Liquid Swords

The last concert that I saw before the pandemic was Gza doing Liquid Swords. He was performing at a venue that is endearing, but far too shitty to host a hip-hop legend. Regardless of the circumstances, when Gza showed up, he brought the fucking energy. This album is interesting. It's not my favorite of the Wu-Tang solo albums (Only 4 Cuban Linx has that honor), but it's an incredible work. Lyrically deep, with Rza's characteristic sampling style that never seems like it should work, and yet always sounds amazing. The cinematic approach to making albums worked so well for Wu-Tang, and this album may be the pinnacle of that 5/5

So good I listened to it twice in a row. Easily my favorite Wu-Tang related project. GZA sounds so smooth in his flow, everything is kind of lo-fi and straight to the point and I think that's what I like about it. Nothing but great rap songs.

Boooooring.

Wonky, woozy, atmospheric, The beats are all out of time and tune, symphonic in scale, that gives this a cinematic feel. I haven't delved much into the whole Wu-Tang genre, but I find this enjoyable. Less violent and misogynistic than much contemporaneous gangsta rap, although still somewhat preoccupied with violence. I find the lo-fi, wonky production charming (and a precursor to the rhythmic innovations of J. Dilla). I have listened to this through a few times, and enjoy the flow and the weirdly funky backing tracks. Skits on rap albums are a pet peeve of mine. The use of scratchy (and lengthy) samples from old martial arts films is a slightly better version of a skit, but still a bit annoying.

Dense production and deep lyrics. Requires repeated listens, each one better than the last. A true classic.

Oh snap, solid gold five stars here, GZA one of the greatest to ever do. Everything on this album pops - RZA's grimy Kung Fu sampling production, guest stars bring their A-Game and then there is GZA's delivery: witty, elegant, incredible flow, whip smart, near unsurpassed word play. 'Labels' a brilliant idea, perfectly executed, 'Liquid Swords' an infectious, catchy album opener built around an unlikely sample ('Groovin' by Willie Mitchell) and 'BIBLE' a smart and informative closer.

Apparently, only one other person who has written a review of this album on this site knows the source of the film samples that provide the album's vertebra. Yes, I know all of us can look it up on Wikipedia, or indeed just click the Wikipedia sample this site offers. But only one other person bothered to mention the actual bloody film, with a few suggesting "martial arts" (I just about agree, but not remotely the point of the original film) and occasionally "kung fu" (completely wrong: wrong country, wrong tradition, wrong plot, wrong aesthetic, wrong clothes, just utter wrongness from heel to brow). I am not a martial arts buff at all; martial arts movies leave me completely cold (it took me a decade to appreciate the now-obvious grandeur of Enter The Dragon, and no other martial arts movie has ever kept me till the end), I have no desire to learn martial arts (4 injuries a year, the average martial artist suffers), and the idea that martial arts teaches any form of profundity strikes me as just so much bullshit (will learning to kick well somehow teach you Gödel's incompleteness theorems?). But I love ultraviolent 70s Japanese samurai cinema. I love Zatoichi, I love Lady Snowblood, and above all I love Lone Wolf and Cub. Lone Wolf and Cub started as a long-running manga (I've never read it, as I have no interest in comic books of any form except for Viz, which I adore to my bones), which became a series of six films involving the Shogun's executioner Ogami Itto, whose prowess with the sword has proven the ultimate lock on power for the corrupt feudal system at play: nobody can challenge a system which has the deadliest man alive in its control. But his expertise stems not just from his finesse, but his cunning: Ogami has no qualm in tricking his fellow duellist to a beheading by shining a mirror in his eyes. A coup tries to cast Ogami as a traitor to the Shogun, thus seizing his position as executioner. Ogami's wife is murdered, and Ogami declares that he shall become a demon and wandering ronin until he has achieved his vengeance, and he racks up the body count befitting a demon. His son Daigogo is an infant at the time, and after delivering the test the album quotes, he takes his son along their chosen purgatorial path in a weapon-loaded baby cart (the films are also known as the Baby Cart series, and the kid amasses his share of corpses). Yes, the films have a touch of exploitation cinema in their indulgence of gore (people here have garden hoses instead of arteries). I can't deny my love of the Grand Guignol. But their real soulmate, like much samurai cinema, is the western. Kurosawa avowedly cribbed from Ford, and in turn Peckinpah avowedly cribbed from Kurosawa. Ogami Itto's tale has some resemblance to that of the platonic western, Shane (by the by, my absolute favourite film of all time): a wandering figure with skills and troubles and questionable morals, upon whom a kid becomes dependent. The Baby Cart films are smart and slyly political, and the ultraviolence, sometimes gleeful, sometimes despondent, sometimes stoic, is always a glorious spectacle. You know how Robocop is a genuine masterpiece? The Lone Wolf and Cub films are similarly sanguine classics. Shogun Assassin is a mutant of the original films. An American dubbed splicing of the first two Baby Cart films, with an added English voiceover from Daigoro, Shogun Assassin became a cult film in the west (and a video nasty in the UK), with Daigoro's voiceover occasionally seen as providing a greater depth to the source material. Kill Bill is practically a remake of Shogun Assassin, and indeed the Bride at one point watches Shogun Assassin with her four-year-old daughter. Personally, I don't wish to watch Shogun Assassin again. Who wants to watch a dubbed film? Also, I fell in love with the originals. Shogun Assassin has nothing to offer me. Anyway, those are the film quotes on Liquid Swords. I have been talking about Baby Cart for so long because there is almost nothing to say about this album, which is the tragedy. Having listened to a few Wu-Tang albums, I have with sadness to conclude that they all sound the same. The producer and mastermind RZA has exactly one style: the same musical austerity, the same lyrical prominence, the same and frankly tiresome east Asian film samples. It's a good sound, and I guess I enjoyed the album. But I can't recall a choice lyric from this. I can't recall any lyric from this. The Wu-Tang sound still hits the spine, but have all their albums just been variations on themes by George Clinton and the Shaw Brothers? I was expecting, hoping to laud this, but it's mainly generosity that's justifying these three stars. With Lone Wolf and Cub, stick with the originals. With the Wu, you can also just stick with the original 36 Chambers. Oh, and really don't bother with the bonus track B.I.B.L.E (Basic Instructions Before Leaving Earth). Insane Clown Posse's Miracles claiming more street cred.

