Album #107: GZA - Liquid Swords

GZA

Liquid Swords (1995)

On the back of their stunning debut Enter The Wu-Tang (36 Chambers), the various members of the Wu-Tang Clan negotiated their own, separate, solo contracts. Amazingly, they were permitted to negotiate with their own label of choice, something that was highly unusual (yet entirely deliberate on the part of the Clan, as part of The RZA's plot to take over the world.)

Consequently, in the few years following their debut release, members of the Clan released the debut solo albums to great acclaim. GZA's release, 1995's Liquid Swords, was not his first solo album, however; he had released one the year before the Clan was formed, but it was released with no promotion (twice) and didn't sell (twice.) This time, with Clan maestro RZA at the helm, and with members of the Clan making guest appearances, the album was released with a great deal of momentum (no doubt helped by Method Man's and ODB's successful solo releases) and sold like hotcakes.

What also helped, of course, is that the album kicked arse.

The Album

In some ways, Liquid Swords is every bit as good as Enter The Wu-Tang. With RZA on production, it has the same sonic hallmarks as the Clan's debut - sparse, drum-heavy production, the clever use of samples adding subtle melodies to the beats, the inclusion of dialogue from martial arts films and clean, prominent vocal lines (generally free of effects.) Lyrically, GZA delivers a series of sharply biting songs that range from insightful, first-hand social commentary to 'mafioso rap' style criminal glorification. His style seems to be less based around pop culture references and more around snappy, out of the box rhymes and lyrical structure. And in terms of his flow, there are few practitioners who are as skilled as GZA. He has no interest in respecting the beat, frequently crossing over into the following bar to complete a rhyme, yet doing it all without missing a single step.

Nowhere is this ability more evident than on one of the album's best cuts, Living In The World Today. GZA crams in three songs worth of rhyme into one single, energetic track by demonstrating a dexterous flow. His work on opening track Liquid Swords is more laconic in style, showing that it's not all about intense, speedy flow; while on the sharply observational Labels, his vocal delivery turns mildly savage as his guns are focused firmly on two of his least favourite things - record labels and A&R people. Late on in the album, he brings out a venomous vocal spit on the outstanding Swordsman, no doubt helped by the song's lyrical themes of educating one's self through experience and questioning, and not just accepting what you are told, while on I Gotcha Back, the voice is that of a sage, reporting on the neverending cycle of inner city violence, told through the prism of his own experiences.

Of the guest appearances from his Clan compadres, it's Inspectah Deck, Method Man and Ghostface Killah who have the best moments on the album. Deck's verse on Duel of the Iron Mic showcases the intense, energetic delivery he unleashed on Enter The Wu-Tang and threatens to steal the show from GZA. Method Man delivers two haunting, menacing verses, in an extraordinarily chilled, laidback style (this is what makes them menacing) on the brilliant Shadowboxin' (matched by GZA's own terrific verse). Ghostface, however, does manage to steal the show with a stunning opening verse on the 'posse cut' 4th Chamber (which also features a laconic verse from Clan affiliate Killah Priest, and a trademark 'ruckus' verse from RZA himself). GZA even gives the closing track, B.I.B.L.E (Basic Instructions Before Leaving Earth) entirely to Killah Priest, and typically of Priest's work, it's full of religious symbolism and imagery (it's also the only non-RZA produced track, being produced instead by Wu-Element 4th Disciple, and it definitely is less sparse than RZA's work).

The Verdict

Liquid Swords is a vital, outstanding hip hop release. Until I've heard more of the Wu's solo efforts it's hard to compare with other releases, however evaluated as a standalone album, it's a superb example of the genre at its best, performed by an artist at the top of his game and produced by a visionary in the middle of a creative peak. The guests enhance the album and such is the strength of GZA's skills, he is rarely outshone by his guests (something that is always a risk on hip hop albums in my view).

Awesome stuff.

My rating: **** and a half

Standout Tracks

Shadowboxin'

Swordsman

Living In The World Today

Liquid Swords