I downloaded this soul single because I really liked what I heard of it from the sample Wu-Tang used on “Tearz.” The RZA loves to mine the 60’s for soul and R&B tracks, and he found a gem here. The organ intro is forever memorable, and Wendy’s yearning voice is phenomenal. After reading the little bit of information I found regarding Rene (real name Mary Frierson), it turned out she married as a teenager. The marriage wouldn’t last, and the couple went their separate ways. It must have been very difficult for such a young girl to go through a separation, and I have no doubts it’s the subject to this very track.
Wendy would remarry soon afterwards, and most likely enjoyed the leisurely pace of domestic life, as she never recorded a song after 1965. She would never ascend to stardom, but might have been on her way when she was invited to join Otis Redding, the man responsible for her stage name, for a show in Cleveland. The show was slated for December of 1967, at a time when she had just given birth to her first child with her new husband. She decided to back out at the last minute, wanting to stay home with her family. Otis went on to play the show, and on the way back, somewhere over Madison, Wisconsin, the plane carrying Otis and his backing band crashed in to a lake, killing all but one of them. A tragic story indeed, leaving Wendy to grieve all over again. But I'm sure as time passed she would feel fortuitous in the decision that she made, and eventually, after tears would come laughter for her and her new family.
Not much to say here. I didn't think much of Wu-Tang Forever when it first came out, and my feelings haven't changed since. The beats don't compliment the flows as much as they did on 36 Chambers, the lyrics aren't as compelling, and many of the 28 tracks blend together, making the album feel even longer than it's already much too long 112 minute running time. Lastly, with Ol' Dirty Bastard's diminishing role as a primary character, the humor that helped in breaking up the grisly stories of the streets has all but vanished on Forever. His absence wouldn't be a problem on most of the member's solo albums, but a record as long as Forever could definitely use some comic relief. I love the Wu, but this record doesn't meet the standards they set for themselves with their output from '93-'96. There would be better releases to come though.
Although overall disappointing, there are still a few tracks worth keeping: "Reunited" has a great beat (although the "strings" breakdown near the end is a little much), "Triumph" features great flows from a couple of my favorite members, and an awesome video, and "Visionz" is my favorite, with a bad-ass verse from Meth:
"Apocalypse Now. Mind over matter next batter be Tical. Put it on a platter how much uncut. raw shit we dealin wit, murder track what. Slang killin it, touched. You feelin it, in your bloodstream. deadly venemous elixir. Hammer like Sledge that be Sister. All and together now, follow me, the Mista. Meth Candyman, farewell to the flesh. Death come, in the scripture, two-thousand one. Bring the rap arma-gedde-on, let it be known. When you walk up in this Dead Zone. wit all that wack shit, now you know. you dead wrong, one thousand lashes."
Here's a great review of Wu's newest release, Wu-Massacre. By M.W. Holden.
Bring Da Ruckus
Shame on a Nigga
Can It Be All So Simple
C.R.E.A.M.
Protect Ya Neck
"Bring da mothafuckin' ruckus! Brind da motha, bring da mothafuckin' ruckus!" Damn, that shit is so awesome. From twenty seconds in, all the way until the end, 36 Chambers has me banging my head. My friend and I we're just talking about the Wu the other night, in knowing I was writing about them for my upcoming post I asked him, "How the hell did they come up with this?" We couldn't say for sure, but the genius (not to be confused with the GZA) behind most of 36 Chambers' themes and production is the RZA. By combining his love for kung-fu movies, his influences of soul and hip-hop, and getting "with a sick ass click and goin' all out," the RZA and the Wu-Tang Clan created one of my favorite albums of all time.
36 Chambers was the soundtrack to my sophomore year in high school -- a time when I began to run with the wrong kids, and do some things I could no longer tell my parents about. I'd grow out of it pretty quickly, but this album would always stick with me. Previous to being introduced to the Wu-Tang Clan, all I was listening to was power-chord punk rock; I was immature and wanted nothing to do with any music loved by the masses. But meanwhile, the only records my new buddies would be blasting in their cars, on their porches and in their garages were from the Wu-Tang Clan. Damn was I annoyed hearing this shit over and over and over again. I mean, I didn't even like hip hop. Why couldn't I sneak a NOFX or Screeching Weasel record in to the rotation every once in a while? And what made it all the more irritating is they thought they were living it. Sure, they were dealing and doing some drugs, siphoning gas (they couldn't afford to fill their tanks), tagging buildings...but they weren't initiating drive-bys or stealing wallets!
