RZA’s plan to divide and conquer the rap world began before Wu-Tang’s studio debut was even released. Method Man once proclaimed that there was no father to ODB’s style: Without musical precedents, he leaned into aberration, just like his namesake.
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ODB was drawn to the character and others like him, often taking the moniker the Drunken Master, after the 1978 Jackie Chan movie that spawned the archetype. At the center of the plot is a drunken eccentric whose aberrant behavior never compromises his mastery of martial arts, and even seems inherent to his form. ODB took his name from the 1979 film Ol’ Dirty Kung Fu, which was given the title Ol’ Dirty & the Bastard in U.S. Wu-Tang’s world of Wuxia iconography, lifted from overdubbed kung fu flicks, was the result of an obsession RZA and ODB nourished with regular trips to watch triple features on 42nd Street. In 1995, the Wu-Tang Clan were forging their legend, and ODB was the crew’s madcap mascot.
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(The Wu universe would come to include a comic series, an origin story TV show, and a one-of-a-kind million-dollar rap artifact purchased by the world’s most loathed pharmaceutical executive.) The Dirty Version kicked off a world-conquering year for the Wu, which included two other solo classics: Raekwon’s Only Built 4 Cuban Linx and GZA’s Liquid Swords. Long before the Marvel Cinematic Universe, RZA designed an epic franchise with a cast of outsized characters crossing over from one project to the next, and a rich cross-cultural history: Five-Percenter raps from cross-town New Yorkers drawing from ’70s and ’80s martial arts cinema, which itself drew on the mythology of ancient dynasties. Wu-Tang’s 1993 debut Enter the Wu-Tang (36 Chambers) was like a rift in the space-time continuum. Unapologetic and raw, he turned to Uncle Sam and hollered, this is the savage you created, and did it with a Cheshire grin. But beyond its place in the ODB mythology or in Wu-Tang lore, The Dirty Version is above all a brash indictment of American classism and respectability politics. It’s an oxymoron, a work of orchestrated negligence, a makeshift classic. In The Wu-Tang Manual, RZA, the Wu’s producer, chief creative mastermind, and self-appointed abbot, dubbed him a “freelance rhyme terrorist.” Two forces are at war with each other on Return to the 36 Chambers: RZA’s diligence and ODB’s inconsistency. The spontaneity of his live stunts extended to his raps: You never knew what he was going to do or say next, and maybe he didn’t either.
My favorite hip hop album of all times.ODB’s debut album, Return to the 36 Chambers: The Dirty Version, is a masterclass in winging it. Do you think your Wu-tang sword can defeat me ?Ī.
If gou wsnt beef the bribg the rukus Comment by killerjob12 Shame on a nigga😩 Comment by Joseph Holtzapple PROTECT YA FUCKING NECK Comment by k_nelledalmeydaĬan it bee that it was all so simple then😩 Comment by 波状の紫斑 Like a newborn fukin baby god! Comment by Andro Genre Hip-hop & Rap Comment by coopthegoatīring da mother fuckin ruckus Comment by Daniel Kollar Wu-Tang Clan Ain't Nothin To Fuck Wit 29:31 Uploaded Enter the 36 purely for educational purposes, this album requires hours upon hours of study and analysis with a fat fucking blunt promptly at arms reach.ħ.
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