The Chef Strikes Back

I first came to know of Raekwon when I heard the first Wu-Tang Clan record, Enter the Wu-Tang: 36 Chambers. He rapped on a bunch of the tracks off that album, and I always liked his flow style as well as the words that he rapped. More often than not he was joined by fellow Clan member and MC Ghostface Killah. Both rappers have enjoyed commercial and critical success with their solo output as well as their collaborations not only with the Wu-Tang but also with each other and other rappers. One of my favorite tracks, “Incarcerated Scarfaces”, came from Raekwon’s debut record Only Built 4 Cuban Linx…. That record itself was a great record, with great beats, great rhymes, and multiple guest stars.

Since his debut, Raekwon has released three other records as a solo artist while guest starring on numerous other rappers’ records. Two of the records, Immobilarity (1999) and The Lex Diamond Story (2003), were not as sharp as Cuban Linx but were still critically hailed. They also represented a departure from Cuban Linx in that he sought out producers other than the RZA (the founder of the Wu-Tang Clan) in order to move his sound forward. His last record is the sequel to Cuban Linx, entitles Only Built 4 Cuban Linx…Pt. II. This record is the focus of today’s entry.

#46 – Raekwon, Only Built 4 Cuban Linx...Pt. II  (Metascore = 88)

“House of Flying Daggers” revisits the kung fu movie sounds that dominated most of the early Wu-Tang Clan band and member records. It also features his frequent Wu collaborators, Ghostface Killah and Method Man, as well as Inspectah Deck and the GZA. The lyrics also embody the gang mentality prominent throughout all of their records, with tales of drugs, sex, and crime. One thing that I probably didn’t pick up on with the first Cuban Linx that I’m getting now is that the album plays out with Raekwon telling this story. The tracks vary in length, from brief snippets of what the character is doing to tales that carry through several tracks.

One theme that pops up periodically during the record is raps on current social and political issues. “Cold Outside” calls for the United States to return the troops home from overseas in Iraq and Afghanistan. In “Broken Safety”, Jadakiss raps about the recession and the consequence of more crime. One other theme I should mention is the death of one of Raekwon’s friends and collaborators, Russell Jones aka Ol’ Dirty Bastard. Jones died of an accidental drug overdose in 2004, but his legend lives on, and Raekwon pays tribute to him in the track “Ason Jones” (another moniker for Jones).

The use of different producers for each track is a benefit to this record, because each track has a sweet beat that I just nod my head to easily. I liked the beat to “Black Mozart” the most, though there are plenty of other good ones out there. “Baggin Crack” also has a killer beat. Each rapper’s flow is also more liquid than in previous records I have heard.

The ongoing storyline is the primary strength of this album. Despite the different personalities throughout the record, each one hones in his raps on the story being told. There are few weak spots on the record. The beats provide further strength to this record, making a few tracks easily radio-friendly. For those familiar, this is a good record to check out.