Under Review: Liquid Swords

Last week, I looked back at AZ's Doe or Die, so this week, it's time to look at another supposed "classic" from 1995. This time, I decided on GZA's Liquid Swords.

Although I feel not too many casual hip-hop listeners knew about AZ, I figure that GZA is a much, much more recognizable name. However, for those who don't, GZA was one of the founding members of the Wu-Tang Clan, along with his cousins Robert Diggs and Russell Jones. Pretty much everyone outside the Clan however, knows those two as RZA and The Ol' Dirty Bastard (deceased). GZA, born Gary Grice, was signed by Cold Chillin' Records after his group with Diggs and Jones, All Together Now, gained recognition on the underground scene. GZA's complex and deep lyrics earned him the title "Genius" and he used it as part of his debut album title, Words from the Genius.

Unfortunately, Genius's album was a flop, as critics weren't crazy mainly because GZA's style didn't fit with Easy Mo' Bee's production. Bee was the producer for hip-hop legend Big Daddy Kane, so naturally, he used beats that fit more with Kane's style, rather than Grice's. Grice was released from the label shortly after, which may have been the best thing to ever happen to him. Angry at how Cold Chillin' tried to make him into something he wasn't, Grice wanted to make music that was more raw and able to express his life in the Southview Projects in the Bronx. Grice decided to get things back together with Diggs and Jones, and soon the Clan was formed.

It was clear that there were standouts in the Clan, and Genius was one of them. Wu-Tang Clan released their first album in November of 1993, Enter the Wu-Tang (36 Chambers), and once people heard GZA's lines on "Clan In Da Front" such as "Claudine went to Cooley High and had mad kids so stop, the life you save may be your motherfuckin own/I'll hang your ass with this microphone/Make way for the merge of traffic/Wu-Tang's comin thru with Full Metal Jackets", it didn't take long for the anticipation to build for a solo album from the Genius. Grice used his success from the Clan to help sign a deal with Geffen Records in 1995 and immediately began preparing his debut album for his new label. This time however, GZA wouldn't have to worry about production, as RZA took control of nearly the entire album.

So was GZA's second effort a better offering than his first? Here's my review of Liquid Swords.

Liquid Swords
Release Date: November 7th, 1995
Label: Geffen/MCA Records

1. Liquid Swords ft. RZA
The intro, which is taken from the samurai flick Shogun Assassin, is a long one. It takes 1:20 until GZA actually steps onto the mic, but once he does, he's off. GZA sounds very comfortable with RZA behind the board and this song is an excellent way to start the album. The beat is pretty simple, but it hypnotized me at least and it worked as a great complement to GZA's delivery. Oh, and as for lyrics, they're great too.

2. Duel of the Iron Mic ft. Ol' Dirty Bastard & Inspectah Deck
It doesn't take nearly as long to get into the actual track this time, but the intro into it is still fun to listen to. This might be one of my all-time favorite RZA beats, or maybe just beats in general. The piano loop in the background is fantastic, but it's not even the best part of the song. GZA got the nickname "Genius" for good reason, his lyrics are just that. His first verse is one of the best I've ever heard from GZA period. "Where money don't grown on trees and there's thievin MC's/Who cut-throat to rake leaves/They can't breathe, blood splash, rushin fast/like runnin rivers, I be that whiskey in your liver." Awesome, awesome track.

3. Living in the World Today ft. Method Man & RZA
Damn, GZA is on absolute fire at this point. Again, a terrific beat from RZA, but GZA's lyrics and flow are still what make the song really click. Method Man sort of just makes a cameo appearance on the bridge, so he stands aside for Genius to steal the show. Another really good song from the Genius.

4. Gold ft. Method Man
The beat here isn't quite on par with the first three tracks, but that being said, it still kicks ass. It was a track I didn't care for my first listen, but after giving it a few more spins, it grew on me big time. GZA's two verses are, as usual, really good with lines like "I'm deep down in the back streets - in the heart of Medina/About to set off something more deep than a misdemeanor/
Under the subway, waiting for the train to make noise/So I can blast a nigga and his boys - for what?/He pushed up on the block and made the dope sales drop/Like the crashin of Dow Jones stock."

