The commercials prophesized a simple message, ’’The Wu Is Back.’’ After Forever and the somewhat uneven, but fairly good The W, my best guess was that they fell off after Enter The Wu-Tang (36 Chambers). The hunger soon left after the first group album and they never regained control over the Hip-Hop industry again after that albums initial release. The closest they came, however, was a message that was delivered silently with The W, but was never identified due to the poor album sales. A year later, however, sales are still low, but it signifies that Bulletproof Wallets and Digital Bullet were flukes in the Wu-Tang’s plan to, once again, takeover the Hip-Hop genre. Returning to the grimy, yet up-beat, sample-laden beats that made them one of the best groups of all time, complemented by the groups street-smart lyrics, storytelling and fiery battle rap’s to who else but the people who suspected their downfall. The Wu is gone, and the Wu-Tang Clan has returned.
RZA is back on-cue with production. No more of that Bobby Digital-ish production, this is a testament to the Old School days of samples, grimy bass lines and soulful vocals. Returning to the days of horns, smooth foreground samples and background drum loops that are minimalistic and characteristic to the Wu-Tang Clan’s overall style, this is what fans have been waiting for. Although this is something rare, there are no weak moments, and this is a sentence that sums up what RZA is capable of in the production department, perfection. His trademark style is incredibly listenable and as unpolished as ever, delivering a sound that is both New School and classic. Mixtures of their newly developed sound, soul samples along with grimy bass lines in some instances, RZA takes back his status as one of the greatest producers of all time. Proving this fact is the coupling of different production styles and beat stylings, this is pure perfection.
Taking a step forward, RZA has created a new sound for the Wu-Tang to rap over. Noticing the grimy beats were beginning to be utilized by quite a few artists (mostly Mobb Deep), RZA creates soundscapes mostly utilizing soul samples. While it’s not original, it works well by creating a new sound for the Wu-Tang Clan to rap over instead of the over-used grimy sounds that became expected rather than trademark. That’s not to say, however, that they don’t fit the groups’ flows and subject matter, as well as past production. If anything, it sounds quite better by adding variation, originality and creativity into a style that was becoming over-played. Creativity is the main focus of the production, as well as originality, which has been lacking from The W and Forever. While the samples and background/foreground beats are a newer style and listeners aren’t as accustomed to them as the Wu-Tang Clan’s past style, its undoubtedly just as well produced and as creative. Lyrically, however, is the albums true shining point.
Although One Of These Days is commercialized due to the fact that with an album filled with a classic Wu-Tang feel, it needed a selling point due to the poor sales of The W. Even with that minor low point, the remaining tracks are classic Wu-Tang. Street-smart lyrics, introspection, commentary, braggadocio and confused flows that are about absolutely nothing. Ranging from a few instances of wordplay to a complete set of classic feels to New School rhymes that complement the Old School quite well. While this is far more than I expected, there’s always a few instances that are mediocre (luckily, it’s in the form of One Of These Days). Forgiving this track, the rest of the album makes up for this. Giving the listener a sense of direction and purpose for making this album, being lyrically on-cue to rap over low-key beats and subject matter that fits their style well, there’s no denying that the Wu is back.
Most of the album focuses solely on street-smart lyrics and commentary. In The Hood, Babies, Chrome Wheels and Dashing (Reasons) best exhibit. Over grimy beats, the lyrics and subject matter are well-complemented by this particular style. The rhymes themselves are on-cue and are some of the best the Wu-Tang Clan have written. While more tracks like this could have elevated this album to the heights of their debut, the fact that its lyrically varied and doesn’t rely on this particular style with the exception of five/six tracks is an overall plus to the album. Taking into consideration what the Wu-Tang Clan have seen, their lyrics are both smart and detailed and unbelievably sincere. Breaking away from the ’’filmic’’ style that Raekwon has used in his solo albums, its emotionally honest and sincere. Describing, in detail, ghetto life and living the life of a ’’thug’’ as some would put it.
While Enter The Wu-Tang (36 Chambers) was more aggressive, this is more laid back and perfected. This, however, brings forth a new style that is less magnetic but more cohesive and detailed. This is one of the Wu-Tang Clan’s best albums in the lyrics department. Even with the one commercial track thrown into the mix, it can’t slow down the momentum. Delivering some of the best verses in years, it makes Iron Flag the pinnacle of lyricism for the Wu-Tang Clan. Although their debut album was completely underground and the heights of that will never be reached again, this is the closest out of this albums two predecessors.
Guest artists are also another plus to the album. When I noticed that Flavor Flav was a guest artist on the album I immediately wanted to hear his verses. To my disappointment, however, he’s only on the chorus, much like Ron Isley. This gives more time for the Wu to rap. Although it would have been a plus to the album if Flavor Flav would have rapped, having stay on the chorus is a plus, however, and doesn’t detract from the album.
Having the guest artists stay on the chorus is a high point to the album. Instead of cluttering Iron Flag with guest appearances, the one emcee they do have doesn’t rap and Ron Isley adds atmosphere by providing a short chorus to Back In The Game. Realizing that there were too many guest artists on The W, the guest artist numbers are lowered and provide more time for the Wu to rap.
While Iron Flag isn’t a flawless classic, its as close to perfection as the Wu-Tang Clan have come since Enter The Wu-Tang (36 Chambers). The production and beats are back on-cue, as are the lyrics and subject matter. With this said, it creates a top-notch Wu-Tang group album.