Raekwon - Immobilarity

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)

At this point in the album, the tracks start to carry a similar sound to the first three cuts again, before things got melancholy and/or terrible, and this, the lead single, is a prime example of why that cold, icy sound worked. This beat, while not a gem of the '90s or anything, is really good, with these hollow piano keys that sound straight out of a horror movie accentuated by the typically hard drums, coming together to provide the perfect backdrop for Raekwon to rip things apart - hell, even the hook on here works, the first time on the album one provided by our host sounds like it was written to actually be the part that people remember the most. As a lead single, you could do a lot worse, and "Live From New York" still stands as one of the best post-Only Built 4 Cuban Linx... Raekwon tracks - although when stacked against a "Mighty Healthy", it does seems rather tame.

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!

Image for cover: https://www.normanrecords.com/records/205929-raekwon-immobilarity-25th-anniversary-edition
Image for single: https://www.amazon.co.uk/Live-New-York-12-VINYL/dp/B000031KFZ

Raekwon - Only Built 4 Cuban Linx...

Following some very stellar appearances on the classic Wu-Tang release Enter the Wu-Tang (36 Chambers), Corey Woods, better known as Chef Raekwon, begun work on a solo LP, one that was to be the third solo Wu-Tang release, after 1994's Tical by Method Man, and early 1995's Return To the 36 Chambers: The Dirty Version by Ol' Dirty Bastard. Now, these two albums had been pretty well received, but at the same time had both sounded very dusty and grimy, and not too ambitious in terms of production - the rappers were left to make something unique out of the often bassy and percussion heavy instrumentals that never really stood out too much. For the Raekwon album, however, The RZA, the man behind all of the early Wu LPs, intended to switch things up a bit, and make a cinematic style of album that was to sound completely different to anything that had come out of the Wu camp before. Raekwon himself was a very different MC to Meth and ODB, and so the cinematic and grand instrumentals would fit his delivery and drug dealing/mafioso rhymes a lot better than the dark stuff RZA had previously been doing. The album was originally intended to be only about 14 tracks, but as Rae was right in his bag at the time, he ended up doing 18, and so the project became the longest out of all of the first round of Wu solo albums (before Wu-Tang Forever).

The album was released through Loud Records, who also had the Wu-Tang Clan as a group signed anyway, and make no mistake, this was a Wu album at heart. Every single song is done by The RZA, and Rae's close buddy Ghostface Killah is seen not only on the album cover, but also on 14 out of 18 tracks - he even had one song all to himself! Ghost would return the favour by letting Rae give a similarly large amount of contributions to his debut Ironman, an album I have already covered on here (it'll be linked at the end). Most of the other Wu-Tang members showed up too, but one thing this project is notorious for is being the first from the Wu camp to include someone who wasn't in or closely affiliated with the Clan - yes, Nasir Jones pops up on here for a classic verse too. Loud Records also decided that the best way to draw attention to the album was to make the cassette tape a slightly different colour to usual - instead of clear or matte black, it was to be purple. Yes, it sounds like a stupid idea, especially as the cover art isn't purple anyway, but it worked, and the album sold a lot of copies, and charted high. Not only this, but the tape was so successful that the album is now commonly referred to as simply "The Purple Tape", and original copies of said purple tape go for a bloody fortune on the internet. And, no, I don't have one (got the CD though, of course), although it is high on my wantlist, that's for sure.

The album is generally regarded to be the pinnacle of mafioso rap, and one of the greatest hip-hop albums full stop, let alone albums to come from the Wu-Tang Clan. RZA's new direction payed off enormously, with every beat being grand and excellent, and Raekwon and Ghostface spitting more classic verses on this album than Future has in his entire bloody career. This album is regarded as a classic '90s piece, and as such, I should probably get down to reviewing the thing, shouldn't I?

So, is Raekwon's debut the classic that it is constantly praised to be, or has it aged like a cup of milk left in the sun? Let's have a look.

Every song is produced by The RZA. That's right, every single one!

1. Striving For Perfection

If one was to "strive for perfection", wouldn't it be a good idea to leave out the bloody overlong pretentious spoken intro? Just a thought.