5. Cold World ft. Life & Inspectah Deck
People say that Raekwon is the best storyteller in the Clan, but I can't leave GZA out of that conversation with songs like this. This is, in my opinion, one of the darkest songs that GZA ever did. His first verse is incredible, as he starts out with his own spin on The Night Before Christmas with the line "It was the night before New Year's, and all through the fuckin projects/ Not a handgun was silent, not even a tec." His lines literally gave me chills as he described how some make it, and others get shot in the projects. It also amazed me how good Inspectah Deck's verse was on this. For some reason, when paired with Rae or GZA, Deck seems to step up his game. RZA's beat is perfect for this song as well, making it arguably the best cut on the whole album.

6. Labels ft. RZA & Masta Killah
I mentioned in the background of GZA that he was angry at how things ended with Cold Chillin' Records. Well, here was GZA's chance to let some of that go, literally mentioning just about every hip-hop label that existed in the industry. It's not a highlight track, but it shows once again how intelligent Genius really was since the lyrics are brilliant.

7. 4th Chamber ft. Ghostface Killah, Killah Priest, & RZA
OK, "Cold World" was great, but this is even better. There is no question in my mind that this is one of the best rap tracks EVER made. (No, I'm not a GZA ass-kisser, it's THAT good)

8. Shadowboxin' ft. Method Man
Another outstanding track. It's a great way to follow "4th Chamber" as it doesn't hit you quite as hard. Meth's verse is good and, not to my surprise, GZA's is as well. I like the beat here, except for part of the sample that RZA used. It almost takes away from being able to listen to Meth and GZA, but it's still pretty good.

9. Hells Wind Staff/Killah Hills 10304 ft. Dreddy Kruger, RZA,
Finally, Genius puts on a track that well, isn't A-Grade. The intro is interesting to listen to, but not interesting enough to sit through 1:28. If you can get past that, you'll get a decent song from GZA, as his lyrics are still excellent, but RZA's beat just doesn't grab you like previous tracks. It's too experimental and too ridiculous to try on this album. It also, in my opinion, disrupts the flow the album had, which causes me to skip this track on a regular basis.

10. Investigative Reports ft. Ghostface Killah, U-God, & Raekwon
Ehh, it's OK. I always hated U-God, as he is far below the talent of his fellow Wu members, and Rae and Ghostface aren't at their best for this one. Another track I'll skip.

11. Swordsman
Thank you GZA for just taking control of your album. The beat is darker, maybe the hardest on the whole album, and I love the extremely catchy chorus. If GZA didn't assert himself as a hardcore, rugged MC until now, then this is reason not to fuck with him.

12. I Gotcha Back ft. RZA
I suppose GZA wanted to build off the previous track, and this is a great way to do that. RZA's beat is, once again, awesome for the message GZA tries to get out, which is how it's hard to make it through the streets and that you always "best watch ya front, cause it's the niggas in front that be pullin' stunts." His second verse is possibly my favorite GZA verse of all time as he spits, "What is the meaning of CRIME (what?)/Is it Criminals Robbin Innocent Motherfuckers Everytime?/Little shorties take walks to the schoolyard/Tryin to solve the puzzles to why is life so hard/Then as soon as they reached the playground, blaow!/Shots ring off and now one of them lay down/It's so hard to escape the gunfire/I wish I could rule it out like an umpire/But it's an everlasting game, and it never cease to exist/Only the players change, so..." Damnnnnnn.

Liquid Swords also included a bonus track when it was reissued on CD.

13. B.I.B.L.E. (Basic Instructions Before Leaving Earth) performed by Killah Priest
The only song on Liquid Swords that is not produced by RZA, as 4th Disciple takes production duties. It's also the only song GZA doesn't perform on, but Killah Priest does a pretty good job by himself. The beat is good too, and there's actually some really good messages in this. Lyrically (as far as meaning), it's actually one of my favorite tracks on the entire album. An excellent way to close the album.

