Description
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Wu-Tang Clan, the formidable hip hop group from Staten Island, New York, had established their supremacy in the genre in the 90s and 2000s. However, after a course of action aimed to preserve their legacy, which included television series, residencies, and documentaries, their loyal followers were yearning for more music. Their longing finds its avowal with their newest venture “Black Samson, the Bastard Swordsman” – their return for the first time in over 11 years.
The collaborative album with Mathematics, adeptly marks another significant chapter in the Clan’s illustrious journey. Mathematics, although not being a part of the original line-up, has a profound association with the band, courtesy of his instrumental role as their DJ and logo designer. He had also made substantial contributions to the group’s reputed solo and collective records like “The W”, “Supreme Clientele”, and “Bulletproof Wallets”. His touch is distinctively palpable in “Black Samson, The Bastard Swordsman”, a continuity of the group’s well-known dark, cinematic appeal.
It’s worth noting that all the members from the Clan make an impactful appearance in this album. Drawing parallels with the kung-fu classic samples, members Raekwon, Inspectah Deck, Method Man, Cappadonna establish their sharp verses in “Mandingo”. Simultaneously, Ghostface Killah’s moving tribute to his late mother in “Claudine” stands out with Nicole Bus’s majestic singing and rich piano-driven soundtrack.
Mathematics’s wisdom in selecting the guest artists for this album is commendable. The presence of Benny the Butcher, squaring up with Meth in “Warriors Two, Cooley High” and KXNG Crooked hexed up with Cappadonna for “Charleston Blue, Legend of a Fighter” adds an interesting dimension.
“Black Samson”, in essence, is a tribute to the timeless Wu-Tang Clan, serving as a fantastic conclusion in its own right. Each member stands up and offers authentically razor-sharp verses combined with Mathematics’ expertise in delivering the Wu-Tang’s definitive sound, this culmination in music is sure to leave the fans contented. Furthermore, the inclusion of non-Wu-Tang artists in this album opens up an interesting dimension of perspective on this classic group’s musical narrative.
From their nomination for the Best Rap Album at the 1998 Grammy Awards to the sale of their exclusive album copy, “Once Upon a Time in Shaolin” for a whopping $2 million to Martin Shkreli, a hedge fund manager, the Wu-Tang Clan has been nothing short of a spectacle. Their influence hasn’t just been confined to their music, but it has nurtured a lineage of other artists and groups known as Wu Tang Killa Bees. In the saga of their influential journey, “Black Samson, The Bastard Swordsman”, the collective craftsmanship of the Clan and Mathematics exudes the spirit of musical purity shown by Wu-Tang and their affiliates over the years.
