GHOSTFACE KILLAH - SUPREME CLIENTELE (2000)
My favorite album of all time. Supreme Clientele. What this album did for my style and creativity is immeasurable. It goes beyond music, my speech (at times), my cadence, my energy, have all been influenced by the content of this CD. The cover itself displays an equal mix of style and soul, individuality and inspiration; the clash of classy old school performance and late 90s fashion. Let’s get into it.
Ghostface Killah is one of the most popular members of the Wu Tang Clan. He is known for his storytelling ability, high pitched voice, stream-of-consciousness (fancy word for random poetry, emotive delivery/content, and his flow. He showcases all of these skills on Supreme Clientele than any of his other albums in my opinion. When Ghostface first came out on the Wu’s first album, Enter the 36 Chambers, due to limited airtime he didn’t receive as much shine as Method Man, Raekwon, or the RZA. But when Raekwon dropped Only Built for Cuban Linx…Ghost’s stock rose significantly. Following his 1996 platinum debut Ironman, Ghostface and the Wu reunited to drop the 1997 chart topper Wu Tang Forever. It was here where we caught a first glimpse of what Ghostface was capable of. With numerous show stealing verses (most notably on “Cash Still Rules” and “Impossible”), as well as a higher pitched delivery, Ghost put himself at the top of the Wu Tang lyrical food-chain, and provided an accurate preview of what was to come in 2000. Without further ado, here is the review!
1. INTRO
Interesting introduction. Probably assembled by the RZA. Ironically enough, Ghostface’s debut is entitled Ironman, yet is devoid of any samples relating to Ironman. Supreme Clientele opens up with an Old School Ironman jingle, bleeding into yet another sample. A narrator informs us the possible death of our beloved Ironman aka Tony Starks. It lasts less than 50 seconds and gives way immediately into the first song on Supreme Clientele.
2. NUTMEG FT. RZA
“Yeah, what’s up ya’ll”? We hear Ghostface say over a sped up string sample provided by RZA. The Wu has always been known for imposing their lyrical superiority upon others, and Ghost kicks off his album with that same attitude.
Ghostface goes all in with a Kool G Rap meets Kool Keith kind of flow. Full of multi rhymes spit at high speed about, essentially, nothing. However, it isn’t the kind of “nothing” that rappers nowadays are talking about. It’s the kind of “I don’t know what the hell he’s talking about” kind of nothing. One line rarely has to do with the one following it. “Scientific, my hand, kiss it/
Robotic, let's get optimistic/ You probably missed it, watch me dolly dick it”. Huh? Referrencing everything from Harley’s, Wallabee Clarks, and Lemon pies (all in the same line) Ghost attacks the mic with vocabulary so well placed, albeit random, one cannot help but listen. Chorus’ are more ranting from Ghost (who sounds enthused, as if he has just run a mile and is showing off to all those incapable). He sounds like he’s having fun, and with the type of lyrics he’s laying down he’s either having fun or out of his mind. RZA contributes a verse that isn’t bad, but it can’t hold up to either of Ghost’s. The song is then concluded with Ghost shouting out the 5 boroughs in song, and then the joyride stops. Overall a solid song, setting the tone for whats to come lyrically and instrumentally, perhaps my favorite on the album
3. ONE
Coming right behind Nutmeg is another soul sampling tune which Rygon and I also remixed, but have not dropped. Here Ghost is just as energetic on Nutmeg, and just as incoherent “We at the weedgate, waitin ‘ for Jake/We want 8 ravioli bags, 2 thirsty villains yelling bellyaches /Heavyweight rhyme writers, hittin’ the grass /Stash the wipers, pull out his kite from this white bitch”. From there on it only gets more confusing, but it stays infectiously lyrical. Ghost’s second verse which is even more melodic madness. Faster than the first, this verse contains lines about to sexual intercourse with Oprah, Mrs. Dash seasoning and changing Wu members names into those of 60s-70s soul singers. This is followed by a comedic outro around the utterance of the word “One”. A stellar follow up to Nutmeg in production and lyrics, again, laying the foundation for the album.