Closing Statement: When Method Man said in "Can It Be So Simple" on Enter the Wu-Tang that "the Clan formed like Voltron and GZA was the head," he wasn't fucking with anyone. GZA, as proof by Liquid Swords, is the best MC lyrically, and arguably delivery, wise of the entire Wu-Tang Clan. This album is his best work he has ever, and will ever do. It's got everything a great hip-hop album needs: beats, outstanding word play, it's mesmerizing, and awesome guest appearances. It is, in my opinion, the most accessible Wu album you can pick up and listen to. While it took me a few times to appreciate the greatness of Only Built for Cuban Linx, this album was put in my rotation immediately after I heard just the first two tracks. The lyrics on this are possibly some of the best dropped in 1995, or maybe even ever. Is it flawless? No, but it's damn close. Excluding "Killah Hills" and "Investigative Reports", this is a monumental achievement for any hip-hop artist. It continues to be my favorite solo Wu album ever (although I am a HUGE Ironman fan), and for good reason. I read once that Chris Rock said that this album is so great because it captures every essence of the entire Wu era. I don't agree with that, just because Ol' Dirty isn't featured more and there isn't much light humor on Liquid Swords. However, everything else that made the Clan great is on this album. I still haven't heard an album quite like it, and I don't think I ever will.

The Verdict: If you really love hip-hop (like actual good hip-hop that existed throughout most of the 90's) then you MUST have this album in your collection. It's definitely in my top five albums of all-time, and trust me, once you give it a listen, you'll understand why. GO BUY THIS ALBUM NOW!!

Sizzlin Sounds: August 29, 2010

It's been another interesting week in the hip-hop world. AZ announced his plans for a re-release of his critically acclaimed debut album, Doe or Die. You can see my review for Doe or Die right here.

In other hip-hop news, Diddy claimed that he "never cheated his artists out of money" on his Bad Boy Records label, while Jay-Z and Eminem announced their plans to do multiple concerts together, starting September 2nd at Comerica Park in Detroit. Hova made other news, as he and fellow Roc-a-Fella artist, Kanye West, released their intentions to make a five-song EP together called Watch the Throne. Last week, West said that he'd be starting "good Friday" series in which he would release a new single every Friday. Watch the Throne will be the collection of the five singles Mr. West and Jigga release, but no release date for the EP has been given as of today.

Finally, Young Money made news once again, and for ridiculous reasons. According to Twitter, artists Drake and Nicki Minaj "tied the knot" on Friday, meaning that they had been married. Speculation between the two artists relationship had existed since Drake had mentioned Nicki on his song "Miss Me ft. Lil Wayne" where he was quoted as saying, "I love Nicki Minaj, I told her I’d admit it / I hope one day we get married just to say we fuckin' did it / And girl I’m fucking serious I’m with it if you with it / 'Cause your verses turn me on and your pants are mighty fitted." Turns out that Drizzy and Minaj were just playing a four month late April Fools as Minaj tweeted on Sunday that their marriage "had been annulled and they would maintain joint custody." Also, Young Money's CEO, Lil Wayne, let leak that his sequel to Tha Carter III, Tha Carter IV, could be released on November 5th, the day he's released from Ricker's Island. With the constant delays in artist's albums today however, (just ask Lupe or Kanye), it's likely this won't be the case.

OK, so now that I got that Young Money bullshit out of the way, time for this week's Sizzlin Sounds. . .

Just missed the cut: "I Do" - Andre 3000

It's surprising to me that Andre, who many argue is OutKast's better half, hasn't really given us much detail about his upcoming solo album. Big Boi mentioned in an interview with HipHopDX.com back in May that Andre had been working on his album, but wanted no one but himself and close friends to hear material. This single is supposedly his first released as a solo artist, not including The Love Below, and it's been getting more and more attention by the week. It sounds reminiscent of an OutKast track, which is good for Mr. 3000, but it's a little too short.

