Ghostface Killah - Fishscale

Having made two unsuccessful attempts to get people to actually listen to his Theodore Unit crew in the mid 2000s, in '06 Ghostface Killah realised he was running out of funds from his last solo effort The Pretty Toney Album, and knew that if he was to have any hope of continuing his collection of ugly ass shoes then he needed to drop another solo record asap. So, he set about recording, enlisting the likes of MF DOOM, Pete Rock, the late J Dilla and Just Blaze to ensure the highest quality of production work (although disappointingly not the RZA, nor any of the Wu Elements for that matter), and to help build more excitement for the project bought in every single living member of the Wu-Tang Clan to provide guest vocals, as well as the R&B crooner of the time Ne-Yo and a bunch of Theodore members to fill space. He made sure to include lots of short film samples too, although this time from Marvel animated series rather than Kung-Fu flicks - and he also built the album around a loose concept involving drug dealing and its effects on the community. And finally he made sure to pack this album to the absolute brim with songs - 24 tracks is always going to be daunting, no matter how many are 5 second edited clips from old Iron Man cartoons. Basically, everything about this album led fans to believe it was going to be the return of the Wu after some years of underwhelming output and beef. It was a culmination of the themes of Only Built 4 Cuban Linx..., the teamwork of Enter the Wu-Tang (36 Chambers), and the irritating skits of Supreme Clientele - and it was very highly anticipated. And in March of 2006 he actually managed to get Def Jam to release this album. The project every Wu fan was waiting for. Fishscale. 

I listened to Fishscale for the first time when I was in a Ghostface Killah phase, tracking down his whole catalogue, and at the time I absolutely loved it, if not quite as much as some of his earlier work. Now, I go back in with more unbiased eyes to see if it holds up as an album. The memories suggest yes, but we'll see anyway. Also, why do people hate this cover so much? I mean, it's not incredible, but it's no worse than most of his other covers. Hell, I'd rather look at this art than the assault on the eyes that is the Ironman colour scheme. Anyway, I digress. On with it!

1. The Return Of Clyde Smith (Skit)

Show of hands - who here wanted Clyde Smith to return? No-one? Well fuck you all then. 

2. Shakey Dog (prod. Lewis Parker)

Now that's more like it. Ghost takes a fantastically intense instrumental from Lewis Parker and relays a story over it that is incredibly impressive in how detailed and intricate it is. The track recalls memories of "Maxine" from Bulletproof Wallets, only this time the tale is not quite as harrowing, and the beat doesn't go into a weird Red Hot Chili Peppers style breakdown at the end. Ghost's storytelling abilities have never been more evident than on this track, as he finds a perfect balance between humour and seriously intense moments, and also manages to spew out the most random details while still keeping the listener engaged. The beat on here could be Ron Browz levels of quality and I would still love this song, and with this Lewis Parker beat the track becomes an immediate standout on the album. How the hell do you top this?

3. Kilo (feat. Raekwon) (prod. MoSS, add-prod. A. Acid)

I'm not sure where the fuck they got that sample from, but it damn sure does sound dope. The first of quite a few songs to feature Ghost's partner in crime Raekwon is a chill banger with a funky instrumental that details the pair's exploits in drug dealing, and while it's nowhere near the quality of the incredible opening track, this song certainly is fun, and offers a break in-between the intensity of the last song, and also the song that's coming up next. While Raekwon sounds kind of sleepy on his verse, which is sadly the norm for his mid-2000s work, Ghost offers up some great verses and very catchy hooks and bridges that leave the listener entertained if not wowed. Overall, I really like this one. 

4. The Champ (prod. Just Blaze)

For anyone who, for some inexplicable reason, heard every Ghost album except Ironman and Supreme Clientele, I'm sure they would name this as his signature song. Because this track is the fucking shit. Ghost drops three hype and energetic verses over a loud and celebratory instrumental, separated by interludes where producer Just Blaze announces our host as if he's taking on people in the boxing ring, and the result is probably the most hype track of Ghost's entire career (although I would argue "Buck 50" could have that spot). "Who wanna battle the don? I'm James Bond in the octagon with two razors / bet y'all didn't know I had a fake arm, I lost it / while in war, before rap I was getting it on". The rhyme schemes teamed with the braggadocios energy in this portion alone is enough to convince me Ghost is a top ten rapper, and there's plenty more where that came from in the song too. And the cherry on this incredible cake has to be the scratching at the end, where ODB's infamous shout out of our host on "Da Mystery Of Chessboxin'" is scratched up as the beat drops back in, and played in full at the end. Pure energy right there. This is one of the best Ghost songs of all time, easily. 

5. Major Operation (Skit) (prod. Ken Lewis)

For some reason this album is filled with 5 second skits like this with a tailor made monologue made to sound like it's taken from a film. I don't mind the skits themselves, but I do wish they weren't separate tracks. It just makes things awkward. 

6. 9 Milli Bros. (feat. Wu Tang Clan) (prod. Metal Fingerz DOOM)

Yep, you read that right. The Wu-Tang, and every single member at that (for the only time outside the legendary "Triumph" on an officially released song), rapping over a DOOM beat. And you thought this album couldn't get any better. And for a Wu officially 10 years past their prime, they all sound pretty bloody fresh on this joint. The "bullshit hook" that starts this thing is fun, and Ghost gets things off to a fiery start as you'd expect, but everyone else does their thing too. Meth has a lightning flow that shows a man still very much pissed about the reception to Tical 0, GZA continues to prove why he's called the Genius, and U-God ends the track with one of my favourite verses from him ever - his flow on this beat is nice. Cappadonna is predictably kind of annoying, but otherwise they all slid. And goddamn is this DOOM beat good - it's the perfect mixture of classic hardcore hip-hop and DOOM's droning abstract sound, and I absolutely love it. For a Wu-Tang posse cut made in the year 2006, I really don't think this could have gone any better. 

7. Beauty Jackson (prod. J Dilla)

Once again, Ghost exhibits a natural ability for storytelling - hell, now that his music has reached the point of "quite bad" (see Set the Tone) he should get into writing fiction novels. On this song, he puts so much detail into this very short and kind of uneventful moment, where Ghost gets rizzy with an attractive woman at a bus stop, before she hastily jumps on the bus after Ghost's concealed gun falls out of his jacket. This song is too short to ever warrant someone disliking it, and the J Dilla instrumental (which also appeared on his album Donuts) is the perfect compliment to the sensual lyrics. This is a wonderful little song. 

8. Heart Street Directions (Skit)

Most of the time I don't like skits, but even I have to admit that this one is pretty fucking hilarious. "My man balls'll be out around there somewhere!"

9. Columbus Exchange (Skit) / Crack Spot (prod. Crack Val)

After a short skit in the vein of "Major Operation" a few tracks ago, Ghost tells various anecdotes about his crack house in the form of two short 'n' sweet verses, over a rather potent instrumental, especially considering how fucking horrible the stage name of the person who created it is. The first verse on this one is especially entertaining, as Ghost reintroduces the "Woodrow the Basehead" character from Supreme Clientele, detailing how he fainted while taking crack in the crack house, just before a knock on the door caused everyone to jump out of their seats. The storytelling here is hilarious and light hearted, and the upbeat and jazzy instrumental is as smooth as anything. Really like this one. 

10. R.A.G.U. (feat. Raekwon) (prod. Pete Rock, add-prod. A. Acid)

Very much in the same vein as the previous song, only now Raekwon is here to add his perspective, not one that's any different to Ghost's, mind you. Perhaps the most notable moment of this song is when the man Ghost and Rae are confronting accidentally shoots himself in the bollocks with his own gun, which I think was meant to be funny, but instead conjures up some horrible images in one's head. The rest of this track is pretty standard Ghost - Pete Rock's beat is smooth and sounds ever so slightly dusty (perfect for the Wu), and the storytelling is potent. This is definitely the weakest track so far, but it's still pretty good in my opinion.

11. Bad Mouth Kid (Skit) 

The way Ghost delivers his lines in this skit is pretty goofy, but otherwise this skit doesn't really lend itself to the man's character well at all. Threatening to assault a child with your belt in the middle of your album isn't good for press, Dennis. 

12. Whip You With a Strap (prod. J Dilla)

I'm not sure what's more worrying - the fact that Ghost has a song titled "Whip You With a Strap", or the fact that the song is actually pretty great. Yeah, the J Dilla beat is heavenly and has a really nice sample (with some admittedly slightly uncomfortable lyrics), and Ghostface has two really nice verses that show the man's personality and ability to get personal that a lot of rappers of his era weren't really able to do - at least not to this extent. Perhaps this song is part of the reason why I've seen some people call Ghost an "emo rapper". The way Ghost delivers his lyrics here really makes you feel the stories he's telling, and despite uncomfortable subject matter (about him being whipped as a child), the song seems to have pleasant undertones, as Ghost believes he deserved to get beaten and it helped him become the man he was today. Against all odds, this shit is actually really good - just perhaps not one to put on the aux in the car. 

