Wu-Revolution: The 30th Anniversary of Wu-Tang Clan’s Enter the Wu-Tang (36 Chambers)
Masterpiece — mas·ter·piece — adjective: a work of outstanding artistry, skill and workmanship
The first time I had sex with a pregnant chick was in DC. I met her on the bus after a radio interview I did at Howard University. The program director of the show used to model on Myspace. Shorty was from Queens, and we knew the same people. We developed a business relationship over time after initially networking on Myspace that was bigger, and more popular, than Facebook at the time. She invited me to the radio station to promote my second album, This Ain’t a Mixtape Vol 1: Charismatic Superfly.
I was nervous as hell, but still did my thing. That was my first interview at a real radio station. The show ran about 15 minutes, and they played a couple of my joints. It’s crazy to hear a song you made get played over airwaves.
So after the interview, I hopped the bus and trooped north to Silver Spring, a town next door to DC. I needed to rest my head before the bus ride back to NY the next day. I was low on funds, so instead of getting my bad and boujee on, I booked a room at a motel.
Instead of taking the red line at Howard, I rode the Metrobus on Georgia Ave. The bus was a better option because Georgia Ave runs from Howard to the ‘burbs. It was easy access.
Speaking of access, I sat next to this thick ass chick on the bus. Shorty was cute, but preggers. I was in my mid-20s at the time, so I didn’t give a fuck. I wanted a nut.
One thing led to another, and we got off at the bus stop in front of the motel. That night was the first time I fucked a chick who was pregnant. Belly showing and all. Whoever said pregnant pussy was the bomb wasn’t lying. Shorty had that good good.
But what caught my attention the most wasn’t the yams. Shorty had a phat ass, but DC is crawling with chicks who are stacked. What caught my attention was the outline of the Wu-Tang logo that was tatted on her right arm. She said she was a big fan of the Wu, and even tho “Wu-Tang Clan Ain’t Nuthin to Fuck Wit,” in the immortal words of Ghostface Killah, “You gah-damn right, I fuck fans.”
And that’s exactly what the writer of this anniversary piece had done.
During the early 1980s, WNEW Channel Five in New York City programmed its Drive-In Movie series. The series, which aired on Saturday afternoons at 3pm, spearheaded the showcasing of kung fu flicks that influenced the inner-city youth. The films not only invaded the homes of people who craved the genre, but New Yorkers were also able to catch a flick at various theaters in Manhattan.
The RZA and his cousin, Ol’ Dirty Bastard, often caught kung fu joints in one of the dingy theaters on 42nd street in Times Square. Nicknamed “The Deuce,” Times Square was a seedy part of Manhattan before the area was transformed into the tourist attraction that we know today. The Deuce pre-Guiliani days attracted pimps, prostitutes, gangsters, dope dealers, and stick-up kids who blended in with people who hit up the row of theaters, whether they wanted to check out porn or kung fu flicks. The cousins often sought shelter in a theater on the corner of 42nd and 7th avenue. Accompanied by drunks and the homeless, the theater that showcased karate movies was their escape from the harshness of the streets.
One film would greatly influence RZA — Shaolin vs Wu-Tang. Wu-Tang were young rebels who battled the Shaolin monks for supremacy. In addition to Shaolin vs Wu-Tang, The 36th Chamber of Shaolin inspired RZA to cop his first karate manual, Tiger-Crane Style. Tiger Crane was one of the main styles used in the movie. The story of discipline, self-mastery and struggle through oppression reflected the life of RZA, which would lead him to form his own band of rebels to take over the music industry and beyond. The sound of “Wu” is like that of wind from a swinging sword. So when swords are swung, you better protect ya neck, because the Wu is coming through.
The Witty Unpredictable Talent And Natural Game consists of The RZA, The Genius/GZA, Chef Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, Ol’ Dirty Bastard, and the M-E-T-H-O-D Man. The only Staten Island native from the Clan is Ghostface. The rest of the Clan are either from Brooklyn, Bronx or Long Island. The transplants put a stamp on Staten Island, also known as the forgotten borough, which they dubbed “Shaolin.” The only way you can get to the Island is by car or ferry. It’s the only borough in New York City that’s not connected to the rest of the city by subway. S.I. is basically the Hawaii of NYC without palm trees and belly dancers.
You won’t get an aloha, but you can still get a “Suuuuuuuuu!”
