One such classic is Raekwon’s [click to read] Only Built 4 Cuban Linx. The 1995 crime epic is so revered that even its skits are discussed to this day. Universally regarded as one of Hip Hop’s finest offerings, the original OB4CL was a blend of cinematic storytelling, fierce lyricism and unforgettable production. In the 14 years since the purple tape hit shelves, Rae’s solo releases included two disappointments in 1999’s Immobilarity and 2003’s The Lex Diamond Story [click to read]. So it’s no surprise that when Raekwon revealed he would be making a sequel to his magnum opus, fans’ reactions were a mix of excitement and skepticism. While there was no doubt Rae had the potential to deliver another work of art, his batting average left much to be desired. So it must be with a sigh of relief that Raekwon delivers us Only Built 4 Cuban Linx 2, as he manages to meet almost impossible expectations and deliver the best Wu-Tang member solo album since 2000’s Supreme Clientele.

OB4CL2 picks up right where its precursor left off with “Return of the North Star” featuring Papa Wu. Although it functions as little more than a skit, it’s a seamless transition from the original album. Most importantly, it indicates that Raekwonunderstands that OB4CL2’s worth will be dictated by whether or not it can be played immediately after the original without missing a step. Perhaps for that reason, Rae blows the door off the hinges with the classic Wu-Tang sound on “House of Flying Daggers,” with Wu brethren Inspectah Deck [click to read],Ghostface Killah [click to read] and Method Man [click to view] getting in on the posse cut. The track, complete with chanting chorus, Kung-Fu samples and frenetic violin loop sounds like it came straight from an early ’90s RZA [click to read] recording session (as do the emcees who spit over it). As such, it’ll come as a surprise to fans that the song comes courtesy of the late J Dilla.

What cannot be stressed enough about Cuban Linx 2 is the astounding thoroughness in its execution. It’s clear that every contributor to the album – producers, executive producers, featured artists – was acutely aware of how aCuban Linx album should sound. Take Pete Rock’s [click to read] work on “Sonny’s Missing” as an example. The beat is something out of a ‘40s black and white gangster flick, and provides the perfect backdrop for Rae to weave tales about the violent and seedy underworld. The Marley Marl-produced [click to read] sampler (it clocks in at under a minute) “Pyrex Vision” is another prime instance, as what appears to be an audibly high Raekwon doles out orders while he cooks up fishscale. Despite many fans’ doubts, Dr. Dre makes contributions as well. His signature keys and drums provide a Latin Mafioso flavor, and recall the excellence displayed in the previous pairing of Rae and Dre on Busta Rhymes’ [click to read] “Goldmine.” Not to be forgotten is The RZA, whose contributions include the haunting “New Wu” [click to listen].

With such a stellar production crew, it’d be a shame if the rhymes didn’t stack up. But once again, it’s apparent from every emcee’s performance that the Cuban Linxlegacy is to be upheld. Raekwon, who has in recent years preferred a laid-back, menacing flow, sounds completely alive and reawakened here, and in top form. Similarly, GZA [click to read], who sleepwalked through the Clan’s 8 Diagrams[click to read], flexes his lyrical muscle alongside Slick Rick and Masta Killa on “We Will Rob You.” Method Man, who was largely a nonfactor on his own Blackout! 2[click to read] delivers vicious verses on both “New Wu” and “House of Flying Daggers.” Beanie Sigel’s [click to read] prison tales fit perfectly on “Have Mercy” [click to listen], and Jadakiss [click to read] and Styles P [click to read] bring their signature gritty sound. But just as was the case on the first Cuban Linx, the most potent combination comes in the form of Raekwon and Ghostface Killah. Ghost’s signature storytelling is on full display on “Gihad,” where he details getting caught with his man’s (or is it his son’s?) girl: “And she pregnant, my little man got her knocked up, he popped up/ (oh shit!) I’m like a crooked cop, Richard Gere, big smirk on, getting my cock sucked/ He pulled the joint out, a bullet spun out/ But it was too late, already nutted on the side of her mouth/ Side of her face and her hair, like Something About Mary/ I can’t front, my son gun look scary/ Chill, she’s a whore!/ You knew that from the time we rain trains on her and you still went and fucked her raw/ Come on, son, gimme the gun/ You gonna kill me over this bum ass bitch that you can’t resist?”