I didn't like this. I thought the movie samples were weird. The lyrics were repetitive. I'd ask for this to be turned off if it was on at a BBQ.

This album bleeds style, flow, intelligence, and everything I want in a hip hop album. GZA's lyrics are complex and deep, and mixed with RZA's beats create a whole world through the storytelling, ambiance, and samples. If it wasn't for the out of place bible song at the end this album would be about as good as it can get.

I'm a huge fan of 'Enter the Wu-Tang (36 Chambers)'. It is one of my favourite albums ever and without a doubt my favourite Hip-Hop album of the 90's. I therefore have a lot of respect for the solo works of the Wu-Tang members although this is the only other "Wu-Tang album" that I have already heard outside of 36 Chambers (as of right now) and while it is not on a level with THAT album, 'Liquid Swords' is still an incredible album even outside of the Hip-Hop world. GZA is seen as the spiritual head of the group bringing razor-sharp rhyme schemes and often philosphical topics into his raps making him the possibly deadliest member on a lyrical level. That strenth in lyrics is very present on this album, in pretty much every verse he delivers. The main producer here is RZA, who already produced most of Enter the Wu-Tang, so we get some classic Wu-Tang beats with a lot of Soul, Funk & Kung-Fu movie samples. And because it's mainly these two artists, a lot argue that the album feels much more conceptually focused then Enter the Wu-Tang. While that is subjective, this album is without a doubt much darker and unsettling. The title track opens the album with a pretty long intro from a Kung-Fu movie that sets the themes of crime, night, death and general darkness. After that GZA delivers with some killer verses and although I do not like the chorus much, the verses itself are among the best of the record. With 'Duel of the Iron Mic' we get features from three Wu-Tang members including ODB on the chorus as well as some verses by Inspektah Deck & Masta Killa which do actually live up to GZA's. 'Living in the World Today' isn't as strong as the songs before although some bars were really great. I also really liked the production as well as Method Man on the chrous. It's mainly the delivery that isn't on point like before. The chorus outshines his verses, which isn't what I want in an album likes this. And while talking about great production: 'Gold' has an incredible beat, flow and verses that all make it the, in my opinion, most unsettling and greatest so far. This is definitely in conversation of being my favourite song on the album. 'Cold World' easily has the best chorus so far, sung by the artist Life. There is also a "breeze" in the beat making this really a "cold world". I do think the beat lingers on for a little bit to long at the end but still, a masterful and atmospheric song. 'Lables' is one of the weakest songs on the album. There just isn't much to it except a really nice beat. The lyrics and the performance are good but not really more. And for being not even 3 minutes long, the fact that I think the outro is to long isn't a good sign. Still enjoyable, just less. Halftime and the second half gets opened by '4th Chamber' aka. the best song on the album. Many great features with verses and performances that stand on a level with GZA, a truely perfect beat with incredible production and a song that truely shows the "Wu-Tang spirit". And if that wasn't enough, it is followed up by the arguably second best track 'Shadowboxin'.' GZA drops killer bar after killer bar without sacrificing any lyrical greatness. This is a song that makes you realize that if you would start a rap beef he would massacre you with his bars. The song doesn't even need a chorus and lucky that it doesn't have one. 'Hell's Wind Staff / Killah Hills 10304' is another kinda weak track. The skit, that is the first part, just isn't really interesting, or at least not as much as some other and sampled skits. The actual song is pretty good though even if it's a little bit long and the beat gets kind of annoying. 'Investigative Reports' pretty much features all the rest Wu-Tang members that weren't already featured and like the others before on Track 2, 7 & 8, they absolutley kill all of their performances. 'Swordsman' has some really nice drums that aren't really typical but apart from that I don't care to much for this song. Especially the chorus is pretty weak. Like its predecessor, 'I Gotcha Back' is in comparison a weaker track. I like some moments but overall don't care. It's way to long and the sample outro doesn't make up for the build up tension. Easily the worst track. The album closes with 'B.I.B.L.E. (Basic Instructions Before Leaving Earth)' which is technically a Killah Priest song (at least acc. to RYM) probably because GZA doesn't even rap on it. It's still a great song although the production doesn't come close to the meal that RZA put on our tables before. I will need to relisten some more to appreachiate this album more than I do now but as of right now: a Genius album! favourites: 4th Chamber, Gold, Shadowboxin' least favourites: I Gotcha Back, Swordsman, Labels Rating: decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

