Raekwon

Last year, when Raekwon finally decided to release the sequel to his 1995 classic Only Built 4 Cuban Linx, Wu-Tang Clan faithful and hip-hop zealots reverted to their time-honored Shaolin ways of Wu-worship. OB4CL2 was met with both critical affection and fan appreciation, and, ever since, Raekwon has been on a bit of a blog bender, releasing freestyles and guest appearances.  That is, he’s adapted to the new ways of putting out music, taking advantage of every opportunity to show the world why he’s often considered everyone’s favorite emcee.  With OB4CL2, Raekwon’s idea of releasing a satisfying sequel has caught on. Wu-Tang brethren GZA is completing the follow-up to his legendary Liquid Swords LP, while rap buddies Capone-N-Noreaga are scheduled to release their The War Report sequel later this year.

The emulation is noteworthy, but neither of those other acts are rhyme-and-crime purveyors like Raekwon. He can turn something as simple as a pack of Starburst into a descriptor for criminal activities. Lyrically, he’s done this on all of his solo albums, including 1999’s Immobilarity and 2003’s The Lex Diamond Story, but those two albums didn’t capture the Wu aesthetic enough to warrant big-time support from Rae’s original fans. A hammering effort, OB4CL2 brought us back to the kitchen where Chef Raekwon was cookin’ up marvelous rhymes.  It worked and, subsequently, the prestige of OB4CL—or what’s commonly referred to as the The Purple Tape—continues to chase its maker.

This year’s collaborative Wu-Massacre project, with fellow Wu-Tang bosses Ghostface Killah and Method Man, may have napped below the rap radar, but it still sported the acidic, assassin-minded countenance of Wu-Tang’s hip-hop dominance.  Ol’ Dirty was right, it seems: “Wu-Tang is here forever, mothafuckas!” Raekwon, meanwhile, is at Hopscotch, headlining the showcase of Durham Grammy winner, the producer 9th Wonder. —Eric Tullis