Because when you can't think of a name for your album title, just make up a word on the spot, and attempt to justify it on a couple of half-assed skits throughout the album. What could go wrong?
Chef Raekwon's sophomore studio album was one of the most anticipated hip-hop records of the entire decade. Heads had been waiting four years for a follow up to the incredible Only Built 4 Cuban Linx..., his 1995 solo debut that is today often considered the best of the original run of Wu-Tang solo albums, and by the time November of '99 came around they'd have probably given an arm, leg and their copy of Ooh I Love You Rakeem on vinyl, just to hear another album by Corey Woods. Luckily for them, the last two years of the 20th century seemed to be the time when RZA sort of gave up on his original plan, and started letting members who'd already released projects drop sophomores before those who hadn't even got their debuts out (infamously, Masta Killa couldn't get his record out until 2004, by which point no-one really gave many fucks about the non-Ghostface Wu members anyway). And while Raekwon gave way to Meth, GZA and ODB first, he eventually released his own sophomore album on November 16th 1999, the same day as Dr. Dre's enormously popular 2001 album - not really a good starting point.
And if you're a hip-hop fan who's ever done any research about the genre ever, you probably already know that this album was pretty much a disaster, a definition of the word "sophomore slump", and a serious balls-up considering the lack of faith fans were starting to have in the Wu-Tang Clan anyway, considering every other release of the year from the collective had already been considered underwhelming (Meth & Red's Blackout! notwithstanding, unless you were someone who wanted more RZA production on there). And I mean, what the fuck did Raekwon expect? On the ridiculously titled Immobilarity, there are no RZA production credits, no Ghostface Killah features, and no Wu posse cuts, three things that all were in high proportion on Only Built 4 Cuban Linx..., making that album as brilliant as it was. Instead, almost all of the beats were provided by no-name producers with idiotic names such as "DJ Devastator" (although Pete Rock does show up for one track, which is nice), and Rae spends more time on here promoting his American Cream Team than he does rhyming alongside fellow Wu members.
So, Immobilarity. Was it quite as bad as it looked? (That album cover would certainly indicate so). Thank God for Supreme Clientele is all I say - without that album who knows how far into irrelevancy the Wu would have fallen.
1. Intro (Skit) (prod. The Infinite Arkatechz)
Yes, this is a rap album intro full of useless dialogue that really has no relevance to what is to come... but goddamn this is kind of intriguing, not to mention with a beat that really should have been rhymed over. This is one of the better intro skits I've ever heard.
2. Yae Yo (prod. Carlos "Six July" Broady)
This track right here is a prime example of why some people don't like this album. You've got some of the hungriest, most fantastic performances from Raekwon, showcasing passion and a knack for engaging storytelling (told in one long verse in this instance), only over an instrumental that, while not terrible, feels hollow and empty, lacking replay value entirely. And this is one of the most well-known producers on the album too. Thankfully, Rae really managed to make this one worthwhile, with one of the best performances I've ever heard from him - when this man isn't doped up on sleeping medication (like he seemed to be throughout a lot of his 2000s guest appearances), he can really rock the mic. A good introduction overall, if my issues with the beat still stand.
3. Casablanca (prod. The Infinite Arkatechz)
Over an instrumental that I actually really fucking like, Raekwon once again forgoes any kind of hook (unless you count the repetition towards the very end of the track), spitting a long-ass verse that stories another one of his engaging crime tales that ends with him and his friend escaping the cops, who've caught up to them it seems. The instrumental on here really makes you feel like you're in Italy doing business with the mafia, and Raekwon's storytelling is on point. This track honestly stands up to a lot of Only Built 4 Cuban Linx..., and you can go ahead and shoot me in the face for that opinion if you want.
4. 100 Rounds (prod. Triflyn)
Tracks like this one make me wonder if, had it been Raekwon's debut album, Immobilarity could have been considered as generally quite good. I remember I used to find this track quite boring, and to this day it does overstay it's welcome by about a minute and a half - but goddamn, how could I hate this when Raekwon sounds so damn good on the mic? Yeah the beat is pretty dull, and yeah the chorus didn't need to be repeated, but Jesus this man sounds good on here. If this were a mixtape track I'd call it phenomenal, but as an actual song it does fall short - it's really a shame Rae couldn't get RZA to help format this LP. His rapping warrants much better structure and music.
