Send "Raekwon " Ringtones to your Cell 
| Sputnikmusic |
 Although developed in the early 90s by Kool G Rap and improved by Scarface, so-called "Mafioso Rap" wasn't truly perfected until 1995 with Raekwon's Wu-Tang saturated Only Built 4 Cuban Linx. With the help of compatriots Ghostface and the RZA, The Chef made a genuine musical analogue to his handle - a stark tale of the New York powder game told from the eyes of a fish-frying (cocaine cooking), culinary mastermind. Widely considered a classic in many circles, this record not only bolstered the Wu-Tang legacy of the 90s, but also paved the way for many aspiring stars from a lyrical perspective (see Jay-Z's Reasonable Doubt, absolutely). Two solo duds, countless posse trainwrecks, and fourteen years later, Only Built 4 Cuban Linx Pt. II has finally hit shelves to resounding critical acclaim. Hailed as the best Wu affiliated cut since Ghostface's Supreme Clientele (nine years ago), it's hard to believe such hyperbolic claims as a jaded hip-hop fanatic - especially considering New York's relative stagnation as of late. So is this praise warranted? In short, yes, and then some. Just give this a try as a short primer: http://www.youtube.com/watch?v=nR7kVnh3PlITo find the root of why Cuban Linx II is a worthy follow-up one must make a quick jaunt back in time. The defining aspect of golden age Wu celebrity wasn't the Kung-Fu lore, lyricism, and definitely wasn't U-God. In fact, members U-God, Inspectah Deck, Method Man, and Masta Killa really were nothing singularly spectacular and sit passenger to the verbal gymnastics of GZA, Ghost, and Rae. The binding glue here (and one of the most genre shifting forces of the era) was the RZA's spectacular production. His beats were revolutionary in their employ of tension-building atmospherics; juxtaposed brilliantly with the ghetto-centric lyricism, the original Cuban Linx was undoubtedly the producer's defining moment. The sequel takes this knowledge into account with its strategic assortment of producers: arguably the hottest beatsmith right now in the late Dilla, NYC legend Pete Rock, new age RZA on a seemingly good day, Dre, Alchemist, and even the 'E' from EPMD lending a non-country fried interpretation of the 808. And where the original is a difficult piece to follow up from a composition perspective, the final mix turns out well and not only casts a spotlight on each and every verse, but demands applauds for its artistic cohesion amidst the multiple credits. From the heartbeat-come-rapocalypse of "House of Flying Daggers" to the foreboding horns of "Sonny's Missing" and the bubbling clarity of "Pyrex Vision", it's immediately apparent - we're not here merely to revisit the Purple Tape's "North Star" as much as to update the journey for the 21st century. The bass hits harder, the symphonic samples are sharper, and the mood pulses between dark...darker... and grit; RZA should be proud of this evolution (but probably wishes he didn't waste his life the past decade obsessed with Bobby Digital)....full text |
| Pastemagazine |
| In the years following the Wu-Tang Clan’s 1993 masterpiece, Enter the Wu-Tang (36 Chambers), each member of the Clan’s post-Wu output has been met with varying degrees of success. Ghostface’s Supreme Clientele and Raekwon’s Only Built 4 Cuban Linx are generally considered to be the best, and that pedigree is a blessing and a curse. The Chef hasn’t been able to recapture the creative spark of OB4CL in the decade-and-a-half since its release, making his ambition to write a sequel something of a gambit. The reunion of Ghostface and Raekwon (right down to the identical pose on the album cover and “Guest Starring Tony Starks” tagline) is part of what makes the long-awaited Only Built for Cuban Linx II a Godfather Part II instead of Part III. One of indie-dom’s favorite rappers serves as the perfect point man for Raekwon’s return, serving up blistering verses and playing the loose cannon to Rae’s straight man. But where OB4CL2 really shines is in its production. The album picks up seamlessly from where its predecessor left off, and maintains that iconic early-'90s Wu-Tang sonic aesthetic, complete with samples from classic kung-fu flicks. J. Dilla’s work here is a fitting swan song for the now-departed studio maven; his three tracks are easily the album’s finest. And RZA seems to have buried his beef with the Chef with a raft of top-shelf production work and a featured verse on “Black Mozart.” His ponderous soul sample on the standout “New Wu” coasts on a throwback beat as Rae spits “move like ‘91 Romans / cloning everything, gents only / the rent’s on the stove, I’m in Rome.”...full text |
| Rapreviews |
| Raekwon the Chef has been cooking this one up for 14 years. Ever since the release of the seminal classic "Only Built 4 Cuban Linx..." Wu-Tang Clan fans have been clamoring for a worthy sequel to the original. There's no one to blame but Rae for the fact it's taken so long to enter this new chamber. In the interim since the original, every rap head's Top Chef has been cooking up some very unusual cuisine. "Immobilarity" was praised lyrically but fell completely flat musically, and the album's bizarre title became the punchline for a million bad jokes. Rae attempted to get some momentum back by embracing his Lex Diamond alter ego, but the mainstream retail wasn't up to par and it was largely left to hardcore Wu fans to support the release. With a six year span from then until now, some fans might have rightfully believed that Raekwon gave up his solo career aspirations altogether. It's impossible for "Only Built 4 Cuban Linx... Pt. II" to recapture that magical moment in August of 1995 when Wu-Tang seemed to have the entire hip-hop world on lock and every solo album held the promise of brilliance, nor can it make up for the errant career path Raekwon has followed since then. Put those negatives aside though because "Pt. II" has a lot to offer and many pleasant surprises in store. In fact one of the positives of the long interim between the original and "Pt. II" is that Wu-Tang's core membership has become increasingly willing to embrace producers outside of RZA and his disciples. That's not a knock on Robert Diggs, but if variety is the spice of life, our Chef has certainly embraced new flavors to the fullest here. West coast meets East coast on the Dr. Dre laced "Catalina" featuring Lyfe Jennings, rolling along over hot piano chords and a simple but effective clap beat. Dre even managed to produce his own version of the trademark Wu-Tang "buzz" in the background just to let you know the killer bees are still on the swarm. This isn't even Dre's best track though as comes in heavy for "Nigga Me" featuring Busta Rhymes. The guest rapper blazes here, telling listeners with no exaggeration that their union is "so euphoric, document this moment, shit is so historic." The late great J Dilla makes his presence felt on the old school Clan revival "House of Flying Daggers" featuring Inspectah Deck, Ghostface and Method Man. The soulful reminiscing over Ol' Dirty track "Ason Jones" also has Dilla's deft touch, eerily apropo given both left their physical form behind and are only still with us in the spiritual essence. Light a candle while listening. That's not to say RZA has been left off "Pt. II" or that his contributions aren't right up there with Pete Rock ("Sonny's Missing"), Alchemist ("Surgical Gloves") or Erick Sermon ("Baggin Crack"). In fact by keeping RZA's chambers on "Pt. II" fewer and farther between, his focus seems to have been sharpened, allowing him to give Raekwon the very best beats and make their dishes more delicious. "Black Mozart" lives up to the title as Inspectah Deck and RZA make cameos over his track, and the whole song feels like a lost chapter of the "Kill Bill" story. The pre-release leak "New Wu" thankfully survived to the official album, and RZA's harmonized backdrop is doo wop meets hip-hop in another Clan reunion that will spark 1990's nostalgia. "Fat Lady Sings" is one of the album's shortest songs, but the sizzling violins and simplified slow tempo bop give Raekwon the perfect format to narrate one of his cinematic street stories....full text |
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