But in 2007 will radio take kindly to a bunch of 30-something rap veterans, unmarketable to a younger generation who been led to believe that R Kelly is the definition of Hip-hop?
What’s with the Wu-Tang Clan?
But in 2007 will radio take kindly to a bunch of 30-something rap veterans, unmarketable to a younger generation who been led to believe that R Kelly is the definition of Hip-hop?
What’s with the Wu-Tang Clan?
In an age where cheap synthesized beats and obnoxious uninspired rappers take centre stage over seasoned MC veterans and legendary DJ/producers, it’s no wonder Nas recently caused a stir whilst echoing the sentiments of thousands of music fans with the title of his album "Hip-hop is dead". In 2007, the masses are lamenting the death of Hip-hop. But where does that leave the greatest rap group of all time? Are they dead? Well, they certainly haven’t been as alive in the industry as they used to be, and in the case of Ol’ Dirty Bastard, well, he sadly isn’t alive at all. Many claim that the Wu-Tang Empire fell shortly after the release of the group’s (in hindsight) rather ironically titled Wu-Tang Forever back in 1997, with a notable but relatively short lived revival in fan interest and record sales in 2000 with Ghostface’s incredible second album Supreme Clientele.
After the clan’s groundbreaking 1993 debut followed by a string of outstanding solo efforts – perhaps most importantly Only Built for Cuban Linx – heavily influencing the work of Mobb Deep, Nas, albums such as Jay-Z’s Reasonable Doubt, and hundreds of records since, it was clear that the Wu’s influence on New York Hip-hop was huge, providing as it did a rugged alternative to the synthesized squeals of the West Coast scene circa 1995. As the Wu franchise rapidly expanded with a clothing line and a string of classic solo albums, affiliating with the Wu emblem alone became enough to gain deals for a plethora of up and coming MC pals, all given deals and large budgets in hope of continuing the successes of their more experienced peers. However, although spin off groups such as Killarmy and Sunz of Man produced large fan bases and relative success, what once was, is sadly no more. Fans still crave more Wu-fam music, but gone are their budgets and in most cases their record deals have also dissolved, reducing stars to using shoddily thrown together Myspace pages as their primary platform for reaching the fans.
A fate not so dissimilar to several members of the original Clan…
So what happened to the once unstoppable Wu? It is perhaps inevitable that spin offs and more tenuously linked artists should fade in a "last in, first out" fashion, but what about the original 9 Swordsmen? Why is it that many young rap fans have such an ignorance of the most important groups in Hip-hop? Well that depends who you ask. Trawl through pages of internet forums and you can find hundreds of purest Wu heads, blaming the clan’s downfall on experimental solo efforts created by clansmen branching out from RZA’s raw production style and picking album guest spots from outside the Wu-tang family tree, elements which made the first wave of clan albums so classic. Others blame the industry itself, claiming Hip-hop has been defaced and marred by the media, tainted by money grabbing record execs looking to make a quick buck with crossover and club hits, notably staring a younger, more marketable handful of would be stars.
So where do they go from here? Well, having recently signed a one album deal with Steve Rifkind, (the former president of Loud Records who released the Clan’s classic debut), and with the group back on the road, RZA and the boys are back in the studio putting the finishing touches on a new record. For me and thousands of others, the upcoming 8 Diagrams (slated for an ambiguous October release), excites me more than any other album release due in the foreseeable future. (Although I won’t hold my breath given Wu’s track record for release delays). The 9 surviving generals, including the "is he or isn’t he" member Cappadonna, are still some of the most diverse and impressive MC’s in the Hip-hop. If you want rhymes about quantum physics and religious philosophy, you’ve got RZA. Fancy a bit of Scarface-esq coke dealing story time? …you’ve got Raekwon. More interested in hearing rhymes about Spongebob Squarepants and mermaids? …then the self proclaimed "Black Boy George" Ghostface is your man, (don’t believe me? Check Ghost’s Underwater).
Production-wise, the Wu-tang are just as strong. RZA pioneered the sped up soul sample’s use in Hip-hop, widely adopted by Kanye West and Just Blaze to great success. But no one can flip a sample like RZA, turning it into a beat so raw that you can’t help but screw up your face up and nod your head at the same time. The unprecedented mixture of progressive keys, dusty drums and obscure samples heard on early Wu albums (and starting to pop up on more recent efforts) still has the power to send shivers down a fan’s spine, and are most definitely what the diehards will be looking for on the new LP.
But in 2007 will radio take kindly to a bunch of 30-something rap veterans, unmarketable to a younger generation who been led to believe that R Kelly is the definition of Hip-hop? At the end of the day, it’s not important. The only people the Wu should be worried about now are their loyal fans; the ones they left just about clinging onto after an array of lacklustre solo efforts in recent years. Given the current industry climate, gone are the days when Wu-Tang will sell millions of records, but Meth stated in a recent interview that 8 Diagrams is not an "industry" album, rather one made for the real fans. I for one hope he’s right, because when it comes to Wu fans, they do tend to be hard to please, myself included on occasion. But perhaps it’s all just a matter of relativity, a result of the standards set by the sheer consistency of the 1993-97 releases.
Now you can say what you like about RZA in recent years, but his 5 year plan certainly worked. In the mid ’90’s he created a reliable brand name, all Wu-tang albums contained that same family unity under his watchful eye, a unity which seemed to get lost along the way as the Clan began to part ways and label politics and radio friendliness concerns began to interfere in the creative process. But now that the Clan is back on the road and in the studio as a unit, a new album has potential to give the fans what they’ve been pining for; the same energy and unity I felt back in 2004 as I stood in awe while the Clan blazed London‘s Hammersmith Apollo. Seeing the Wu perform was like nothing I’d seen before, and like nothing I’ve seen since.
I respect each member’s decision in the past to break away and do their own thing, but there is no denying when they play to their strengths and form like Voltron, Wu-Tang is invincible. As RZA exclaimed in a recent press release; "How can Hip-hop be dead if Wu-tang is forever?!"