5. Real Life (prod. DJ Devastator)
This one definitely used to be one of my favourites on the album, and it still holds up today, even if the hook once again feels like just four standard bars of the song that just happen to be repeated. Production wise this album seems to be going up and down so far, and this lands on the positive side of that equation, being melancholy, warm, and a big change in tone from the previous three beats. Lyrically, Rae continues his streak of hot bars, making this into yet another underrated gem. I'm starting to wonder what it is that people hate so much about this album...
6. Power (feat. American Cream Team) (prod. Triflyn)
"Y'all brothers wanna call us out? Name names, otherwise it'd be wise to shut the fuck up" - great way to begin your verse there, mr Baby Thad. Of all the Wu members who tried to create their own Wu-Tang Clan, Raekwon is right next to U-God at the bottom of the pile. This track is a prime example - even if the beat didn't completely suck balls, the track would still be terrible. The first true misstep on here.
7. Skit No 1
If you think the acting on this skit is bad, then just wait till we get to The Lex Diamond Story.
8. All I Got Is You Pt. II (feat. Big Bub) (prod. Vo & Pop)
Not as terrible as the other part 2 to a classic Wu track to appear on a Raekwon album (if you know, you know), but definitely more confusing, since Raekwon had absolutely nothing to do with the original "All That I Got Is You". And when I say not as terrible, I certainly don't mean any good either - Mary J, Big Bub ain't.
9. Jury (feat. Kim Stephens) (prod. The Infinite Arkatechz)
After two highly underwhelming tracks that are truly deserving of any negative press they may receive, "Jury" is a big return to form on the album, probably because of who produced it - The Infinite Arkatechz are responsible for the best beats this record has offered so far, easily (with the exception of "Real Life"). This instrumental is intense and emotional, certainly nothing like anything I would expect to hear on this project - it's almost like a budget "Rainy Dayz", although definitely not on the level of that absolute classic. To say that would be blasphemous. Raekwon also sounds like he's had a chilli pepper rammed up his arse on here, showing aggression in flows that seem even more intense and relentless than usual, with bars that may or may not be partly about the FBI investigation into the Wu-Tang Clan that took place in the late '90s. Not to mention, the chorus from Kim Stephens is actually surprisingly good. Nice stuff!
10. Fuck Them (feat. Method Man) (prod. Triflyn)
Ridiculous beat aside, I actually rather like this collaboration, if just for how shockingly light hearted it is from the guys who made some of the most gutter shit of the early '90s. Raekwon sounds pretty good, and Meth is right in his element here, except for on the chorus, where he uses the term "silly boys", immediately invalidating any kind of threatening image he might be trying to pull off. To be honest, there's no real good reason for me liking this (in fact, it's objectively quite bad), but I do, so there. Maybe it's just finally hearing from another Wu member - they've been seriously missed so far.
11. Skit No 2
If you think the acting on this skit is bad, then just wait till we get to The Lex Diamond Story. Wait, didn't I write this sentence earlier?
12. Live From New York (prod. The Infinite Arkatechz)
13. My Favorite Dred (prod. Triflyn)
Rae spits another crime tale over what is easily the best Triflyn instrumental on the album thus far, and the results are pretty fun, if nothing to leap in the air with joy over. This joint isn't particularly moving, but as a quick one verse wonder that's out of the window in less than two minutes, it works well.
14. Friday (prod. Triflyn)
You know, the sequencing on this album really confuses me. The first two tracks on the album are both crime tales, the first much shorter than the second, both with no hooks... and now we have the exact same right here in the tracklist! Meanwhile, there's a bunch of random shit discussed in between with no mention of the supposedly crime related concept of the album! Still, at least this song was great - I'd honestly completely forgotten it even existed before re-listening to the album today, but lyrically it's easily one of the most engaging cuts on the album, and the beat is nice too. Yet another instance of a decent track that simply seems weak when compared with Rae's superior earlier work.
15. The Table (feat. Masta Killa) (prod. The Infinite Arkatechz)
Definitely one of the most memorable moments on the album, featuring a very different style of instrumental to everywhere else, even if Raekwon's rhymes feel similar to other points on the record. Outside of the beat, which is excellent by the way, the most notable thing about this one has to be the Masta Killa guest spot, which is short but incredibly sweet, with his calm and soft voice being far more suited to this softer sound than Corey could ever hope to be. It's a real shame we never got that '99 MK album - it could have been a real killer (get it??).