13. Back Like That (feat. Ne-Yo) (prod. Xtreme)

Ghost shoots for the radio on this one, and it works surprisingly well, albeit perhaps not quite so much as the more inventive "Cherchez La Ghost", his other radio smash (I use the term "smash" very lightly). This track is a product of it's time, as it's a shameless mashing together of rap verses and an R&B chorus and therefore exactly the type of song that was likely to be popular in 2006, but the song works thanks to the instrumental, which is smooth, the verses which are actually well written, and a chorus that is catchy as all hell. This song is definitely not made for the Wu heads, but if it got Ghost some mainstream attention then it deserves the pass, even if it is the last time Ghost probably ever got played on the radio - and when compared to the far soppier but very similar "Never Be the Same Again", this song looks like a hip-hop classic. 

14. Be Easy (feat. Trife) (prod. Pete Rock)

I think I'm right in saying that this was also a single, albeit what was known as the "street single", as this has no smooth R&B chorus or piano-laden beat - instead Ghost spits fire over an upbeat Pete Rock concoction to make for what is one of the most hype tracks of his entire career. "Tell your crew to be easy!!" Ghost yells, and it's a threat you'd be inclined to listen to, as the man's flow on here is menacing and intense, and the pulsating instrumental will rattle your bones as you listen to it. "I'm like the boogeyman - nigga, I'll get ya!". There are so many classic lines on this one you'll lose count, and Trife Da God's contribution is limited to a short bridge, meaning that the instrumental is almost entirely covered by Ghost's incredible verses. This is possibly the best song on the entire album. 

15. Clipse Of Doom (feat. Trife) (prod. Metal Fingerz DOOM)

An area in which both Supreme Clientele and Ironman nail in my opinion is front to end consistency - the lesser quality songs on those albums (that are still great, mind) are spread throughout the tracklist, and the bangers and truly great songs are also spread evenly. This is where, in my opinion, Fishscale falls down - from here on out the album goes from fantastically consistent to merely pretty great but wobbly, and that's what in my opinion makes this album slightly weaker than every Ghost album up to this point beside Bulletproof Wallets (and his random collaborations too). Take this tune for example, which certainly isn't bad (Ghost's final verse here is actually quite compelling), but is a little too abrasive thanks to DOOM's noisy beat, and also just a little too stagnant lyrically. I don't dislike this song, but it doesn't really match the fun energy of this album at all. Oh well. 

16. Jellyfish (feat. Theodore Unit [Cappadonna, Shawn Wigs & Trife]) (prod. Metal Fingerz DOOM)

And as for this? I'm not sure what possessed Ghost to include this oddly creepy love song onto this album, but I do know that it doesn't really work within context at all. Not only is this instrumental completely unsuited to the lyrics being recited over it, but the lyrics themselves are quite weak too. And what the fuck was that Cappadonna verse? I don't think this song is bad on it's own, but it's inclusion on this album confuses the hell out of me. Still, it's certainly better than the love songs that littered his later album Ghostdini, so that's something I suppose. 

17. Dogs Of War (feat. Raekwon & Theodore Unit [Trife, Cappadonna & Sun God]) (prod. Pete Rock)

Yes, that is how these features are listed on the back cover. Ghost forgoes another DOOM beat in favour of a Pete Rock instrumental that sounds more suited to the aggressive style of these MCs, but unfortunately the beat here sounds much more clunky than that on the far superior "Be Easy" from a few tracks ago - this isn't a bad beat, but there's just something off about it, especially with that "it's a family" sample that throws the whole concoction off every time it jumps in. The lyrical content is boasts and bullshit pretty much, which is a far better choice of content for a posse cut than the weirdly out of place love raps on the previous song - still, this one isn't really up to snuff with a lot of 718, let alone the rest of Fishscale.

18. Barbershop (prod. The Studio Beatz)

I think going it alone for a track was probably the best option for Ghost at this point in the tracklist, as things seemed to be going off the rails a bit for the last few cuts. This song is a humorous and unique one verser that details Ghost's frustrations at being done dirty by his barber, and it's far more like the Ghostface Killah we know than the last two songs - in fact it's likely those were made last minute in order to help promote Ghost's Theodore Unit a little more, after 718 and Put It on the Line sold about as well as the cookies they sold door to door to raise money for the choir when they were younger. This is one of those instances where the lyrics of a song are so good and so captivating that the music doesn't even matter. It's a great track. 

19. Ms. Sweetwater (Skit)

Another skit? I thought we were finished with those!

20. Big Girl (prod. Ghostface, add-prod. A. Acid)

It was certainly a bold move of Ghost to rap over the same sample that inspired Nas' infamous travesty of a song also called "Big Girl", and even bolder to advertise this very fact within the song title, but surprisingly he manages to pull the stunt off, and not just because he, unlike Nas, doesn't come across as a complete creepo during the track's runtime. This song helps serve into the incredibly loose narrative of this album, which is that Ghost transitions from being a drug dealer into leaving the profession after he realises the effects of these drugs on those around him. You could put all of these tracks into this narrative if you really tried, but this one fits in the best, as it's narrative surrounds Ghost meeting some girls who are spiralling into cocaine addiction, and attempting to convince them to stop taking the drugs and pursue actual careers. The track is heartwarming and surprisingly mature from the man who once rapped "you dumb bitch, horny hot fuck from out the mountains!!". Sure, the sample on here does recall disturbing memories for us Nas fans, but if you ignore that then this stands out as one of the best written tracks on the album. 

21. Underwater (prod. Metal Fingerz DOOM)

After a shockingly serious moment, Ghost takes us back into his weird and wonderful mind by taking a nautical DOOM instrumental and rapping about imagining being underwater, for a reason known to only Ghost himself apparently. This song fucking rocks, with easily the best Metal Fingers concoction on the entire album creating the perfect atmosphere for the lyrics Ghost is rapping, which are not only unusual but also more often than not memorable. The flows on here are some of the best on the entire album, especially the bit where he says "I bet this'll bring that out", but really everything is an improvement upon the previous DOOM collabs (not counting the Wu posse cut). This is fucking awesome. 

22. The Ironman Takeover (Skit)

>:-(

23. Momma (feat. Megan Rochell) (prod. Sean C & LV)

An unusually mainstream way to end the album - I'm not asking for another "Wu Banga 101", but surely Ghost should know that his fans really aren't interested in overdramatic music like this with an R&B tinged hook. "Back Like That" was one thing, but at least it was catchy. Ghost's lyrics here dedicated to single mothers in the hood are very sweet, but musically this is too soppy, and frankly didn't age very well either. Still, it's a hell of a lot better than the boring as shit "Love" that the otherwise excellent The Pretty Toney Album ended with. 

The following song is listed as a bonus track, despite appearing on every pressing of the album out there. I'd probably call that good marketing if this wasn't the case with almost every bonus track on mid 2000s hip-hop albums. 

24. Three Bricks (feat. The Notorious B.I.G. & Raekwon) (prod. Cool & Dre, co-prod. Diddy)

I'm sure people were sick of hearing more exploitative unreleased Biggie verses by 2006 after the much maligned Duets: The Final Chapter came out the year prior (I believe this track right here was recorded for that album, but was left off the "final" (hehe) cut), but thankfully this track actually sounds pretty goddamn good if you ask me - maybe because Biggie's verse is nicked straight out of his classic track "Niggas Bleed", rather than his hard drive of half assed "unreleased for a reason" verses that were used on many posthumous cuts. This track here features an infectious but menacing Cool & Dre instrumental, and some dope performances from Ghost and Rae in the later half of the track. Yes, the song is a bit shameful in that it uses Biggie's name to promote itself, but at least it sounds good. That's all I can ask for. 

Even though Fishscale features a Ghostface who's well over ten years into his career, it's still just as exciting as you'd expect a release from a brand new abstract hip-hop artist to be. This thing is just insanely fun, and not unlike previous Ghost projects isn't afraid to have it's serious moments as well (whether or not these always work is another matter). While fellow Wu members were losing more and more relevancy by the second, along with artistic integrity, Ghostface Killah was on top form in the mid 2000s, and Fishscale is the pinnacle of his work from this era - even if I personally enjoy The Pretty Toney album a smidge more, there's no doubt that Fishscale is about as Ghostface as a Ghostface album can be - whether it's the high quantity of detailed and hilarious drug dealing tales, the weirdly abstract production or the abundance of Wu members and affiliates showing up around every corner, this thing exudes Ghostface's fun and unpredictable energy. It's not a perfect album - tracks 15 to 17 get a bit dull at times, the skits make the tracklist seem way too cluttered, and the last song (not counting the bonus track) completely misses the mood of the project - but what it is is ambitious and highly contagious - you won't stop bumping this if you hear it, that's guaranteed. I also love the album's loose concept, of Ghost being a drug dealer who slowly realises the negative impacts that that is having on the community around him - that's how I read into it anyway. And if you're looking for classic Ghost bangers, look no further than "Shakey Dog and "The Champ", two of his best hits ever. This album is great, and even if there are some consistency issues in the second half, the overall listen is one that I and many others love. While Ghost would go on to keep pumping out great material in the 2000s and even 2010s, he never got quite this ambitious, or quite this weird, again. Thanks for reading!

Best tracks: Shakey Dog, The Champ, 9 Milli Bros, Crack Spot, Be Easy, Underwater

Worst tracks: Jellyfish, Momma

I've written a hell of a lot more about Ghostface Killah if anyone's interested!