2. Knuckleheadz (feat. Ghost Face Killer A/K/A Tony Starks & Golden Arms A/K/A Lucky Hands)

For those wondering, "Golden Arms" is actually U-God, who did have that stage name when this album came out, albeit apparently it wasn't his main one at the time, as it's nowhere to be seen on the back cover here. It's funny that, while U-God is a solid stage name, they instead advertised bloody "Lucky Hands" and "Golden Arms", as if the guy was some kind of miniature lucky charm for a card player. Anyway, this song is an all-caps CLASSIC, and one of the more underrated tracks on the whole LP. The instrumental gives off a similar vibe to the songs "Shame On a Nigga" and "Clan In Da Front" off of Enter the Wu-Tang (36 Chambers), which is a good thing, and the three MCs all deliver some of their most impressive verses ever. Rae opens things up with some brilliant bars such as "save the fully inflatable, rap relatable, drug relatable, niggas here to play with you", Ghost exudes aggression ("Who's the knucklehead, wantin' respect??") and U-God delivers easily one of the best verses I've ever heard from him. This is incredible, guys - a must-hear.

3. Knowledge God

As Ghostface famously later stated on "Iron Maiden", the violins on the beat here do indeed sound ILL. They only really pop up on the chorus, and intro and outro, though, and during the verses we have a more simplistic beat, that still sounds great mind you. While "Knowledge God" may sound like an arrogant title for the song, it actually simply refers to a kilogram of cocaine - Kilo-Gram = KG = Knowledge God. No, I don't know what the two things have in relation either, but then there's a lot of things Rae says that's difficult to understand. The storytelling itself on here isn't super unique or anything, but Rae's rhyme schemes certainly are, and that teamed with the catchy hook and great beat make this one well worth your time.

4. Criminology (feat. Ghost Face Killer A/K/A Tony Starks)

The lead single, or second single if you count "Heaven & Hell", but that was originally for a soundtrack anyway, so it doesn't really count. This one is most famous for Ghostface's phenomenal performance, containing classic lines like "then I react like a convict, and start killing shit!" and "throwing niggas off airplanes, 'cause cash rules". I mean, Rae kills it too, but DAMN Ghost proves himself on here. I'm surprised they released this as a single, as it's one of the least radio-friendly tracks here, but I'm glad they did, as this song can be remembered even more now - phenomenal stuff.

5. Incarcerated Scarfaces

Somehow, the album just keeps getting better, as Rae takes this fairly simplistic yet unimaginably energetic drum beat from The RZA, and not only does he kill it with aggression and precision, but then he proceeds to throw it right up into the sun for it to burn into ashes. This is arguably the best Rae song ever - it is arguably the best song released throughout the year of 1995 as a whole. The hook is also brilliantly catchy, and the amount of classic lines is just unbelievable - "all I need is my house, my Gat, my Ac, bank account fat, it's going down like that"; "black stallions wilding on Shaolin"; "me and the RZA connect, blow a fuse, you lose"; "I move rhymes like retail, make sure shit sell - from where we at to my man's cell". Those are just some of my favourite lines. This song is incredible.

6. Rainy Dayz (feat. Ghost Face Killer A/K/A Tony Starks & Blue Raspberry)

So, remember how I said that the last song was "arguably the best Rae song ever". Well, if it's not that, then it's probably this. RZA makes possibly the most cinematic beat he ever did for this one, with pulsating drums and tragic violin loops making up for one of my favourite instrumentals of all time. Blue Raspberry (who contributed to a couple of songs on Method Man's Tical if you remember) brings her all here, with some absolutely beautiful singing that is creepy and heartbreaking at the same time. Ghost and Rae both kill this beat with their tales of hard times - I personally prefer Ghost's verse, as I just think he fits the beat better, but at the same time, Rae makes good use of the instrumental too. This is literally the fifth classic song in a row. This album is truly astonishing.

7. Guillotine [Swordz] (feat. Ghost Face Killer A/K/A Tony Starks, Inspektah Deck A/K/A Rollie Fingers & Genius)

One of two all-out posse cuts on the album, this one being rapped over the same music that introduced Method Man's "Tical" song, the intro track off the album of the same name. These guys all predictably destroy this instrumental, an instrumental that stands as easily one of my favourites on the album. Inspectah Deck gets things off to the perfect start with his classic bars "poisonous paragraphs smash your phonograph in half, it be the Inspectah Deck on the warpath", and from then on we just get a lyrical onslaught, with GZA finishing things up with a very creative verse. One of the best Wu posse tracks out there.

