In the 1990s, the New York Rap formation WU-Tang Clan wrote hip-hop history with its dark, surreal sound, its experimental poetry and their humorous references to comics and kung fu films.
Since then, its members have also brought it to success as a solo artist. 25 years after his album “Supreme Clientele”, accomplished by critics as a masterpiece, has now followed a sequel with “Supreme Clientele 2”.
In an interview with Rolling Stone, the musician talks about the importance of concept albums, exploitation in the music industry, Kanye West’s producer role and the eternal legacy of the WU-Tang Clan.
Her new album “Supreme Clientele 2” was released two weeks ago, the successor to “Supreme Clientele” from 2000. Are you satisfied with the reactions?
Yes, I can’t complain. The feedback is very positive for the fact that it is the second part of a well -known work. I am happy.
25 years is a long time until a sequel. Why did you wait so long and what did you feel right now?
I was busy with other projects all the time. So I was not focused on “Supreme Clientele” and I didn’t want to rush with it either. The timing should be right. Five or six years ago I thought about finally tackling the sequel, but then the deals were not right. It is no longer like before – today someone wants to give you $ 50,000 for an album. I can’t do anything with that, that doesn’t even cover the expenses. But then Mass contacted me and I trust NAS [der Gründer des Musiklabels Mass Appeal, Anm. d. Red]. I would always prefer to sit down with a brother than with anyone who just wants to milk you.
They come from a time when a million sum could be paid for a single rap song. Do you have the feeling that hip-hop artists: do not find enough recognition financially inside?
Without doubt. This is sad, but you have to adapt – especially in situations that are not in your hand. Hip hop is an industry and you have to negotiate deals. With the changes you have to cope, hip hop is finally a game. There is always someone who wants to make more money. Financial partners in the hip hop are interested in keeping artists on the ground to prevent them from together and organizing their own sales. There is also someone with streaming who puts the money in his pocket. It’s just not the artist. I get $ 4,000 for a million streams, can you imagine that? But you can’t do anything unless we artists come together, together find new outlets and remove those who make the big money. We artists need each other.
They once said that “Supreme Clientele” was a state of mind. How did you put yourself in the same mindset 25 years later as then?
You have to know what to work with. And the basic requirement is inner peace. Every day is a shit problem, but you have to enable this inner peace to find music. Music means creating a vibe. And many artists cannot do that – take their listeners on a trip. “Supreme Clientele” takes you back to my childhood. We come from the city parks, from the Break Beats, from the melodies James Browns. You have to find this state of mind, and you can’t learn that. Either you know when you have found the right sound or not.
What is this characteristic sound of “Supreme Clientele” 1 and 2, which allows the albums to take off from others from others in the past 25 years?
It is the color of the music. It’s about creating moments. And therefore to organize them in the correct order. That is the most difficult part. You have to keep the listener on the ball. Everything has to go together. It’s like baking cakes.
Your focus on the song order is unusual in a music industry in which individual songs often become hits. Concept albums have become rare in hip hop.
The entire work is so important. If I had lined up the songs on the album in a contrasting order, it would be a completely different album. The frequencies and vibrations of the songs must be coordinated. It’s like good wine. I spent hours and days in the studio just to perfect the design of the individual songs in the entire work. Many artists write songs and just somehow hit them on a record. No, a strategy has to be behind. I learned that from RZA and this technique goes back to our first Wu-Tang album. And this complexity and demanding conception also expect our listeners from us.
You have just mentioned RZA, your WU-Tang colleague and long-time producers, who also made the beats for “Supreme Clientele”. Why was he not involved in “Supreme Clientele 2”?
That was not an artistic decision at all, he is only busy with many other things. He is now more focused on “Behind the Scenes” projects and acting than on beatmaking. The fact that he was not there on this album means nothing. I was in “go-fashion” and didn’t want to wait for him to find time. But he is and remains my brother. I wouldn’t be here without him.
A few years ago there were rumors that Kanye West would produce “Supreme Clientele 2”. Was that ever planned?
I don’t know where this claim came from then. But Kanye actually contacted me and wanted to produce “Supreme Clientele 2”. However, he only wanted to schedule for seven days. I suggested that he make him a senior producer to have his name under the project. He wanted to complete that within a month, and that was not for me. In my eyes, Kanye is one of the best producers. But with a project like “Supreme Clientele 2” you need more than just seven days. It is a heart project and I have to feel comfortable with it. You need a very fine comb. And that takes time.
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Is the album based on a certain narrative, does it have a certain message?
It just wants to be good music. That is the only message it has. Music to which you can laugh and cry with which you can go on a trip. Enjoy it.
How have you changed in these last 25 years?
A lot. You have to change or you can pack up. Everything changes, I change, now the moment we are talking. And you too. I am spiritual and emotionally another person.
There have been changes not only for you personally, but also for WU-Tang Clan after the end of the farewell tour in July. Does that mean that WU-Tang Clan is now history, or just his time as a live band?
Wu-Tang Clan is never over. The time of the tours is over, but Wu-Tang Clan is forever. The Rolling Stones are still making music, Bruce Springsteen is still making music, Billy Joel still exists-and when I look at it, I think we as a Wu-Tang Clan can still make a few moves.
Where should hip hop be in the next few years, and how do you want to contribute to it?
Makes good music. We need less music that is about being broken each other, and more music that speaks of gratitude. You can’t stop what is going on in the ghettos. And there will always be a voice that describes it. I understand that too. But we should rewrite the story and find it into positive music. Radios love to play songs that are about violence and death. But music is brainwashing, it changes how you think and feel – and that is exactly why we have to start transmitting positive energy in hip hop. The world is bad enough. The new generation has no respect. As children, we stopped the doors and raised the stairs of old people. Even on the worst street corners, we identified our joints when an old lady came by. Today’s generation is different. And if we want to change, we have to start in ourselves, together.
What is the legacy that you want to leave this new generation? What should she learn from the WU-Tang Clan?
Prist God and write positive rap. No matter who or what you believe and no matter in what form and language, take the time to concentrate on gratitude. Be aware of what is going on in the world, what the government is doing, whether it is about food, about artificial intelligence or diseases. To kill you in my rapsongs is not the answer.