Ghostface Killah & Trife Da God - Put It On the Line

I'm back!

Following a highly productive 2004 in which he released his excellent Def Jam debut and introduced his new crew Theodore Unit, Ghostface Killah was back in the eyes of the public, the rap game like putty in his hands once more after a few years absent from the game. And like the noble gentleman he proved himself to be on records such as "Wildflower", Ghost decided that his next move should be to put on one of his homies, and since Trife Da God happened to be rolling his blunts in the studio that day (while muttering to himself about guns of course), he decided that was whom his protege would be. I mean, the guy did appear on a top 10 Ghost song ("Biscuits", you can fight me on that in the comments), so it was only right that Ghost returned the favour. He even got Koch Records to release the project, which some fans may have argued was a bad thing, but I digress. Everything was on track for Trife to get his chance at the big time. 

Unfortunately, Koch being the unfaithful bastards they are, Ghost was forced to place his own name on this album cover and record songs for it, so as to make it a far more marketable collaboration between the two MCs rather than a Trife solo. And then, Koch dropped the project altogether for some unknown reason, possibly so they could run off to try and save Xzibit's rapping career, which by now was on life support. This left Ghost to release this project independently on his own label, which is why it's likely that a lot of readers probably don't even know this existed, and would much rather read a write-up on Fishscale.

And as much as I'd love to talk about an album that people actually give a singular shit about, I don't think I'd be able to live with myself if I did this Ghostface discography out of order. Also, this album really isn't that bad. So, without further ado, here's the first acknowledgement of Put It On the Line since Max of Hip Hop Isn't Dead's excellent write up way back in 2008. And if you're lucky, I might write about Fishscale next. We'll see...

1. Cocaine Trafficking (prod. Anthony Acid)

Immediately, Ghost and Trife let us know that this album is going to have a completely different sound to the 2004 Theodore Unit album 718, which Put It On the Line is pretty much a spiritual successor to. The instrumental on here is aggressive, hardcore, and not chilled out in the slightest, with some slow paced piano keys and loud drums making for a dramatic entrance that really doesn't sound like a lot Ghost had done in the past - it's much more similar to stuff we would hear on his next three albums. And that's a good thing, as Ghost shines through on here with aggressive delivery and reasonably engaging lyrics that unfortunately only last for the first verse - remember, this was supposed to be a Trife solo, so you can expect him to have much more screen time than Pretty Toney on here. And for what it's worth, Trife sounds more at home here than on almost any of his performances on 718, with a chorus and verse that both sound tailor-made for the beat - sure, his lyrics are still about as peaceful as The Terminator, but at least the beat here feels like it warrants that kind of aggression. Overall, a very strong way to start this CD. 

2. Put It On The Line (prod. Look Out Ent.)

And after dominating the first song, the second is handled by Trife and Trife alone - in fact, there aren't that many songs on here where both MC's appear together at all, which is fair enough since they don't really have a ton of chemistry. This beat is a bit more relaxed than the previous one, with a nice little vocal sample repeating the titular phrase that's actually really quite memorable, and a nice groove elsewhere in the beat which keeps things moving. And Trife's lyrics are also more engaging than normal, with him discussing his history in the first verse, so that's good. I wouldn't say that I'm completely smitten with this one, as it does follow a very basic structure, and the hook is too long - but it does show some growth from Trife as an MC, a growth that we can hope continues throughout the runtime of this album. 

3. Struggle (prod. Nottz)

The first and only Ghost solo song, and it's so far easily my favourite on the album - sorry Trife, but in no universe are you as vivid of a storyteller as Ghost is. This track features an excellently soulful beat from Nottz that sounds like an outtake from The Pretty Toney Album (if you've read my review for that you'll know that's a good thing), and two verses from Ghost that are both some of the most engaging on the album thus far. The first details a life as some kind of mob boss, that pictures Ghost as ruthless - he acts as if not cutting people's limbs off is an act of mercy, dropping "faggot"'s and "motherfucker"'s like it was his day job (which it kind of is). The second verse is great too, arguably better, as Ghost details a poor and cold upbringing in New York, bringing back memories of the classic "All That I Got Is You" - I especially find the line about eating rice and ketchup quite memorable. And, to further put this ahead of the pack, Ghost doesn't feel the need to throw in an eight bar chorus in the middle, leaving the lovely sample to do it's thing alone instead. Yeah, this song is dope as fuck, and one big reason for Ghost fans to seek this album out. 

4. Hustle Hard (prod. Look Out Ent.)

Strap in, folks, for the next three songs are all without GFK. Are you kidding me? The first of which is "Hustle Hard", which seems to have caught on the most out of this album - it's by far the most viewed song on the album on Genius.com, which may be due to the 50 Cent sample in the chorus, which does sound dope. However, I don't see any other reason why this should surpass the popularity of "Put It On the Line", or to give an example of a later song, "War" - because this does not deviate from the Trife formula at all. The instrumental is actually one of the weaker on this album - the bass groove is smooth but the drums and sound effects are too glittery for my liking - and Trife just does what he always does, rhyming about drug dealing with the same goddamn flow again and again. He even throws a cheeky little bit of misogyny in there to spice things up - "bag the prettiest broads, and teach 'em how to move coke in their panties and bras". Does he not realise how much of a prick that makes him sound? I don't hate Trife, and I don't hate this song, but by this point I'm already wishing the man would switch things up with his style - and we're not even a quarter way through yet. No wonder the label wanted to throw Ghostface into the mix. 

5. Event (prod. Emile Haynie)

I must admit... I do kind of like this one. Emile Haynie (I still find it weird how he used to work with Ghost and co.) cooks up a behemoth of a beat, that's so intense it'll have you checking behind your shoulder every other bar to make sure Trife himself isn't standing behind you, ready to tie you up and spend the next two hours detailing just how goddamn dangerous he is and how many drugs he's going to stuff in your private parts, allowing you time to slip free and escape. And yes, once again Trife makes it clear that he's willing to go out with a woman just so he can hide drugs in her clitoris. What the fuck. Other than that, this song is pretty good, with a nice beat and some good lines, as well as a chorus that actually works - "the moral of the story is it ain't one" is arguably the best line on the album so far, and probably the funniest thing Trife has ever said in his life. It's no "Struggle" or even "Cocaine Trafficking", but it's still decent enough. I like it. 

6. Gangsta Shit (feat. Tommy Whispers) (prod. MoSS)

And the award for most creative song title goes to... (wait, did I use that one before?). This song is a lot better than the generic-ass title would lead you to believe, though, as MoSS (stupid name and all) really puts his all into this beat, which is smooth but also kind of unsettling, and has a great upbeat groove during the chorus, which actually sounds like a chorus too, rather than just four random bars they decided to repeat like most hooks on this album. Trife does okay on the track, with two verses about - you guessed it - gangsta shit; he even has one pretty memorable bar with "in the hood I'm a Legend like John", which is in no way clever, but at least shows more effort than usual. Perhaps the strangest verse on this track comes from guest star Tommy Whispers, who spits the third verse while apparently trying purposely to emulate the style of Ghostface - why else would he sound so similar? Seriously, when he first came in I thought it was Ghostface and the credits had made a mistake, and he even uses the "uh-huh" ad-lib Ghost utilises constantly. How the hell did the engineers not notice that? Still, overall I enjoy this one quite a bit - it's not great, but it is entertainment. 

7. Fire (prod. Jim Bond)

Ghost's first appearance since track 3 is unfortunately marred by the fact that this instrumental is one of the weakest on the album so far - I mean, this beat is seriously not that good in my opinion. The sample is awkward, the instruments are unpleasant, and the melody is repetitive. I don't like it at all. The chorus on this one is also repetitive as fuck, and while I enjoyed Ghost's verse a decent amount, you just know the man could be far better at this stage of his career. Trife's verse is arguably superior - he keeps surprising me with humorous lines, even ones that aren't supposed to be - here, it's the undisputedly knee-slap worthy "when I walk through I set off all sprinkler systems". The verses here are solid, but to be honest I was left underwhelmed by this one as a whole. 

8. Project Soap Operas (feat. Kryme Life & Tommy Whispers) (prod. Animal House)

Since Ghost evidently wasn't in the studio for this one, they got two of the best impersonators they could instead to replace him. I remember in an older post I mentioned how Trife sometimes sounded like he was trying to emulate Ghostface - well, it's nothing compared to these two other guys. Still, I don't mind too much, because this song is actually goddamn incredible. The instrumental is dark and depressing, with the three MC's each dropping verses where they account a tragedy that has occurred in the streets, all displaying quite potent storytelling skills that are remarkable for rappers who really hadn't been rapping for that long at this time. I think the best writing on here actually came from Tommy Whispers, with his story having an intense build up that keeps the listener on their toes throughout, ending in tragedy to show that life is no movie, and real life in the hood holds no happy endings. The news report outro where the woman tells witnesses to call "1-800-you-snitch" is harrowing too - these incidents can never have justice, because of this idea that telling someone about a murder is "snitching". Yes, snitching is pretty awful in some cases, but it can be a good thing too. Overall, this is the best song yet, and if you're gonna listen to a song without Ghost on this album, definitely let it be this one. Man, this is good. 

