(36 Chambers)

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Enter the Wu-Tang (36 Chambers)
Studio album by Wu-Tang Clan
Released	November 9, 1993
Recorded	1992–1993 Firehouse Studio (New York, New York)
Genre	East Coast Hip Hop, Hardcore Rap
Length	58:28
Label	Loud/RCA/BMG 07863-66336 (North America) 74321-20367 (international)
Producer	Prince Rakeem (also exec.), Method Man, Ol’ Dirty Bastard
Professional reviews
Allmusic [1] Robert Christgau (A-)[2] Entertainment Weekly (A)[3] PopMatters (favorable)[4] Rolling Stone 1994[5] Rolling Stone 2004[6] The Source [7] Sputnikmusic [8] Village Voice (favorable)[9] XXL (XXL)[10]
Wu-Tang Clan chronology
Enter the Wu-Tang (36 Chambers) (1993) Wu-Tang Forever (1997)
Wu-Tang Clan solo chronology
Enter the Wu-Tang: 36 Chambers (1993) Tical (Method Man) (1994) Singles from Enter the Wu-Tang “Protect Ya Neck“ Released: May 3, 1993 “Method Man“ Released: November 9, 1993 “C.R.E.A.M.“ Released: January 31, 1994 “Can It Be All So Simple“ Released: 1994

Enter the Wu-Tang (36 Chambers) is the debut album of American East Coast hip hop collective Wu-Tang Clan, released November 9, 1993 on Loud Records and distributed through RCA Records. Recording sessions for the album took place at Firehouse Studio in New York City from 1992 to 1993, while it was mastered at The Hit Factory. The group’s de facto leader RZA, also known as Prince Rakeem, produced the album entirely with heavy, eerie beats, largely based on martial-arts movie clips and soul music samples. The album title originates from the martial arts film The 36th Chamber of Shaolin (1978).

The distinctive sound of Enter the Wu-Tang (36 Chambers) created a blueprint for hardcore hip hop in the mid-1990s and helped return New York City hip hop to national prominence. The unique sound of the album also became hugely influential in modern hip hop production and inspired several subsequent producers. The album also marked the first appearances of a number of rappers, including Method Man, Ol’ Dirty Bastard, Ghostface Killah, and Raekwon, who have collectively sold millions of solo records after the album’s release. The lyrics of Enter the Wu-Tang are explicit, humorous, and free-associative, and served as a template for many subsequent hip hop records. The Wu-Tang Clan’s debut album is notable for serving as a landmark record in the era of hip hop music known as the East Coast Renaissance.

Enter the Wu-Tang had surprising chart success, despite its raw, underground sound. It peaked at number 41 on the Billboard 200 chart, with help from its highest-charting single “C.R.E.A.M.“. By 1995, the album was certified platinum in sales by the Recording Industry Association of America (RIAA). The album’s style and success became influential as it helped lead the way for several other East Coast hip hop artists, including Nas, The Notorious B.I.G., Mobb Deep, and Jay-Z. Although it initially received some mixed criticism, several music writers have since considered Enter the Wu-Tang as one of the most significant albums of the 1990s, as well as one of the greatest hip hop albums of all-time. In 2003, the album was ranked number 386 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

[edit] Conception

[edit] Background

In the late 1980s, cousins Robert Diggs, Gary Grice, and Russell Jones formed a group named Force of the Imperial Master, also known as the All in Together Now Crew.^[11] Each member recorded under an alias: Grice as The Genius, Diggs as Prince Rakeem or The Scientist, and Jones as The Specialist. The group never signed to a major label, but caught the attention of the New York rap scene and was recognized by rapper Biz Markie.^[12] By 1991, The Genius and Prince Rakeem were signed to separate record labels. The Genius released Words from the Genius (1991) on Cold Chillin’ Records and Prince Rakeem released Ooh I Love You Rakeem (1991) on Tommy Boy Records. Both were soon dropped by their labels. Embittered but unbowed, they took on new monikers (The Genius became GZA while Prince Rakeem became RZA) and refocused their efforts. RZA discussed the matter in their release The Wu-Tang Manual (2005), stating “[Tommy Boy] made the decision to sign House of Pain over us. When they dropped me, I was thinking, ‘Damn, they chose a bunch of whiteboy shit over me.’”^[13] RZA began collaborating with Dennis Coles, better known as Ghostface Killah, another rapper from the Stapleton Projects apartment complex in Staten Island. The duo decided to create a hip hop group whose ethos would be a blend of “Eastern philosophy picked up from kung fu movies, watered-down Nation of Islam preaching picked up on the New York streets, and comic books.”^[13]

