Return of the Wu

The 'W,' Wu-Tang Clan;

Columbia/Loud Records

By Dustin Seibert

For the Daily

Imagine if you will, a mad scientist locked deep inside the annals of a large mansion concocting something completely unheard of and out-of-this-world to drop on the public. Something to take everyone by surprise. An experiment to be considered for approval by the masses. Now imagine that mad scientist is The RZA, that mansion is the esteemed Wu-Mansion and that experiment is The 'W,' the third collaboration of the 10-member Shaolin Island-based crew.

Die-hard Wu fans will immediately notice that this record is like nothing that has ever come from the crew before. After a string of disappointing solo albums from the individual members (save Ghostface), The RZA has taken almost full production credits for the album, and I am sorry to say that this is probably not a good thing. The production comes off as extremely sloppy, even more so than the Wu is known and appreciated for. It's not uncommon for the beat to switch up three times on any given song on this album, and it wrecks the sanctity of the track in many cases. If someone can find me some of what RZA was smoking when he made "I Can't Go To Sleep" featuring Isaac Hayes, then find me some - and money is not an option. Occasionally, he pulls something worthy out of his ass, like the sweet old-school production of "Hollow Bones," and the return to the original Wu-flava on "The Movement," featuring a beastial Busta Rhymes.

Wu-Tang has always been known for their unconventional, abstract, confusing lyrics; a mixture of their five-percent studies, blunt-smoking purple hazes and each member's individual interests (i.e. Ghost's Clark Wallaby shoe obsession). This album does not depart much from that, but I do believe that they are taking more liberties with their maturity and tenure in the rap industry. To begin with, there seems to be more talking then rapping on many of the tracks and the talking is random gibberish and swearing at that. In addition, they also feel the need to repeat old lyrics throughout the album, indicating a lack of creativity. The GZA/Genius, Wu's most potent lyricist, dosen't disappoint with the best lines on the album. Inspectah Deck and Raekwon are also prominent forces on the record, and their flows remind us exactly why we fell in love with the group so many years ago. This album recognizes Cappadonna as the official tenth member of the Wu after years of guest appearences; disappointingly he is not on many of the tracks. As for guest stars, Nas makes a very worthy apperance on "Let My N's Live," one of the better tracks of the album. Redman and Busta's grimy verbal seasoning compliment the Wu's lyrics nicely. Reggae vocalist Junior Reid appears in the background of two songs with a flavor reminiscent of Shyne's "Bad Boyz." Snoop Dogg brings his usual hollow bullshit to the album on "Conditioner," the only track featuring the incarcerated and re-habili-tated Ol' Dirty Bastard. Neither of them do anything for this record, and they achieve little but working out the skip button on my player.

After much deliberation, I have come to the conclusion that The RZA was going for a feel that is an updated spin-off of their original style. Unfortunately, I don't think it will jibe well with the longtime fans of the Wu from the early to mid '90s. It was difficult for me to write this review, as I am a devout Wu fan, and I honestly believed that they were resurrected with Ghostface's excellent second album earlier this year. I listened to this LP over and over, and I tried to like it. I really did. In the end, however, I honestly believe that this is to be the nail in the coffin of the Wu-Tang Clan. It's certainly not a horrible album, but disappointment is inevitable from those of us who remember the Wu in their prime. If you are a true fan, then you should pick the joint up, if for no other reason than to add it to your already-fluorishing Wu collection. Otherwise, I suggest others just burn it and leave it at that. What a sore disappointment.

Grade: C