RZA is the unofficial leader of the Clan. He masterminded the concept of the Wu and became the principal producer. He saved $10,000 to jump start Wu-Tang Productions after his acquittal for felonious assault in Ohio. The original artists under the label were Deck and Meth before the expansion of the group; handpicked by RZA.
As he recorded demos to shop around the industry for the Wu, he recorded the original version of “Protect Ya Neck” with Deck. The name of the track was called “Blowing Up the Spot.” RZA would later bring in the rest of the Clan to re-record the track with a different beat that cost them $300 to make in the studio.
The Clan pressed up copies of “Protect Ya Neck” 12-inch vinyl. The cover was in black and white with a book and the Wu emblem on the front. A sword was placed below the song title under the book. They promoted the single to DJs and industry heads at the Gavin Seminar, a convention for radio industry members. The Clan would eventually drive along the east coast to sell the single out the trunk of RZA cousin’s Mercury Scorpio (we’ll get to Mook later).
For “Protect Ya Neck” to gain club and radio play, the track needed a more professional sound. The quality of the single that was recorded at RZA’s house in Staten Island wasn’t up to par. The track needed to sound crisper. They gathered capital to record at Firehouse Studios while keeping the grunginess sound — the Clan was too grimy for polished recordings. Without losing its essence, the remixing and re-recording of songs had worked wonders as DJ Kid Capri, Ron G, and Funk Master Flex were one of the first DJs to break a Wu record to the public.
Masta Killa was the last clansmen to join the Wu. He wasn’t featured on “Protect Ya Neck.” Him and Killah Priest, a Wu-affiliate, were set to verbally spar through lyrics to appear on “Da Mystery of Chessboxin’.” The track is named after the kung fu flick, Mystery of Chessboxing. It was hella late in the studio, and RZA only needed one emcee between the two, because the track was already too long. Masta Killa wrote his verse, and so did Priest. But Priest fell asleep while writing his rhymes. He snoozed on his chance to appear in a classic song, and the rest is history.
FUN FACT: Killah Priest was known as Lord Messiah during the Enter the Wu-Tang (36 Chambers) recordings.
Sonically, the album introduces the basement sound to the industry. Also known as The Abbott, RZA borrowed/traded his SP-1200 drum machine for RNS’s Ensoniq EPS sampling keyboard. RZA used his one-time mentor’s keyboard to produce tracks for the album. RNS would later produce for Wu-affiliates like Gravediggaz, GP Wu and Shyheim. In addition to the Ensoniq EPS, RZA used the Ensoniq ASR-10 and the SP-1200 to create a grittier sound. 4th Disciple did the scratching on the album. The Ohio native would go on to co-produce tracks for the first batch of Wu solo albums and become the primary producer for Wu-affiliates, Killarmy.
Once “Protect Ya Neck” created a buzz that prompted Loud Records to sign them to a single deal with an album option, the Clan re-recorded “Method Man” to improve the quality. They replaced “After the Laughter Comes Tears” as the B-Side to “Protect Ya Neck” with “Method Man.” The move was smart because “Method Man” was more marketable, even though Meth wasn’t too fond of the track. He drew inspiration from three sources to craft the hook and the rhymes. The opening line of the track was inspired by Bootsy Collins “Disciples of Funk.”
“Hey, you, get off of my cloud” was a borrowed lyric used by Meth.
The track of his namesake is also a combination of 2 songs: “Method of Modern Love” by Hall and Oats, and “Music Man” by Masta Ace. He rapped like the cadences from a specific part of those two songs and created the hook.
Steve Rifkind, founder of Loud Records, granted the Clan to sign solo deals elsewhere. RZA wanted it that way. He wanted to spread the Clan throughout the industry. Positive K, a New York-based artist known for the classic “I Got a Man,” influenced the Wu to storm the industry as a group and branch out as solo artists. And rightfully so. An album cannot feed 9 members in a group.
Enter the Wu-Tang (36 Chambers) had cost the Clan $36,000 to make (the irony). For its November 1993 release, they held an album release party at Webster Hall in Manhattan. Fans and industry heads alike attended the event. The Wu had built their buzz from the streets to the industry suites and were on their way to greatness.
The success of the album prompted solo offers from labels like Def Jam and Elektra. Meth signed with Def Jam, and Dirty reluctantly signed with Elektra. Dirty wanted to sign with Def Jam, but RZA wasn’t having it. The cousins literally fought over a decision that RZA would soon win.