When it comes to the Wu-Tang Clan, GZA is the cool and calm master assassin. He rarely leaves the shadows, but when he does you can be sure that he's going to murder the mic, and won't break a sweat while he does it. They don't call him the Genius for nothing. This album features RZA, GZA's cousin, in full control of the production (as well as lending his distinctive lyrical stylings on "4th Chamber"). RZA defined the Wu-Tang style: layered (often eerie) samples, and dialogue from kung fu films. Unfortunately, RZA's one flaw is putting long bits of dialogue at the beginning and/or end of tracks, rather than featuring them as between-track skits. Yes, they're an essential part of his work, but most of the time you just want to listen to the tracks, not wait through 1:19 of dialogue (as is necessary with the title track, "Liquid Swords"). Despite the lengthy dialogue, "Liquid Swords" is one of the strongest tracks on the album. Other highlights include "Gold," "Labels," and my personal favorite, "4th Chamber." (What can I say? I'm a sucker for Ghostface, and RZA's medieval beat is the perfect match for Ghostface's "Why is the sky blue? Why is water wet? Why did Judas rat to Romans while Jesus slept?") An easy 4 stars, bordering on 4.5

Nr. 20/1001 Liquid Swords 3/5 Duel Of The Iron Mic 3/5 Living In The World Today 4/5 Gold 3/5 Cold War 2/5 Labels 3/5 4th Chambers 3/5 Shadowboxin' 4/5 Hell's Wind Staff 2/5 Investigative Reports 3/5 Swordsman 3/5 I Gotcha Back 2/5 B.I.B.L.E 5/5 Average: 3,08 The last song was awesome. For the others I felt like the music/beats didn't really compliment the rapping.

Liquid Swords I only really know the title track, which is superb, with that great organ sample and the excellent delivery. The rest of it is great too, and it definitely gets better with each listen, the groggy feel getting under your skin. I really love the sound of it all, that kind of thin and piercing snare sound, and the brilliantly built loops and beats, a kind of dense and woozy and slightly wonky world, giving a disconcerting but attractive ambience. The sampling is excellent too, not as exuberant and excessive as Paul’s Boutique, but a judicious use of keyboard, horn and vocal samples, all contributing to the percussive, mesmeric atmosphere. I love that trumpet sample in Living in the World Today, the choral sample in Gold, that little riff in 4th Chamber that sounds like a vibraphone, Ann Peebles in Shadowboxin’ with the great bass line. There’s also that slightly unsteady synth line in Hell’s Wind. I also love his vocal style and timbre, kind of similar to Method Man but a bit clearer and more distinct. Lyrically it also avoids much of the misogyny of most mid 90s hip hop, and while there is a lot of violence, it seems to be treated thoughtfully (most of the time), making it a more introspective take on the usual unsettling themes. I really enjoyed this and the world it paints, and there are some excellent tracks in Liquid Swords, Gold, 4th Chamber, Shadowboxin, Hell’s Wind and B.I.B.L.E, along some lots of very god tracks. Illmatic is still the high point for me for this type of album, but with more listens I think this will be up there too. It’s easily a high 4, but I’ll bet on it being a 5 with more listens. 💧⚔️💧⚔️💧 Playlist submission: Hell’s Wind

This is a strong contender for the best Wu-Tang solo record. Of course, solo record is a bit of a stretch given that all eight other members of Wu-Tang Clan are present throughout the album. RZA's production is slick and the beats are deliberate and hypnotic. GZA's lyrics are complex, philosophical and cinematic, further punctuated by the interspersed samples from the film 'Shogun Assassin.'

Geweldig album voor op de vrijdag. Ik hou van de mixing, de skits en de laidback manier van rappen van GZA. Soms klinkt het alsof die met een dikke sigaar op een oude bruinleren stoel z'n lines geeft. Na dit album gelijk ook weer wat andere wu tang albums geluisterd, kreeg er helemaal zin in. Klassieker en een van de beste solo albums van de groep.

One of the all time greats. I think this thing basically earns 4/5 stars just for its intro. The flow on this thing is out of control, and I feel like (being whatever the opposite of an expert on rap is) it really ushered in a new era for the genre. A favorite for many years.

Absolute banger of a hip-hop album

another easy five star album

This is one of the best rap albums i’ve ever listened to. The production from RZA and 4th disciple is on point, along with GZA and the rest of the clans lyrics. 10/10

The 1001 seems to really like Wu-Tang Clan. Me too. Collectively and in solo albums, Wu-Tang seems to have an outsized representation on the list compared to their contemporaries. But it’s well deserved. And “Liquid Swords” is no different. GZA and Wu-Tang’s appreciation of martial arts films and Asian culture shines through here, though it made me think about cultural appropriation and an exchange between basketball players Jeremy Lin and Kenyon Martin from several years ago that I stumbled back on recently. Martin (an African American) criticized Lin (an Asian American) for getting dreads, and this was Lin’s brilliant response: “Hey man, it’s all good. You definitely don’t have to like my hair and [are] definitely entitled to your opinion,” Lin wrote. “Actually I [am] legit grateful [for] you sharin it [to be honest]. At the end of the day, I appreciate that I have dreads and you have Chinese tattoos [because] I think its a sign of respect. And I think as minorities, the more that we appreciate each other’s cultures, the more we influence mainstream society.” GZA and Wu-Tang seem to be doing it with more tact and awareness and respect than Kenyon Martin.