In 1992, RZA and Ghostface joined forces with GZA, Russell Jones (newly christened Ol’ Dirty Bastard), and five other New York MCs to form Wu-Tang Clan. RZA assumed leadership of the group and was largely responsible for its artistic direction. After some of the members’ past experiences, Wu-Tang Clan was initially hesitant to accept a contract offer and demanded that each member retain solo recording rights. On the strength of the “Protect Ya Neck/Method Man” single, Loud Records and RCA acceded to their demands, paving the way for Wu-Tang Clan to release 36 Chambers on those labels.

[edit] Recording

Enter the Wu-Tang (36 Chambers) was recorded at Firehouse Studio in New York City from 1992 to 1993. The album was produced, mixed, arranged, and programmed by RZA, and was mastered at The Hit Factory in New York City by Chris Gehringer.^[14] Because of an extremely limited budget, the group was only able to record in a small, inexpensive studio; with up to eight Wu-Tang members in the studio at once, the quarters were frequently crowded.^[11] To decide who appeared on each song, RZA forced the Wu-Tang rappers to battle with each other. This competition led to the track “Meth Vs. Chef”, a battle between Method Man and Raekwon over the rights to rap over RZA’s beat; this track was left off the Wu-Tang Clan’s debut album but surfaced on Method Man’s debut, Tical (1994).^[11]

Promotional photo of the Wu-Tang Clan for Enter the Wu-Tang, 1993

[edit] Title significance

The true meaning of the album’s title is not well known or understood. According to a Five Percent philosophy, known as the Supreme Mathematics, the number 9 means “to bring into existence,” and this meant everything to the group’s debut album. The group being made of 9 members, each having 4 chambers of the heart, which are 2 atria, and 2 ventricles. All of this is the root for “36 Chambers”, being that 9 x 4 = 36.

In reference to the 1978 kung fu film The 36th Chamber of Shaolin that the group enjoyed watching, the Clan considered themselves as lyrical masters of the 36 chambers, and arrived onto the rap scene while appearing to be ahead, and more advanced over others with “knowledge of 36 chambers of hip hop music when everyone else in hip hop was striving to attain the knowledge of 35 lessons.” Also, while the human body has 108 pressure points (1 + 0 + 8 = 9), only the Wu-Tang martial artists learned and understood that 36 of those pressure points are deadly (9 + 36 = 45) (4 + 5 = 9) The lyrics and rhymes of the 9 members are to be considered as 36 deadly lyrical techniques for pressure points. All of this is the basis for the album title, Enter the Wu-Tang: 36 Chambers, being that 9 members x 4 chambers = 36. Although this is just a theory and the truth is unknown.^[15]

[edit] Music

[edit] Production

Group leader RZA produced Enter the Wu-Tang (36 Chambers) by creating sonic collages from classic soul samples and clips from martial arts movies such as Shaolin and Wu Tang (1981). He complemented the rappers’ performances with “lean, menacing beats that evoked their gritty, urban surroundings more effectively than their words”, according to Stephen Thomas Erlewine of Allmusic.^[16] The use of soul samples and various esoteric clips, and the technique by which RZA employed them in his beats, was unique and largely unprecedented in hip hop.^[17] The gritty sound of Enter the Wu-Tang is due, at least in part, to the use of cheap equipment to produce the album.^[18]