8. Can It Be All So Simple [Remix] (feat. Ghost Face Killer A/K/A Tony Starks)

A remix to my least favourite song on Enter the Wu-Tang (36 Chambers), and it's a little bit better than the original, even if there's not much in it. This beat is a little bit more menacing than the one on that one, and the lyrics are also slightly more interesting - the overlong intro skit had set the tone of this one: Ghost was shot by a man they saw dealing around their ends, and decided to confront. This may be a true story, I'm not sure. Anyway, this is good, but it being a remix it probably shouldn't have made it to the album.

9. Shark Niggas [Biters]

Spoken word interlude from both Ghost and Rae. Normally, this is the type of stuff to make my blood boil, but I suppose the sentiment here is simply truthful, rather than preachy or arrogant, so that's good. This track also disses The Notorious B.I.G., which was pretty intriguing stuff, and there's a whole other story to that. So, yes, this is a good interlude, and it deserves to be here. That's pretty high going for a skit.

10. Ice Water (feat. Ghost Face Killer A/K/A Tony Starks & Cappachino)

It's a good thing Cappadonna changed his name from "Cappachino" after the release of this album, as that would have made for some funny coffee breaks in the Wu offices. "Hey, Cappachino!" "Coming right up" "No, I mean Cappachino (pointing to Cappadonna)" etc. Don't know why I bought that thought up, but I did, so it is what it is. Anyway, this song is solid, and as the first appearance of Cappa on wax it carries historical significance, but at the same time, the beat with the effectively moaning sound effect is grating to me. Not bad, but the lyrics deserved much better backing.

11. Glaciers Of Ice (feat. Ghost Face Killer A/K/A Tony Starks & Master Killa A/K/A Noodles; Vocals: Blue Raspberry & 62nd Assassin of Sunz Of Man)

Yes, that is how the credits are laid out on the back cover. Aside from the title pointing out the bloody obvious (as opposed to glaciers of what? Wood? Orange peel?), this track is excellent in a hypnotic way. The instrumental sounds like nothing else you or I have ever heard, and the rapping on here is simply incredible - "Proceed with caution as you enter the symphony, degrees of punishment increase intensely" are some of the best lines to open a verse on the whole album. Masta Killa may not be the most exciting MC, but he sure knows how to drop some memorable lines. The singing from Blue Raspberry and then 60 Second Assassin (notice how the person who did the credits misinterpreted the name when they were told it?) on the end is also a thing of beauty. Jeez, I'm running out of ways to praise this album.

12. Verbal Intercourse (feat. Ghost Face Killer A/K/A Tony Starks & Nas A/K/A Nas Escobar)

A rather disturbing song in which Rae, Ghost and Nas exchange sexually explicit compliments towards each other. Bet you didn't see THAT coming.

Nah, I'm just kidding, but that song title certainly puts some odd ideas into the mental, doesn't it? 

This one is most famous for the truly brilliant poetry of Nasir Jones, as he spits one of his best verses ever over this decidedly softer type of instrumental, that's still bloody excellent, mind you. While I do indeed think that Nas bodies this one, I personally would give it to Ghostface Killah, who's on his verse for an admittedly long time, but it's worth it, as his rapping here is truly mind-blowing. Anyone who says they don't feel this one is just lying to you - it's phenomenal.

13. Wisdom Body (feat. Ghost Face Killer A/K/A Tony Starks)

The aforementioned solo Ghostface Killah song, where he compliments a women he has just met with surprising sincerity from the man who would later start a song with the line "yo bitch, I fucked your friend! Yeah, you stank ho!", on "Wildflower" (his aggression on that song was justified, mind you, although I'm sure those that blindly hate on rap music would turn their ugly noses up in disgust anyway). While not being as memorable as most of this LP, Ghost rhymes well on this one, and the beat is quite exciting. Great track.

14. Spot Rusherz

Having listened to Ghost spit a short verse in the previous track, Rae decided he didn't want to be left out on the fun, and contributes something similar here. Rae, being competitive, decides to be less unique than Ghost in favour of spitting another street tale to appeal to the hip-hop heads, and while this is good, I wouldn't recommend it over most of the rest of the album, and the skit at the beginning is overlong. Still a nice song, though.