I am very fond this album, my favourite alongside ‘Only Built 4 Cuban Linz’ of this rich period of Wu Tang-affiliated records. It’s the tauter of the two albums though, similar to its siblings, it still would’ve benefited from a couple of songs dropped. Still get shivers with the opening of ‘4th Chamber’. That wiggly squeal diving into the fuzz bass is still one of the heaviest snatches of music I know. The cheesy dialogue samples have an unironic, Lynchian quality, excerpts from a cheaply dubbed version of the “Lone Wolf and Cub” series, adapted from an incredible, intense, bloody and deeply melodramatic manga, to which the wooden delivery adds a haunted mannequin quality, right for this pulpy, shamanic-beat action-horror anthology record. I’m tired, having trouble getting my head round this record I’ve known for almost thirty years, and I’m going to mutter a strangled “hauntology” and move on. They were (are?) loopy AF, but the nutty religious sci-fi proselytising is concentrated in the last track, which at least has a fun acronym, Basic Instructions Before Leaving Earth. Some of the lines are shivved into my skull: “Picture bloodbaths in elevator shafts” … “Tommy ain’t my motherfucking boy” Yet how often do I listen to this now? Enjoyed my first run through, got distracted through my second, possibly suffering whiplash from this following “Layla blah blah blah”.

Does he have a cold? One likes the lower-key rapping style, the seeming subtlety and understatedness. The tighter, at times, minimalistic beats. There’s a drama and an eeriness, that befits a kung fu-esque, martial arts-themed record. Quieter, less boastful, with a lo-fi quasi-documentary feel at times and weird and woozy flourishes that are effective and engaging. One finds oneself a bit surprised at the burgeoning affinity for a broadening range of hip-hop.

Fire

Legendary. Amazing.

There's a lot of bangers in this genre and this is one of those albums that work

If there anything that the Wu-Tang Clan were better at than music, it would have to be business. They recognized that individual success for each member would lead to increased success for the group as a whole. As such, members were free to pursue their own solo albums in between group albums. Easily one of the best of the solo albums is Liquid Swords. Hard-hitting, memorable production with peak 90's hardcore MC delivery. What this album excels in is subtly: GZA floats along RZA's beats in ways that compliment one another. Basically it's excellent.

Awesome. Favourite tracks: 'Liquid Swords', '4th Chamber', 'Shadowboxin''. 4/5

Really accomplished and has a great sound now, 4th Chamber and Swordsman stand out. Also makes me realise again that I think I prefer the East Coast sound over the West.

Not gonna lie, after Dr Octagynaecologist I wasn't that excited by the prospect of a rap concept album starting with a minute long film sample... but this was actually really good. The flow is great, the storytelling is great, despite being of a similar era to a lot of the albums we've had the language isn't jarring or overly misogynistic. Probably goes a bit OTT with the length of the samples, and falls away a bit towards the end, but still gets a 4 from me.

Definite method man tide rising the ship that is this album, but GZA is great at meshing some crazy samples together to make an exceptional rap album. I am not a huge Wu Tang follower but I absolutely enjoyed some tracks on this record and will revisit it at a later date. I can comprehend the gravity of wu tang and the effect the group had on rap music. Powerful and lyrical.

A very well done solo album by Wu-Tang member GZA. With the simple and stripped 90s beats GZA throws down some very lyrical raps. He does a good job in creating an atmosphere of the shaolin mixed with NY street life. GZA is a bit one dimensional which brings this album down a little but it helps he has several wu tang features and some good samples throughout. This is a strong album always worth a visit if seeking a good lyrical album. 7.7/10

Never heard of GZA/Genius before this exercise. What I heard was some excellent flows and literate rhyming schemes. I didn't think I would enjoy all the samples taken from the kung fu movie Shogun Assassin that were laced throughout this album, but they flowed into the other music seamlessly. RZA did a great job mixing it. There is some really cool music in this album, some excellent collaboration with the other members of the Wu Tang Clan, and some stellar 90s hip hop. Favourite songs: 4th Chamber, Shadowboxin', Gold, Liquid Swords, Swordsman, Cold World Least favourite songs: Hell's Wind Staff/Killah Hills 10304 (good song, just didn't care for the long preamble before the song started) 4/5

While I am still not (and, this point, probably will never be) a fan of rap, I appreciate this guy’s obvious talent.

Had never heard of this artist, but have to admit that compared to the other rap albums that have I listened to on the 1,001 so far, "Liquid Swords" was one of the better ones... While the lyrical content was similar - the delivery was pretty solid, and there was decent diversity throughout the album... Not sure what to make of the movie interludes between some of the tracks, but it worked okay for me, and at least wasn't contrived like some others that I've heard... The best part of this album for me, were the hypnotic instrumental tracks that were laid under the rap - as those were incredibly chill and interesting, and provided the perfect backdrop to the vocals... I almost wish there was just an instrumental version only of this album... A couple of songs that I enjoyed more than others were "Duel Of The Iron Mic" & "Gotcha' Back", so points for the music, originality, and diversity, and at the end of the day, I'll give it a 3...

This album goes hard. Love the samples from Shogun Assassin!

No more hip hop please

Atmospheric, eerie, cinematic, almost lo-fi production. His flow is nice. I like it as background music, but that's a backhanded compliment in this context. Despite everyone gushing about his lyrics, I can't help but find them boring and repetitive. Similar feeling to what I had for Illmatic. I just can't possibly relate to anything he is rapping about. This sounds naive, but plenty of other more pop-savvy rappers can make similar topics more catchy or fun enough for me to enjoy. I've never really gravitated to these East Coast technical "street cred" rappers like the Wu-tang Clan or Nas, but rather ones that make hip-hop accessible, like Jay-Z or Biggie. I wish I did, and maybe this project will eventually lead me to a greater appreciation, but sadly not as of now. Also, rap skits always suck.

Were these songs any different from each other? I don't know much about hip-hop but this just sounds very generic.