The solo deals had set a precedent in the music industry. Members of groups didn’t go solo unless they broke up. And even then, artists who became soloists had most likely released their album on the same label as their former group.
But not the Wu.
RZA’s vision was an industry takeover.
“What’s today’s mathematics, God?”
Enter the Wu-Tang (36 Chambers) is a hybrid between the movies Enter the Dragon and The 36th Chamber of Shaolin, two of the most popular martial arts movies of all time. The number “36” is broken down various ways. The number “3” in the Supreme Mathematics of the 5 Percent Nation of Gods and Earths represents Understanding. The number “6” in Supreme Mathematics is Equality. When you add those two numerical values, you get “9,” the number of completion, which represents Born in Supreme Mathematics. You have a total of 9 members of the Clan who understand that they deal with equality with each other to give birth to timeless music, whether they’re solo or in the group, which is why a lot of Wu solo joints have contributions from almost all the clansmen.
The Wu logo was created by Mathematics, the DJ of the Clan. The logo cost the Clan $400 for Mathematics to create. If he’d known how iconic the logo would become, he probably would’ve charged them a million. The “W” is the most recognized emblem in Hip-Hop, and arguably in music. The “W” is another stamp on the Clan’s status in the Mount Rushmore of music groups: The Beatles, The Rolling Stones, The Temptations, and no doubt, the Wu.
Danny Hastings photographed the album cover. The cover was filmed at a church, the Angel Orensanz Foundation in the Lower East Side of Manhattan. The whole Clan wasn’t there for the photo, so management filled in for the missing members. Everybody wore stocking masks to conceal their identity. Nobody would’ve known that certain clansmen were absent from the shoot unless they were told.
It was rumored that Ghostface wore a mask because he was on the run and wanted by the police. He didn’t remove the mask until his name was cleared of a crime that he allegedly committed. I don’t know how true that is considering his appearance in the “C.R.E.A.M.” and “Protect Ya Neck” videos, but whatever the case, the rumor had made good fodder on Hip-Hop message boards in the late 1990s.
The album was recorded at Firehouse Studios, owned by Yoram Vazan. The studio was the perfect fit for the Wu: Hastings described the joint as having holes in the wall, chicken wings on the floor, empty 40-ounce bottles, and blunt wraps strewn all over the place. The environment had set the tone for the griminess of a classic album. Ethan Ryman engineered the album along with Carlos Bess. They helped RZA architect the kung fu skits between songs.
The Clan paid $100 apiece for studio time and used to pay Vazan in quarters. The struggle was so real that Ghostface allegedly stole canned goods from the local store to feed himself and the Clan. The oversized coat he rocked came in handy. The grind only strengthened their quest for greatness instead of breaking them mentally and emotionally.
The Clan weaved the teachings of the 5 Percent Nation between humor and street tales. The 5 Percent Nation of Gods and Earth is a culturally based movement that was founded in 1964 by former Nation of Islam member, Clarence 13X. The 5 Percent Nation represents the percentage of the general population who possesses the knowledge, wisdom and understanding of themselves, others, and the world that surrounds them. The 85 percent represents the dumb, deaf and blind (sheep). And the 10 percent represents the bloodsuckers of the poor.
The 5 Percenters had a stronghold on Hip-Hop during the 1980s and 1990s. A good number of popular artists during the peak of Hip-Hop either identified with the Nation or spoke its lingo. The male members of the 5 Percent Nation took on righteous attributes that reflected themselves as individuals.
Most of the names were taken from the Supreme Alphabet and Supreme Mathematics, which are a set of principles created by Clarence 13X. They took on a righteous name after attaining knowledge of self or knowing yourself as a divine entity. Robert Diggs became RZA or the Ruler Zig-Zag-Zig Allah. Gary Grice became Justice or Genius. Lamont Hawkins became U-God. Clifford Smith became Shaquan before rechristening himself as Method Man. Russell Jones became Ason Unique before rechristening himself as Ol’ Dirty Bastard. And Corey Woods became Shallah Raekwon. Those are a few examples of men in the 5 Percent Nation taking on righteous names to reflect their journey through Godhood. The blending of Hip-Hop with the teachings of the 5 Percent Nation wasn’t unique before the Wu (no pun intended), but the Wu put a street element to the knowledge with swagger that resonated to the public.