4. SATURDAY NITE
I hate to say it, but this album is not without its share of filler. This track, falling at 1:40, can easily be considered unworthy. Ghost is once again hitting us hard, fast and random, over an equally frantic Hitmen beat. The instrumental fits Ghost perfectly, but he attempts to tell a story that is hard to follow with the flow & wordplay he employs. Not exactly a bad song, but I think it would’ve been better left off.
5. GHOST DEINIFT. SUPERB
After the Ironman sample, Ghost GOES! He pretty much rips through the song in similar fashion to all the others, with random references (here, religion, drugs, etc)& rapid fire flows. What’s different about this song is he stops to sing, shedding light on the more soulful side of Ghostface touched on in Ironman and Wu Tang Forever tributes to Marvin Gaye, Tupac, The Notorious BIG, & Rakim, over a chilled out spooky RZA beat with harder drums then we are used to. What brings down the quality of this song is the Superb feature. I personally don’t like Superb due to him claiming to have written this album. I was concerned that the rumors may have had some truth to them, until I actually heard him rap. Whereas Ghostface’s randomness sounds refreshing and interesting, Superb’s stream of consciousness sounds more like drunken rambling. One thing I thought that sank the Wu Empire is the fact that they never added on anyone who could lyrically outdo them, or bring an original style/flavor to the camp. It’s good that they looked out for their homies, but I’m sure Superb would’ve been happy being a Wu janitor, or stocking shelves at a Wu-Wear outlet, who knows..
6. APOLLO KIDS FT. RAEKWON
Another Banger! This is probably the first song on the album with general street appeal (which is probably why they chose it for a single.) The beat is a hard hitting “Cool Breeze” sample over some slapping drums, produced by Staten Island legend Hassan. Ghostface strikes somewhat of a balance between his style and the kind of performance that would have the streets buzzing in the late 90s – early 2000s. Ghostface maintains more coherent lyrics, braggadocio, crime tails and materialism, but he keeps true to his randomness with the hook; “Ayo this rap is like ziti, facing me real TV, crescent how I speak, strawberry kiwi!”. Rae does his thing, but again cannot keep up with the level that Ghost is on. This album will give all Ghostface / Wu Tang fans the validation they need to say that Ghost is the best in the Clan, which is my personal opinion. While few of them slip up, none of them are able to fully match the Killah’s luster for the most part.
7. THE GRAIN FT. RZA
For once, a guest spot keeps up and maybe even exceeds Ghost, depending on who you ask. This song is featured on Def Jam Vendetta incorrectly titled “Buck 50” which is next. It’s the first Ghost song I heard and I loved it from the jump. Ghostface loosely talks about women in his verse; “fingering Pamela Lee”, and “giving hickies to Diana White”. It’s here we see him using his bugged out rhyme style appropriately correlating with human thought. “Hold up, we at the opera, Queen Elizabeth rubbin’ my leg / Had ketchup on her dress from a whopper”. So he’s at the opera getting his legged up on by a girl who had ketchup on her dress. That one line is very complex and open to analyzing. She’s in a dress, at the opera, very classy! But, with that being said, what was she doing eating at Burger King? How many rappers can you take one line from and analyze that deeply? Only Ghost! RZA comes behind him with a vengeance. He proceeds to do what Ghost did but in a more coherent way, telling a crime story and tying it into women. RZA is in my top 10, and this track strengthens my resolve. After his verse he and Ghost beginning singing the lyrics from ODB’s “Don’t You Know” (Girl because of you I’m hurting, within my, within my heart..). Great song. Funky beat by RZA!
8. BUCK 50 FT. METHOD MAN, CAPPADONNA & REDMAN
RZA flips this Baby Huey sample BEAUTIFULLY! Method Man opens it up, sounding a bit more energetic than usual, but just as ill. “Never tell a lie like George with the cherry tree, now it’s cherry pie, if it’s not broke, let it be!...You know the saying if you can’t join em, beat em, then push your way in, we ain’t acrobats but we flip on occasion!” Upon first listen you would think Meth is star of the show. But, no. Ghostface comes behind him with four bars that don’t necessarily outshine Method’s performance, but let you know it’s far from over. After a short instrumental interlude, Cappa comes in, and then leaves. Nothing special. Redman rips it, as if he has to make up for Cappadonna, which he does, thankfully. Another instrumental intermission and then Ghost comes in FULL FORCE. You have to listen for yourself, you will be thoroughly surprised. Meth wraps it up, and then the storm is over. There’s no love to be found.
