Enter the Wu-Tang (36 Chambers)
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| Enter the Wu-Tang (36 Chambers) | |||||
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| Studio album by Wu-Tang Clan | |||||
| Released | November 9, 1993 | ||||
| Recorded | 1993, Firehouse Studio, New York City | ||||
| Genre | East Coast hip hop, hardcore hip hop | ||||
| Length | 58:28 (North America) 61:40 (international) |
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| Label | Loud/RCA/BMG Records 07863-66336 (North America) 74321-20367 (international) |
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| Producer | RZA | ||||
| Professional reviews | |||||
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| Wu-Tang Clan chronology | |||||
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Enter the Wu-Tang (36 Chambers) is the debut album of the East Coast hip hop collective the Wu-Tang Clan. It was released on November 9, 1993 by Loud Records and RCA. Many critics consider Enter The Wu-Tang one of the most significant albums of the 1990s and one of the greatest hip hop albums recorded.[1][2] The distinctive sound of Enter the Wu-Tang created a blueprint for hardcore hip hop in the mid-1990s and helped return New York City hip hop to national prominence.[3] The Wu-Tang Clan's debut was a landmark album in an era known as the East Coast Renaissance.[4] In 2003, the album was ranked number 386 on Rolling Stone magazine's list of the 500 Greatest Albums of All Time.[5] The group's leader, RZA, produced the album with heavy, eerie beats, largely based on martial-arts movie clips and soul music samples. The album is named after the 1978 martial arts film The 36th Chamber of Shaolin.
The unique sound of Enter the Wu-Tang became hugely influential in modern hip hop production.[6] The album also marked the first appearance of a number of rappers—including Method Man, Ol' Dirty Bastard and Raekwon—who have collectively sold millions of solo records. The lyrics of Enter the Wu-Tang are explicit, humorous, and free-associative, and served as a template for many subsequent hip hop records.[7] The Source declared that the first two singles from Enter the Wu-Tang, "Protect Ya Neck" and "C.R.E.A.M.", are among the 100 Best Rap Singles yet released.[2] Enter the Wu-Tang (36 Chambers) had surprising chart success, despite its raw, underground sound.[8] Its highest Billboard 200 chart ranking was number 41, and by May 15, 1995 it was certified platinum by the RIAA.[9][10] The style and success of Enter the Wu-Tang led the way for such artists as Nas, The Notorious B.I.G., Mobb Deep and Jay-Z.[3]
Contents |
[edit] Background
[edit] Conception
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 on Cold Chillin' Records and Prince Rakeem released Ooh I Love You Rakeem 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 writes in The Wu-Tang Manual that "[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] In an interview with Think magazine, GZA summed up his animosity toward the artist and repertoire (A&R) division of record labels:
| “ | Most A&R guys will try to make you into something that you're not. They think, oh you look like a pretty boy, let's make him a pretty boy, but that might not be your lifestyle, you might come from the streets. A&R's only look at you to see what they can get out of you, not all, but most, they want you to be their creation, that's why we ain't fuckin' wit' them.[14] | ” |
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 sessions
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.[15] 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.[11]
[edit] Music
[edit] Lyrical content
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. 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."[8] 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. All Music Guide praises the lyricists for their originality and caustic humor:
| “ | 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.[3] | ” |
With the exception of "Method Man" and GZA's "Clan in da Front", every song features multiple rappers contributing verses of varying lengths.[8] 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.[4] Toure's 1993 Rolling Stone review questioned the almost complete absence of women in 36 Chambers, describing the "torture" skit at the beginning of "Method Man" as homoerotic.[8] Stylus Magazine's review 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.[16] | ” |
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.[17] 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."[18]
[edit] Production
RZA produced Enter the Wu-Tang by creating sonic collages from classic soul samples and clips from martial arts movies such as Shaolin and Wu Tang. He complimented the rappers' performances with "lean, menacing beats that evoked their gritty, urban surroundings more effectively than their words", according to Stephen Thomas Erlewine of All Music Guide.[19] 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.[20]
The gritty sound of Enter the Wu-Tang is due, at least in part, to the use of cheap equipment to produce the album.[17] Many critics argue that this plays directly into the appealing "street" quality that makes the album a classic:
| “ | 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.[4] | ” |
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."[18]
[edit] Singles
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"Protect Ya Neck" (sample) This sample contains the first verse and a portion of the second verse. - Problems playing the files? 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.[13][11] The single was later re-released in a much larger pressing, with "Method Man" as the B-side.[21]
"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.[22]
"Can It Be All So Simple", featuring Ghostface Killah and Raekwon, was the third single. It failed to chart on the Billboard Hot 100, but reached number 24 on the Hot Rap Tracks chart.