The east coast was thirsty for a Renaissance. The west coast had the game on smash. They ran shit. They ruled the first half of the 90s. Artists from New York grabbed gold and platinum plaques here and there, but the California influence in the country was deafening.
Without conforming by wearing khakis, flannel shirts and rhyming over G-Funk beats, a handful of artists and producers from the Rotten Apple kept it New York. They updated their 80s sound by adding boom bap, deep basslines and melodies to their production. Instead of rapping over production that sounded more suited for R&B’s new jack swing, a new crop of producers went against the grain by looping melodies of a sample with hard-edged drums instead of just looping the break of a song like producers from the 80s had done.
C.R.E.A.M. is the perfect example.
The RZA looped the first 5 seconds of the The Charmels “As Long as I’ve Got You”, added his own flavor and made history. NY producers usually sampled the drumline of the original song. They ignored the melody. The RZA went with another method by sampling the melody with the beat in the song. The catchy piano riff with the hook from Meth propelled the Clan to stardom.
Record sales picked up after a slow start, and the industry were feening to sign members to solo projects. Once the Clan caught the ears of listeners, they carried the ball for a touchdown and a conversion to platinum. They became one of the new wave of acts who created an updated formula to “Bring the East Back” to prominence.
Behind every successful group, there are investors with the means to turn dreams into reality.
While the Wu scrambled to pay for professional studio time, Mitchell “Divine” Diggs and Oliver “Power” Grant bankrolled the pressing and distribution of “Protect Ya Neck” vinyl and CDs. Power went so far to sell his prized position to make it happen.
The car.
John Meneilly, Jay-Z’s former business partner @ Roc Nation, tutored Divine by guiding his protégé to run Wu-Tang’s business affairs. As RZA’s blood brother, Divine would learn the ropes of the music industry by rubbing shoulders with various lawyers and record executives like Lyor Cohen, Steve Rifkin and Wendy Goldstein. Politicking with industry heads opened doors for him to become accustomed to industry paperwork and business practices. His gift with mathematics was properly used to account for the earnings of the Clan and divide the pie among members.
John “Mook” Gibbons, former party promoter with a double major in business management and pre-law, is the cousin and godbrother of RZA. He was convinced by cuzzo to manage the group. After a couple of failed attempts, Mook gave in and became the manager of the Clan.
Power expanded the Wu brand to fashion, movies and video games. He launched the Wu-Wear clothing line with the iconic emblem that is still popular to this day. He also appeared in movies such as Belly and Black and White. He was also instrumental in the creation of the Wu-Tang: Shaolin Style video game. The tournament-style fighting game for the original PlayStation features the Clan with their individual martial arts style along with additional characters.
But the formation of the Clan almost never happened.
The Wu beginnings were a big “What If.”
What if RZA didn’t call Method Man over to cross the street and speak with him?
Method Man stood in front of 160 Park Hill Ave in Staten Island where a person died from a drive-by moments after.
What If RZA didn’t beat a felonious assault case for a shooting in Ohio?
RZA represented himself and avoided facing 8 years behind bars — 8 years that included classic songs and albums.
What If Rae and Ghost didn’t squash their neighborhood beef?
RZA was able to bring the clansmen from the Park Hill and Stapleton projects in Staten Island together to create the Wu.
What If Killah Priest didn’t fall asleep during the recording of “Da Mystery of Chessboxin’”?
Priest could’ve been the 9th member of the Wu if he’d bested Masta Killa for the final spot on “Da Mystery of Chessboxin’.”
What If U-God wasn’t convicted of firearm and drug possession charges?
His incarceration had limited his appearance on Enter the Wu-Tang (36 Chambers).
What If Cappadonna was more serious about rhyming than hustling?
He probably would’ve been an official member of the Clan.
What If GZA was successful @ Cold Chillin’ Records?
I seriously doubt GZA would’ve joined the Wu if Words from the Genius had gone platinum.
What If RZA was successful with “We Love You Rakeem”?
He probably wouldn’t have needed the Clan immediately, which would’ve delayed any history pertaining to them.
Even though Enter the Wu-Tang (36 Chambers) is widely considered as a classic album, record sales after its release were a slow burn. The album peaked at number 41 on the Billboard 200 chart while finishing at number 22 on Billboard 1994 year-end chart. It wasn’t until the release of C.R.E.A.M. as the third single for album sales to rise. With its catchy hook, dope melody, and hard-hitting beat, the track introduced the Clan into national consciousness.