9. MIGHTY HEALTHY
Nine tracks in and we get the FIRST martial arts movie sample on a Wu Tang album. And not from the RZA, but from Mathematics. Definitely a dope cut, Mathematics delivered some boom bap drums under a Jackson 5 samples made to sound like a 60s Kung Fu soundtrack. Ghost’s lyrics are a little more under control here, as if he wrote this as his Ritalin was settling in. It has all the abnormal quips we’ve come to expect, he subliminally refers to himself as Jesus, and blatantly admits he has intercourse with his female fans. A one time hook, a second verse, and another Kung Fu sample, and it is finished!
10. WOODROW THE BASEHEAD
A humorous skit with Superb playing the role of a crack head (surprisingly well). The skit is not without its laughs, but arguably not enough to warrant its presence. It’s really up to the listener.
11. STAY TRUE FT. 60 SECOND ASSASSIN
A good cut, had potential to be more than it was. Recycling Deck’s beat from his slept-on debut, Ghost spins more narratives in a softer voice than the rest of the album. 60 Second sings the hook on this short smooth song. Not a bad song, just pointless without being hype. Maybe not filler, but it could’ve been left off the record without too many tears being shed.
12. WE MADE IT FT. SUPERB, CHIP BANKS & HELL RAZAH
Ghostface promised 3 Wu-Underdogs they could get a spot on his album. This is the fulfillment of that promise. Again, not a bad song, but an unnecessary one nonetheless. Decent beat, and Ghost delivers, but he’s outnumbered by the mediocrity. Filler in my opinion.
13. STROKE OF DEATH FT. SOLOMANS CHILD & RZA
An interlude if anything. RZA repeatedly scratches the famous “Ain’t No Sunshine” making the horns sound like guitar riffs, while he, Ghostface and Solomans Child do their thing. SC could’ve done better, but the other two make up for it, especially RZA, who outclasses Ghost. The beat can be perceived as annoying at first, it took time to grow on me. Interstingly enough, Ghost as a female do a tag on the song, similar to the woman who says “Maybach Music” on the MMG records. Just goes to show you how ahead of their time these guys were.
14. IRON'S THEME (INTERLUDE)
An interesting little ditty featuring a few dudes singing praises to Ironman and the Wu, while RZA gets his Malcolm X on in the background. It fits, most appropriate skit out of the 4.
15. MALCOLM
The record is begging to wind down, not necessarily in a bad way, Ghost is just calmer and a bit more comprehensive, maybe even duller . This is a soulful beat produced by Choo The Specialist, featuring snippets of a Malcolm X speech. Ironically enough, other than the first line Ghost really doesn’t say anything about Malcolm. I thought this was a good opportunity to pay tribute to a man who was so impactful in America and to Islamic blacks especially (which all Wu members claim to be depending on the day). Instead Ghost does a little bit of story telling, including a bit about slapping “Ma$e in his face over some bullshit the other night”. Other than the beat this song may not grab you but it definitely has its quality.
16. WHO WOULD YOU FUCK (SKIT)
All men, & I’m sure even women, have played this game at one point. Naming all black female entertainers, Ghost, Superb, RZA, & a bunch of other cats pick between women they would sleep with over a Bob Azzam sample. Whilst interesting to know famous people play the same games we do, the women mentioned aren’t stunning, and the skit runs on a bit long. With a larger variety of women, at shorter length, this may have worked a lot better. However, it is a solid seg-way into the next song.
17. CHILDS PLAY
One of my favorite on the album. Over a soulful yet forceful RZA beat, full of changes, samples and scratches, Ghost gives us the most cohesive story on the album. Taking it back to the days of puppy love, school crushes and first dates, the Killah puts his listeners in a state of nostalgia. Same fiery flow, with emotive delivery & vivid storytelling. Although rarely ever talked about, this is one of Ghostface’s signature songs, encompassing all his talents.