9. War (prod. PHENOM)

A Trife Da God solo - who would have guessed? And this one is pretty fun, if one of the songs I have the least to talk about on this album. Trife once again makes a goofy play on a musician's name, there's more sampling in the chorus, talk about being a hustler... the song's alright, man. It's okay. But it's also pretty forgettable and not one anyone would return to outside of the full album. That's just how it is. 

10. Out Da Way (feat. Wigs) (prod. Anthony Acid)

The second song on the album to feature no Trife, which makes sense as he would have been completely out of place on this brilliant instrumental that plays tribute to The D.O.C.'s "It's Funky Enough", to fantastic results. This short but wonderful back and forth between Ghostface and Shawn Wigs is pretty humorous and doesn't take itself too seriously, with Wigs' squeaks not being obnoxious but actually sounding rather excellent. Shawn actually gets far more screen-time than Ghost on this one, which is a shame as when he is present Ghost sounds incredible - but Shawn holds his own too, proving again to be the best Theodore Unit member in my opinion. Who cares that he kinda sounds like Fred Durst - dude is still dope. This was a nice break from the hardcore shit elsewhere on the album, and I really appreciate it - this song rocks!

11. Drugz (prod. Dirty Dean)

Not drugs, no. "Drugz". Get it right. This track is all about Trife getting falsely accused of drug possession, with "falsely" being difficult to believe considering that almost every verse he's spit so far on this album consists of him rapping about being a drug dealer. Still, at least, like the previous song, it's a nice change of pace, and I like Trife's flows on here quite a bit too. The sample on this one also reminds me of the sample on Ghostface's song "It's Over" quite a bit - it could be the same sample actually, although perhaps with altered lyrics. The lyrics from Trife on here are actually kinda engaging, and musically it's pretty nice too. Yeah, this is a pretty cool song. 

12. Milk 'Em (prod. MRR-ADM)

The only single from this project, and it wasn't even released for this album. Originally, this was a standalone single by Ghost featuring Trife, and came as part of this vinyl single (that I actually own) with five different versions of the song - the one on here being the "MHE Version" listed on the vinyl. And this may be my favourite of all of them, with a fantastically haunting instrumental that is the most hardcore and "Wu" style of the whole entire album. I mean, this beat is raunchy and aggressive as fuck, and is the perfect match for the Ghostface Killah, who murks this instrumental like it was wearing the wrong New Balance. The "Mighty Healthy" scratches at the start are brilliant as well, and I even don't mind how abruptly the song ends - it just helps it to keep that frantic energy. And while Trife is solid, Ghost is the real star of the show here. This is easily one of the dopest tracks on the album. 

13. Late Night Arrival (feat. Wigs) (prod. J-Love)

Another shorter, interlude style song, where Ghost, Trife, Wigs and an uncredited Solomon Childs all compete for most cocky demeanour, with Ghost coming out on top thanks to the line "fuck Mike Jordan, it's P-Tone in the air". The instrumental on here is airy and sinister, perfectly capturing the sound of a night in the city of New York, and all of the MC's do their thing over the beat - even Solomon Childs doesn't sound awful, despite the fact that in the time between 718 and this album he still hasn't learned the difference between "flowing" and "speaking". Actually, I'm not sure why Solomon is on this album at all - didn't he get kicked from Theodore Unit, hence why he isn't credited here? I'm not sure, but I am sure that this is a really cool little track. Check it out. 

14. Man Up (feat. Sun God) (prod. Anthony Acid)

This is unprecedented - after the first eleven songs here consisted of a total two songs with Trife and Ghost rapping together, we've now just had three in a row straight collaborations. It's a shame that this is also the last on the album. Also, that this song isn't great. It's probably the most generic thuggish ruggish song on the album, with a beat and hook that sound like something from a later DMX album - that's not a compliment mind you. Still, I liked Trife and Ghost on here, so that's something - then again, I don't think Ghostface could write a bad verse if he tried in the mid 2000s. The song also serves as the introduction of the new Theodore member, Sun God (a horrible stage name if ever I've heard one), who also happens to be Ghostface's son. I find it quite funny that, between Shawn Wigs, Trife, Kryme Life and Tommy Whispers, Ghostface's actual son is the one to sound least like him - then again you'd have to be pretty talented to do a Ghost impression as well as Kryme Life. Anyway, this song is pretty ehh - as much as I hate to admit it, solid verses can't save a washed out chorus and beat, and that's evident with this track. 

15. Game Time (prod. Emile Haynie)

God, I do write a lot, don't I. This is the last song on the actual album (although there are bonus tracks to follow), and thankfully it's a step up from the previous song, with an intense beat from Emile Haynie that allows Trife to spit his shit and go out with a bang, as he's nowhere to be found on the songs that are to follow. Tommy Whispers also shows up on here for an uncredited verse - or at least it's him according to Genius and other publications. It sure as hell doesn't sound like the guy on "Gangsta Shit", but whatever. Point is, this song is a pretty cool way to end the album, if Trife's preference for long and repetitive hooks is starting to wear a little thin by now. Also, yet another celebrity name is tastelessly punned on here. Who the hell keeps telling him to do that??

The following three songs are all listed as bonus tracks, yet sadly might well have been the songs Ghost fans were most hyped for on this album, for reasons that will soon become clear...

16. The Watch (feat. Raekwon) (prod. RZA)

The first of the three bonus songs is kind of infamous among hardcore Wu fans as one of a few songs from the Bulletproof Wallets recording sessions, that ended up not making the album despite being leaked to the streets and getting great reception. Here was the first time it saw an official release, and that's a good thing, as the song is dope as shit. The instrumental is the exact one used on Nas' "No Idea's Original" and Mos Def's "Grown Man Business", and it's a great beat with dusty drums, a memorable riff, and great flutes (or whatever they are) that make for something goddamn creative. And Ghost, ever the visionary, uses the beat to humanise his watch collection, with Rae playing the role of a watch mocking Ghost for not getting much radio play compared to other MCs, like DMX and Jay-Z. The lyrics in this one are so memorable and often hilarious that you'll wish the song lasted longer, and didn't spend it's entire second half acting as a platform for Ghost rambling rather than rapping - still, I can't say this one is anything less than fantastic. Dope shit. 

17. Ghost & Giancana (feat. Kool G Rap) (prod. Da Beatminerz)

A pretty cool collaboration between Ghost and legendary mafioso rapper Kool G Rap, who's catalogue I'm pretty excited to explore (yes, I've never listened to a Kool G Rap album - I'm only 17, I'll get there), and this only furthers my hype. The beat on here is kinda weird, but I like it, and Ghost absolutely murks it, with his voice being as brilliant as ever, and his flow being potent as can be over such unconventional music. Kool G Rap also does his thing with lyrics about killing your bitch ass, and the beat certainly helps add to this air that you're trying to escape the two hosts before they catch you. This is a cool track - I wonder if it was meant for an album. 

18. The Sun (feat. Raekwon & Slick Rick) (prod. RZA)

Like "The Watch" this song was cut from Bulletproof Wallets, but in this case the song didn't get removed from the tracklist on the CD art, which greatly disappointed many who were hoping to hear Slick Rick on a Ghost album. Well, their wishes were granted here when the song saw a release, and... the song is weird. However, I kind of like it. After 17 songs of drugs, guns and killing, it's nice to hear a track showing love and appreciation for Mother Nature, and one of life's simple pleasures that is basking in the heat of the sun, whether you're lying on a beach or going on a coastal stroll. The track features no profanity, no-one is killed, and not a single drug is sold - this song is pure innocence, and actually works quite well. Except the final bar of Raekwon's verse, which is awkwardly placed and makes no sense. Just listen to it and you'll see. While I understand that this song would have been a weird way to open an album titled Bulletproof Wallets, I think it would have been an interesting experiment. This song is actually kinda dope. 

If I were to judge an album objectively based on how unique, forward-thinking, and well-written it was, I think I would give Put It On the Line a 5 or a 6 out of 10. However, I don't do that - I judge it on how much I enjoy the listen, and how much I think others might too, and with that in mind this thing is pure entertainment, and is actually pretty great. Sure, the writing is repetitive. Sure, some of the choruses are totally unnecessary and bog the songs down. Sure, the album isn't a well thought-out collab, but rather a poorly sequenced mashup of Ghost and Trife songs that make the album sound like a bootleg compilation. But still, against all odds, this thing keeps giving, and constantly finds ways to entertain you, through memorable samples, dope flows, and fantastic Ghost performances that are almost consistently of top quality. One of the best songs here is the only Ghost solo track "Struggle", which would have given songs on The Pretty Toney Album a run for their money. And don't think for a second that their aren't other high quality moments. "Milk 'Em" is a fantastic hardcore banger. "Project Soap Operas" is probably one of the best songs recorded by Wu-Tang affiliates, full stop. "Late Night Arrival" and "Out Da Way" are some fantastic little tunes that really keep this album interesting and invigorating. And overall, this album is just for people that like rapping and like beats. It's not going to impress you. It's not intending to spread a message. It's goal isn't even to be concise. It's simply there to entertain. And on that front, I'd say it delivers, and is yet another stellar entry in the Ghost catalogue. I'd recommend a listen - and hey, if you pick the CD up you get a bonus DVD of Ghost live on stage, and who doesn't want that?