Not bad for an album that sounded like it was recorded in a basement.
The album would eventually earn a 3x platinum certification for selling 3 million copies to date. The album also stood the test of time by gaining prestige over the years since its 1993 release. The album garnered 4 and a half mics out of 5 in The Source album review section, which they later revised as a 5-mic classic. Rolling Stone named the album among the 500 Greatest Albums of All Time. Pitchfork Media selected the album as one of the best 50 albums in the 1990s. Blender named the album among the “500 CDs You Must Own”. The album was included in the book 1001 Albums You Must Hear Before You Die. In 2022, the Library of Congress selected the album for preservation in the National Recording Registry for being “culturally, historically, or aesthetically significant.”
The Clan celebrated the 30th anniversary of Enter Wu-Tang: 36 Chambers artistically and politically. The RZA held a 3-night run of symphony shows at Gramercy Theater in Manhattan. The concert included a symphony with RZA as the conductor that played tracks from the album. The Lincoln Center presented a screening of the documentary A Wu-Tang Experience: Live at Red Rocks Amphitheatre. The film documents a Wu concert at the Red Rocks Amphitheatre where they were backed by a 60-piece Colorado Symphony Orchestra.
New York City’s Mayor Eric Adams proclaimed November 9th as Wu-Tang Day. Mayor Adams had also declared May 9th as Ghostface Killah Day in NYC in 2022. The top of the Empire State Building was lit up black and yellow to commemorate the 30th anniversary of the album. The City Council also designated December 15th as Ol’ Dirty Bastard Day in honor of the late founding member. Dirty was born on November 15th, 1970 and died on November 13th, 2004. The resolution to approve Ol’ Dirty’s day was introduced by City Council member Chi Ossé. A mural of Dirty is in Bed Stuy, Brooklyn; located on the corner of Franklin Ave and Putnam Ave. Staten Island celebrated the 30th anniversary of the album by declaring Targee Street and Vanderbilt Avenue as Wu-Tang Clan District.
You can catch 3 seasons of Wu-Tang: An American Saga drama series on Hulu.
Album Breakdown
Shaolin Sword:
Bring Da Ruckas
“Shaolin shadowboxing and the Wu-Tang sword style. If what you say is true, the Shaolin and the Wu-Tang, could be dangerous. Do you think your Wu-Tang sword can defeat me? En garde, I’ll let you try my Wu-Tang style.”
The movie clip from Shaolin vs Wu-Tang is the illest way to introduce the Wu to the world. It’s the call of war to chop off heads. Ghostface leads the charge as Rae, Deck and GZA finished the track with a beheading. The boom bap production from RZA, who also laces the hook, represents the true essence of stripped-down beats for emcees to go off on.
Shame on a Nigga
Ol’ Dirty’s style over the horns from Syl Johnson “Different Strokes” was one of the reasons the Wu separated themselves from other groups in that era. Nobody sounded like him. His style and voice were distinct. Whereas emcees back in those days were straight spitters, Dirty separated himself from the pack by adding personality to his delivery. His pizzazz reminded me that of Flavor Flav, just more skillful with rhymes and flow. While Ol’ Dirty holds the fort down with verses and the hook, Method Man is the cherry on top with an ill flow from his liquid sword. Rae also did his thing on the 3rd verse, but this track is probably the main reason why headz started to rock with Dirty. He no doubt stole the show and then some.
The kung fu sample at the beginning of the track continues the martial arts theme of the album.
Clan in Da Front
RZA gives a shout out to all the Wu-affiliates in the intro before GZA goes off on a dolo tip with liquid swords. Liquid swords is a colloquialism for a sharp tongue that spits dope rhymes. The artist also known as The Genius carries the track with unfuckwitable bars over a hard ass beat. It’s no wonder that he was the first in the Clan to bag a record deal.
Wu-Tang: 7th Chamber
When someone breaks the news of a murder from a fatal shooting, the natural response is either “daaaaaamn,” “oh shit,” “that’s fucked up,” or “that’s craaaaazy.” But not the Wu. After Ghostface details the killing of an associate, someone in the crew asks, “Is he dead?” LOL. SMMFH. He got shot twice in the head. Duh! Anywho, Meth losing Rae’s (Master) Killer tape before the bad news is also hilarious. Rae, Meth, Deck, Ghost, RZA, Dirty and GZA rip the track that’s most definitely a highlight on the album.