18. CHERCHEZ LAGHOST
Using the same sample as KRS-One’s “Jack of Spades”, Carlos Bess offers up a soundbed for Ghost & Golden Arms to spin lucratives tales of run ins with various woman. Some of Ghost lyrics are recognizable from earlier Wu-Work, but it’s all in the family. Neither of them spit anything really worth noticing, it’s more of a vibe track, but it fits nicely and is a good note to wind down an album on.
19. WU BANGA 101 FT. GZA, CAPPADONNA, RAEKWON & MASTA KILLA
Things get a bit more serious here. All members deliver stories in some form or fashion, except Cappa. GZA delivers a solid verse as usual, vividly describing what seems to be the formation of Wu. Ghost pops in with a quick yet humorous tale of a pimp daylighting as a pastor and an in church drug deal. Raekwon comes in spitting Cuban Link slang then in comes Cappa. This song is like a Buck 50 pt 2 and Donna bumbles along as usual, after how well he delivered for Wu Tang up to this point I’m surprised at how bad he was on this album. Masta Killa spits a hit in similar style to “Assassination Day” and then Ghost wraps it up with the same vigor he possessed in the albums beginning, letting us know he’s still got it!
20. CLYDE SMITH (SKIT)
Raekwon with a voice changer pretending to be someone else. Addresses jail time & 50 Cent. Unnecessary and a bit immature. Complete filler.
21. IRON'S THEME
Track 14 plus an Ironman sample, where he saves the world. Perfect ending!
As said before, I love this album. I have it on vinyl, CD, and I have the limited edition Instrumental Album on CD. I have remixed two joints and am in the process of doing more. With excellent production, unique and stellar wordplay, and a feeling of supremacy all throughout, Supreme Clientele is indeed a classic, and as Chris Rock said, the last great Wu album. Minus the skits, unnecessary features, and filler tracks, plus a little more diversity in terms of content, and we would’ve had, in my opinion, an album that stands next to Ready to Die and Illmatic. While this may not have the same quality of the other two, it is far more original than both, and that is what makes it a classic. You can tell Ghost was having a lot of fun doing this joint. I recommend any rapper, or fan of rap music, pick this up, immediately.
8.5/10
Ghostface Killah is one of the most popular members of the Wu Tang Clan. He is known for his storytelling ability, high pitched voice, stream-of-consciousness (fancy word for random poetry, emotive delivery/content, and his flow. He showcases all of these skills on Supreme Clientele than any of his other albums in my opinion. When Ghostface first came out on the Wu’s first album, Enter the 36 Chambers, due to limited airtime he didn’t receive as much shine as Method Man, Raekwon, or the RZA. But when Raekwon dropped Only Built for Cuban Linx…Ghost’s stock rose significantly. Following his 1996 platinum debut Ironman, Ghostface and the Wu reunited to drop the 1997 chart topper Wu Tang Forever. It was here where we caught a first glimpse of what Ghostface was capable of. With numerous show stealing verses (most notably on “Cash Still Rules” and “Impossible”), as well as a higher pitched delivery, Ghost put himself at the top of the Wu Tang lyrical food-chain, and provided an accurate preview of what was to come in 2000. Without further ado, here is the review!
1. INTRO
Interesting introduction. Probably assembled by the RZA. Ironically enough, Ghostface’s debut is entitled Ironman, yet is devoid of any samples relating to Ironman. Supreme Clientele opens up with an Old School Ironman jingle, bleeding into yet another sample. A narrator informs us the possible death of our beloved Ironman aka Tony Starks. It lasts less than 50 seconds and gives way immediately into the first song on Supreme Clientele.
2. NUTMEG FT. RZA
“Yeah, what’s up ya’ll”? We hear Ghostface say over a sped up string sample provided by RZA. The Wu has always been known for imposing their lyrical superiority upon others, and Ghost kicks off his album with that same attitude.