Best Tracks: Cocaine Trafficking, Struggle, Project Soap Operas, Out Da Way, Milk 'Em, Late Night Arrival, The Watch, Ghost & Giancana, The Sun

Worst Tracks: Fire, Man Up

I've written about Ghostface before too!

Theodore Unit - 718

Following the success of his Def Jam debut The Pretty Toney Album, a project I suggest you folks go check out right now if you haven't already, rapper Dennis Coles, formerly known as Ghostface Killah, now known as simply Ghostface (a shortening that lasted for approximately one year, before the Def Jam bosses realised it was a fucking stupid idea), found himself with a pile of unused songs that his label had vetoed from appearing on his latest effort for whatever (probably sample-related) reason. Next to this on his secret bunker's carpeted floor lay a separate pile of Ghostface's friends from Staten Island that he had promised a spot on the new album, only for him to "accidentally" forget to include any of them except for Trife Da God. Ghost needn't have been a genius to work out what to do next. He had artists. He had half-finished songs. He had a (rather stupid) name for his crew. And, he had his own record label (Starks Enterprises). Of course, a group album was to be the outcome of this seemingly dire situation, and from this, Theodore Unit's debut group album 718 was born.

Upon arrival of this album on the store shelves at the local newsagent, hip-hop heads that picked up the project (because let's be real - no-one outside hardcore hip-hop fans was about to buy this record) may have been compelled to ask a couple of questions. What is "Theodore Unit", and where do all the members come from? Well, starting off with the head, we have Ghostface Killah (sorry - "Ghostface"), and if you don't know who that is then you probably shouldn't be on this blog in the first place - no offence. The second name on this front cover that should stand out to any self-respecting hip-hop nerd is that of Cappadonna - a name sure to strike fear in the heart of anyone buying an album after the year 1997. I mean seriously, what happened to that guy?? The only other name which 2004 buyers might have recognised would be Trife Da God, who had previously shown his face on both Ghost's Bulletproof Wallets and The Pretty Toney Album, and made a pretty good case for himself as Ghost's honourable sidekick if you ask me.

But what about the rest of them? Well, even an enormous nerd like me knows very little about Kryme Life and Du-Lilz, as the two of them make one appearance between them on this whole album (that would be the former on "Right Back"), before apparently both fell off the face of the Earth at approximately the same time shortly after this project's release (well, Kryme Life might have survived slightly longer, since he also appeared on the 2005 collab album from Ghost and Trife, which we'll get to soon). Wigs (or rather Shawn Wigs) is actually a white rapper who was first showcased on this record, but ended up sticking to Ghost's side the longest out of anyone here, which is an accomplishment he can be proud of (also, he rocked on 36 Seasons). And then Solomon Childs is an overly gruff gangster rapper who left the group for some less-than-friendly reasons, despite getting the longest amount of screen-time out of any MC here not called Ghostface or Trife. And as for the other two people on this cover... well, I guess Ghost has left their stage names up to the imagination. That, or he needed two more people to fill up the cover, and the Wu-Tang members still weren't speaking to him after he left them off The Pretty Toney Album.

Of course, it wasn't just the main members that showed up on this record - we also got features from Method Man (hell yeah!), Streetlife and Bone Crusher, all three of whom make up the supporting cast on what is an album otherwise filled with Ghostface rapping alongside what are essentially Wu-Tang d-teamers, and over production that is either left uncredited completely, or is done by people you've never heard of before, and probably wouldn't hear of again (that's of course not counting Anthony Acid or Emile). It's no wonder barely anyone actually bothered to buy this album then - surely it's rubbish! I mean, who wants to listen to Ghostface throwaways that have been peppered with verses from MCs you and all your friends don't give a single shit about?

Well, I do. And did. And that's why today, I'm going to be providing my thoughts on this group album that no-one has ever even heard. But at least I might put someone on?

1. Guerilla Hood (feat. Ghostface) (prod. Cilvaringz)

By the way, all of the tracks are listed as "featuring" the MC that appears on them - I guess "Theodore Unit" is an entity in its own right, then. This makes for the only Ghostface solo cut on the whole album, and therefore most that did pick the record up would probably have their highest expectations saved for it. After a short movie sample that indicates there may be some religious tone to this song and/or album, Ghost debunks the idea that it had anything to do with anything by choosing to deliver a beautifully soulful singing performance over this triumphant beat, and by "beautifully soulful" I of course mean "brutally awful". After this miserable opening which includes a prominent voice crack, Ghost redeems himself by offering two verses that aim to paint himself as a street thug and a man who was in jail after the release of Supreme Clientele, which is just simply not true. Still, Ghost's delivery is as energetic as it gets, and the lyrics on here are oftentimes hilarious, especially when it comes to lines like "fuck up a rapper on the regular" - only Ghost could come up with that. Also, the singing at the start is mercifully never repeated, with Ghost instead delivering a rapped hook for the song which is catchy enough. And if that beat doesn't remind you of the best of The Pretty Toney Album, then I don't know what will. A fantastic song. 

2. Punch In Punch Out (feat. Trife) (producer not credited)

I do find it funny how, aside from Trife, we don't actually hear any of the new members of Theodore until track 5 of the record - still, no-one ever accused any rappers of promoting their artists properly. I mean, seriously, what did you expect? Second out the gate on this album is Ghost's most frequent collaborator at this time Trife Da God, who spits over a fairly droning instrumental that still works fairly well thanks to the interesting sound effects that the producer, who apparently wasn't worth crediting in the booklet, incorporates into this beat. The song is slightly enhanced by Trife's energetic performance - the man doesn't sound like Ghost at all, but I'd be lying if I said I didn't feel he was trying to at times. Not that I blame him - if your mentor was a legend of the game you'd probably try to imitate him a bit too, especially this early in your career. On this song, Trife delivers two verses and a hook that big himself up, and attempt to prove his worth over other rappers and other drug dealers, and it's not a bad performance, even if nothing unique is really discussed. Trife does spend a portion of the second verse justifying the dealing of drugs with the lines "I know that hustling's a strenuous job, but if you see niggas gettin' money, why should you continue to starve?", and I did find that kind of funny in how serious he sounds saying it. This song is pretty good, but if you're looking for uniqueness, you're better off watching a 2020s episode of The Simpsons. 

3. '88 Freestyle (feat. Ghostface & Trife) (producer not credited)

Over the instrumental to Big Daddy Kane's song "Set It Off" (the release date of which gave this song its title), Ghost and Trife freestyle, which would have seemed strange until you realise this is technically an "Official Mixtape", or at least it is according to the strip down the side of the CD packaging. The fact that this takes its instrumental directly from an older song does at least explain why we don't get the producer credit, which is more than can be said for the last song, where the music apparently magicked itself up out of nowhere, so that's something. The lyrics on here pretty much echo the "I'm better than you" sentiment of the previous two songs, but since they're freestyling I'll give it the pass - hell, I'd rather hear that than a song about having sex with someone still in fucking high school (people who haven't heard "Strawberry"... may God continue to bless you). Still, it's kind of difficult to find any replay value here, especially considering the very intro here reminds you that this isn't an original instrumental at all, but I still like it, and the female singing in the bridge worked a hell of a lot better than one might expect. 

4. The Drummer (feat. Ghostface, Method Man, Streetlife & Trife) (prod. Self)

Probably the most popular song on this whole record, and don't believe it's just because of that enticing Method Man feature either. This is quite probably the best song on this album. The instrumental from someone called Self is straight from the gutter, utilising a female vocal sample that keeps it sounding modern, but also with hard-ass drums that act as almost a prelude to what we would hear in the Czarface albums of the 2010s. Meanwhile, the four MCs eschew the usual conventions of what a mainstream rap song is structured like, and instead deliver their bars in a random order with no hook, often ad-libbing during their partner's sections of the song. This whole track is random in nature, but that helps its case, as do the actual performances from the four, as they're bloody great. Starks begins the song by dissing the woman that Method Man bought to the Grammys with him, before then actually praising the man, which was a bit random but oh well. Street and Trife, acting as the underdogs on this one, seize their chance to shine whilst their superiors start singing in unison, and use their next two verses to provide some boastful lyricism that goes down a treat, before Ghost comes back in. Method doesn't actually come in until halfway through the track, and although the odds were stacked against him coming off the critically panned Tical 0: The Prequel, he proves the naysayers wrong by bodying the track, and dissing Shaquille O'Neal just for good measure. The rest of this song follows in the same footsteps, with all four MCs proving their own different worth (Ghost's humour, Meth's swag, Trife and Street's clever boasts) over a timeless beat. If they had thrown this on a Ghost studio album rather than this obscure group effort, then I have no doubt it would be considered a hip-hop classic, but for now it remains an underrated gem that only the real fans can access. Brilliant song. 

