A mixed response from the iconic rapper...
23 · 07 · 2025
Few new albums garner such varied reactions as those from seasoned rappers. Longtime fans typically assess them positively, while others often have much more divided opinions. Nevertheless, most rappers retain their technical abilities regardless of age; what they often lose is their artistic vision and drive. Consider the classic hip-hop tale of rising from poverty to success. A rapper reaches the pinnacle, secures their future, and is now far removed from the struggles they worked so hard to escape. Can we truly fault them for losing some of that initial passion and determination after decades in the industry?
Adding to this is rap's inherently ‘in the moment’ nature. The genre evolves swiftly, causing established artists to shift into legacy status seemingly overnight. These challenges are common among veteran artists, leading to a range of successes and setbacks. Wu-Tang Clan’s Raekwon fits squarely in the middle of this continuum. He has released at least one impressive album beyond the height of his and Wu-Tang’s fame: 2009’s ‘Only Built 4 Cuban Linx… Part 2’, a commendable follow-up to the groundbreaking original and a solid example in the debate on whether veteran rappers can continue to make quality music.
However, 2009 was quite some time ago. With his eighth studio album ‘The Emperor’s New Clothes’, the Wu-Tang legend known for street tales and culinary prowess presents a record that fits the profile of a new release from a legendary artist in their fifties who is producing albums less frequently. It features guest appearances from peers like Nas and Ghostface Killah, verses from younger talents he has influenced (the track ‘Wild Corsicans’ showcases key Griselda members), production that feels outdated by about twenty years, and lyrics that touch on familiar themes, delivered with charming flair.
The primary issue with ‘The Emperor’s New Clothes’ is, by far, its production. When compared to the cinematic allure of ‘Only Built 4 Cuban Linx…’, the raw intensity of early Wu-Tang, or the captivating fusion employed by today’s Griselda and coke rap newcomers, these 18 tracks fall woefully short. The intended vibe seems to aim for opulent maximalism, which occasionally succeeds, as evidenced by the obligatory ‘inspirational’ track ‘1 Life’. However, the album is filled with regrettable choices like the harsh synth stabs in ‘600 School’, awkwardly edited soul samples in ‘Get Outta Here’, and outdated drum machines in ‘Open Doors’. The overall sonic palette lacks intrigue and appeal; everything feels overly amplified and coated with an unattractive synthetic finish.
In contrast, Raekwon himself delivers a solid performance. His voice adds the engaging textures that the production misses and often clashes with. ‘Open Doors’ features particularly strong flows, showcasing his characteristic moody elegance: “Toast, big up kings and queens wearing their blings and wings/Stay on your demons and dream, let’s sing.” His signature glamorous depictions of crime appear throughout, with ‘Get Outta Here’ featuring interconnected bragging lines that verge on abstraction: “My shooter named Jerome with Louis on resting, lived successfully/Flying and puffing, the steering wheel cushion comfy/My pullers up, n****s would slump me.”
Described as a ‘mixed bag’, the outdated production is the crucial flaw of ‘The Emperor’s New Clothes’. However, Raekwon still demonstrates the capability to intertwine images of luxury, crime, life, and death in ways that can be striking. It’s simply unfortunate that the backdrop lacks the style or creativity to complement his formidable skills.
5/10
Words: Tom Morgan
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Few new albums elicit such varied responses as those from seasoned rappers. Long-time supporters typically assess them, while others often have significantly different opinions.