It’s pretty much agreed that since Wu-Tang Forever, the Clan just hasn’t been the same. Whether it was the abundance of lesser stimulating Wu-affiliate projects, RZA’s newfound comfort, or the formula breaking post “Forever” releases of the core members, things have changed, and what was once known as a never ending dynasty is no more exciting than Garth Brooks as Chris Gaines.
Until now….

Ghostface Killah is back, so break out your dyed Wallaby Clarks, put the headphones on and prepare to return to the 36 chambers of the Ironman’s armor. Beginning with a nostalgic sampled theme song from the 60′s Iron Man cartoon, the stage is set for the next level in the Wu World Order. This album represents both a throwback to the formula that brought the Wu to Olympiad heights, and also a newfound consistency of classic sampling that will carry them into the future.

“Nutmeg” reintroduces us to Tony Starks on a great note, with it’s continual flute that anxiously breaks itself down and reconstructs, only to shattered once again by RZA in the third verse. “Child’s Play” is another incredible production, as Ghost reminisces to the days when it was all so simple, with layers of samples dug up from who knows where. This type of sampling excellence is continued throughout the entire LP, with wonderful change ups in the music that keep the listener guessing, and looking forward to them. “We Made It”, “Malcolm”, “One”, and the free for all posse cut “Wu Banga 101″, each execute this style with perfect are classic Wu-Tang material.

On the more accessible tip is “Buck 50″, an umtempo blazer featuring Method Man & Redman, with a ferocity and rawness that hasn’t been heard since the early 90′s. Also something that will turn heads is the tribal drum driven “Cherchez Laghost”, which is dominated by a female vocalist who actually meshes wonderfully with the track and the rhymes of Ghost and U-God.

Although this album does pack the attribute that made us love Wu in the first place, it does fault in a few places. “Ghost Deini” is a lazy voyage into nothingness, with horrendous rhymes from Wu-affiliate Superb, and a thoughtful but misplaced hook sung off key by Ghost. Other tracks that could have been executed a little better are both “Saturday Nite” and “Stay True”, which for whatever reason seem to ignore the fact that these samples were just rocked by Pharaohe Monch and Inspectah Deck. Another problem that brings the album’s rating down a bit, is the colorful use of Wu-Knowledge that only Ghostface understands. The complicated wordplay of his slang editorials is sometimes as difficult to understand as Kool Keith. But these mistakes are easily overlooked with the abundance of quality joints on the album.

As predicted, this is it. This album brings back the grimy style WTC that we loved until ’98. The formula has been updated slightly, and improved upon, and shows that the Clan does still have it, and in fact never lost it, but for a while it just had a problem executing it. The excitement and replay value of the Wu has returned – now let’s keep it that way!