5. Gatz (feat. Shawn Wigs, Ghostface & Solomon Childs) (prod. Anthony Acid)

Ghost probably realised that there wasn't any misspelled titles on this album last minute, and in a rush he closed his eyes and put his finger on the sheet of paper with the proposed songs on, and landed on this track. That's surely the only way we can explain why the hell this song is called "Gatz". I mean, what the hell kinda title is that? More importantly, however, this is the first time for us fans hearing Shawn Wigs and Solomon Childs, and Ghost gives them the full showcase on here, reserving himself to only the intro and hook, and letting them handle the verses. Said intro in which Ghost argues with an unknown gentleman about hogging the alcohol is pretty hilarious, but then Ghost orders DJ Kay Slay to drop the beat, which would be fine if it wasn't for the fact that Kay Slay isn't actually anything to do with this song. Huh. Anthony Acid (what a name that is!!) does come through with a brilliantly energetic instrumental though, one full of great percussion and fun, upbeat horns. Shawn Wigs comes across as a little too alike Ghost and Trife for my liking on here, but I still enjoy his verse, even if it isn't The Source Quotable Of the Month-worthy like he claims. Also, I like how he addresses his skin colour too, even if white MCs were fully accepted into the community by '04. Ghost's quick but very repetitive chorus is all kinds of terrible, though, and then we come to Solomon Childs, who appears to rely on his gruff voice and "get 'em" ad-lib to qualify him as a "rapper", as as far as I could tell there was little in the way of actual rhymes or flow during his verse. This song has its bad and good, then, but as a whole it's fairly entertaining, if definitely not something for your "best of Ghostface" playlist. 

6. Who Are We? (feat. Bone Crusher, Ghostface & Trife) (prod. Dirty Dean)

Aside from his name making him sound like he's the local paedo, "Dirty Dean" (man, you can't help but laugh at that name) provides a pretty entertaining instrumental on here, that sounds quite rich and old-school, and compliments Bone Crusher's rough hook vocals to keep an air of menace about the song. Speaking of Bone Crusher, I don't know if he had grit surgically placed in his vocal chords when he was a kid or something, but his voice on this hook is as rough as the mixing on Murs' debut album, and it's as excellent too. After an intro which wasn't really necessary (I would have just let the instrumental run), Trife comes in with a pretty nice and rather aggressive verse, which does include the second use of a homophobic slur on here, so that's not so nice. His lyrical content revolves around how dangerous he is and how other MCs aren't as real, and it's solid, but really I do wish the guy'd come up with some humour now and then. As for Ghost, he begins things with a bit of silly singing (seriously, why does he do that all the time??), but then he redeems himself similarly to how he did on the first track, by offering up a great verse full of those beautifully abstract references that he is so well-known for. This one is pretty great, and if you're looking for something to scare your party guests off, then that Bone Crusher hook is the perfect thing. 

7. Smith Brothers (feat. Ghostface & Trife) (prod. Smith Bros.)

A remake of sorts of the song "Smith Bros." from Raekwon's 2003 album The Lex Diamond Story (which I'll get to eventually, I promise!), in that it uses exactly the same instrumental, which I must say is a pretty good one (it's also provided by a duo that gave both the songs their name). The beat is pretty chilled out, but it still works a treat in my opinion at allowing the MCs to shine. Ghost comes with the first verse, delivering a hilarious performance including great disses such as "you get amped off of Pepsi", and a line that boasts about how Ghost has working elevators in his home, meanwhile you don't, bitch! Trife has a similarly good verse that does admittedly recycle content from the previous few songs, but oh well - remember, this is a mixtape. This song would be great, if it weren't for one facet - the bloody hook. The chorus starts off well enough, with Ghost telling the poor person he's holding a gun to the face of to not get nervous on him, which is pretty funny. Unfortunately, it is utterly ruined by the miserably bad interpolation of Queen's "We Will Rock You" that literally hurts my ears whenever it's on. That one part of the song makes it easily one of the, if not the weakest here. I just can't do it, man. 

8. Mama Can You Hear Me (feat. Solomon Childs) (prod. Nexus)

Based on his performance on "Gatz", I can't imagine listeners were exactly fiending for the three Solomon Childs solo songs that appear on this album, but there we are I suppose. This song goes down pretty well, though, although that's largely thanks to the soulful and quite wondrous beat from Nexus, which helps Solomon to actually find a flow once or twice on the song. The man also does find an alternate perspective to the up-front gangsta attitude displayed on this album so far, instead showing a slightly more personal side by calling out to his mum on this song to save him from the street life that he wishes he could leave behind. I do like that aspect of the song, but it doesn't change the fact that the guy barely bothers to flow or rhyme on this track, which automatically causes it to fail in my book. "You know I don't sound like nobody else" - yes, but in this case that's not really a positive. It's a shame that this song doesn't work - that beat is nice as hell. 

9. Paychecks (feat. Ghostface & Trife) (prod. D Prosper, co-prod. Kdef)

This song was released as a promotional single off of this album I believe, and it's pretty easy to see why, as despite the over-the-top profanity, this is one of the better songs on the whole record. This instrumental sounds more like something Ghost would rhyme over in his Fishscale days, as instead of the dramatic jazz we heard on The Pretty Toney Album, here the music is laid back and quite abstract sounding, and my God is it good. Hearing Ghost on here is definitely a relief after that previous Solomon Childs song, and he re-introduces himself in the best way, with an aggressive and energetic verse that is just want we want from early 2000s Ghost, overly violent imagery and all. The hook is catchy too, and Trife provides a nice performance, before Ghost rounds things out with a short but sweet second verse and a second rendition of the hook as well. Yeah, this isn't mind-blowing, but it really does just scream Ghostface to me, and that's why I love it. 

10. Wicked With Lead (feat. Ghostface & Trife) (prod. Kdef)

Another team-up of this gruesome twosome - it's no wonder they got together for a collab album the very next year. The instrumental on here is very potent, with a great groove to it, and the chorus is hella catchy too, even if it does insinuate, uhh, cannibalism. During his first verse, Ghost attempts to insinuate that he's "lethal" for asking a painting (specifically the Mona Lisa) for sex, which was interesting to hear, before then claiming (falsely) that a Lifetime Achievement Award awaited him. Trife's verse is similarly filled with bullshit, as the man claims the honour of starting the fashion that was wearing a doo rag under a cap. I mean, that's literally just a lie, my man. Still, the pair's abstract musings that contrast with the brutally direct hook come together over this dope beat to make for a very entertaining song. I like it, so sue me. 

11. Daily Routine (feat. Shawn Wigs) (prod. Emile)

Shawn Wigs delivers exactly what the title leads one to assume - a recount of his general daily life over a percussion-heavy and, again, quite groovy instrumental from Emile (yes, that's the Emile who would later go on to work with Kid Cudi. Crazy where life takes you sometimes). The song is delivered in an entirely positive light, as Shawn recounts meetings with various stars of the rap game including Method Man and the group Black Moon, getting pulled over by the police for no reason (this sentiment doesn't really make a whole lot of sense considering Shawn is white, but OK), and even hearing some previously unreleased Ghostface Killah material, which is probably the most exciting prospect here. This track is probably the most creative track on the disc so far, and for that it gets the easy pass - this Shawn Wigs guy is pretty good!

12. Right Back (feat. Trife & Kryme Life) (no producer credited)

Since no producer was credited for this song, I sort of hoped it was going to be spit over the instrumental for the legendary "Right Back At You" song from Mobb Deep's The Infamous album, but sadly, no such luck. This abrasive beat is one of the weakest here, but it's not like it's embarrassing enough to request your name be stripped of relation to it, unnamed producer! Trife begins this one by building up to what one might assume may be the Kryme Life verse, since the dude is yet to show up on here, but then at the end reveals that he was simply hyping up himself, and begins his verse with the rather hilarious but also rather bloody stupid lyric "sort of like a water pipe, I'm ready to blow", and that sets the tone from there for a fairly generic verse. The hook is poor, and Kryme Life sounds like he's consciously trying to do a Ghostface Killah impression on here. Or maybe all the dudes from Ghost's circle just sound a bit like him? Whatever - this really isn't that great. 

13. Pass The Mic (feat. Theodore Unit) (prod. Kdef)

This song is labelled intriguingly as "feat. Theodore Unit", which suggests that the whole entourage listed on the front cover is going to contribute to this one. This isn't strictly the case, though - the song starts with a bit of speaking from someone who might be Du-Lilz, but I really don't know, and it's followed up by performances from Wigs, Ghost, Trife, and Cappadonna, who has been conspicuous by his absence up to now, thank God. However, Solomon Childs merely speaks about twice on here in the interludes, and Kryme Life doesn't bother to show up at all. The labelling on here is a bit misleading then, but thankfully the song itself does work very well. The instrumental from K-Def is old-school as hell, incorporating some dope horns, and an incredible bassline that helps keep the track intense and moving forward with an urgency. Shawn and Trife both deliver some competent verses, with the latter seeming to diss rappers who walked around with their shirt off in videos - a 50 Cent diss? Probably. Ghost comes through with his last verse on the record, and utilises an even more raspy delivery than usual to compliment that grimy beat. And, in the biggest surprise of this whole project, Cappadonna actually performs well - sure, the first two bars are miserably accurate and also don't rhyme, but after that he's got a dope flow and some fun lyrics too, and he ends the verse in a good way as well. This song is an excellent posse cut - there should have been more like this on here. 

