Album Preview: Raekwon's "Shaolin vs. Wu-Tang"

Produced by: Scram Jones

Complex says: This recently leaked track opens up with a classic Wu skit with two dudes are arguing before the beat bursts on with nervous, paranoid strings as Rae weaves a street opera. The song features no hook (get used to that) as the dialogue plays some more. Makes for a perfect title track because it represents the large majority of the album pretty well. If you like this song, you’ll probably like this album.

Produced by: Erick Sermon

Complex says: Method is the first of many guests on the album. Not that we’re complaining since a lot of the time it seems as if Method saves his best verses for Wu-Tang albums, but never his own. Meth rhymes about how, “A lotta veterans be calling it quits” and Rae separates himself being quickly, “We like Crouching Tiger, you just a fuckin’ kitten.” On the hook they keep it Shaolin spitting, “Take it for all my ninjas in stride.” Finally, something white Wu-Tang fans can quote without feeling self-conscious about saying the n-word.

Produced by: Cilvaringz

Complex says: Rae makes a major announcement on this one: Cuban Linx III is coming! He says he doesn’t know when, but that the time is coming, and that’s good enough for us. That being said, this album definitely isn’t in the same vein as the Cuban Linx series. OB4CL and its sequel had an overarching narrative, but this record is more like a series of vignettes tied together by a common theme. By the way, this songs features the first six seconds of “As High As Wu Tang Get” right in the middle of the song before Ghost comes crashing through the glass rapping about sparking MCs and the like.

Produced by: Bluerocks

Complex says: Estelle kicks off the track on some Tekitha shit, singing about Shaolin and ninjas and such. But the beat is rough and rugged, a drum pattern over the sounds of fighting. Rae goes into a story where he gets into a fight over money and eventually gets into a shootout. Meanwhile, Deck comes off sounding a bit tired, but maybe it’s just because of the vocal mix. Estelle closes out the track repeating, "Ha, Ha" not unlike the intro to Fat Joe’s "Slow Down."

Produced by: Bronze Nazareth

Complex says: The original street single to the album. It’s already plastered all over the blogs so go ahead and listen to it.

Produced by: Selasi

Complex says: Although it’s a bit hard to follow (at least on the first listen) this is some classic Raekwon story-telling. Dark, soft cries make up the beat (think GZA’s “Queen's Gambit”) as Rae tells a story of betrayal. He paints a picture using elaborate details (“She once shot up a Chipotle, but don’t quote me”) to tell a story that eventually leads to him cutting the grass for a meeting at snake pond.

Produced by: Scram Jones

Complex says: The first of a number of non-Wu-Tang features, Busta Rhymes lends a verse that sounds like it was recorded during the The Big Bang sessions. But he just doesn’t fit as well into this track as he should, especially considering the friendship between him and Chef. Meanwhile, the beat on here is very Far East sounding: It’s type of beat that plays in the background as the kung-fu master goes to the woods to practice swinging swords.

Produced by: DJ Khalil

Complex says: Wait, is that autotune? Hold on a second, is that Ron Browz? It’s not? Okay, but WTF is up with the autotune? Over an eerie, spaced-out beat that sounds like nothing else on the album Ghost, Chef, and Jim Jones all rap about moving that [crack] rock and roll. Although Ghost has a memorable mention of having Bobby Brown on speed dial, the best verse is actually from Jones since he’s the only person who sounds comfortable. Capo name-drops every rock band he can think of and tops it all off with the line, “We pop them Guns N’ Roses but Diplomats, we The Eagles/We feena be bigger than the Beatles.” Hey, in Harlem circa-2003 that wasn’t too much of a hyperbole.

Produced by: Sean C & LV

Complex says: Prior to its release, much of the chatter about Only Built 4 Cuban Linx 2 revolved around whether or not Nas would make a guest appearance to follow-up his legendary verse on “Verbal Intercourse.” In the end, fans were disappointed when Nasty didn’t make a cameo and Nas himself admitted he regretted not appearing on the album. We’re guessing he tried to make it up with this record, but this song is more “Let My Niggas Live” (Nas’ other Wu-Tang collab) than it is “Verbal Intercourse.” “Timbs yellow like a Malibu surfer hair be,” raps Nas on this track, which should signal that the heavier themes of the rest of the record aren’t really present here. Rae goes off on the second verse though.

Produced by: Kenny Dope

Complex says: With a classic ’70s sound and laid back horns, this is the smoothest cut on the album. Meth still keeps it gully with lines like, “If you are what you eat, and you eat pussy, then you’re a cannibal.” But what really makes this record stand out is the nostalgia. Rae reflects on his childhood and how the Wu first blew up. For once, life as a shorty doesn’t sound so rough.

Produced by: Scram Jones

Complex says: Rae kicks rhymes about a villain who “had an Idi Amin approach” before passing the mic to Banks. Before hardcore Wu stans throw their arms up over a G-Unit feature, do note that Banks fits in better with this track than you might think. For one, adopts Rae’s story-telling style as he narrates a street tale worthy of a Raekwon track. And although we’re not 100% sure, Banks may have dropped a “Shorty Shit Stain” reference. Seriously, that was the worst rap name ever.

Produced by: Bt

Complex says: Although this didn’t make the final cut of the album and is nowhere to be found on the Amazon tracklist, we hear it’ll end up as an iTunes bonus cut. Which is great because even though GZA doesn’t come too great on here, Killah Priest dons a kufi while spitting conspiracy theories about Micheal Jackson’s death.

Produced by: Allah Mathematics

Complex says: There are references to everything from guillotines, to wolverines, and fly assassins, but what really takes the show here is the beat from Allah Mathematics, which blasts with all types of sounds including horns, pianos, and more sounds of people fighting. Never thought we’d say this, but after a while the constant sounds of dudes fighting and kung-fu dialogue does get a bit tiring.

Produced by: Xtreme

Complex says: Ross made so many strides as a rapper in 2010 we were hoping he could really shine on this joint, but the track seems too fast for his patented telegram flow. But Ghost holds it down rapping about law libraries, Philip Drummond suites, and bubble baths. Also, it’s important to note that this beat sounds like it samples Ann Peebles’ “Trouble Heartaches & Sadness”—a song previously sampled by RZA on GZA’s Liquid Swords.

Produced by: Havoc

Complex says: The best non-Wu feature on here is definitely Mobb Deep. Havoc fits in seamlessly and who knows when Prodigy’s verse was recorded, but he sounds like he’s ready to throw a TV at us. This track will end up as a bonus cut as well.

Produced by: Tommy Nova

Complex says: Too bad the new tracklist reveals that this song is no longer a closing track, but stuck somewhere in the middle of the album. Don’t get us wrong, we’re glad to have it on here, but it made for such an epic ending. Rae and Black trade verses (“Save the laughter for the afterlife” claims Rae), but there is no third verse, they just let it ride out. No hook on this song either, just another kung-fu sample which repeats, “Salvation will not be denied to us.”

Produced by: Tommy Nova

Complex says: The perfect closing track. This song is worthy of playing in the background as the credits roll after an amazing film. Speaking of amazing films, this beat may or may not sample Ennio Morricone’s legendary theme from The Good, The Bad, and The Ugly that Kanye once used for Jay-Z’s “The Blueprint II.” But the track has no rapping, just Wu-Tang fans chanting the immortal phrase, “WU-TANG! WU-TANG! WU-TANG! WU-TANG!”