Having heard the Raekwon album recently I feel I at least have a reference to compare this against, and my verdict is… they’re pretty similar. The murky beats on this one maybe create a more consistent mood but OB4CL has more standouts. It’s an album that sounds perfectly competent but it must be 'one for the purists', as nothing really excited me (my favourite was the bonus track, which apparently doesn’t even feature GZA…)

We've had some good hiphop on the list recently, but this isn't as interesting to me. The instrumentals are kinda bland

Yuck

Why oh why do i keep getting hip hop. I can't stand it but lately getting loads. Change the record !!

I’m never a fan of speaking throughout an album and especially an album I already don’t like. All I can really say is that it was awful in all shapes and forms.

This might be the most boring hip-hop album I've ever heard. 2 bar musical phrases - set to repeat ad infinitum - then a million lyrics over the top without much if any emotional variance whatsoever. And yet *another* Wu family album. How/why? Make it stop. 2/10 1 star

GZA THE MFING GENIUS!!! This was a master class of cerebral, effortless, boom bap rapping. I need to listen to more of the solo Wu albums because this was great. My neck hurts because I was just nodding for 55 minutes straight. I gotta spin it back again so I can catch everything he was saying but the bars I did catch HIT. So happy to finally get some more Hip Hop because I was getting Rock’d out.

"Liquid Swords" is the second solo album by American rapper and Wu-Tang Clan member Genius/GZA. The album samples dialogue heavily from the martial arts film "Shogun Assassin." It was recorded in fellow Wu-Tang member RZA's basement and RZA was the chief producer. Other Wu-Tang Clan members also contributed vocals to many of the songs. The album had critical acclaim for its lyricism and hypnotic musical style. Commercially, it hit #9 in the US. The song "Liquid Swords" opens with a dialogue sample from "Shogun Assassin" where a boy says the shogun is after his father. The music starts. A hypnotic, reverbed beat. GZA is laid back in his rap style and he is just better than the rest. "Cold World" features Inspectah Deck and Life. An eerie vibe in this song as they rap about a murder in NYC. A repeating sample of the Mothers of Invention's "Plastic People." "4th Chamber" features a host of the Wu-Tang Clan. Another song that starts out with dialogue from "Shogun Assassin." A droning sample from Willie Mitchell's "Groovin.'" The Clan takes turns rappin.' More gangland violence. Method Man appears on "Shadowboxin.'" Scratching. A melody sample of Ann Peebles' "Troubles, Heartaches & Sadness." The album ends with "I Gotcha Back." GZA wrote this for his nephew whose father was in jail. A interesting sample fusion of the Charmels' "As Long as I've Got You" and the 45 King's "Red Alert." The song ends ends with the final scene in "Shogun Assassin." There's an overriding dark, eerie and gritty atmosphere to these songs. The martial arts' dialgoue was unique and lended to the tone of the album. Great sampling selection. GZA has a more chill rap style. RZA does a fantastic job producing this album; it's an easy and smooth listen and ranks very high among Wu-Tang Clan member albums that I've heard.

I've been meaning to listen to more of the Wu-Tang solo albums, and my God after hearing this one I need to check out more. Such amazing vocals and phenomenal production all around.

Gear: Aür Audio Aurora Artwork: 🥷🏿⚔️🩸🥷🏿 Produktion: 🎧🌀😵‍💫 Musik: ✍️🎤💣 Wertung: ⚔️⚔️⚔️⚔️⚔️/5

GOAT

About everything you could ask for from a Wu-Tang related project. Same quality hooks, rhymes and beats to be expected from GZA and associated features. Seriously awesome album