15. Ice Cream (feat. Ghost Face Killer A/K/A Tony Starks, Method Man A/K/A Johnny Blaze & Cappachino)

Easily the most popular song on the album, and also one of the most obvious examples of a beat that compliments the subject matter as well as tractor diesel compliments a glass of white wine. Perhaps this song was made on April Fool's, and the rappers decided to prank RZA by rhyming about breasts over one of his darkest and most powerful instrumentals, but that's only a theory. This is still a classic, though - Ghost and Rae deliver their flirtatious bars with the necessary swagger, and Method Man's hook is phenomenally catchy, too - that line "watch these rap niggas get all up in your guts" is infinitely memorable, and the screams in the background add to the disturbing atmosphere of the song. Sure, Cappa slightly downgrades the song with one of the stupidest pick-up lines I've ever heard ("I love you like I love my dick size", although I'm sure you knew that that was the one I was referring to), but we can forgive that. This is one of the best tracks on the album - what a banger.

16. Wu-Gambinos (feat. Ghost Face Killer A/K/A Tony Starks, Method Man A/K/A Johnny Blaze, The RZA A/K/A Bobby Steels & Master Killa A/K/A Noodles)

The second and final posse cut ("Ice Cream" doesn't count - Meth only did the hook, and there has to be more than four different rappers spitting verses to fit the criteria for a posse cut in my book), and I could argue that this is even better than the previous one, "Guillotine [Swordz]". Production on this track is intense and exciting, and every rapper makes themselves stand out on here. Method Man always delivers on features, but for RZA to drop one of the best verses of his career here was a nice surprise, and the other three MCs compliment the instrumental excellently with boasts-n-bullshit bars. What a bloody track.

17. Heaven & Hell (feat. Ghost Face Killer A/K/A Tony Starks)

Technically, this was the lead single to the album, but it was initially released to be on the "Fresh" soundtrack (along with GZA's "I Gotcha Back"), so it doesn't really count. Anyway, this track consists of one long back-and-forth verse between Rae and Ghost, which Raekwon apparently wrote all by himself, before some uncredited singing from Blue Raspberry along with the inevitable plethora of shout-outs closes out the track. This shit is beautiful, carrying a significantly slower tone to the rest of the album that helps with the calming down at the end of the LP. "What do you believe in, heaven or hell? You don't believe in heaven 'cause we're livin' in hell!". Classic.

Buyers of the vinyl and purple tape will finish their listening experience with "Heaven & Hell", but on the CD, we are gifted with a bonus track. How kind...

18. North Star [Jewels]

I'm surprised Rae missed the opportunity to spell it as "jewelz". Sloppy behaviour. Anyway, this track contains the first appearance of bloody Popa Wu on wax, and while I don't mind his appearance on here, I still think that the shit he spouted on Wu albums needed to be cut the fuck out. Rest In Peace to the man, but still, I'm never a fan of religion being preached through spoken word on albums. I'm just not interested. Anyway, Rae spits a nice-ass story on here, and the production is truly powerful - ODB singing in the background was a nice touch as well. Good stuff, although weirdly tragic sounding for a bonus cut.

While Only Built 4 Cuban Linx... is not as concise as Liquid Swords or as musically diverse as Ironman, it still stands as easily one of the best releases of the 1990s, and one of quite a few undisputed classic albums put out by the Wu camp throughout the decade. This album is unbelievably good - it just feels like I'm listening to a compilation of the greatest Wu-Tang tracks, and Raekwon just happens to appear on most of them. I don't think the album is perfect - firstly, it's a bit long, and seems more bloated than the other Wu-Tang solo debuts, and also, the intro skit was unnecessary, and "Can It Be All So Simple [Remix]" should not have made the cut - it should have been a B-Side to something at most. Other than that, though, there's little else for me to make critical points about. This album is consistently wonderful - the beats are always loud, cinematic and creative, and yet still remain hip-hop influenced through and through, and the rapping is just off the scale good on here. This is an album simply full of some of the best lyricists ever spitting their darts at their absolute primes. Ghostface Killah is quite possibly MVP of this album, as I think he spits classic verses every time on this thing, but Raekwon truly makes this album too with his unmistakable NY swagger and excellent mafioso bars. This album is an instant classic, and easily worth a listen - hell, I would consider buying the bloody purple tape version for £200+, it's that bloody good. Buy this album, stick it in the player, and just take it in - it's one hell of an experience. This is an absolutely incredible album, and deserves all the praise that it gets. 

Best Tracks: Knuckleheadz, Criminology, Incarcerated Scarfaces, Rainy Dayz, Guillotine [Swordz], Glaciers Of Ice, Verbal Intercourse, Ice Cream, Wu-Gambinos, Heaven & Hell

Worst Tracks: Ice Water

Read up on more Wu-Tang related stuff here, and my review for the similar album Ironman can be found here.