Many critics argue that the minimalist means of production plays directly into the appealing “street” quality that makes the album a classic, including Ben Yew, who stated, “Because [RZA] didn’t have the best mixing or recording equipment, the album is wrought with a ‘dirty’ quality – the drums have more bass and are more hard-hitting than they are crisp and clean; the samples have an eerie, almost haunting type of echo; and the vocals, because each member’s voice is already aggressive and gritty, perfectly match the production.”^[19] Although Ol’ Dirty Bastard is given co-production credit on “Da Mystery of Chessboxin’” and Method Man is co-credited for “Wu-Tang Clan Ain’t Nuthing ta F’ Wit”, critics and admirers universally credit RZA with developing a “dusty yet digital production style [that] helped legitimize the use of more diverse sample sources to the hardcore New York rap massive, breaking away from James Brown based beats and embracing a style that turned the Underdog theme into the menacing coda for a group of underground terrorists.”^[20]

[edit] Lyricism

Enter the Wu Tang ushered in a new standard for hip hop at a time when hip hop music was dominated by the jazz-influenced styles of A Tribe Called Quest, the Afrocentric viewpoints of Public Enemy, and the rising popularity of West Coast gangsta rap. The album’s explicit, humorous and free-associative lyrics have been credited for serving as a template for many subsequent hip hop records.^[21] Rolling Stone described the album as possessing an aesthetic that was “low on hype and production values [and] high on the idea that indigence is a central part of blackness.” While the lyrical content on Enter the Wu-Tang generally varies from rapper to rapper, the basic themes are the same — urban life, martial arts movies, comic book references, and marijuana — and the setting is invariably the harsh environment of New York City. The lyrics have a universally dark tone and seem at times to be simply aggressive cries. Allmusic contributor Steve Huey praises the lyricists for their originality and caustic humor, stating “Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style…Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand’s “The Way We Were”), bizarre threats of violence, and a truly twisted sense of humor.”^[1]

With the exception of “Method Man” and GZA’s “Clan in da Front”, every song features multiple rappers contributing verses of varying lengths.^[5] The verses are essentially battle rhymes, mixed with humor and outsized tales of urban violence and drug use. There is some debate about whether the lyrics on 36 Chambers are properly classified as gangsta rap or something else entirely.^[19] In a Stylus Magazine review, writer Gavin Mueller evokes the bleakness of the Wu-Tang world view:

[T]he lyrics reach back to New York’s own Rakim: dense battle rhymes potent with metaphors. Each Wu MC links his rhymes to crime and violence, allowing his preoccupations to surface subtly and indirectly, rather than spouting off overt gangsta-isms designed to shock…The hood imagery of the lyrics is utterly pervasive and uncompromising, immersing the listener in a foreign land smack in the middle of New York. There is no celebration here, and little hope.^[22]

—Gavin Mueller

All nine original Wu-Tang Clan members contribute vocals on Enter the Wu-Tang. Masta Killa only appears on one track, contributing the last verse of “Da Mystery of Chessboxin’”, but all the other rappers appear on at least two songs. Method Man and Raekwon are the most prolific of the group, featured on eight tracks. Though the performers have widely differing techniques, the chemistry between them is a key ingredient of the album’s success.^[18] Pitchfork Media asserts that “Half the charm is in the cast’s idiosyncrasies: ODB’s hovering sing-song, Raekwon’s fake stutter, Ghostface’s verbal tics, Method Man’s hazy, dusted voice.”^[20]

[edit] Singles

“Protect Ya Neck” The debut single is a posse cut produced by RZA, and features eight of the original Wu-Tang members; sample of first two verses by Inspectah Deck and Raekwon. Problems listening to this file? See media help.

“Protect Ya Neck” and “Tearz” were the first tracks recorded by the Wu-Tang Clan. “Protect Ya Neck” is a free-associative and braggadocious battle rap featuring eight of the nine Wu-Tang members, and “Tearz” tells stories of a man getting shot, and another one who contracts HIV after having unprotected sex. They were independently released as the “Protect Ya Neck”/”After Laughter Comes Tears” single, which RZA financed by demanding $100 (USD) from each rapper who wanted a verse on the A-side.^[11][13] The single was re-released in a much larger pressing, with “Method Man” as the B-side.^[23]

“Method Man” reached number 69 on the Billboard Hot 100 and number 17 on the Billboard Hot Rap Tracks chart. “Method Man” gained significant airplay partly for its catchy refrain, which copies the refrain of Hall & Oates‘ “Method of Modern Love” (“The M-E-T-H-O-D…Man”).