FUN FACT: I tried to replicate the melody of this jawn on my keyboard when I was youngin’. Needless to say, there’s a reason I stuck with rhyming.
Can It Be So Simple/Intermission
The first collaboration of many from Ghost and Rae.
What’s innovative about this track is RZA sampling Gladys Knight and the Pips “The Way We Were/Try to Remember” for the chorus that would be used years later as a template for soul sampling in the 2000s. Shout out to Kanye. All influences aside, the street tale is no doubt a sneak peak of the chemistry between dudes who once had real beef on the street.
Life is funny that way.
One minute you’re the opps. Then the next, you’re homies. It beez like that sometimes.
MC Eiht’s appearance in the music video threw me off until I read his interview on theformula.com about the Wu inviting him from Cali to the video shoot. Game recognizes game. Speaking of game, Ghostface’s verse represents a street hustler visualizing the future. The rhymes reflect the direction of where he wants to go from his present state.
“I want to lamp, I want to be in the shade,
Plus the spotlight, getting my dick rode all night,
I want to have me a phat yacht,
And enough land to go and plant my own cess crops,
But for now it’s just a big dream,
‘Cause I find myself in the place where I’m last seen…”
Reality is a bitch when those dreams dash in the wind, but the dream is the first step to create your reality. He accomplished success after dropping consecutive classic albums. I’m still waiting on that R.A.G.U (Rae And Ghost United) album tho.
I thought the outro/intermission where Meth introduces each Clan member should’ve been on a separate track. But hey, what do I know?
Wu-Tang Sword:
Da Mystery of Chessboxin’
Masta Killa went off on this jawn. So did U-God. Baby U showed up and showed out to kick off the track on some shit like, “Raw I’ma give it to ya, with no trivia//Raw like cocaine straight from Bolivia…” The two most underrated emcees in the Clan no doubt stole the show. Ghost, Deck, Rae, and Dirty did their thing on the track that was the B-Side to C.R.E.A.M., but I give the highlight to the unsung heroes of the Clan. The energy was crazy. The excerpt from Shaolin vs Wu-Tang and Five Deadly Venoms in the intro sets the tone for the Clan to swing swords and chop off heads. And the mass beheading they did.
Wu-Tang Clan Ain’t Nuthing Ta F’ Wit
This jawn is probably the most well-known track on the album outside of “C.R.E.A.M.” and “Protect Ya Neck.” The hook is catchy, the rhymes are phat, and the break beat from Biz Markie’s “Nobody Beats the Biz” under The Allen Toussaint Orchestra “Underground” sample is dope. The war cry of RZA on the hook solidifies the bold declaration of the soon-to-be greatest rap group of all-time. It’a sing-songy enough to repeat at a concert, but hard enough to where it keeps its hardcore essence.
Speaking of RZA, the God really has an ear for music. He slowed down the first few seconds of “Underground” to turn that jawn into a bonafide Hip-Hop classic. I wouldn’t have thought of picking “Underground” to sample from, which is why I’m a writer and not a music producer.
C.R.E.A.M.
“Have you heard of Wu-Tang?” My homeboy asked me during our lunch period in elementary school.
“Wu-Tang?” I stared at him confusingly. “What is a Wu-Tang?”
“It’s a rap group.”
I shook my head and was twice as puzzled. “Naw. Never heard of him.”
I thought a rap group that named themselves Wu-Tang was hella weird.
Let’s fast forward to a few weeks after that faithful day in the lunchroom. The night was brick as hell. It was so cold that my fingers felt like they were falling off. My second cousin was in the Caddy bumpin’ Wu-Tang. I was lampin’ in the back seat as my other cousin chilled in the passenger seat. I don’t recall any other songs that were played, but one track stuck out the most. That was mainly because they played that jawn over and over as if the rewind button was stuck on repeat after the song ended in the cassette deck (the year was 1994, when satellite radio in cars didn’t exist).
The track that was constantly rewound was “C.R.E.A.M.”
And the only thing I remember from that jawn was…
“Dollar dollar bill ya’ll” by a raspy voiced Method Man that was lifted from Jimmy Spicer “Money (Dollar Bill Ya’ll)”
My only recollection of “C.R.E.A.M.” at the time was Meth lacing the hook, which is a reminder that the hook is just as important in a song as the verses.
But that’s for another topic.
I went back to school the following week and asked that same homeboy, “Do you know about a song that goes like, “dollar dollar bill yaaaaaa’ll?”