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.[23] 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."[8]
[edit] Reception
[edit] Initial
Enter the Wu-Tang (36 Chambers) received a mixed response from critics on its release. 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."[8] 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."[24]
Robert Christgau's review warned, "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...."[25] Touré declared 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, 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.[8][9] The album continued to sell steadily and was eventually certified platinum by the RIAA on May 15, 1995.[10]
[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.[26] 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."[5] The magazine later listed it as one of the "Essential Albums of the 90's."[1] The Source rated Enter the Wu-Tang as one of the "The Source Magazine's 100 Best Rap Albums", and named "Protect Ya Neck/Method Man" and "C.R.E.A.M." among the "100 Best Rap Singles".[2] MTV declared it among "The Greatest Hip-Hop Albums of All Time."[27] Blender named Enter the Wu-Tang among the "500 CDs You Must Own", calling the album a "spare, stunning debut of space-age lo-fi funk."[22] Non-U.S. publications have acclaimed 36 Chambers as well: Australia's Juice magazine placed it at number 40 on a list of "100 Greatest Albums of the '90s",[28] and Les Inrockuptibles of France ranked it number 59 on a list of "The 100 Best Albums 1986–1996".[29]
In naming Enter the Wu-Tang one of the 50 best albums of the 1990s, Pitchfork Media summed up the album's critical recognition:
| “ | 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.[18] | ” |
[edit] Significance
[edit] East Coast hip hop
Enter the Wu-Tang (36 Chambers) is one of the most celebrated and influential albums in hip hop history.[4] 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."[7] 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. All Music Guide indicates that Nas's Illmatic, The Notorious B.I.G.'s Ready to Die, Mobb Deep's The Infamous, and Jay-Z's Reasonable Doubt are among the records of this era that reflected the Wu-Tang Clan's influence.[3]
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."[4]
[edit] Production
RZA's production on Wu-Tang Clan's debut album had a profound and significant influence on subsequent hip hop producers. 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."[6] 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.[30] 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.[20] The production on two Mobb Deep albums, The Infamous and Hell on Earth, are "indebted"[31][32] to RZA's early production with Wu-Tang Clan.
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 work by Wu-Tang Clan artists
Following the success of Enter the Wu-Tang, 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 Records, 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] RZA's plan proved successful: every member of the Wu-Tang Clan has released a solo record.
Wu-Tang Clan have produced four subsequent group albums since Enter the Wu-Tang, including Wu-Tang Forever, which is certified as a quadruple platinum record.[10] None of the subsequent Wu-Tang Clan albums have garnered the critical accolades that their debut was accorded.[33]
Several songs from the 36 Chambers sessions later resurfaced on other Wu-Tang Clan releases. Raekwon's debut album, Only Built 4 Cuban Linx... features a remix of "Can It Be All So Simple". Method Man's debut album, Tical, contains a remix of "Method Man" as a bonus track. Later albums by Wu-Tang Clan affiliates refer to Enter the Wu-Tang in their titles: Ol' Dirty Bastard's Return to the 36 Chambers and the live release, Disciples of the 36 Chambers: Chapter 1.
[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.
| # | Title | Time | Producer(s) | Performer(s) | Samples |
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| 1 | "Bring da Ruckus" | 4:10 | RZA |
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| 2 | "Shame on a Nigga" | 2:57 | RZA |
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| 3 | "Clan In Da Front" | 4:33 | RZA |
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| 4 | "Wu-Tang: 7th Chamber" | 6:05 | RZA |
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| 5 | "Can It Be All So Simple" | 6:53 | RZA |
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| 6 | "Da Mystery of Chessboxin'" | 4:48 | RZA Ol' Dirty Bastard (co-producer) |
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| 7 | "Wu-Tang Clan Ain't Nuthing ta F' Wit" | 3:36 | RZA Method Man (co-producer) |
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| 8 | "C.R.E.A.M." | 4:12 | RZA |
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| 9 | "Method Man" | 5:50 | RZA |
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| 10 | "Protect Ya Neck" | 4:52 | RZA |
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| 11 | "Tearz" | 4:17 | RZA |
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| 12 | "Wu-Tang: 7th Chamber—Part II" | 6:10 | RZA |
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| 13* | “Method Man” (Skunk Mix) | 3:12 | RZA |
An asterisk (*) indicates international version bonus track
The information on music that is sampled is extracted from the-breaks.com.[34]
[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 Nuthi' Ta F' Wit
- C.R.E.A.M.