**Album Review: *Liquid Swords* by GZA** Released in 1995, GZA's *Liquid Swords* is widely regarded as a cornerstone of 90s hip-hop and one of the best solo albums to come out of the Wu-Tang Clan collective. The record is an expansive, dense work that showcases GZA's lyrical prowess, RZA's masterful production, and a range of themes that span philosophy, urban decay, personal struggle, and mythology. With this project, GZA both established himself as one of the Clan's sharpest lyricists and created a work that would influence generations of rappers and producers alike. This review delves into the album's lyrical content, production, themes, and its lasting influence, while highlighting the pros and cons of the project. ### Lyrics The defining feature of *Liquid Swords* is GZA's lyricism, which is sharp, introspective, and layered with meaning. GZA’s approach to writing is meticulous and intellectual, characterized by complex wordplay, multi-syllabic rhyme schemes, and vivid imagery. His verses are often loaded with metaphors and analogies that require multiple listens to fully unpack, drawing heavily on street life, philosophy, and chess as central motifs. A prime example is the album’s title track, “Liquid Swords,” where GZA spits: *"I'm on a mission that niggas say is impossible, But when I swing my swords they all choppable, I be the body dropper, the heartbeat stopper, Child educator, plus head amputator."* The imagery in this verse is aggressive and violent, reflecting the harsh realities of street life, but it also has deeper layers. GZA’s references to "swords" serve as a metaphor for his lyrical skill, positioning his words as weapons in the competitive world of hip-hop. Throughout the album, GZA continues to paint himself as a lyrical warrior, wielding words with precision, whether he's addressing societal issues or engaging in battle rap bravado. Tracks like “Duel of the Iron Mic” and “Shadowboxin’” feature intricate rhyme schemes and complex similes that showcase GZA’s ability to tell stories and convey deeper meanings. In “Shadowboxin’,” for instance, GZA dissects his internal conflicts, pairing personal struggles with the imagery of martial arts—a recurring theme in Wu-Tang’s catalog. On “Cold World,” GZA adopts a more reflective tone, lamenting the bleakness of urban life: *"Babies cryin' brothers dyin' and brothers gettin' knocked, Shit is deep on the block and you got me locked down."* Here, GZA turns to societal commentary, speaking on the hopelessness that surrounds inner-city existence. While the narrative is grim, it’s delivered with poignancy and a sense of moral urgency that makes the message resonate. The diversity in GZA’s lyrical content is one of the album’s greatest strengths. While many tracks feature traditional braggadocio and rap battles, others provide philosophical musings and commentary on real-world issues like poverty, crime, and corruption. ### Music and Production RZA, the mastermind behind Wu-Tang’s production, provides the sonic backbone for *Liquid Swords*, creating a moody, atmospheric backdrop that perfectly complements GZA’s intricate lyricism. The production on the album is gritty, sparse, and heavily reliant on eerie samples, many of which are drawn from 70s martial arts films. The overall aesthetic is dark, with brooding basslines and minimalistic beats, allowing GZA’s vocals to take center stage. The title track sets the tone with an atmospheric intro sampled from the film *Shogun Assassin*, followed by haunting strings and sharp drums. The instrumental feels ominous and tense, underscoring the album’s martial arts theme and giving GZA a fitting platform for his "swordplay" of words. RZA’s use of film samples is a signature element throughout the album. In “4th Chamber,” for instance, the track opens with a dialogue sample from a kung-fu movie, immediately placing the listener in a cinematic universe that feels simultaneously ancient and futuristic. The beat itself is aggressive, with sharp snares and a heavy bassline that drives the song forward. This track, featuring verses from Ghostface Killah and Killah Priest, showcases some of RZA’s most raw production work, highlighting his ability to create tension and energy. Tracks like “Gold” and “Living in the World Today” display RZA’s more soulful production, with chopped-up soul samples and jazzy undertones that provide a more laid-back feel. These tracks offer a contrast to the darker moments of the album, giving the listener brief moments of musical respite without compromising the overall tone. Despite the production's undeniable brilliance, some critics have noted that RZA’s beats can feel repetitive at times. The stripped-back nature of the production occasionally leads to a sense of monotony, especially on multiple listens. However, this minimalism can also be seen as a strength, as it creates a consistent mood and allows the lyrics to shine without distraction. ### Themes The thematic depth of *Liquid Swords* is one of its most notable attributes. GZA weaves together multiple layers of meaning, touching on personal struggle, societal collapse, and philosophical musings. One of the central themes of the album is the metaphor of swordsmanship, which GZA uses as a stand-in for lyrical skill and intellectual sharpness. The album is filled with references to martial arts, chess, and combat, which serve as metaphors for the struggles of life and the challenges faced by individuals in a hostile world. On “Duel of the Iron Mic,” GZA compares his lyrical battles to martial arts duels, positioning himself as a master swordsman in the competitive arena of hip-hop. Similarly, on “Shadowboxin’,” he uses the concept of shadowboxing as a metaphor for battling one’s inner demons. These martial arts metaphors add a layer of depth to the album, tying it into the Wu-Tang Clan’s larger mythology while also allowing GZA to explore themes of discipline, strategy, and perseverance. Another major theme on *Liquid Swords* is the bleakness of urban life. On tracks like “Cold World” and “Living in the World Today,” GZA paints a grim picture of the environment he grew up in, filled with violence, poverty, and corruption. He often juxtaposes these dark realities with philosophical insights, urging listeners to think critically about the world around them. For instance, in “Cold World,” GZA reflects on the loss of innocence and the harsh realities of growing up in the projects: *"Too many cold-blooded murders, late night homicides, Names sprayed on walls as a form of street pride."* This dual focus on the personal and the societal gives the album a sense of urgency and weight that elevates it beyond typical battle rap fare. ### Influence *Liquid Swords* has had a lasting impact on the hip-hop landscape, influencing both lyricists and producers. GZA’s intricate wordplay and complex metaphors set a new standard for lyricism in the genre, inspiring rappers like Nas, MF DOOM, and Kendrick Lamar to delve deeper into their craft. His ability to balance dense, intellectual lyrics with streetwise narratives has become a blueprint for artists seeking to push the boundaries of what hip-hop can express. On the production side, RZA’s work on *Liquid Swords* solidified his place as one of the most innovative producers of his era. His minimalist, sample-heavy approach—combined with his use of martial arts film clips and eerie soundscapes—has been emulated by countless producers in the years since the album’s release. Artists like Kanye West and J Dilla have cited RZA as a key influence, particularly in how they approach sampling and beat construction. The album’s influence extends beyond music, however. Its use of martial arts and chess as metaphors for life and competition has been referenced in film, literature, and academic studies. GZA’s unique blend of street wisdom and intellectualism has helped legitimize hip-hop as an art form capable of conveying deep philosophical ideas, further expanding the genre’s cultural reach. ### Pros 1. **Lyrical Prowess**: GZA's intricate lyricism is among the best in hip-hop. His wordplay, metaphors, and storytelling create a deeply engaging listening experience. 2. **Cohesive Themes**: The album’s exploration of martial arts, urban decay, and philosophy gives it thematic depth and cohesion, making it stand out from more conventional hip-hop records. 3. **Production**: RZA’s gritty, minimalist beats perfectly complement GZA’s lyrical style, creating a dark, atmospheric sound that remains captivating throughout the album. 4. **Cultural Impact**: *Liquid Swords* has had a profound influence on hip-hop, inspiring both lyricists and producers to push the genre’s boundaries. ### Cons 1. **Repetitive Production**: Some listeners may find RZA’s production style to be too sparse or repetitive, as many of the tracks share a similar sonic palette. 2. **Density of Lyrics**: While GZA’s lyricism is a major strength, it can also be a barrier for casual listeners. The complexity of the wordplay and metaphors requires multiple listens to fully appreciate, which may alienate some fans. 3. **Lack of Versatility**: The album’s dark, brooding tone is consistent throughout, but this can make the project feel one-dimensional at times. There are few moments of levity or contrast, which may limit its appeal to those seeking a more varied listening experience. ### Conclusion *Liquid Swords* is an undisputed classic of 90s hip-hop, showcasing GZA’s unparalleled lyricism and RZA’s innovative production. The album’s exploration of philosophical themes, its use of martial arts metaphors, and its reflection on urban life give it a timeless quality that continues to resonate with listeners today. While the dark tone and dense lyrics may not appeal to everyone, for those willing to dive deep into its layers, *Liquid Swords* offers a rich, rewarding experience that stands as one of the genre’s crowning achievements.