Ghostface goes all in with a Kool G Rap meets Kool Keith kind of flow. Full of multi rhymes spit at high speed about, essentially, nothing. However, it isn’t the kind of “nothing” that rappers nowadays are talking about. It’s the kind of “I don’t know what the hell he’s talking about” kind of nothing. One line rarely has to do with the one following it. “Scientific, my hand, kiss it/
Robotic, let's get optimistic/ You probably missed it, watch me dolly dick it”. Huh? Referrencing everything from Harley’s, Wallabee Clarks, and Lemon pies (all in the same line) Ghost attacks the mic with vocabulary so well placed, albeit random, one cannot help but listen. Chorus’ are more ranting from Ghost (who sounds enthused, as if he has just run a mile and is showing off to all those incapable). He sounds like he’s having fun, and with the type of lyrics he’s laying down he’s either having fun or out of his mind. RZA contributes a verse that isn’t bad, but it can’t hold up to either of Ghost’s. The song is then concluded with Ghost shouting out the 5 boroughs in song, and then the joyride stops. Overall a solid song, setting the tone for whats to come lyrically and instrumentally, perhaps my favorite on the album
3. ONE
Coming right behind Nutmeg is another soul sampling tune which Rygon and I also remixed, but have not dropped. Here Ghost is just as energetic on Nutmeg, and just as incoherent “We at the weedgate, waitin ‘ for Jake/We want 8 ravioli bags, 2 thirsty villains yelling bellyaches /Heavyweight rhyme writers, hittin’ the grass /Stash the wipers, pull out his kite from this white bitch”. From there on it only gets more confusing, but it stays infectiously lyrical. Ghost’s second verse which is even more melodic madness. Faster than the first, this verse contains lines about to sexual intercourse with Oprah, Mrs. Dash seasoning and changing Wu members names into those of 60s-70s soul singers. This is followed by a comedic outro around the utterance of the word “One”. A stellar follow up to Nutmeg in production and lyrics, again, laying the foundation for the album.
4. SATURDAY NITE
I hate to say it, but this album is not without its share of filler. This track, falling at 1:40, can easily be considered unworthy. Ghost is once again hitting us hard, fast and random, over an equally frantic Hitmen beat. The instrumental fits Ghost perfectly, but he attempts to tell a story that is hard to follow with the flow & wordplay he employs. Not exactly a bad song, but I think it would’ve been better left off.
5. GHOST DEINIFT. SUPERB
After the Ironman sample, Ghost GOES! He pretty much rips through the song in similar fashion to all the others, with random references (here, religion, drugs, etc)& rapid fire flows. What’s different about this song is he stops to sing, shedding light on the more soulful side of Ghostface touched on in Ironman and Wu Tang Forever tributes to Marvin Gaye, Tupac, The Notorious BIG, & Rakim, over a chilled out spooky RZA beat with harder drums then we are used to. What brings down the quality of this song is the Superb feature. I personally don’t like Superb due to him claiming to have written this album. I was concerned that the rumors may have had some truth to them, until I actually heard him rap. Whereas Ghostface’s randomness sounds refreshing and interesting, Superb’s stream of consciousness sounds more like drunken rambling. One thing I thought that sank the Wu Empire is the fact that they never added on anyone who could lyrically outdo them, or bring an original style/flavor to the camp. It’s good that they looked out for their homies, but I’m sure Superb would’ve been happy being a Wu janitor, or stocking shelves at a Wu-Wear outlet, who knows..
6. APOLLO KIDS FT. RAEKWON
Another Banger! This is probably the first song on the album with general street appeal (which is probably why they chose it for a single.) The beat is a hard hitting “Cool Breeze” sample over some slapping drums, produced by Staten Island legend Hassan. Ghostface strikes somewhat of a balance between his style and the kind of performance that would have the streets buzzing in the late 90s – early 2000s. Ghostface maintains more coherent lyrics, braggadocio, crime tails and materialism, but he keeps true to his randomness with the hook; “Ayo this rap is like ziti, facing me real TV, crescent how I speak, strawberry kiwi!”. Rae does his thing, but again cannot keep up with the level that Ghost is on. This album will give all Ghostface / Wu Tang fans the validation they need to say that Ghost is the best in the Clan, which is my personal opinion. While few of them slip up, none of them are able to fully match the Killah’s luster for the most part.
