Oh, good. It’s Monday. I haven’t given you all any instigation the past few weeks, so enjoy this little bit of love. It’s not rap for the first time ever. We’ll get back on the hip-hop tracks next week.
Anger. Hatred. Wish I was still asleep.
Enjoy this bullshit day.
Instigation Monday is expanding. It’s not that I’m running out of Wu-Tang. Quite the opposite, really. There’s so much goddamn material out there that I think I could do this shit for about 3 years running.
However, I think it’s best to step out a bit and bring the anger in from all avenues. Wu-Tang isn’t the only hip-hop that inspires me to be filled with hatred on a Monday. So, for that reason, it’s no longer a Wu-Tang only party. Everybody’s invited, as long as they bring good shit to the table.
As a result, today we’re going to be taking a look at some excellent Dr. Dre. That asshole needs to release his new record. Like, today. Is there anybody in hip-hop history who has a greater legend than Dre, despite only having two true albums to his name? The guy’s universally renowned but has like 40 solo tracks. What gives, fuckhead?
Why does he deprive of his greatness so often? Asshole. Whatever. Kick back, light up some weed, and relax to the smooth production off of Chronic 2001.
(As an aside, I’m always really conflicted about typing the ol’ “N” word, even if it’s when I’m posting the track. I mean, I’m a white guy, but I’m allowed to type it if it’s the name of a song, right? Is that racist? I don’t think so. I mean, I didn’t name the fucking track. If I had, I assure you that it wouldn’t have that particular word in it. I’d use something like “fellas.” But Bitch Fellaz, doesn’t have the same ring to it, does it?)
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Just listen, sonny boy. Great Isaac Hayes sample by the RZA, including a few original words from the man himself. Isaac Hayes: singer, sex symbol, scientologist. Who’d have thought.
On a related note, I love me some Ghostface. I’ve said before that I feel he’s in the top 4 of Wu-Tang lyricists, and it’s on full display on I Can’t Go To Sleep from the fantastic 3rd studio album The W. Kudos to you, Mr. Killah.
I’m tired today. Had a long weekend. Forgive me for the shortness. I’ll be back for more once I get some goddamn sleep tonight. It’s one of those days where you ponder quitting your job just so you can go home and sleep for the day. That wouldn’t be a positive move for my future. Still, it’s pretty tempting.
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I’d have to say this is the best Wu song of all time. Not even debatable for me. This is the track that announced their arrival on the hip-hop scene as a force to be reckoned with. And, dear lord, is it glorious.
All the parts are working in perfect harmony here. And it gives me great pleasure to bring to you, on this beautiful Monday, Protect Ya Neck off of the classic debut, Enter the Wu-Tang (36 Chambers).
Describing great Wu-Tang tracks can get redundant. For the most part, they’re pulled together by strong production and seamless lyrical transitions. But, it doesn’t make it any less true and this is the first such example in their career.
So pop some headphones in, turn the volume up, and go beat the fuck out of a helpless bystander.
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Get riled up, sonny boy. I’m covered in snow and I’m full of hate. Considering the fact that the majority of our readership is also on the east coast, I’m assuming most of you out there feel similar.
Today’s Wu track is off of the classic GZA album Liquid Swords. Living in the World Today is an incredible track. Gritty as all hell with, surprise surprise, another fantastic RZA beat. The dude’s just always on fire.
What’s particularly impressive, to me at least, on Liquid Swords is the way GZA carries everything without any trouble. I mean, it was obvious from all of Wu-Tang’s work that the dude had chops, but there’s a remarkably low amount of guest appearances on Liquid Swords that’s pretty uncommon for a solo album by a Wu member. Most of them show up somewhere on the record, however the majority of the tracks’ are the Genius’ alone, save for some folks on the intros and choruses.
This track’s no different. RZA introduces us. GZA takes it over, and Method Man contributes to the chorus. To be fair, he probably has the most badass line: Punk [African-Americans] shatter like a glass jaw.
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