It would be remiss to relegate all the praise for OB4CL2 solely to the production and rhyming –excellent though it may be – without also noting the album’s incredible attention to detail. Different effects are used to make the album a complete and atmospheric listening experience. On “Gihad,” the choral loop in the back becomes muffled halfway through Raekwon’s verse, then resumes right asGhostface comes in, giving it extra punch. On “Fat Lady” the beat is purposely interrupted in order to let a mini-skit play out to great storytelling effect. And just as they did in OB4CL, every skit plays an important role to setting the scene for either the song it follows or precedes. These details, while miniscule, contribute greatly to the overall listening experience of the album, and indicate that it is truly a labor of love.

All praise aside, OB4CL2 is not without its flaws, however limited. Comprised of 21 tracks, Raekwon could’ve trimmed a little fat, most of which occurs near the end of the album. Dr. Dre’s other offering, “About Me” featuring Busta Rhymes, is a somewhat generic and doesn’t contribute much. The same can be said of “Mean Streets,”  “Kiss The Ring” and “Surgical Gloves.” It’s not that these tracks are awful; in fact, they could likely be highlights on someone else’s album. It’s simply that they don’t match the standard set by the rest of the album.

Without a doubt, Only Built 4 Cuban Linx 2 is crime Rap done properly. Whereas modern examples of the sub-genre offer little or no examination of consequences, or are simply just too amateurish or dumbed down in their depictions, OB4CL2 (just like the original) is pure cinema – a near-flawless crime epic executed to near-perfection. Not only is it, as previously mentioned, far and away the best Wu-Tangalbum in years, but also probably the finest album the east coast has offered sinceJay-Z’s The Black Album [click to read]. But Cuban Linx 2’s value should not be measured solely by virtue of what it means to the Wu-Tang Clan, New York, or even to Raekwon; it’s a modern-day music masterpiece that proves, even in 2009, some albums that are labeled “classic” earn it. As in film, not every sequel will capture the essence of the original. Much like The Godfather Part II, Only Built 4 Cuban Linx 2 succeeds whether other sequels fail: by creating something that not only maintains the original’s integrity, but carries a distinct vision of its own.

01. Return To The North Star (Feat. Papu Wu) (Interlude)
(Prod. Bt)
02. House of Flying Daggers (Feat. Inspectah Deck, Ghostface Killah & Method Man)
(Prod. J Dilla)
03. Sonny’s Missing
(Prod. Pete Rock)
04. Pyrex Vision
(Prod. Marley Marl)
05. Cold Outside (Feat. Suga Bang & Ghostface Killah)
(Prod. Atl)
06. Godfather (Feat. Inspectah Deck)
(Prod. RZA)
07. New Wu (Feat. Method Man & Ghostface Killah)
(Prod. RZA)
08. Penitentiary (Feat. Ghostface Killah)
(Prod. Bt)
09. Criminology 09 (Feat. Ghostface Killah)
(Prod. Bt & RZA)
10. Fat Lady Sings
(Prod. RZA)
11. Canal Street
12. 10 Bricks (Feat. Cappadonna & Ghostface Killah)
(Prod. J Dilla)
13. G-hide (Feat. Ghostface Killah)
(Prod. Necro)
14. Rockstar (Feat. Inspectah Deck & Gza)
(Prod. RZA)
15. Catalina (Feat. Busta Ryhmes)
(Prod. Dr. Dre)
16. 40 Deuce (Feat. Jadakiss & Styles P)
(Prod. Scram Jones)
17. Walk Wit Me
(Prod. Scram Jones)
18. We Will Rob You (Feat. Slick Rick, Gza & Masta Killa)
(Prod. Allah Justice)
19. Have Mercy (Feat. Beanie Sigel)
20. Surgical Gloves
(Prod. The Alchemist)
21. Nigga Me
(Prod. Dr. Dre)
22. Mean Streets (Feat. Inspectah Deck)
(Prod. Allah Mathematics)
23. Kiss The Ring (Feat. Inspectah Deck & Masta Killa)
(Prod. Scram Jones)
24. Ason Jones
(Prod. J Dilla)