7. THE GRAIN FT. RZA
For once, a guest spot keeps up and maybe even exceeds Ghost, depending on who you ask. This song is featured on Def Jam Vendetta incorrectly titled “Buck 50” which is next. It’s the first Ghost song I heard and I loved it from the jump. Ghostface loosely talks about women in his verse; “fingering Pamela Lee”, and “giving hickies to Diana White”. It’s here we see him using his bugged out rhyme style appropriately correlating with human thought. “Hold up, we at the opera, Queen Elizabeth rubbin’ my leg / Had ketchup on her dress from a whopper”. So he’s at the opera getting his legged up on by a girl who had ketchup on her dress. That one line is very complex and open to analyzing. She’s in a dress, at the opera, very classy! But, with that being said, what was she doing eating at Burger King? How many rappers can you take one line from and analyze that deeply? Only Ghost! RZA comes behind him with a vengeance. He proceeds to do what Ghost did but in a more coherent way, telling a crime story and tying it into women. RZA is in my top 10, and this track strengthens my resolve. After his verse he and Ghost beginning singing the lyrics from ODB’s “Don’t You Know” (Girl because of you I’m hurting, within my, within my heart..). Great song. Funky beat by RZA!
8. BUCK 50 FT. METHOD MAN, CAPPADONNA & REDMAN
RZA flips this Baby Huey sample BEAUTIFULLY! Method Man opens it up, sounding a bit more energetic than usual, but just as ill. “Never tell a lie like George with the cherry tree, now it’s cherry pie, if it’s not broke, let it be!...You know the saying if you can’t join em, beat em, then push your way in, we ain’t acrobats but we flip on occasion!” Upon first listen you would think Meth is star of the show. But, no. Ghostface comes behind him with four bars that don’t necessarily outshine Method’s performance, but let you know it’s far from over. After a short instrumental interlude, Cappa comes in, and then leaves. Nothing special. Redman rips it, as if he has to make up for Cappadonna, which he does, thankfully. Another instrumental intermission and then Ghost comes in FULL FORCE. You have to listen for yourself, you will be thoroughly surprised. Meth wraps it up, and then the storm is over. There’s no love to be found.
9. MIGHTY HEALTHY
Nine tracks in and we get the FIRST martial arts movie sample on a Wu Tang album. And not from the RZA, but from Mathematics. Definitely a dope cut, Mathematics delivered some boom bap drums under a Jackson 5 samples made to sound like a 60s Kung Fu soundtrack. Ghost’s lyrics are a little more under control here, as if he wrote this as his Ritalin was settling in. It has all the abnormal quips we’ve come to expect, he subliminally refers to himself as Jesus, and blatantly admits he has intercourse with his female fans. A one time hook, a second verse, and another Kung Fu sample, and it is finished!
10. WOODROW THE BASEHEAD
A humorous skit with Superb playing the role of a crack head (surprisingly well). The skit is not without its laughs, but arguably not enough to warrant its presence. It’s really up to the listener.
11. STAY TRUE FT. 60 SECOND ASSASSIN
A good cut, had potential to be more than it was. Recycling Deck’s beat from his slept-on debut, Ghost spins more narratives in a softer voice than the rest of the album. 60 Second sings the hook on this short smooth song. Not a bad song, just pointless without being hype. Maybe not filler, but it could’ve been left off the record without too many tears being shed.
12. WE MADE IT FT. SUPERB, CHIP BANKS & HELL RAZAH
Ghostface promised 3 Wu-Underdogs they could get a spot on his album. This is the fulfillment of that promise. Again, not a bad song, but an unnecessary one nonetheless. Decent beat, and Ghost delivers, but he’s outnumbered by the mediocrity. Filler in my opinion.
13. STROKE OF DEATH FT. SOLOMANS CHILD & RZA
An interlude if anything. RZA repeatedly scratches the famous “Ain’t No Sunshine” making the horns sound like guitar riffs, while he, Ghostface and Solomans Child do their thing. SC could’ve done better, but the other two make up for it, especially RZA, who outclasses Ghost. The beat can be perceived as annoying at first, it took time to grow on me. Interstingly enough, Ghost as a female do a tag on the song, similar to the woman who says “Maybach Music” on the MMG records. Just goes to show you how ahead of their time these guys were.