14. Work (feat. Solomon Childs) (prod. Skillspinc)

Another Solomon Childs solo song, only unlike the last one he did it's spit over a cheap (but admittedly quite haunting) beat, and hasn't got the unique sentiment of his previous solo effort on here. Maybe if the guy could flow and rhyme I would give him a chance, but I just can't be doing with a chap who sounds like he put all the effort into his vocal delivery and absolutely nothing else. Props for giving himself an alibi 20 years in advance for some of the recent debacles in the music industry, though: "P. Diddy and R. Kelly, I don't know those motherfuckers" - I mean, that really did age well. 

15. It's the Unit (feat. Shawn, Cappadonna, Kline & Ghostface) (prod. Emile)

You know what's annoying? On every song so far, Shawn Wigs has been credited by his full name, but on here it's just "Shawn". Why is it that rap CDs always have at least one goddamn mistake?! Anyway, on with it. I said on track 13 that that was Ghost's final verse on here, and I was telling the truth, believe me - on this fairly triumphant cut he only delivers the lethargic chorus, that aims to paint "Theodore" as some kind of superhero organisation, but ends up actually sounding like it's trying to promote a cleaning product on television. And sadly, this stupid chorus kind of sets the tone for the song from here on out. Cappadonna begins his verse by sounding like he's about to start dissing 50 Cent, but just as that's about to get going he ends up getting completely sidetracked, and never brings it up again. Shawn Wigs fairs slightly better, but I really couldn't tell you a single point of worth he made during that verse. I presume Kline was the guy shouting behind Ghost in the chorus, not that I or anyone else knows who the hell that actually is. Oh, and Emile's beat was solid, but honestly nothing to rave about, and doesn't really touch his work on "Daily Routine". Oh well. 

16. Be My Girl (feat. Solomon Childs) (prod. Milestone)

I'm sure most listeners ejected the CD at this point, given the only song left is yet another Solomon Childs solo song, and if the title was anything to go by it would be a love song - I mean, who the hell would want to hear that?? Well, me, that's who. Yeah, this song is actually really, really good. Solomon sounds a hell of a lot more passionate on this than any of his previous attempts at writing a "verse" on this album, and the production compliments him surprisingly well, resulting in an incredibly heartfelt track that is probably one of the best on the whole album. Yes, this might not have worked on any other album, but given the brutishness displayed so far on this record (from both him and his co-workers), this song felt like a much-needed breath of fresh air. A really stellar way to close the record out.

718 isn't exactly the most riveting album you're going to hear, and it certainly could have toned down on the violent and aggressive thug lyrics, but still, the project is pretty good for an album full of rappers nobody's ever heard of. The production on this album is very consistent, with most of these beats sounding rich and well put together, and nearly all of the drums on here get the head nodding with ease. Honestly, the only beats here that underwhelmed were those on tracks 14 and 15, and even those weren't bad - they just weren't that good either. Otherwise, you have great beats throughout, whether it be the rugged "The Drummer", the bangin' "Pass the Mic", the triumphant "Guerilla Hood" or the incredibly relaxing "Paychecks". Honestly, for an album with such a little-known bunch of producers, this thing is really well-produced. Now, the consistency when it comes to the MCs on here is admittedly not as potent, but that's not to say these rappers are bad - they just aren't always that great to me. First of all, Trife Da God tries way too hard to portray himself as this ruthless thug from the streets on here, which kind of causes him to forget that he's supposed to be a rapper - this led to each of his performances becoming less entertaining as we went through the album. And despite the positive things I had to say about his final song here, Solomon Childs really isn't a very good MC. His gruff voice is pretty entertaining, but the man's incredibly lacklustre rhyme schemes and complete absence of flow make for two of the least enjoyable songs on the record - "Work" is probably the worst here thanks to it having one of the weaker beats too. Out of the three main MCs to be showcased here (besides Ghostface, that is), I'd say that Shawn Wigs probably does the best - he comes with arguably the best verse on the whole album with his performance on "Daily Routine", and he isn't used anywhere near as much as Trife, which means his lyrics don't get old fast, and remain good on all his performances. Cappadonna also surprised me on "Pass the Mic", which was good. And now, let's talk about the host of the project, mr. Tony Starks, who really does shine on here. It's sometimes difficult to believe that a lot of these songs were The Pretty Toney Album leftovers, as Ghost's lyrics are nowhere near as thematic as they were on that project, and instead adopt a Supreme Clientele type of abstract-ness. And of course the man's energy is as exciting as ever - but what else did you expect on that front? Yeah, Ghost really does a great job here, and his solo song is one of the best on the album too. And how could I finish without once again mentioning the brilliant anthem that is "The Drummer" - when it comes to 2000s Wu, that's got to be one of the best songs out there. So, while 718 is quite problematic, I'd still recommend this to fans of that 2000s-era Ghost. The rapping is pretty great, and the production on this album is super dope too. The fact that this was his worst project up until 2009 is just testament to how damn consistent Ghostface Killah really is. 

I know this album isn't really a "record label compilation" as such, but I'm still going to grade it as such. Remember the QB Finest review? No? Fuck it. 

The Good: Guerilla Hood, Punch In Punch Out, '88 Freestyle, The Drummer, Who Are We?, Paychecks, Wicked With Lead, Daily Routine, Pass the Mic, Be My Girl

The Mediocre: Gatz, Mama Can You Hear Me, Right Back, It's the Unit

The Bad: Smith Brothers (any song with that hook has to go here, I'm sorry), Work

Catch up on my other Ghostface Killah related write-ups here!!

Ghostface - The Pretty Toney Album

After the complete and utter botching of Ghostface Killah's third studio album Bulletproof Wallets, Epic Records (or rather their parent label Sony) were forced to depart with their former business partner, and release a greatest hits record entitled Shaolin's Finest to commemorate the occasion. While Epic managed to continue record label-ing, Ghostface's decision to depart from the safe and comforting home of a major label was a risky one, as it wasn't like he was an enormous seller or anything, especially after the complete lack of proper promotion Bulletproof Wallets received. Thankfully, Ghost's close friend Clifford Smith, who he refers to affectionately as "Method Man", was currently in a firm and friendly deal with hip-hop giant Def Jam, and, in exchange for a substantial bag of marijuana, Cliff agreed to put in a word for Ghost to the big shot at Def Jam, Kevin Liles, and thankfully he allowed Ghost into his humble abode, but on the one condition. In order to help sell more records and appeal to a wider fanbase, the "Killah" must be removed from his stage name. That is why, on Ghost's fourth solo record, and first for Def Jam, The Pretty Toney Album, we see no mention of a "Ghostface Killah" - only a "Ghostface" (well, except for when it comes to the Executive Producer credit). Thankfully, when Jay-Z took over in late 2004, he appeared to recognise what a silly decision this was, and decided to lift the restriction, making The Pretty Toney Album the only record in Ghost's catalogue to omit the "Killah". Interesting stuff.

The Pretty Toney Album, ghastly title and all, was released to the hip-hop masses in early 2004 to quite an excited audience. It had been three years since we had gotten a full length from Dennis Coles, and given that his previous output had been nothing short of extraordinary (yes, even Bulletproof Wallets was a great record. Fight me.), everyone was itching to see what Ghost's next musical step would be. It probably wasn't anticipated, however, that he would ban all fellow Wu members from the recording studio, making this the first (and not last either) record in the man's discography to not include a single verse from another member of the Clan that bought him to prominence - not even label mate Method Man showed up. He did allow RZA and True Master to make a couple beats for him, but he left most of this album sparse of guests, with only Missy Elliott (on the lead single), his sidekick Trife da God, Jackie-O (huh?) and all three members of The LOX showing up for verses, which I'm sure the Clan were totally pleased about. As for beats, Ghost showed love to a couple of well known producers including Nottz and No I.D., and the aforementioned RZA and True Master, but also a load of dudes who I, and I'm sure a lot of you, had never heard of in my life. One thing that did look promising about the credits was the abundance of samples on here, which signified a possible return to the Wu sound of old, before RZA's "digital orchestra" phase kicked in.

Well, if that's what you were hoping for, then be prepared to be sorely disappointed.

1. Intro (prod. Emile)

Yes, the music is nice, but having an album intro that paints the host as an impatient prick probably wasn't the best idea for your label debut, was it Ghost?

2. Biscuits (feat. Trife) (prod. True Master)

Thankfully, this song contrasts the intro by being absolutely brilliant in every way possible. Firstly, the production on here from True Master is truly heavenly, with triumphant horns and a grimy mix that makes this song feel more 36 Chambers-esque than anything we saw on Bulletproof Wallets. Then, we have Ghost's first verse, which is excellent with the wordplay and flow, having some great memorable lines throughout. The hook is surprisingly well sung, and then Trife Da God comes in with an excellent second verse to rival Ghost's work on here. This was a fantastic way to open up the album, and one of the best songs in Ghost's catalogue.

3. Kunta Fly Shit (prod. RZA)

Ghost takes a minute to rip up a RZA beat that starts off reminding me of Pharoahe Monch's "Simon Says", and then transitions into a fairly simple but menacing instrumental for Ghost to do his thing over. For an album with such a cutesy title, this thing is sure off to a dirty start, and it's all the better for it. "Flame boy to his brains, hangin' out his onion! (Onion! Onion!!)"

