As the man -- in this case, me -- said, fourteen years is a long time. OB4CL2 has gone through a lengthy process to get where it is today, and the sheer fact that it's now been released is an achievement in itself. Yet the question remains: how do you follow up possibly the greatest hip-hop album of all time? The answer, unfortunately, is you can't. Not after how much time has passed. The original Only Built 4 Cuban Linx... was an uncompromising album released during an era in which the Wu could afford to follow their vision. Regrettably, the sequel isn't afforded such a luxury. Despite his claim that he decided many moons ago to take a hands-off approach and allow the Wu members to do their own thing, the sad truth is that the RZA, that once-great successor to hip-hop's production throne, fell harder than any beatsmith ever has. Dude lost his fastball seemingly overnight, and without the strength of the Abbot's majestic production, the Wu-Tang dynasty crumbled. Sure, Ghostface, with his charm and passion, was able to salvage some of the Wu legacy on the strength of a few noteworthy releases, but the remainder of the clan's emcees have dropped a latter-day cornucopia of albums ranging everywhere from decent yet forgettable to mediocre as fuck to straight dookie. And for a hip-hop group once known for its consistency, it's depressing to note that the Wu catalog contains more misses than it does classics.
Thankfully, Only Built 4 Cuban Linx...Pt II, while far from perfect, manages to reignite some of the clan's old glory. Some semblance of the Wu-Tang of yore can be heard on album opener "House of Flying Daggers," produced by the late J Dilla, that worthy doing his best posthumous RZA impression, a trick he also utilizes on the undeniably raucous "10 Bricks" (featuring a rejuvenated Cappadonna). The lyricists, both clan and guests, bring their A games, for sure. There's no denying that the theme of the first album is being paid homage to for the most part. Rae leads this throwback on vivid crime tales such as the Pete Rock-produced "Sonny's Missing" and the instant classic mafioso ode "Canal Street."
The flaws are definitely few and far between, but upon repeated listens some cracks in the armor are evident. First, while the album's bevy of producers (ranging from Necro to Dr. Dre) all contribute competent beats, the effort as a whole lacks consistency. Shame on the Chef for not following one of the cardinal rules of cuisine: too many cooks spoil the soup. The long-missed Marley Marl blesses "Pyrex Vision" with a slow, marijuana-haze beat, but the song is baffling in its inexplicable brevity: fifty-five seconds. Furthermore, in contrast to 1995's Linx, which contained a single R&B-laced beat, this follow up is sprinkled throughout with syrupy crooning on tracks such as "Cold Outside" and the Dr. Dre-produced "Catalina."
Still, I can't front. Regardless of its missteps, Cuban Linx II is undeniably a great album. The Slick Rick-guesting "We will Rob You," featuring a short Baby Huey loop and perhaps the album's best verse courtesy of Masta Killa(!), effortlessly induces head nods, as does the Godfather Theme-interpolated "Black Mozart." As far as mediocre goes, "Have Mercy," featuring Benie Sigel, holds that sole dubious honor, praise Allah. Closing out the album, the fantastic "Kiss the Ring" is a fitting end to the closest thing to a Wu-Tang revival since Supreme Clientele. I have no delusions of a second Wu-Tang renaissance, but for at least one album it's nice to see that the Wu still has an Elvis-in-a-rhinestone-jumpsuit comeback left in 'em.
Like I said, fourteen years is an impossible gap to close, and maybe that's my fault. Were I seventeen years old right now, I might call Only Built 4 Cuban Linx...Pt II a classic. Such is youth. Blame old age, but I doubt this will even be on my radar a month from now. Yeah, the kung-fu flick samples are there, the clansmen still have their swords sharpened, and the beats are more than serviceable, at times superlative. But...
4.5/5 *_*
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