16. Sneakers (prod. Pete Rock)
Probably the most consistently praised track off of this album is Rae's dedication to his collection of footwear, and that's largely due to the fact that he actually managed to get a legendary producer to provide him with some music - Pete Rock's beat on here doesn't sound brilliant at first, but you really get into it through the three minute duration of the song, and the record scratching helps a lot with that; this is easily the most replayable song on the record, with the Nas and Mobb Deep samples in the hook being absolute ear-candy. I'm surely not the only one who'd have loved a Raekwon x Pete Rock tape in the late '90s am I? Considering the direction RZA was going at that time it'd probably have been an even better move for Rae than an Only Built 4 Cuban Linx sequel. Either way, this song right here is a hidden gem that everyone should hear. Banger!!
17. Raw (feat. American Cream Team) (prod. Vo & Pop)
I guess I should be grateful that Rae only included the Cream Team (seriously, who the fuck came up with that name?) on two tracks on this album, but still, that's two too many. Most would probably remember this one because of the lazy "Winter Warz" interpolation masquerading as a chorus, but for what it's worth the instrumental on here gives this track a far better energy than "Power" from earlier - this track also is way better in general, with the back and forth being a welcome addition to the tracklist. It's a shame he couldn't have done it with, I don't know, fucking Ghostface Killah.
18. Pop Shit (prod. Vo & Pop)
I don't care how you feel about the lyrics to this song - the terrible, terrible Swizz Beatz imitating instrumental derails it from the off. There have been some mediocre moments on this album, for sure, but there's no denying this is the standout worst track. Who the fuck was this shit even aimed at??
19. Heart To Heart (prod. Vo & Pop)
Over an unusually funky beat on what is mostly a pretty dry and dreary (not necessarily in a bad way) album, Raekwon switches up his flow a bit, doing his best to change things up but not really succeeding, only sounding different from his usual self on the hook, which is admittedly reasonably catchy. I'll be honest, though, this song isn't particularly interesting, and while most songs on here have aged okay, this has aged quite poorly, being a clear product of the late '90s. Still, it's a hell of a lot better than the last song, I tell you that.
20. Forecast (prod. Triflyn)
Lyrically probably the worst song on the entire album, as Rae basically spends most of it listing a bunch of random places across the US (and, towards the end, the world in general), but I always did like this beat, as it really feels like it's the end of the album - I guess this was supposed to be the end credits of Rae's crime movie. Shame the Chef couldn't stay on that topic for more than like two songs then.
21. Outro
Laughably stupid.
I might get some odd looks for this, but I actually kind of like Immobilarity, as I'm sure a lot of people who go in with the heavily lowered expectations crafted by the internet will. I've seen many call this record one of the most disappointing sophomore records of all time, and while "disappointing" is an appropriate word considering what came before, I think that if you forget Only Built 4 Cuban Linx... exists, this album sounds pretty nice for at least 2/3 of the time. Now yes, there are moments on here that might have you questioning your stance as a fan of the hip-hop genre, but those aren't nearly as prominent as the moments when Raekwon tears shit up over a legitimately solid beat, something that happens more often than you'd think on an album that shows up in every "bad albums by great rappers" list you can come across (maybe that's a list I should make). For every terrible song like "Pop Shit" or "Power", you have a legitimate banger, such as "Live From New York" or "Casablanca" - and that's not to mention some of the other great tracks, with "Jury" and "The Table" being beautiful moments of sombreness, and "Sneakers" being an absolute classic of the late '90s. And furthermore - are these beats even really that bad? There are a couple that kind of suck, sure, but on relistening to this album there's plenty of great moments to be found. I think the reason that everyone hates this is purely because of what it follows, and that's understandable - hell, if I'd been around in 1999 to listen to this with the expectations people back then would have gone in with, I'd probably feel the same way. But to me, Immobilarity, ridiculous title and all, has not only aged well, but showcases a rapper who is legitimately great, with an up-and-coming production team that, with some kinks ironed out, could have some true potential. Basically, I like this album. Sue me.
Thanks for reading!
Best Tracks: Casablanca, Real Life, Jury, Live From New York, Friday, The Table, Sneakers
Worst Track: Pop Shit
More Raekwon, or just Wu-Tang in general if you'd really like!
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