4. Beat the Clock (prod. Minnesota)

Minnesota brings easily one of the best beats on this LP to the table, and Ghost wastes no time in getting to the rhymes, as his "brain" commands at the beginning. The pulsating instrumental on here is truly excellent, and Ghost's verses here are something wonderful, showing off his undeniable charisma and lyrical prowess that made him one of the best in the game back in the mid 2000s (a position he held for the best part of 25 years, on and off). The concept of this song is also pretty damn funny, something that most rappers fail to pull off on such endeavours. This is a great cut.

5. Metal Lungies (feat. Sheek Louch & Styles P.) (prod. No ID)

The first of two songs to feature heavy involvement from members of The LOX, and it's another excellent song. The instrumental (that uses the same sample as 50 Cent's later track "I Don't Need 'Em") is pretty bloody excellent, and keeps the track both intense and soulful, like "Biscuits" but not quite as heavenly. Ghost has the best verse on here in my opinion, but Sheek and Styles don't disappoint either, coming with excellent verses definitely worth sticking around for. The hook is short and sweet as well. Great stuff right here.

6. Bathtub (Skit) (no producer credited)

Literally nothing about this skit was necessary or enjoyable. Like, at least try to be funny, rather than record a two minute inaudible conversation between two people in the bloody bath. I could not stand this bullshit.

7. Save Me Dear (prod. Ghostface)

Famous for taking a sample, and rather than chopping it up and sticking it on some hip-hop drums, simply leaving it to be rapped over by Ghost, who actually produced this one himself. It's not quite that simple, but the sample on here reaches Common's "Testify" levels of intrusiveness. Ghost's lyrics get a lot more lovey-dovey on here, and beware fans of '90s Wu, as the lyrics continue on this trajectory for the majority of the rest of this LP. Thankfully, Ghost does a good job at coming across as a caring partner on here, and the "Bring Da Ruckus" sample chucked randomly in there worked a lot better than it should have, as did the breakbeat section. Very good cut.

8. It's Over (prod. K Def)

K Def (no, me neither) seems to entirely remake the instrumental to The Notorious B.I.G.'s "Who Shot Ya?" for this cautionary cut that warns listeners to never relax too much, even if it seems that all is well. In the first verse, Ghost tells of when he was riding the high of his appearances on Raekwon's Only Built 4 Cuban Linx... and making bags off of his cocaine, but then one of his crewmembers was sadly killed (not that Ghost's feelings for the man seem to be expressed here) while he was dealing his drugs, and a load of his stash was taken too. Then, he seemed to be getting things back under control, only for the police to raid the spot and for him to get arrested. The second verse tells a fictional story of when one of his girls found out she was cheating on him with his "main bat", and so she went to their hotel, shot it up, and then managed to screw him out of most of his possessions. Good times. This song is pretty engaging, with Ghost's storytelling being difficult to work out at first, but transitioning to the listener over a couple of plays. The instrumental and sample work on here is also excellently done. I really like this one.

9. Keisha's House (Skit) (no producer listed)

Thank God, this is actually just one verse over a pretty nice instrumental - I don't think I could handle another skit like the last one. Ghost's storytelling here is pretty bloody funny (especially the detailed description of his taking a shit), and the instrumental here is really nice. Great track.

10. Tush (feat. Missy Elliott) (prod. D. Trotman & Dub Dot Z)

The strangely explicitly titled lead single - apparently Def Jam were okay with that, but not with "Killah"? Oh no, wait - the single version is titled "Push". Still, this song is incredibly sexually explicit, especially the hook, which is downright uncomfortable to listen to. The lyrical content on this one (including Missy Elliott's verse, which is pretty terrible) is not something for Ghost to be proud of, but I will give fair dues to the producers, who made a pretty good club instrumental, allowing for me to still be able to enjoy this one.

11. Last Night (Skit) (no producer credited)

Kind of reminds me of "The Grain", only the lyrical content once again mainly focuses on the female species of this world, something every song since the "Bathtub" skit has done to an extent (besides the first verse of "It's Over"). This is yet another one verse wonder labelled as a "skit", which I definitely applaud, even if the random voice message excerpts get a bit annoying.

12. Holla (prod. Ghostface)

One of the more well-known tracks on this album, and it is certainly one of the most cinematic, with Allah Real's uncredited hook being incredibly catchy, and the self-produced instrumental being once again incredibly soulful. Ghost's lyrics aren't exactly riveting, but there's definitely something to be said for the man's passionate delivery, a trait you'll really notice throughout the listening of this album - an activity you'll want to partake in- shit, gave away the ending!

13. Ghostface (prod. Digga)

Incredibly cheap and tacky compared to the rest of this thing. Sure, Ghost's boasts-n-bullshit aren't to be sniffed at, and are made extra potent by their uniqueness amongst the rest of this album, but the hook isn't great, and the production is incredibly dated, sounding like a cheap Swizz Beatz rip off made exclusively for a 2008 club setting. You could say that it's ahead of its time, but then you could also say that music moved backwards in quality between '04 and '08, so there. Anyway, I digress...

14. Be This Way (prod. Nottz)

The intense Nottz beat would lead you to believe this song was more profound than it actually was, as would the hook, that insinuates things are going to "always be this way". Ghost apparently forgot to listen to his backing before writing his verses, as he spits more boasts-n-bullshit that don't appear to relate to the music at all. Sure, there are some memorable lines here, but I think it's important we acknowledge how important it is that the music and lyrics match - can you imagine "Shook Ones Pt. II" spit over the beat to "Be (Intro)"? That's two incredible tracks, but together they would be far less impactful. Just thought I'd bring that up - anyway, this is OK, but that standout issue takes away from it.

15. The Letter (Skit) (no producer credited)

Sadly not another verse moonlighting as a skit, instead this is an actual skit (insert sad face). Still, the beautiful acoustic part in the middle helps it go down easier.

16. Tooken Back (feat. Jackie-O) (prod. Nottz)

The previous skit leads directly into this track, which is an unapologetic love rap where the pair fall in and out of love at a rate to rival Lil Wayne and Juvenile (in the early 2000s, that is). This song is fairly well produced, and the rapping is pretty good, but I'd be lying if I said this was as entertaining as most of the other songs here. Maybe it's just too damned long, I don't know.

17. Run (feat. Jadakiss) (prod. RZA)

Easily the most popular song here, and for good reason, as this shit is absolutely phenomenal. RZA produces easily one of his best post-2000 beats, and the energy present on this song is absolutely unmatched. Ghost starts with an incredibly powerful verse that instinctively makes you want to start jumping around with glee (or was that just me?), and the hook keeps that energy, being one of the best I have ever heard on a rap song. You'd think that Jadakiss wouldn't fit this hype vibe, but he slots in perfectly with a fantastic verse to contrast Ghost's manic delivery. The short, calm breaks between verses are perfectly placed too. This is one of my favourite Ghost cuts ever.

18. Love (feat. Musiq & K. Fox) (prod. No ID)

The final song of the night, and it's such a snoozefest that you'll have to make sure to immediately delete it from your running playlist, as it might just cause you to fall on the floor and start snoring away on the path. Yes, the sentiment is nice, and I appreciate the love for Bulletproof Wallets thrown in there, but this song really does feel a bit phoned in. No I.D.'s beat is terribly underwhelming too. A shame.

Surprisingly, The Pretty Toney Album lands as one of the best albums in Ghostface Killah's stacked catalogue, despite the small inconsistencies that are presented during the second half. This album is just so passionate, with Ghost's delivery and lyrics on these tracks being astonishingly personal, creative and exuding pure joy. Ghost clearly loves this music shit, and, with the exception of the final track, every verse he drops here is pure gold, with some (like those on "Run", "Keisha's House" and "Beat the Clock") standing with the best he ever spit. Production wise, this thing was almost a masterpiece too. The beats are incredibly varied, ranging from hardcore to soulful to jazzy to funky, and even weird, beepy club banger with "Ghostface". Yes, a couple of the beats here aren't entirely engaging (see "Tooken Back" and "Love"), and one is downright horrible (that would be "Ghostface"), but for the most part they are excellent, and allow this project to be one of the most diverse and yet consistent projects of the 2000s. The beats that are excellent, such as "Biscuits", "Run" and "Beat the Clock", are some of the best I've heard from this era. Even the hooks on this album are good - most are sampled, but the attempts at original singing here are a lot better than what Ghost attempted on Supreme Clientele and Bulletproof Wallets. And while the intro and "Bathtub" skits are insufferable, there aren't any others that grate on the nerves, so that's a positive, and two have actual verses!! Overall, this is probably the best album that Ghostface could have made as his Def Jam debut - a project that simultaneously reinvents his style, yet stays true to the elements that made him great as a rapper in the first place. Yes, there are a couple of weaker moments in the second half, but I would still argue that this might be a top 3 Ghost effort, and is easily worth your time. Don't be fooled by the goofy title - this is a Wu-Tang classic.

Best Tracks: Biscuits, Beat the Clock, Metal Lungies, Save Me Dear, It's Over, Keisha's House (Skit), Holla, Run

Worst Tracks: Ghostface, Love

Want to read some more about Ghostface Killah, when he actually went by that full title? Well, take a look here.