Wu Tang Clan ain't nothin' to fuck with, and even when it's a solo album from one of the members, this sentiment still stands. Easy 5.

I’m somewhere between a 4 and a 5, and I think I’ll have to talk myself into either one by the end of this little writeup. I mean, I don’t have anything negative to say about the album, so that’s a huge plus; this is my first Wu-Tang anything ever, save for the occasional random feature spots from some Wu-Tang members on other projects. I feel kinda dumb for never really listening to them before – it’s not that I haven’t wanted to, it’s just that I’ve been too lazy to really commit to it for some reason. This album is glowing with great lyricism across the board; really, really strong stuff for 1995, and probably some of the best lyrics of this period from ‘95-’96 where just about everyone in rap was on fire and hitting a creative peak. I think the flows are hypnotic, sometimes almost to a fault, and everyone gets a chance to really shine here – even though this is technically a GZA solo album, it distinctly feels like a Wu-Tang group effort to me based on the amount of features everyone gets. The only partial knock I can give comes in the beats – there’s not a bad beat, but I do sometimes think the sort of moodier and darker atmosphere of the album gets punctuated just a little too harshly by how dry some beats feel. I’m not saying you have to suddenly brighten up the instrumental while we’re talking drug dealing and Chinese restaurants getting shot up, but it just sort of leads to a sterilized style that stops some tracks from really sticking out more than others, which isn’t great from the perspective of listening to the full album front to back. With all of that written down though, I think the positives deeply outweigh the completely nitpicky negatives, and I’m gonna go ahead and give this a 5 – it’s a really enjoyable experience from front to back, and it really does have some of the best lyricism I’ve heard from this era. Even if the beats are a little dry at times, that never once takes away from the actual tracks themselves; they just blend in a little too often at times, but that’s probably a me thing more than anything else. This was damn good.

Genius

This is probably the best solo album that spawned after "Enter the Wu-Tang" and one of the best among Wu-Tang's albums. The production is insane with creative use of samples and the performance by the Wu-Tang members are at their peak.

Obviously one of the sickest albums ever.

Why do I feel like I know this album when I'm pretty sure I've never heard it before? Not in a bad way. Not a huge fan of the biblical content for a variety of reasons. But it's well-produced and well-performed.

This was more than excellent. A true undiscovered gem.

At first I did not want to listen to this album, but God opened my eyes cuz this is the best thing. So good, so stupidly good it’s so good. 100000000% recommend. Should definitely listen to it! 9.0/10.

Classic boom bap hip hop, such a great album.

Most masterworks aren't made in a day, that's fairly obvious. The Genius of the Wu-Tang Clan surely took longer than most of his crew to put forth a solo record (his second overall) post 36 Chambers but he wanted to make sure that it made an impact. And, like a game of chess, he made checkmate. Liquid Swords is regarded as one of the greatest hip-hop albums not just of its era but of all time and for good reason. GZA lives up to the album's title and reinforced the belief that not only was he amongst the more lyrically astute members of the Wu but also there were no fathers to the Wu-Tang style. It is little to no wonder why Wu's fan base resort to this album despite the plenty of others released since; it encapsulated what GZA stood for and the ethos he represented within the changing hip-hop landscape. So go get vaccinated with this and his logo will be branded in your skin. If you like, of course...

One of the better Wu Tang solo efforts

Outstanding album!

Wu‐Tang Clan Ain’t Nuthing ta Fuck wit. 4.5 stars

Love the whole ninja/samurai intros

Dit is rap voor de rapliefhebber. Een saison in een wereld van waterige pils, hazy NEIPAs en pastry stouts. Het album lijkt op het eerste gezicht namelijk wat aan de droge kant. Er staan geen nummers op die je ook op een enigszins algemene radiozender zou kunnen draaien. Heel misschien B.I.B.L.E, maar dat is eigenlijk een bonustrack en die staat er een klein beetje buiten. Er wordt op dit album amper tot niet over bitches en ho's gepraat, wat anders steevast een veelgehoorde kritiek is bij rap. Sowieso wordt er weinig gevloekt op dit album, tot het één na laatste nummer dan. De beats zijn wat oncomfortabel en creepy en hebben daardoor enorm veel sfeer. De teksten zijn complex al zal 90% bij mij natuurlijk compleet verloren gaan. Het album voelt aan als een film als je het in z'n geheel afdraait, wat ik wel tof vind. Ik ga hier niemand mee overtuigen, dus laten we gauw doorgaan naar de 6e Rolling Stones, 5e Morrissey, 4e Elvis Costello of 3e Van Morrisson.