Still, the more I hung with my pals, the more I was force-fed 36 Chambers, and the more I realized how amazing it was. The first thing I warmed up to were the beats: they're heavy, raw, minimal, and dark, giving the listener a sonic visualization of the New York streets of which most the lyrics revolve around. Mixed with the strange kung fu sound effects, and awesome soul samples, I realized I was listening to something completely unique. With my ears now opened up to the sound, I began nodding my head in unison with my friends, and I began to pay closer attention to the lyrics: often a socio-history to the rough side of New York City in the 80's and 90's.
"I grew up on the crime side, the New York Times side.
Staying alive was no jive.
At second hands, moms bounced on old men.
So then we moved to Shaolin land.
A young youth, yo rockin the gold tooth, 'Lo goose.
Only way, I begin to gee off was drug loot.
And let's start it like this son, rollin with this one.
And that one, pullin out gats for fun.
But it was just a dream for the teen, who was a fiend.
Started smokin woolies at sixteen.
And running up in gates, and doing hits for high stakes.
Making my way on fire escapes.
No question I would speed, for cracks and weed.
The combination made my eyes bleed.
No question I would flow off, and try to get the dough all.
Sticking up white boys in ball courts.
My life got no better, same damn 'Lo sweater.
Times is ruff and tuff like leather.
Figured out I went the wrong route.
So I got with a sick ass click and went all out.
Catchin keys from across seas.
Rollin in MPV's, every week we made forty G's.
Yo nigga respect mine, or anger the tech nine.
Ch-chick-POW! Move from the gate now."
Sure, 36 Chambers has it's fair share of "you can't even touch my skills" moments, which has always been emphasized throughout the genre's history, but the Wu-Tang do it with a style unmatched by others:
"The Wu is comin thru, the outcome is critical.
Fuckin wit my style, is sort of like a Miracle.
on 34th Street, in the Square of Herald.
I gamed Ella, the bitch caught a Fitz like Gerald --
-- ine Ferraro, who's full of sorrow.
Cuz the ho didn't win but the sun will still come out tomorrow.
and shine shine shine like gold mine.
Here comes the drunk monk, with a quart of Ballentine.
Pass the bone, kid pass the bone.
Let's get on this mission like Indiana Jones, the GZA.
One who just represent the Wu-Tang click.
With the game and soul, of an old school flick."
And the humor is something completely unique up to that point, most often delivered in the form of Ol' Dirty Bastard:
"Yo...!
I come with that ol' loco.
Style from my vocal.
Couldn't peep it with a pair of bi-focals.
I'm no joker! Play me as a joker.
Be on you like a house on fire, smoke ya!
Crews be actin like they gangs, anyway.
Be like, 'Warriors! Come out and play-yay!'
Burn me, I get into shit, I let it out like diarrhea.
Got burnt once, but that was only gonorrhea.
Dirty, I keep shit stinks in my drawers.
So I can get fzza-funky for yah.
Murder, taste the flame of the Wu-Tang RAHH!
Here comes the Tiger verse Crane!
Ow, be like wild with my style.
Punk! You playing me, chump, you get dumped!
WU! Is comin' through! At a theatre near you!
And get funk like a shoe!
What?!"
Sometimes an album transcends genre. At a time when I wouldn't even consider anything other than rock'n'roll, Wu-Tang Clan opened my ears to a world of music. Not only did I begin listening to a lot of hip hop, but I began seeking out all that great soul music the Wu, and other rap groups I was listening to, we're sampling. There are a couple of current hip hop artists I like, but nothing compares to the the golden age of the 90's. And for my money, no one compares to the Wu-Tang Clan. Easily my favorite rap group, 36 Chambers just misses first place as my favorite hip hop album of all time, being edged out by one of the member's solo records. It turns out my pot-smoking pals we're on to something, and while most of the punk rock I was listening to from the 90's fell to the wayside, Wu-Tang's 36 Chambers remains timeless.
Here's a great review of Wu's newest release, Wu-Massacre. By M.W. Holden.