5. "The Blow Up" - J. Cole

Last week I had "It Won't Be Long" on this list, and I probably forgot to include this one. It's another decent track from the up and coming artist hailing from North Carolina. He talks about, you guessed it, blowing up in the rap game.

4. "Oh Yeah" - Diggy ft. Lupe Fiasco & Pharrell

Diggy, for those of you who don't know (which is most of the world I'd think), is the son of Joseph Simmons and also signed a major deal with Atlantic Records earlier this year. Joseph Simons was part of Run DMC, possibly the greatest hip-hop group EVER. Diggy is actually quiet on this song and pretty much lets Lupe steal the show. However, his verse isn't bad and although the beat is whack, it's a baby step for the 15 year-old MC.

3. "Mr. Rager" - Kid CuDi [prod. by Kanye West]

I'm no CuDi hater, in fact I think he brings a great style to hip hop that makes him unique, but this song is not his best. It's getting mad play though, probably due to the fantastic beat by West. Would've liked to have seen more actual rapping than a constant repeat of "Mr. Rager, tell me where you're going."

2. "F**k You Freestyle" - Cee-Lo ft. 50 Cent

Now THIS is a track you'll want to put into your rotation immediately. 50 drops an OK first verse, (which is actually pretty good for 50), but Cee-Lo's chorus is worth a listen just itself. If you're pissed at someone, this would be a great remedy.

1. "Monster" - Kanye West ft. Jay-Z, Nicki Minaj, & Bon Iver

May as well just reserve this spot each week for Kanye's newest single, because it is guaranteed to get mad airplay in the next week. I'm not as big a fan of this, especially since the beat is pretty damn weak. Actually, it's not weak, it's terrible. West's verse isn't bad though, and it is worth a listen. Stick to "Power Remix" for much, much better West.

Doe or Die: 15 Years Later

1994 was a hard year to follow up in the hip-hop world. Consider that albums such as Illmatic, Ready to Die, Southernplayalisticadillacmusik, Do You Want More?!!!??!?, Hard to Earn, The Main Ingredient, and Resurrection were all released in '94, many argue that it may have been the greatest year ever in hip-hop. 1995 didn't disappoint though, producing some of hip-hop's best albums to date. There was 2Pac's Me Against the World, GZA's Liquid Swords, Raekwon's Only Built for Cuban Linx, and Mobb Deep's The Infamous. One album that I consistently see being overlooked from '95 however, is AZ's Doe or Die.

For those who don't know about AZ (which I believe is about 80% of most casual hip-hop listeners today), he is the Brooklyn MC who appeared on Nas's classic "Life's a Bitch" on Illmatic. AZ, real name Anthony Cruz, was the only guest to appear on Illmatic and actually spit a verse, which in retrospect is a huge accomplishment. After Illmatic dropped in '94 to universal acclaim, Cruz gained attention from the hip-hop industry, and was soon signed to EMI Records. Although AZ had only dropped one verse to get signed, it was clear that the man had incredible talent lyrically. With having Nas as his main partner for collaborations, and producers such as Pete Rock, L.E.S., and Buckwild, Cruz had the tools to create a landmark debut. So without further ado, here's my review of AZ's Doe or Die, 15 years later.

Doe or Die
Release Date: October 10th, 1995
Label: EMI

1. Intro ft. Nas
Not anything spectacular to kick off an album that only clocks in at just over 45 minutes. Nas's debut album was even shorter, but he still had a similar intro to the one heard here. Is AZ taking a page out of Nas's book?

2. Uncut Raw
Look at the title. Yep, this song is pretty damn raw. Cruz describes how life is a struggle on the streets with lines like "poverty-stricken, they even turn a church kid into stickin," and, "violations will lead to kidnappin, decapitation. So what you're facin, is realism that's in activation." AZ is terrific lyrically in this first track, but I'm not as impressed with the beat for this. He enlists producer Loose, who does an average job. In any other track, I'd probably say this simple beat actually hurts the song, but because AZ's goal is to literally be "uncut and raw", it passes.