It is one of the greatest questions to be asked on a rap record but at the same time let’’s take it outside of the spectrum of music and think about it on a world scale. The world is a crazy place these days and has been declining since September 11,2001. Look at all the catastrophes that have happened since. Hurricane Katrina, The War In Iraq, An Economy that like it or not continues to plummet, Unemployment rates that have been the highest they have been in years. Now within the past few weeks North Korea looks like it’s ready to set the world up for a nuclear holocaust. There is the war within Iran and struggle for their government that at anytime could blow like a powder-keg.

The US has become more and more flawed as a society, as a Super-Power, as supposed leaders of the free-world. This is because of many factors. The fact that our media is one-sided and gets its information from a certain group of people who only want to portray America as the saviors and good-guys and people always who are looking out for the best interest of the world. This is not a shot at the new administration at all because I believe call me a conspiracy theorist if you want but even our President answers to higher authorities. There is an agenda and regardless of who is in power they stick to the plan. Is there anything we could do as a people to know or can even imagine the secrets that THEY keep from us.

So the question is Are We Living In Hell? There is a feeling in the air that I get at least that something on a global scale with global implications is about to take place. I see all these things coming together and it seems there are problems foreign and domestic that seem to be coming together as if it is the Perfect Storm.

So What Do You Believe in?

The controversial skit (Shark Biters) A lot of people know who this was directed at and if you don’t know Rae and Ghost would probably be politically correct about it. That interlude though was directed at Biggie. For his using basically the same cover as Nas did on Illmatic. Now you could also play this album today and it will be completely relevant.

About four years ago we heard rumblings of a sequel. It was originally All Rza produced with Gza and Inspectah Deck playing the supporting role instead of Ghost. Now four years later and we hear that it isn’t all Rza produced. Some producers on the album expected now are J Dilla, Dr. Dre, Rza, Marley Marl, Erick Sermon, DJ Scratch, and The Alchemist. We have heard New-Wu with Ghost and Meth over a great Rza track. So my question is this what are your thoughts? Do You think the Sequel which comes out August 11th will live up to the original. Let the debate begin?

Muisc transcends language. It is feeling,vibe, emotion. It is not even necessary that you know the language of the person you are lstening too. Have you ever listened to an Opera singer and heard the pain in his/her voice regardless if you know the language at all. It is enough to make you emotional and cry. That is when you know you have GOOD Music. When you are trapped in that emotion and there is nothing you could do about it but just ride it out. Regardless of the language it could take you places where you never thought possible.

Have you ever been to a place on a vacation or otherwise that the people don’t speak your language. The music of the place I feel brings you closer to that particular culture and makes the moments of your experience more enjoyable. It is almost as if you are now a part of that culture and that is based on the power of music without even knowing what the artist may be saying.

Even your everday language can be altered and flipped around in a way that is different and new. Slang words have become a staple in hip-hop for many years and if you listen closely to the LYRICS it paints the pictures for you and may describe a place you’ve never been too but it puts you there thru the language and emotion. I remember hearing Only Built For Cuban Linx for the first time and was so drawn by not only the groundbreaking production but the language the slang. The way that Rae and Ghost were able to paint pictures of  street life , one that I’ve never been a apart of specifically but it felt like I was. The language and the raw emotion was enough to put me as well as millions of other fans right in the heart of the park hill and stapleton projects. That is the power of GOOD music and how music can be the universal LANGUAGE of mankind.