that shit R&B, rap and bullshit yaknowhatI'msayin? / Or make that shit funk / Fuck that, this is MCin right here, this is hip-hop / Wu-Tang, Wu-Tang gonna bring it to you in the purest form. We then have the highlight, arguably, of the entire album, 'Triumph'. It's up there with the best of the debut and contains individual raps from the entire clan across nine hard hitting, claustrophobic and addictive verses. As opposed to something like Dr Dre and 'g-funk', Wu Tang Clan are indeed far closer to the original Hip-Hop ideal, purer and with less crossover potential, although having said that, this album shifted in excess of 600,000 copies upon release. It's not all dark and serious though, a sheer delight is Old Dirty Bastard's 'delightful' 'Dog Shit'. He can't sound anything other than furious, and it's great, Hoeeeee! Yeah, heyyyy, de haaaaa / Hoe, ohhaowwohh! / Hoeeeee, de heyyyy / (This is dedicated to all y'all bitches) / De, haaaahhhh / Hoeeeee! Yeah, / heyyyy, de haaaaa / Ahahaahaaah / Fuck y'all indeed! It's after this track though that the album becomes increasingly fractured and delivers nothing more than it already has. There's a thought that had the guys lopped off 6 to 8 tracks they'd have had another masterpiece on their hands. As it is, along with the solo projects, 'Wu-Tang Forever' simply drew a line under the collectives first era. They'd made quite an impact, it's fair to say.

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    this page last updated 23/12/07

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