3. Gimme Your's ft. Nas
I was reading recently on another blog I follow, (Hip Hop Isn't Dead, which I highly recommend you start following IMMEDIATELY), and it said that this was one of the weakest songs on Doe or Die. I, however, couldn't disagree more. AZ's raps are good, and maybe having Nas sing the chorus wasn't the greatest idea. But because of Pete Rock's outstanding beat, which is a slower, melodic beat with harps in the background, this song is simply awesome. It's got one of the catchiest choruses I've heard, "Give me, just give me, give me what you can't get back. Give me, why don't you give me the world? Give me what you can't get back, for the five boroughs," and it complements AZ's delivery perfectly. Why can't rappers today give us more songs like this?

4. Ho Happy Jackie
AZ has some serious momentum at this point. His album also is extremely similar to Illmatic by the fourth track. If you don't believe me, give Illmatic a spin through the first four tracks, then listen to these four right after. The beat here, much like the previous song, is very melodic and I give producer Buckwild a lot of credit. His sample of "Little Children" by Kool & the Gang is a good one. Since this song is about a girl Cruz knew who was, well, easy (hence the title "Ho Happy Jackie"), the beat works really, really well.

5. Rather Unique
Pete Rock has to have an IQ on genius level, seriously. If AZ had Rock just produce the whole thing, it may be even better than it already is. Oh yeah, the lyrics here are terrific too. Just listen to the 3rd verse, "puffin trees to get me as high as a trapeze".

6. I Feel for You
Well, I finally see a major difference between Doe or Die and Illmatic. AZ makes a misstep on this track, something that Nas avoided doing in his debut. The lyrics are pretty average and the beat actually distracts you from AZ himself. This one shouldn't have made the cut.

7. Sugar Hill
Perhaps AZ's biggest hit to date, "Sugar Hill" provided me with a sigh of relief. Just when I was getting worried that the album would start to enter freefall, L.E.S. saves it. The beat is stellar and I love the laid back feel to it. I almost wish I just had the instrumental for this track, because it's that good. AZ talks about his dreams, living the life of riches, and "wearing the finest fabrics tailors made." Although this is a departure from the harder, street oriented songs on Doe or Die, it is a good one. The chorus isn't bad either. AZ can thank this track for helping this album debut at #15 on the Billboard 200.

8. Mo Money, Mo Murder, Mo Homicide ft. Nas
Some people consider this a classic. I'm not one of them. AZ slows down his rhymes, which is actually a nice change of pace since you can really hear everything he's saying. The appearance of Nas is also a great one, but the production is flat. The song could have gone without the weak hook AZ gives as well. The last minute and a half switches beats to a much more underground feel and AZ does a good job on his verse. If only this were the beat for the majority of the song. . .

9. Doe or Die
If AZ would've came up with a better chorus, I'd say this was the best track on the whole album. Still, even with the forgettable chorus, this is a pretty damn good song. N.O. Joe gives a more up-tempo beat for AZ to work with, and, well, AZ kills it. He raps in the first verse: "That's why there's no guilt for these trife niggas blood I spilt, took what they built, flippin their drug game on tilt cause in New York, dealin drugs is a sport you either sell, smoke it shoot up or snort anyway your caught and since I'm in it, now I'm in it to win it skies sets the limit ain't no being some motherfucker's lieutenant shit, from this point that's how I feel, I wanna fly yeah, its either doe or die." Wow.

10. We Can't Win
This was another song AZ could have, and should have, left out. The hook is almost annoying, "We can't get out and we can't get in", and the beat isn't spectacular either. His lyrics are still good, but he's got a few questionable lines in this, such as the claim "Guiliani's part of the Illuminati".

11. Your World Don't Stop
Great beat, good lyrics, awful, awful hook. It destroys everything this song had going for it and it's painful to hear over, and over again. My world won't stop to listen to this one.

