RELEASE DATE: March 24, 2017, ICEH2O RECORDS/EMPIRE
Written by Michael Grant, C.E.O. of RePPiN4U, member of GGO – Ghetto Government Officials and Wu Worldwide DJ Coalition
IN THE LAST EPISODE…
“Usually, the chef will tell their customers, what is in the dish that they prepared for them in detail. Raekwon has done no different in many interviews prior to this album coming out months in advance. So why didn’t Rae’s loyal heads not take heed? While this album has been received well by casual hip hop fans, the hardcore fan base are not so pleased, especially in a time when Raekwon most notably trashed the Wu album – A Better Tomorrow…”
This basically summed up F.I.L.A. Fly International Luxurious Art. I saw what Rae was trying to do. We all did, but I stand by what I said last time. He let his fans know before hand and as a result, the fans let themselves down with their expectations. Rae’s most hardcore fans want the Wu-Tang sound and nothing less. But with RZA’s production sounding more left field as of late, this has led our Wu generals looking elsewhere for beats that will appeal to their fan base.
RZA has handed the Wu keys over to Ghostface Killah if we are to see a new Wu Album, and who is Ghost’s longtime tag team partner? The Chef himself, who has heard the constructive criticism regarding F.I.L.A. and so this is another attempt to fine tune his sound to appeal to loyal fans and new fans. We recently learned that Justice League will be producing on the new Wu Album, and they are featured here on this new project – The Wild, which has no Wu features at all, and dedicated to Mel Carter. With all this in mind, is this an early inkling to what the new Wu Album could sound like?
No messing about, straight into the first single. ‘This Is What It Comes Too’ right? Raekwon is bringing the ferocious flow back over classic drums brought into 2017. A remix has recently surfaced featuring that man who had been gone for 36 Seasons. Now not for ‘Nothing’, Rae comes through with sonics which resemble the Wu-sound. You will not find Kung Fu skits here, but instead you hear parodies based on the real in the form of a guy singing about shorties getting their head right…
Talking of stories based on the real, Rae takes you back to April 2, 1939 with a sure-fire album highlight, sending a tribute to ‘Marvin’ Gaye. The track is a soul drenching winner thanks to the hook supplied by Cee Lo Green. The soulful flow continues on into ‘Can’t You See’. If the listener is not zoned out at this point with a tear in their eye… I don’t think this album is for them.
This is the ‘controversial’ track of the album. Wu-fans worst nightmare has come true in ‘My Corner’. All the Lil’ Wayne hating memes, all the pictures of his album in the toilet or set on fire, has all come to bite Wu-Fans in their backside. The chief hip hop villain joins the Chef here and to make matters even more disturbing, Mr Carter Jr brings his A-Game in his rhymes over a vicious frantic beat because he knew he had no choice against a hostile Wu-audience.
Rae shows a bit of a comedic side to him which you don’t see very often, introducing the ‘F**k You Up Card’, a young kid (whose voice sounds suspiciously like Rae but switched up and we have seen Rae do this sort of thing before – remember Clyde Smith?) puts Rae on to a service where he can get his enemies taken out for a small fee.
In ‘M&N’, Rae and P.U.R.E. go bar for bar on some Grid Iron Rap style. Then Andra Day provides her vocals on the 2017 dedication to the incarcerated in ‘Visiting Hour’.
‘The Reign’ is Raekwon’s new victory championship belt anthem. the production on this is epic and sounds like Rae raided the Maybach Music studios and put the beats to good use. Then Rae brings more soul and that feel good factor as he puts the ‘Crown of Thorns’ on his head.
G-Eazy looks like a fan whose wish of rhyming with his long time idol come true. He’s on point in ‘Purple Brick Road’ when he states that 20 years from now he would be still rock the purple tape. Go back a bit into the track and the production intensifies in glorious fashion.
However was the Chef being a bit too experimental here? ‘You Hear Me’ sounds out-of-place, could have passed as a bonus track, or a track where Rae edited out the trap artists that may have featured with him. Granted Rae rhymed over the trap sounding beat with ease, it’s not something he should do often, or better still, kept off this album – it really doesn’t suit the body of work which is presented here.
That’s the only mis-step on The Wild, otherwise this is a massive improvement over the last offering. If you imagined Raekwon as a stand alone artist and Wu-Tang did not exist, this is the album that reflects that imagination. Even Lil Wayne’s appearance is not a factor (remember Nas & Damian Marley’s Distant Relatives?) Raekwon has finally hit his stride as far as a non-Wu endorsed offering.
The time is still running on Cuban Linx 3, but for now, this is a nice album to take minds away from the WWE-like nonsense they call ‘beef’ that’s happening currently.