14. IRON'S THEME (INTERLUDE)
An interesting little ditty featuring a few dudes singing praises to Ironman and the Wu, while RZA gets his Malcolm X on in the background. It fits, most appropriate skit out of the 4.
15. MALCOLM
The record is begging to wind down, not necessarily in a bad way, Ghost is just calmer and a bit more comprehensive, maybe even duller . This is a soulful beat produced by Choo The Specialist, featuring snippets of a Malcolm X speech. Ironically enough, other than the first line Ghost really doesn’t say anything about Malcolm. I thought this was a good opportunity to pay tribute to a man who was so impactful in America and to Islamic blacks especially (which all Wu members claim to be depending on the day). Instead Ghost does a little bit of story telling, including a bit about slapping “Ma$e in his face over some bullshit the other night”. Other than the beat this song may not grab you but it definitely has its quality.
16. WHO WOULD YOU FUCK (SKIT)
All men, & I’m sure even women, have played this game at one point. Naming all black female entertainers, Ghost, Superb, RZA, & a bunch of other cats pick between women they would sleep with over a Bob Azzam sample. Whilst interesting to know famous people play the same games we do, the women mentioned aren’t stunning, and the skit runs on a bit long. With a larger variety of women, at shorter length, this may have worked a lot better. However, it is a solid seg-way into the next song.
17. CHILDS PLAY
One of my favorite on the album. Over a soulful yet forceful RZA beat, full of changes, samples and scratches, Ghost gives us the most cohesive story on the album. Taking it back to the days of puppy love, school crushes and first dates, the Killah puts his listeners in a state of nostalgia. Same fiery flow, with emotive delivery & vivid storytelling. Although rarely ever talked about, this is one of Ghostface’s signature songs, encompassing all his talents.
18. CHERCHEZ LAGHOST
Using the same sample as KRS-One’s “Jack of Spades”, Carlos Bess offers up a soundbed for Ghost & Golden Arms to spin lucratives tales of run ins with various woman. Some of Ghost lyrics are recognizable from earlier Wu-Work, but it’s all in the family. Neither of them spit anything really worth noticing, it’s more of a vibe track, but it fits nicely and is a good note to wind down an album on.
19. WU BANGA 101 FT. GZA, CAPPADONNA, RAEKWON & MASTA KILLA
Things get a bit more serious here. All members deliver stories in some form or fashion, except Cappa. GZA delivers a solid verse as usual, vividly describing what seems to be the formation of Wu. Ghost pops in with a quick yet humorous tale of a pimp daylighting as a pastor and an in church drug deal. Raekwon comes in spitting Cuban Link slang then in comes Cappa. This song is like a Buck 50 pt 2 and Donna bumbles along as usual, after how well he delivered for Wu Tang up to this point I’m surprised at how bad he was on this album. Masta Killa spits a hit in similar style to “Assassination Day” and then Ghost wraps it up with the same vigor he possessed in the albums beginning, letting us know he’s still got it!
20. CLYDE SMITH (SKIT)
Raekwon with a voice changer pretending to be someone else. Addresses jail time & 50 Cent. Unnecessary and a bit immature. Complete filler.
21. IRON'S THEME
Track 14 plus an Ironman sample, where he saves the world. Perfect ending!
As said before, I love this album. I have it on vinyl, CD, and I have the limited edition Instrumental Album on CD. I have remixed two joints and am in the process of doing more. With excellent production, unique and stellar wordplay, and a feeling of supremacy all throughout, Supreme Clientele is indeed a classic, and as Chris Rock said, the last great Wu album. Minus the skits, unnecessary features, and filler tracks, plus a little more diversity in terms of content, and we would’ve had, in my opinion, an album that stands next to Ready to Die and Illmatic. While this may not have the same quality of the other two, it is far more original than both, and that is what makes it a classic. You can tell Ghost was having a lot of fun doing this joint. I recommend any rapper, or fan of rap music, pick this up, immediately.
8.5/10
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