12. Sugar Hill Remix
A nice way to end the album. I still liked the original "Sugar Hill" beat better, but I think AZ is actually better on the mic here than the original one. I also liked the chorus better on this one and it flows pretty well. It won't leave you with your jaw dropped like "It Ain't Hard to Tell" on Illmatic did, but it won't make you think anything worse of the album.

Closing Statement: After I listened to Doe or Die, I realized that it still shouldn't be ranked in the top five of '95. It shouldn't be compared to Illmatic either, which is obvious that's what AZ was trying to do, make his own Illmatic. There are flaws, but there are much more successes. "Sugar Hill" should be reason enough just to give this album a listen. I also believe that Pete Rock produced two of his best beats ever for this album in "Gimme Yours" and "Rather Unique". AZ also conveys some strong messages about making it from the streets and, for the most part, is very focused. Doe or Die is easily Cruz's best work to date and it still should go down as one of the best hip-hop albums from the 90's. It may not be in the pantheon of greatest hip-hop albums of all time due to it's few weaker tracks, but it's a damn good album regardless.

The Verdict: If you don't have this album, go out and get it, like now. You may not be able to listen to it the whole way through, but its got enough tracks to keep in your rotation for a long, long time.

Sizzlin' Sounds

Been a while since the last post, so my apologies for all readers. Last few weeks have been busy for me, but I'm ready to get back to updating everyone to the hip-hop world once again. So what better way for me to do that than introduce a new series?

Each week, I'm going to be rating the top five rap tracks that you'll want to hear right away. I'll include the download link (if there is one) for each one so you can be bumping these on your stereos ASAP.

So, without further ado, here is the first edition of "Sizzlin' Sounds".


Just missed the cut: "The Breeze Cool" - Wale ft. Wiz Khalifa and Tre of UCB
A track that you would expect on an album by Wale, this is the best song you'll hear on his most recent mixtape, More About Nothing. Wale sounds better than ever and it's clear he's becoming a better MC with his lyrics. A great song to play at any time, especially if you're driving with the windows down on a cool summer day.

5. "Trillionaire" - Bun B ft. T-Pain
I don't agree with the perfect "5 Mic" rating the Source gave Bun B on his most recent effort, Trill O.G., but he had some absolute standouts all the same. "Trillionaire" is one of them, with a surprisingly good chorus by T-Pain and a great beat by J.U.S.T.I.C.E. League. Bun sounds great as well and is strong lyrically.

4. "Right Above It" - Lil Wayne ft. Drake
Hey, had I started this series a few weeks ago, this would've been an easy choice for #1. It won't be on Weezy's Carter IV, but it could be a taste of what we'll hear. If it is, it will be plenty for hip-hop lovers to be satisfied with. Although Drake's verse isn't bad, Wayne is clearly the star in this track, with lines like "life is a beach, I'm just playing in the sand," and "yes I'm in the building, you just on the list of guest names".

3. "It Won't Be Long" - J. Cole
It's very possible that the best rap album this year will be released by Cole if he stays at the level he's at in this track. Cole describes experiences in the hood, talking to his mama in a letter format. It's an inspirational song, and another very strong cut from Cole. It may appear on his debut, Cole World, which is to released later this year. Definitely an album you will want to pick up.

2. "Go To Sleep" - Lupe Fiasco
Can Lasers please just be released for the sake of hip-hop NOW? Lupe hasn't made a release date official yet, but that doesn't mean he hasn't been releasing new music. His latest here is "Go to Sleep", where 1500 or Nothin' is on the production end. Lupe is once again, terrific, showing no drop in his delivery skills. When you hear Lupe dropping lines like "But I'm warming up, ocean is on the rise, I be ocean with 11 associates on the side", you've got even more reason to get excited.

1. "Power Remix" - Kanye West ft. Jay-Z
This wasn't going to make the list, if it had stopped at the 3:16 mark. After that, Kanye unleashes on the mic. Not only does he destroy it lyrically, but he raps over an old school beat with "I got the power" chanting in the background. Blend that with a strong verse by Jay-Z to open the track, and you have you're #1 sizzler for the week.