It's a shame so many people will be rating this after their first listen because this is an album that's dependent on a bit of context, as well as being one that took a while to grow on me and I think people won't get to sit with this record for quite enough time to truly appreciate it. I was already a huge Wu Tang fan when I first heard this, but didn't properly understand the surrounding movements in hip hop at the time. Seeing how this deepens the lore and style that Wu Tang brought to the scene, and understanding where these influences went in the following years of hip hop history give this album so much more depth than it seems at first listen. Overall this album just absolutely flexes the chemistry of all contributors and shows a bit of depth to RZA's production that was yet to be explored, all while doing so much to cement the legacy of the Wu Tang Clan. Main takeaway: some of the skits are too long but B.I.B.L.E is one of the greatest songs ever made so who cares

I hadn't listened to this album in years and I had forgotten just how good it is. It's easy to think of as the "Wu-Tang spinoff with Shogun Assassin soundtrack", but it's actually a whole lot more than that. Even BIBLE, which I remembered as being a jarring bonus track, was actually fine as well. There's some fantastic beats here, and the electronic intro to 4th Chamber is like nothing else before or after.

That run of solo Wu Tang albums was insane.

100% best hop hop album of the 90s. fight me.

This is a banger, listening to this after Run DMC just emphasises the point - the genre had come so far in just one decade. This was very cool.

Unique samples crafted into hypnotic beats give a gritty and grimey sonic palette to this album, often giving the feel of a cold night in the projects of New York City. They give from for GZA to show off why he’s called the genious with tight flows and rhymes at an easy going pace that makes it easy to digest the pictures he’s painting lyrically. Manages to straddle the line of gangsta and philosopher, but to me the gangsta aspects aren’t necessarily glorified - just a necessary reality for some. There’s an Intelligence here that isn’t always found in similar music. Title track is a phenomenal start to the album, with Gold, Cold World, and Killah Hills being some other top tracks. No songs that stand out as particularly weak. Pretty consistently high quality throughout and among the top of the Wu Tang solo efforts.

Honestly this album was pretty dope. Did not expect it

Love

This is the kind of record I really like this journey for. I had heard it on the RS500 and remembered it left a positive impression. This time is sat down with big speakers and the lyrics and listened to it with my full attention. Great record. Lyrically, musically and the way it’s constructed. Will it be one I listening to a lot, no. But I am really glad I got to experience it in its full glory.

4.5/5

MINT

I was never huge on all the samurai/Shaolin imagery but it all really clicked for me this time. Front to back the beats are incredible. This practically put me in a trance.

GZA with the liquid words, RZA with the liquid chords. Can’t be bothered with the film quotes stuff though, so something like an 8.5/10.

My favorite rap album of all time. The intro sample is incredible and pulls the listener in immediately (it is also my favorite movie sample from any Wu-Tang album). Every song is perfect on here and tells a unique story critical to the album. GZA's rapping is compact and he doesn't waste any rhymes or lyrics while RZA on the other side perfected the abstract production he developed on Enter the Wu-Tang. No bad verses, no bad instrumentals/samples, and no bad features. A perfect album.

almost more like a Wu Tang album than a solo one since they all appear on it. the group's contract allowed them so sign solo deals with other labels. GZA might not have had the commercial success of Method Man or ODB but he's arguably the most talented.

fuck yes!! Love this album!! 5 stars!! Man, this album had so much attitude, pure gold all the way through absolutely loved it.

I liked this album enough to consider watching Shogun Assassin

A classic album with an iconic intro and opening track. Really enjoyed all the WTC features and remembered a lot more tracks from this than I expected

One of the best rap albums of all time

Had to listen to this album a few times to get into it again, but yeah still a great rap album.

One of the best.

Great album. Wu Tang is somehow both huge and under appreciated. They avoid the dumb skits so common in 90s rap, especially in West Coast, in favor of movie samples, which holds up much better. The beats, the flow, the lines, all excellent.

I love Lone Wolf and Cub (although the samples are from an American recut called Shogun Assassin) and I love Wu-Tang, so this was just great from start to finish. Mid 90s hiphop beats just hit different.

5 swords.

9/10

This album rules. The first song is very very good. Will I listen to again: 100%

Dude’s will listen to this a go “Hell Yeah”. Now give me Wu-Tang. 10/10

I'm always down for hip-hop. Favorite tracks: - The whole album is a banger

One of the easiest 5's I'll give on this list. I agree this is one of the best solo Wu records, but it is in great company among Ghostface KIillah's Supreme Clientele and ODB's Return to the 36 Chambers. This album is impeccably produced with a continuation of the ninja warrior motif taking the focus of a number of references (both background samples and intro/outro cuts). Though there are a number of quality Wu posse cuts scattered throughout, GZA carries the brunt of the work here putting his wordplay on full display. His flow is buttery and fluid as it wraps around soulful bass and punchy drums. Standouts being Living In the World Today, Shadowboxin', and Liquid Swords.

This era of Wu-Tang adjacent hip hop is unmatched. Perfectly understated while still being a masterpiece. 4.5/5

How does Gza do it? Extremely satisfying album with deep, metaphysical lyrics and dope beats. Hip hop at its finest.

GOAT.

I’ll be honest, I didn’t even remember this album, and I had already given it at least four stars just based on GZA alone. In addition, it has plenty of Inspectah Deck, my personal favorite flow artist in the Clan. The flows are great. RZA produces with the standard sound. The lyrics are sharp even when they verge on making this a concept album based on the movie, Shogun Assassin. Yep, I just talked myself into five stars.

Really cool concept, andhard-hitting societal lyrical content. Faves: BIBLE