“C.R.E.A.M.“, featuring Raekwon and Inspectah Deck, was the second single from the album and the first new A-side to be released after the group signed with Loud/RCA. Its lyrics deal with the struggle of poverty and the desire to earn money by any means. It was the Wu-Tang Clan’s most successful single, reaching number 60 on the Billboard Hot 100 and number 8 on the Hot Rap Tracks chart. The single topped the Hot Dance Music/Maxi-Singles Sales chart. Blender describes “C.R.E.A.M.” as the standout track on 36 Chambers.^[24] “Can It Be All So Simple”, featuring Ghostface Killah and Raekwon, was the album’s third single. The single failed to chart on the Billboard Hot 100, but reached number 24 on the Hot Rap Tracks chart in 1994. A remix of the song was included on Raekwon’s debut solo album Only Built 4 Cuban Linx… (1995).

The group made music videos for the three A-sides and for “Method Man”, “Da Mystery of Chessboxin’”, and “Wu-Tang Clan Ain’t Nuthing ta Fuck Wit”. As the group’s profile increased, the quality of their videos improved; though the “Protect Ya Neck” video resembled a home movie, later videos were directed by rising hip hop music video director Hype Williams. The videos received almost no airplay on MTV, but were extremely popular on video-by-request channels such as The Box.^[25] Touré wrote in his 1993 Rolling Stone review that “in Brooklyn, N.Y., right now and extending back a few months, the reigning fave is the Wu-Tang Clan, who are to the channel what Guns N’ Roses are to MTV.”^[5]

[edit] Release and reception

[edit] Initial reaction

Enter the Wu-Tang (36 Chambers) initially received a mixed response from critics upon its release. In an article for The Source, The Ghetto Communicator wrote “This record is harsh, but so is the world that we live in. For B-boys n’girls who come from the core of the hard, this is the hip-hop album you’ve been waiting for”.^[26] Rolling Stone’s review was decidedly ambivalent, praising the album’s sound, but noting that “Wu-Tang…are more ciphers than masterful creations. In refusing to commodify themselves, they leave blank the ultimate canvas – the self.”^[5] Entertainment Weekly was more enthusiastic, giving the album an A, and writing that “With its rumble jumble of drumbeats, peppered with occasional piano plunking, Enter has a raw, pass-the-mike flavor we haven’t heard since rap was pop’s best-kept secret.”^[3] Despite general critical favor of the album, Robert Christgau’s review warned listeners of Enter the Wu-Tang’s critical hype and expectations, stating “Expect the masterwork this album’s reputation suggests and you’ll probably be disappointed–it will speak directly only to indigenous hip hoppers. Expect a glorious human mess….”^[2]

Music journalist Touré declared of the album, that “This is hip-hop you won’t find creeping up the Billboard charts but you will hear booming out of Jeep stereos in all the right neighborhoods.” However, it had surprising chart success, despite its raw, underground sound.^[5] Enter the Wu-Tang peaked at number 41 on the Billboard 200 chart and reached number 8 on Billboard’s Top R&B/Hip Hop Albums chart.^[5][27] The album continued to sell steadily and was eventually certified platinum in sales by the Recording Industry Association of America on May 15, 1995.^[28]

