"Wu-Massacre"

Hip-hop is a sea of self-consciousness. Whether it’s the iced-out gear or the endless series of murderous threats, the hyperbolic bravado found in a large portion of rap music stems from the fear and insecurities of young emcees. The typical twenty-something rapper makes his debut boasting of his great riches, bitches and the stitches he’s inflicted. They rent cars and jewellery for their videos to illustrate their success. Yet the irony of it all is that they’re going broke because of these imaginary lives: in trying to appear successful before they legitimately are, these young men have to put out a lot of cash that likely won’t see a return.

Very few rappers ever achieve financial stability, at least in the upper echelon that they strive for. It takes a lot of work, a lot of time and a lot of skill to succeed long-term in the hip-hop world; you’ve got to bring more to the table than big chains and boastful lyrics. This is why the greatest emcees are always* prolific in their storytelling abilities. This is where the Wu-Tang Clan comes into play.

Coming together in 1992, the men of Wu-Tang have had steady success for the better part of two decades (a rarity in hip-hop). Comprised of eight to ten emcees (official membership of a couple of the members is disputed), each with multiple personas, Wu-Tang have never had to use luxuries as proof of their success; their raw talent shines every time they step up to a mic. Their stories of violent street life, the drug game, poverty and racial inequalities play out cinematically on nearly every release and 2010’s Wu-Massacre is no exception.

Method Man, Ghostface Killah and Raekwon, the three most talented Wu-Tang members, have assembled to create Wu-Massacre, a throwback to the roots of the Clan. With Wu-Tang’s de facto leader, RZA, playing the part of executive producer, Meth, Ghost and Rae delve into their Wu-Gambino personae (Johnny Blaze, Tony Starks and Lex Diamonds, respectively) to tell the criminal tales of Staten Island’s finest.

Wu-Massacre basks in lush soul samples but doesn’t shy away from the grit that Wu-Tang is known for. “Criminology 2.5” (the sequel to Raekwon’s “Criminology”) leads off the album. The bass line bumps hard as Ghostface sets the mood for the album with vivid imagery of New York’s grimiest ghettos.

“Meth vs. Chef Part II” brings together Method Man and Raekwon for the follow-up to “Meth vs. Chef” from Meth’s Tical. Alternating back and forth every twelve or so bars, Meth and Rae demonstrate a Holden Caulfield-like hate for phonies. DJ Mathematics use of rolling drums and high horns keep the track going at a quick pace, challenging the emcees to operate with a swift flow, which they handle effortlessly.

RZA samples the late Michael Jackson’s “We’re Almost There” on the sensual “Our Dreams,” the album’s first single. The oscillating beat stops and starts on a dime as it transitions from the quick, up-tempo hook to the laid-back, dreamy verses. Meth, Ghost and Rae each shows their lighter side but still manage to maintain their swagger as they praise the women that help them get through the hard times of a hustler.

Tracy Morgan makes a cameo on the album’s second side, via a skit detailing the best way for a woman to pay her rent (hint: treat your landlord very, very kindly…). Though Tracy is his always hilarious self, the best guest spot on the album belongs to Streetlife. On “Smooth Sailing (Remix),” Meth’s protégé outdoes both he and Ghostface, creatively name-dropping each Wu-Tang member with the record’s craftiest wordplay.

What Meth, Ghost, Rae and their guests bring to the table is classic Wu-Tang style. Unfortunately they leave me begging for more as the album clocks in at just over 30 minutes. While there really isn’t a weak track and the collaboration of the three finest Killer Bees proves to be a success, RZA could have exercised more power to create a more complete record. While the emcees’ skills could rival those of any of their contemporaries, the album does seem to bounce back and forth without sustaining a consistent atmosphere.

Though Wu-Massacre boasts some excellent precision and creativity, besting the most recent works of Meth and Ghostface (2009’s Only Built For Cuban Linx… Part II, by Raekwon however, is arguably the best album in the Wu-Tang canon), it fails to deliver as a full album as there’s no central focus sonically or thematically. Remember this though: even a mediocre Wu-Tang album is better than eighty percent of today’s hip-hop. Although Wu-Massacre is not great, anytime Method Man, Ghostface Killah and Raekwon come together is time to celebrate. So give it a listen and appreciate some of the most skilful lyricism that hip-hop has to offer.

*Ok, not always, but most of the time.

Rating: C+

"Our Dreams"