- Method Man
- Tearz
- Wu-Tang: 7th Chamber - Part II
- Conclusion
[edit] List of accolades
The information regarding accolades attributed to Enter the Wu-Tang is taken from AcclaimedMusic.net.[35]
| Publication | Country | Accolade | Year | Rank |
|---|---|---|---|---|
| Blender | USA | 500 CDs You Must Own Before You Die | 2003 | * |
| The 100 Greatest American Albums of All Time | 2002 | 59 | ||
| CDNOW | Hip Hop's 25 Greatest Albums by Year 1980–98 | 1999 | 1 | |
| Dance de Lux | Spain | The 25 Best Hip-Hop Records | 2001 | 5 |
| DJMag | UK | The Top 50 Most Influential Dance Albums Since 1991 | 2006 | 38 |
| Ego Trip | USA | Hip Hop's 25 Greatest Albums by Year 1980–98 | 1999 | 1 |
| GQ | UK | The 100 Coolest Albums in the World Right Now! | 2005 | 35 |
| Helsingin Sanomat | Finland | 50th Anniversary of Rock | 2004 | * |
| Juice | Australia | 100 Greatest Albums of the '90s | 1999 | 40 |
| Les Inrockuptibles | France | 50 Years of Rock'n'Roll | 2004 | * |
| The 100 Best Albums 1986–1996 | 1996 | 59 | ||
| Mojo | UK | The 100 Greatest Albums of Our Lifetime 1993–2006 | 2006 | 62 |
| Mojo 1000, the Ultimate CD Buyers Guide | 2001 | * | ||
| The Mojo Collection, Third Edition | 2003 | * | ||
| Mucchio Selvaggio | Italy | 100 Best Albums by Decade | 2002 | Top 20 |
| New Musical Express | UK | Top 100 Albums of All Time | 2003 | 82 |
| Nude as the News | USA | The 100 Most Compelling Albums of the 90s | 1999 | 61 |
| Paul Morley | UK | Words and Music, 5 x 100 Greatest Albums of All Time | 2003 | * |
| Pitchfork Media | USA | Top 100 Favorite Records of the 1990s | 36 | |
| Q | UK | 90 Best Albums of the 1990s | 1999 | * |
| Rate Your Music | USA | All-Time Top 500 Albums | 2003 | 51 |
| All-Time Top 500 Albums | 2005 | 45 | ||
| All-Time Top 500 Albums | 2007 | 20 | ||
| Record Collector | UK | 10 Classic Albums from 21 Genres for the 21st Century | 2000 | * |
| Robert Dimery | USA | 1001 Albums You Must Hear Before You Die | 2005 | * |
| Rock & Folk Magazine | France | The Best Albums from 1963 to 1999 | 1999 | * |
| Rock de Lux | Spain | The 150 Best Albums from the 90s | 2000 | 25 |
| The 200 Best Albums of All Time | 2002 | 178 | ||
| Rolling Stone | USA | The 500 Greatest Albums of All Time | 2003 | 386 |
| The Essential Recordings of the 90s | 1999 | * | ||
| Germany | The 500 Best Albums of All Time | 2004 | 453 | |
| Select | UK | The 100 Best Albums of the 90s | 1996 | 21 |
| Spin | USA | Top 90 Albums of the 90's | 2005 | 22 |
| Top 100 Albums of the Last 20 Years | 20 | |||
| Technikart | France | 50 Albums from the Last 10 Years | 1997 | * |
| The Source | USA | The Source Magazine's 100 Best Rap Albums | 1998 | * |
| The Sun | Canada | The Best Albums from 1971 to 2000 | 2001 | * |
| VIBE | USA | 100 Essential Albums of the 20th Century | 1999 | * |
| 51 Albums Representing a Generation, a Sound and a Movement | 2004 | * | ||
| Visions Magazine | Germany | The Most Important Albums of the 90s | 1999 | 67 |
( * ) designates lists that are unordered.