[edit] Retrospect

Since its release, Enter the Wu-Tang has risen in stature to become one of the most highly-regarded albums in hip hop.^[29] The album was originally given a rating of 4.5 mics out of 5 in The Source in 1994,^[26] however, it was given a classic 5 mic rating in a later issue of the magazine.^[30] Similar to The Source, XXL magazine gave the album a classic rating of “XXL” in its retrospective 2007 issue.^[10] In the book Spin Alternative Record Guide (1995), Enter the Wu-Tang (36 Chambers) has a critical rating of 8/10 from Spin.^[31] In 2003, Rolling Stone named the album among the “500 Greatest Albums of All Time“, asserting that “East-coast hip-hop made a return in 1993.”^[32] The magazine later listed it as one of the “Essential Albums of the 90’s.”^[33] The Source magazine cited Enter the Wu-Tang as one of the “100 Best Rap Albums”, while also naming “Protect Ya Neck/Method Man” and “C.R.E.A.M.” among the “100 Best Rap Singles”.^[26] MTV declared it among “The Greatest Hip-Hop Albums of All Time.”^[34] Blender named the album among the “500 CDs You Must Own”, calling it a “spare, stunning debut of space-age lo-fi funk.”^[24]

Publications based outside of the United States have also acclaimed 36 Chambers as well; Australia’s Juice magazine placed it at number 40 on its list of “100 Greatest Albums of the ’90s”,^[35] and Les Inrockuptibles ranked it number 59 on a list of “The 100 Best Albums 1986–1996″.^[36] In naming Enter the Wu-Tang one of the 50 best albums of the 1990s, Pitchfork Media staff member Rollie Pemberton summed up the album’s critical recognition by writing:

This is the sound of accidental fame. Something as unique and unusual as this record isn’t supposed to find itself at the height of commercial viability; it’s supposed to smolder underground, hidden from the view of mainstream America, who surely would not be ready for such a challenge. But America was ready, in part because this one challenged convention, not listeners. Sure, its sloppy drum programming, bizarre song structures, and unpolished sound quality disturbed commercial rap purists, but the talent was so inherent and obvious, and the charisma so undeniable, that it propelled the Wu-Tang Clan to the height of the rap game, and today stands not just as the hip-hop classic that introduced the concept of obscure thematic characters (each member’s name references old kung-fu movies), but also bridged the gap between traditional old-school sensibilities and the technical lyricism of today.^[20]

—Rollie Pemberton

[edit] Influence

[edit] East Coast hip hop

Enter the Wu-Tang (36 Chambers) is one of the most celebrated and influential albums in hip hop history.^[19] Adam Heimlich of the New York Press considers the album a touchstone of hardcore hip-hop, a gritty, stripped-down, dark and violent sub-genre of hip hop and the signature sound of New York City’s rap scene during the mid-1990s. He writes that, “the Wu-Tang Clan…all but invented 90s New York rap, back when the notion of an East Coast gangsta still meant Schoolly D or Kool G. Rap….[They] designed the manner and style in which New York artists would address what Snoop and Dre had made rap’s hottest topics: drugs and violence.”^[21] As the album helped return New York City hip hop to national prominence, a new generation of New York rappers, many of them inspired by the Wu-Tang Clan’s example, released a flurry of classic albums that later became known as the East Coast Renaissance.^[1] Enter the Wu-Tang has been recognized by critics as a landmark album in the movement.^[19] Allmusic indicates that Nas’s Illmatic (1994), The Notorious B.I.G.’s Ready to Die (1994), Mobb Deep’s The Infamous (1995), and Jay-Z’s Reasonable Doubt (1996) are among the records of this era that reflected the Wu-Tang Clan’s influence.^[1]

At the time of the album’s release, mainstream hip hop was dominated by West Coast hip hop. Enter the Wu Tang (along with the critically acclaimed Illmatic and the commercial success of Ready to Die) was able to shift the emphasis away from the melodious, synthesizer-driven G-funk and restore interest into the East Coast hip hop scene. According to one columnist, “When Enter the Wu-Tang: The 36 Chambers first graced the pages of rap lore in 1993, Dr. Dre’s funk-filled, West Coast gangster rap dominated the business. Though this initial dominance was difficult to overcome, Wu-Tang still managed to carve out a piece of rap history.”^[19]

