W,the

After a (now typically) kitsch kung-fu movie sample is dealt with, Method Man yells, “We’re Back!” at the start of ‘Chamber Music’. It’s a strangely cathartic moment, when the horror of his ‘Tical 2000’ album is washed away in an instant; and when Method Man (possibly the laziest member of the Wu around the release of ‘The W’) means business, you know the rest can’t be far behind. And indeed, they aren’t.

Perhaps due to the critical mauling most of their second solo albums took, or just because the pressure of rapping solo on every track is off, each MC is back to their best. It is Ghostface Killah, however, who most often stands out above his peers. On ‘Protect Ya Neck’, he spits, “taught y’all ni**ers how to rap / reimburse me.” Elsewhere, a pre-incarceration ODB is rambling more untidily than ever on, ‘Conditioner’. But for the most part this is a group effort.

‘Careful (Click Click)’ is, for me, the best Wu track since ‘CREAM’. It’s a very claustrophobic track; the eerie dungeon sounds, sleigh bells and the sound of an empty clip make it an uncomfortable listening. Those looking for something more commercial should turn their attention to ‘Gravel Pit’, the Wu’s first attempt at a truly commercial track. The 1920s swing-era opening is followed by a strangely hypnotic sample aided by Method Man’s constant, “back and forth” couplet.

The single, ‘I Can’t Go To Sleep’ is horrific and beautiful at the same time and in equal measure. Again, it is Ghostface who makes the song – it is the story of black oppression over the centuries. It marks a much more mature Wu Tang we’re hearing here as Ghostface cries, “I can’t go to sleep / Feds jumping out their jeeps / I can’t go to sleep / babies with flies on their cheeks / it’s hard to go to sleep.” Rza’s string arrangement fits perfectly and he and Ghostface seem genuinely affected as they sing (yes sing, not just rap) the lyrics. The fact that neither Ghostface nor Rza’s voice can cope leaves Isaac Hayes the task of balancing the track. Hayes’ baritone is the perfect partner to Ghostface’s soprano rap and Rza’s hyperactive nonsense.

The running story of the album is the chaos, paranoia and sadness that lies at the heart of the American underbelly. Tracks such as ‘Jah World’, ‘Let My N***ers Live’ and ‘One Blood Under W’ highlight this perfectly. These tracks allow the Wu, more than ever, to become a cohesive unit as they paint lyrical pictures of inner-city life as an everlasting nightmare. The tracks featuring reggae singer Junior Reid, in particular, allow the Wu to become more pensive and observant than ever. Reid’s calming influence the perfect foil to the troubled rhymes of Ghostface, Gza et al.

After the lazy, uninspired works that have been emanating from the Wu hive recently, each member seems to have brought their best work to the table for ‘The W’. The Wu Tang Clan will never be the same group that released ‘Enter The Wu Tang’. How could they be? They’ve achieved their goals; they’ve become a legendary, multi-platinum selling rap act. There’s no going back from here. If this LP is the start of a new chapter for the Wu Tang Clan, let’s all hope they can continue in this form. For ‘The W’ is potent reminder of just how good the Wu can be.

Track 1. After a lovely back to basics intro with kung fu flick samples and all, " Chamber Music" starts playing. I loved the beat and the Tune made it easy for Raekwon to flow a beatiful first verse. But of course even with a catchy chorus from Method Man, the Gza steals the show.

Track 2. "Careful" takes me back to their very first song, bring da ruckus. It has a hard core, skeletal Rza beat and all the rappers, even Cappadonna, spit good verses and catchy chorus skits on this track.

Track 3. This track takes quite a long time to get used to. And what takes even longer to get used to is Ghost face spilling his heart out onto the mike. But don't worry, he does this alot on the W. The beat is slightly weak on this track but it's saved by Ghost's great lyrical flow.

Track 4. Red Man kicks us straight off with an explosive verse. One of the best beats on the album and Method Man clearly outshining all emcees in sight, this track is a classic Wu Banga!

Track 5. If you like Jr. Reid and Masta Killa, you'll love this track. They work nicely together. Masta Killa spits two steady deep throat verses inbetween an almost regie chorus. Good beat. Good tune, great track.

Track 6. I don't like Ol Dirty's style in this song. He sounds as if he's singing a hyme in church...Liven up Ol Dirty! But of course after a relativley weak track the Gza jumps in and saves it.

Track 7. You're probably all familiar with this one so I won't go into too much detail. Ghost face and Gza rule the track but with good verses from all 9 emcees.

Track 8. Nas does surprisingly well on this song. I love the beat and the lyrics of this song and feel it's a really back to basics track from the RZA. Play it loud.

Track 9. Before you completely skip this track due to Ghost face's howling. Take the time to get used to it and respect the lyrics. It has a deep recial message and with Isacc Hayes, (Chef from South Park) supplying the vocals, you can't go far wrong.

Track 10. This is, like the intro says, a Wu Banga. Meth throws the illest hook I've heard on the album and the mysterious Street Life, (who I think should have had all of Cappadonna's verses as well personally) flows a nice verse. This is a classic track.

Track 11. Short but sweet. Busta Rhymes spits Wu Lyrics like he's a pro at it. And damn nearly is! But like most tracks with the Genius on them, Gza hops in to outshine eveyone with his simple, yet scientific lyrics.

Track 12. You'll all be familiar with the Gravel Pit by now. Just incase you're not. The beat's amazing, the tune's catchy, and the lyrics are out of this world.

Track 13. Here is my first and only critisism for this album. Ghost face and Rza have already done a colaberation of racial equality on this album! And " Can't go to sleep" is better than this track so why they put it in is beyond me. But just after it comes in the illest little beat for the dopest outro on any Wu tang Album. The track isn't in the titles but it's mainly about clapping. Raekwon, Ghostface and Method Man flow all over the track, making the previous blunder un noticed.

So as a whole. This album deserves it's five stars, because all the Wu tang have done is taked their style, and altered it slightly. This shouldn't be looked upon as a mistake but as originality. Therefore, the Wu tang still have their place in my heart.