And my man was like, “That’s Wu-Tang! The group I was telling you about!”
And ever since then, I became a fan.
There’s nothing more to say about this classic track besides ranking it in my top 5 Hip-Hop songs of all time. The video/single version is much better than the album version. The sound quality is better, and the adlibs from 60 Second Assassin adds flavor to an already classic track. Cash Rules Everything Around Me has become a popular saying to this day. And while I thought the name of the group was initially weird, their legacy normalized Wu-Tang into the mind of the masses as much as the martial flicks did.
The original version of “C.R.E.A.M.” was called “The Lifestyle of the Mega Rich.” The track was 8-minutes long with 4 four storytelling verses of Rae and Deck going back and forth. RZA told Deck and Rae to condense their rhymes as the track was shortened to 2 verses and the hooks.
Raekwon is credited by Method Man for creating the acronym for C.R.E.A.M. (Cash Rules Everything Around Me). The inspiration came from the 1980s movie Tango and Cash. F.U.B.A.R. is mentioned in the movie as an acronym that stood for Fucked Up Beyond All Recognition. Rae peeped the scene, and came up with C.R.E.A.M.
The rest is history.
Method Man
The RZA is a bonafied visionary by giving Meth a solo joint. Meth was/is the star of the Clan. Bar none. But what’s dope about this jawn is the playfulness of Meth’s rhymes without sounding corny. Who else can get away with bars like:
“Pat-a-cake, pat-a-cake, hey, the Method Man,
Don’t eat Skippy, Jif or Peter Pan,
Peanut butter ‘cause I’m not butter,
In fact, I snap back like a rubber,
Band, I be Sam, Sam-I-Am,
And I don’t eat green eggs and ham,
Style’ll hit ya, wham, then goddamn,
You’ll be like, ‘Oh shit, that’s the jam’…”
Those rhymes are the prime example of it’s not what you say, it’s how you say it.
The torture intro to the track is hilariously sick. Meth and Rae share barbs about their sadistic urges to bring the pain to opps. And like the intermission after “Can It Be All So Simple,” I think the torture intro should’ve had its own separate track.
But once again, what do I know?
FUN FACT: “Method” is a slang word for weed in Staten Island. That wasn’t Meth’s original artist name. His stage name during this recording was Shaquan, according to RZA. Shaquan became Method Man once the album dropped. That’s why Dirty referred to Meth as “Shaquan” while name dropping members of the Clan in “Da Mystery of Chessboxin’.” People assumed that Method Man was his name once the track of his namesake became popular, so he rolled with it. Pun intended.
Protect Ya Neck
The dopest posse cut that’s not a posse cut.
The Clan formed like Voltron on a track with a group of 8 emcees who wrecked shop without losing your attention. Everybody got off on this jawn, but my favorite verse is from Dirty, especially when he dropped an esoteric punchline in the rhyme.
“First things first man, you’re fuckin’ with the worst,
I’ll be stickin’ pins in your head like a fuckin’ nurse,”
The rhyme refers to the teachings of Elijah Muhammad, founder of the Nation of Islam, about an evil scientist named Yakub (Jacob) who instructed nurses to stick needles into the brains of Black babies at birth to create the white race. A simple bar like that no doubt flew over heads, but that Easter egg just shows the craftiness of emcees kickin’ theology under the guise of punchlines.
“Protect Ya Neck” is the first single off the album that initially dropped the year prior. The track created a buzz for the album with “Method Man” as the B-Side. GZA allegedly threw shots at former Cold Chillin’ labelmate, Grand Daddy I.U. (RIP) on the jawn. I.U. rocked suits in videos during their time @ the label. Whatever the case, GZA put a bow on a memorable song.
Tearz
Tearz follows the soul sampling tradition as “Can It Be All So Simple.” The sample from Wendy Rene “After Laughter (Comes Tearz)” serves as the backdrop to RZA’s response to the murder of his brother along with Ghost’s cautionary tale of catching a sexually transmitted disease. “After the Laughter Comes Tears” was the original title as the B-Side to the first “Protect Ya Neck” pressing on Wu-Tang Records.
Wu-Tang: 7th Chamber Part II
This jawn is basically a remix with the same vocals as the original. The G Funk-like baseline keeps things interesting, but the Clan could’ve laced the track with different vocals tho. I guess they said, “fuck it” and rocked on. Shout out to Fab 5 Freddie for the brief interview on the outro. There are two things he should’ve known before the interview: the Wu ain’t nothin’ to fuck it, and the Clan doesn’t teach the secrets of the Wu.