[edit] Album chart positions
| Chart (1993)[9] | Peak position |
|---|---|
| U.S. Billboard 200 | #41 |
| U.S. Top R&B/Hip-Hop Albums | #8 |
[edit] Singles chart positions
| Song | Chart (1993)[36] | Peak position |
|---|---|---|
| "Method Man" | U.S. Billboard Hot 100 | 69 |
| U.S. Hot R&B/Hip-Hop Singles & Tracks | 40 | |
| U.S. Hot Rap Singles | 17 | |
| U.S. Hot Dance Music/Maxi-Singles Sales | 42 | |
| Song | Chart (1994) | Peak position |
| "C.R.E.A.M." | U.S. Billboard Hot 100 | 60 |
| U.S. Hot R&B/Hip-Hop Singles & Tracks | 32 | |
| U.S. Hot Rap Singles | 8 | |
| U.S. Hot Dance Music/Maxi-Singles Sales | 1 | |
| "Can It Be All So Simple" | U.S. Hot R&B/Hip-Hop Singles & Tracks | 82 |
| U.S. Hot Rap Singles | 24 | |
| U.S. Hot Dance Music/Maxi-Singles Sales | 9 |
[edit] Personnel
Information taken from All Music Guide.[37]
- Carlos Bess - engineer
- Richard Bravo - set design, design
- Inspectah Deck - vocals
- Mitchell Diggs - executive producer, supervisor, production supervisor
- 4th Disciple - scratching
- Chris Gehringer - mastering
- Ghostface Killah - executive producer, vocals
- John Gibbons - supervisor, production supervisor
- Oli Grant - executive producer, supervisor, production supervisor
- GZA/Genius - vocals
- Daniel Hastings - photography
- Masta Killa - vocals
- Michael McDonald - supervisor, production supervisor
- Method Man - vocals, producer
- Jacqueline Murphy - artwork, art direction
- Ol' Dirty Bastard - vocals, producer
- Prince Rakeem - arranger, executive producer, mixing, producer, programming, vocals
- Raekwon - vocals
- Ethan Ryman - engineer
- Mike Theodore - supervisor, production supervisor
- U-God - vocals
- Tracey Waples - executive producer
- Amy Wenzler - design
[edit] References
- ^ a b Otto, Jeff. Rolling Stone Essential Albums of the 90s at Rocklist.net. Retrieved on December 15, 2006.
- ^ a b c The Source's 100 Best Rap Albums at Rocklist.net. Retrieved on December 12, 2006.
- ^ a b c d Huey, Steve. Enter the Wu-Tang (36 Chambers) Review at All Music Guide. Retrieved on October 1, 2006.
- ^ a b c d e Yew, Ben. Retrospect for Hip-Hop: A Golden Age on Record? at ProudFleshJournal.com. Retrieved on October 21, 2006.
- ^ a b Rolling Stone 500 Greatest Albums of All Time at RollingStone.com. Retrieved on December 15, 2006.
- ^ a b Coffee and Cigarettes: An Interview with RZA at Blackfilm.com. Retrieved on November 17, 2006.
- ^ a b Heimlich, Adam. 2002, Hiphop's Year One: Nas, Mobb Deep and Wu-Tang Clan Face 9/11 (Online Article Column). The New York Press: Volume 15, Issue 4. Retrieved on April 1, 2006.
- ^ a b c d e f g Touré. Wu-Tang Clan: Enter The Wu-Tang (36 Chambers) Review from Rolling Stone. Retrieved on September 23, 2006.
- ^ a b c Enter the Wu-Tang (36 Chambers): Billboard Albums at All Music Guide. Retrieved on October 12, 2006.
- ^ a b c Gold and Platinum Database Search at RIAA.com. Retrieved on October 15, 2006.
- ^ a b c d e Cowie, Del F.. Days of the Wu at Exclaim.ca. Retrieved on November 6, 2006.
- ^ RZA Interview at HipHopCore.net. Retrieved on December 26, 2006.
- ^ a b c Pfeifle, Sam. Days of the Wu - The RZA looks inside the Clan at BostonPhoenix.com. Retrieved on October 16, 2006.
- ^ Enter the WU-TANG Clan - Interview by Aaron Kirtz at Think.cz. Retrieved on October 17, 2006.
- ^ Wu-Tang Clan Entry at Discogs.com. Retrieved on October 12, 2006.
- ^ Mueller, Gavin. The Wu-Tang Clan Story: Part One from Stylus Magazine. Retrieved on October 21, 2006.
- ^ a b Juon, Steve. Enter the Wu-Tang (36 Chambers) Review at RapReviews.com. Retrieved on November 25, 2006.
- ^ a b c Pitchfork Feature: Top 100 Albums of the 1990s at PitchforkMedia.com. Retrieved on December 14th, 2006.
- ^ Erlewine, Stephen Thomas. Enter the Wu-Tang (36 Chambers) (Japan) at All Music Guide. Retrieved on October 7, 2006.
- ^ a b Sampling Quotes at Superswell.com. Retrieved on November 7, 2006.
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