Raekwon - Only Built 4 Cuban Linx Vol. II Review

It's without a hint of hyperbole that I can say that this record is the most eagerly anticipated record in Wu-Tang, if not hip-hop, history. Although Jay-Z's 'Blueprint Vol. II' has claimed the column inches it's hard to overlook the latest offering from Raekwon the Chef. Ladies and Gentlemen '...Cuban Linx Vol. II' has arrived.

After a mere 15 years of waiting arguably the greatest lyricist of his generation has finally delivered a follow up to his critically lauded solo debut. Vol. I effortlessly fused stone cold, skitteral production with lyrical dexterity, drawing on abstract metaphors and motifs to portray the grim realities of the 'thug life'. Though critics may suggest that Raekwon sought to glamourise drugs and violence the stark realness of his lyrics clearly exposed the misery, death and destruction of a ghetto existence. In many ways Vol. I was closer to the films of Martin Scorsese and blacksploitation movies like 'Across 110th Street' than his 'Gangsta' contemporaries. The early 90's saw the rise of G-Funk, and whilst getting your swag on to Snoop may have been fun, his tales of excess lacked the subtle or intelligence of the Wu- arguably Hip-Hop's most important and innovative group.

But what of Raekwon's contemporaries today? In all honesty hip-hop, commercially at least, appears to be on it's last legs. the sonic ferocity of Crunk is little but a novelty, modern day 'Gangstas' like 50 Cent lack any semblance of menace or integrity whilst commercially viable acts like Kanye West appear to be more interested in releasing novelty trainers and embarrassing themselves on red carpets than in producing relevant music. Against this soulless background the 90's revivalism of Rae seems like a breath of fresh air.

Introductory track 'Return of the North Star' fuses the romantic notion of prohibition era Gangsters with sombre warnings of "another nigger cheating you out your money" juxtaposed against the description of a vision in which Rae is seen "onstage at Madison Square Gardens". The listener is immediately transported back to 94, Rae may be off the block but this record is a reflection of his former reality- a theme continued throughout.

The first proper track 'House of Flying Daggers' is a statement of intent if ever there was one. J Dilla posthumously contributes a weighty beat, sampling the Four Tops. Whilst vocal contributions come from Inspectah Deck, Method Man, GZA and Ghostface Killah. Again the Clan's past are referenced (this time in the form of Kung-Fu motifs) leading one to question whether this record has arrived too late? Those concerns are dispelled a run of tracks taking in production from Prince Paul (Sonny's Vision), Marly Marl (Pyrex Vision) and RZA's masterpiece 'Black Mozart'. Despite opening with a kung-fu B-Movie sample RZA reworks 'The Godafther Theme' and adds layered vocals to remarkable effect. The chorus "You better get that money, no matter, what you do. You gotta get that money, and represent your crew " appears on paper to be a chant glorifying gang loyalties but in reality it is a mournful death march whilst the couplet "As reaper stay sprayed, still niggas is smoked. Four in his pocket, a diamoned up chain and some coke" shows the harsh contrast between material fetishism and the reality of life in a gang.

Considering the range of producers on this album it is ironic that the records strongest moment comes in the form of 'New Wu' a track produced by one Robert Diggs. Again RZA's production mournful; 808 snares matched against the solemn tones of little known sould group The Magictones. The rapid fire delivery of Ghost provides a perfect foil to this as he spits "Bulletproof tuxes, knuckle games is clarkers and busters. Eighteen niggas, bringing the ruckus" at double quick speed. Rae's own contribution is no less impressive using visions of marauding Romans to describe his crew, stating with no bravado "Make a move and get blown off the planet." Delivered by a lesser MC this line would appear to be an empty threat, from Raekwon it's a promise.

The album's middle section doesn't let up with Dilla and The Alchemist providing strong contributions in the form of 'Ason Jones' (feat. O.D.B) and 'Surgical Gloves' respectively. The topic rarely strays from the hyper reality of Rae's narratives of cooking and selling drugs, however lines such as "we living off fear" dispel any sense of glamour. Though often emotionless Raekwon's journey through the darker side of New York is revealing and is in many ways comparable to the social exploration of Dickens or Joyce. When Seamus Heaney described hip-hop as modern poetry he may well have had a point.

Although always engrossing it is debatable whether this record needed to be a full 22 tracks deep. At times it can come across as almost too much of a mixtape thanks to the sheer range of producers on show and at little over 1 hour in length several tracks seem like filler efforts. Despite this it is near impossible not to drawn into this record. Vocal complexities are matched by impeccable beats and reinvent the soul sampling format that has been hijacked in recent years.

So has Raekwon returned with a 'fresh' innovative album? the simple answer is no. However, though all the motifs seem to point to a simple thug formula Raekwon succinctly develops an introverted, and raw look at the ghetto. Whilst the 'ghetto bred capitalistic mental' as defined by Immortal Technique has become synonymous with the glorification of violence Raekwon eschews such simplicity. Power is juxtaposed with death, the grim reaper looms heavy and mournful tones are bought to the fore- the RZA showing why he is the most intelligent producer of all time.

It would be easy to dismiss this record as a rehash of it's predecessor, but it is hard to fault a record which combines grit, romance and reality so brilliantly. Subtlety is a premium here and when coupled with paranoid, skitteral beats it is a winning formula. This album was never going to match Vol. I but it is one of the most impressive bodies of work (despite lacking any clear singles) the world of hip-hop has produced for a long time. Has Raekwon saved hip-hop? In his own words "Fuck saving hip-hop we bringing the streets back". He has done just that, the streets of GZA's 'Cold World', Ghost's 'Yolanda's House' and his own 'Ice-Cream' Street laced with fear, loathing, death and spectres. If you want a record to posture to look elsewhere, if you want an evocative take on modern day inner-city USA step right this way.