Bong! Bong!
The Wu Demos
Except for appearances from Rae, Ghost, Meth, U-God, Deck and Dirty, the demo sounds more like a RZA showcase than a group joint. Sonically, the demo sounded as if he recorded the jawn in a basement. The ruggedness doesn’t get lost in the lo-fi quality. It’s no wonder that the Clan was able to build a buzz in the industry as the predecessor to the “Protect Ya Neck” single that got get them a deal.
Enter the Wu-Tang
I heard this before. It sounds mighty familiar. Without letting the sarcasm fly over your head, I immediately recognized that the production of this jawn that wound up as a single for RZA’s “other” group, Gravediggaz. The name of the horrorcore track is called, “Diary of a Mad Man,” and while RZA tweaked the beat without totally recycling the song, I’m thankful that he let this jawn see the light of day albeit with another group.
Wu-Tang Master
The track is cool. Nothing to write home about. You could tell this was made during its year based on RZAs flow and drum pattern.
Cuttin’ Headz
Aaaaaaah yes. Another beat that sounds familiar. RZA used this jawn with pretty much the same hook and lyrics with Dirty for Return to the 36 Chambers. I’m glad The Abbot didn’t scrap this one, because the production is dope and damn near sounds like the retail version that was better and more polished.
Problemz
The DeBarge “All This Love” and Cymande “Dove” samples are the foundation of the production. The joint is cool. But once again, I can see why this was scrapped.
It’s All About Me
A dope track with a call and response hook. The melody on this cut is on some “driving down the highway @ 3am” cool out shit. I wish RZA had made this jawn a B-Side on a single, if he didn’t already.
After Laughter Comes Tearz
The original version of “Tearz.” The album version is much better with more energy, sound effects, adlibs, and drops @ certain parts in the beat. I’m glad they re-recorded this jawn for the debut album, because the cut that everyone is familiar with got more energy and emotion.
Bring Da Ruckus
It’s a shame that the B.J. Thomas “I’m Gonna Make You Love Me” sample wasn’t cleared, because the demo version of this cut is better than the album version. The production is stripped down without the sample. This jawn was most definitely a keeper. Only Rae and Deck rhymed over this with RZA on the hook.
Wu-Tang
The first verse from Dirty would be tweaked and used for “Baby C’Mon” for Return to the 36 Chambers. I’m thankful for the upgrade. Even though the production on this jawn wasn’t bad, it sure as hell pales in comparison to its successor.
You’re On
The artist formerly known as Shaquan makes his early appearance on the scene. RZA, Shaquan and Baby U (U-God) flow over the Dramatics “In the Rain” guitar lick that was later used for GZA’s “Cold World.”
I Gets Down for My Crown
So what do we have here. Some recycled bars. You know the Wu is a real brotherhood when they give hand-me-down rhymes to each other. Meth’s first two bars were used in Ghostface “Chez Chez La Ghost” on Supreme Clientele.
Which Way is Up
The dolo track from RZA is cool. He tells a story about a young brother who is down on his luck, and a virgin who hangs out with the wrong crowd. The message in the track is that even though you’re down, the only to go is up. This track most definitely has an early 90s flavor.
Taking Heads Off
Another RZA dolo effort. Amazingly, the quality on this jawn is much better than the others. The bassline sounds like something that was sampled from a 1970s Blaxploitation movie.
It’s Murda
With the Honeydrippers “Impeach the President” break beat, you would think the track would be a lot harder. The production is too easy going for the title. The track sounds more like a dance song than something you can go ham to in the gym when you lift weights.
Freestyle
RZA and Dirty trade bars over a slowed down ESG “UFO” sample. Dirty was Ason Unique or Unique Ason during the demo years, but in the same fashion as Meth, his newly adopted name is more marketable to the masses. He spits part of the first verse from what we would later know as “Brooklyn Zoo” from Return to the 36 Chambers. And based on his personality within the delivery, you just knew he was gonna be a star.
Wu’s Comin’ Thru
Another track from RZA and Dirty to close out the demo.
The cousins had hella chemistry whenever they rhymed together. The piano riff is dope, and the beat is hard hitting regardless of the muffled quality. This is another track that should’ve been a B-side to a single if it wasn’t.