[edit] Hip hop production

RZA’s production on Wu-Tang Clan’s debut album had a profound and significant influence on subsequent hip hop producers.^[37] The distinctive sound of Enter the Wu-Tang has been credited for creating a blueprint for hardcore hip hop in the mid-1990s.^[1] Blackfilm.com asserts that Enter the Wu-Tang’s production formula “transformed the sound of underground rap into mainstream formula, and virtually changed the face of contemporary music as popsters once knew it.”^[37] Many successful rap producers have admitted to the influence of RZA’s beats on their own production efforts. 9th Wonder, a producer and former member of Little Brother, is one of many whose vocal sampling styles are inspired by RZA.^[38] The album’s reliance on soul music samples was novel at the time, but 21st century producers such as The Alchemist, Kanye West and Just Blaze now rely on this technique.^[17] According to Allmusic, the production on two Mobb Deep albums, The Infamous and Hell on Earth (1996), are “indebted” to RZA’s early production with Wu-Tang Clan.^[39][40]

The vocals from tracks on 36 Chambers have been extensively sampled by other artists and producers. Raekwon and Inspectah Deck’s vocals from “C.R.E.A.M.” have been sampled on Masta Ace’s “Maintain” and Reflection Eternal’s “Good Mourning”, respectively. Common’s “Nuthin’ to Do” samples vocals from Ol’ Dirty Bastard on “Protect Ya Neck”. The Pharcyde’s “Devil Music” samples vocals from U-God on “Da Mystery of Chessboxin’”.

[edit] Subsequent Wu-Tang work

Following Enter the Wu-Tang‘s success, the individual members of the group negotiated and signed solo contracts with a variety of different labels: Method Man signed with Def Jam, Ol’ Dirty Bastard with Elektra, GZA with Geffen Records, and Ghostface Killah with Epic Records. This expansion across the music industry was an element of RZA’s plan for industry-wide domination, wherein “All Wu releases are deemed to be 50 percent partnerships with Wu-Tang Productions and each Wu member with solo deal must contribute 20 percent of their earnings back to Wu-Tang Productions, a fund for all Wu members.”^[11]

On Enter the Wu-Tang‘s effect on the group and the music industry, the Milwaukee Journal‘s Aaron Justin-Szopinski wrote “The Wu showed us that a hip-hop group can control its own destiny in the tangled web of the industry. It owns publishing rights, controls its samples and has 90% influence over its career. And that control, that outlook for the future, is what makes it the best.”^[41] Wu-Tang Clan have produced four subsequent group albums since Enter the Wu-Tang, including Wu-Tang Forever (1997), which is certified as a quadruple platinum record.^[28] None of the subsequent Wu-Tang Clan albums have garnered the critical accolades that their debut was accorded.^[42]

[edit] Track listing

[edit] CD/cassette

Tracks 1–5 are on the Shaolin Sword side of the album and tracks 6–12 are on the Wu-Tang Sword side. The international version contains an additional track on the latter (Conclusion).

An asterisk (*) indicates international version bonus track

The information on music that is sampled is extracted from the-breaks.com.^[43]

[edit] Vinyl LP

The vinyl LP has a different track order than that of the CD and cassette:
Shaolin Sword (Side 1)

• Bring Da Ruckus
• Shame On A Nigga
• Clan In Da Front
• Wu-Tang: 7th Chamber
• Can It Be All So Simple
• Protect Ya Neck
• Intermission

Wu-Tang Sword (Side 2)

• Da Mystery of Chessboxin’
• Wu-Tang Clan Ain’t Nuthing Ta F’ Wit
• C.R.E.A.M.
• Method Man
• Tearz
• Wu-Tang: 7th Chamber – Part II
• Conclusion

[edit] Accolades

The information regarding accolades attributed to Enter the Wu-Tang is taken from AcclaimedMusic.net.^[44]

( * ) designates lists that are unordered.

[edit] Chart history

Album

Singles

[edit] Personnel

Information taken from Allmusic.^[47]

[edit] Notes

[edit] References

• Nathan Brackett, Christian Hoard (2004). The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition. Simon and Schuster. ISBN 0-74320-169-8.
• Weisbard, Eric; Craig Marks (1995). Spin Alternative Record Guide. Vintage Books. ISBN 0679755748.

[edit] External links

• Enter the Wu-Tang (36 Chambers) at Discogs
• Lyrics and audio samples at Yahoo! Music
• RapReviews: Back to the Lab — by Steve Juon