Writing – Grown Up Rap

Interview: Will Ashon, author of ‘Chamber Music: Wu-Tang and America [In 36 Pieces]’

Author Will Ashon recently published the excellent Chamber Music: Wu-Tang and America [In 36 Pieces]. We spoke to him about the journey of writing a work as masterful as this, his time as head of the iconic Big Dada Recordings, and of course, the Wu.

What’s fascinating is that the book is about the Wu-Tang Clan, but also isn’t. It uses Enter the Wu-Tang (36 Chambers) as a framework for what is essentially the history of black America. Did you always intend for the book to be so broad, or did it start out as more of a simple celebration of a classic album?

It was never going to be a simple celebration of a classic album because my brain doesn’t work that way. On the other hand, I’m not sure I intended for it to be as broad as it worked out! I think that hip hop is a connective music – it works by collaging together and, in the process, commenting on, other musics, ideas and stories, so any book on hip hop kind of has to do the same thing, too. I wanted it to be as wild and outward looking and baffling (and hopefully as exhilarating) as the album it was about.

Art can be interpreted in many ways, meaning different things to different people. Did you ever fear though that interpreting and attaching meaning to specific lyrics might sometimes come across as tenuous, trying to find something that isn’t there? You allude to this a few times in the book in the latter chapters, especially with Ghostface lyrics.

Haha! Nah, I didn’t worry about tenuousness. Ghostface’s lyrics, in particular, are so weird and impenetrable that they demand interpretation. And isn’t that what fans do? Try to figure out what their favourite rapper is saying and what it means? Overall, my philosophy when writing a book is that I’d rather be interesting than right, by which I mean I’d rather make readers think than just tell them stuff they already know and reinforce their already-held views. Lyric interpretation is part of this – if you think I’m wrong, that’s great. At least it means you’re engaging with those lyrics. And reading a book should be all about engagement, not being spoon-fed “FACTS.”

I also notice how you, wisely, avoid looking too deep into some of RZA’s philosophies and ideas from The Tao of Wu. Was it hard to avoid certain rabbit holes?

I love a good rabbit hole. Rather than avoid them, I prefer to jump in and dive so fast I blast right out the other side. As far as I can see, the whole book is in part an interpretation of RZA’s philosophies. But I don’t bother setting them all out exactly as they’re set out in The Tao of Wu because The Tao of Wu already exists for that. (Plus, I’m writing about a record released 20 years before The Tao of Wu).

Being a writer myself I know just how much research a work like this requires. How long did it take to write, and where did your research take you?

The book took me a year to research and write, flat out (plus my thirty years of listening to and thinking about hip hop more generally). That was much quicker than I would’ve liked, but I had an artificial deadline set by the upcoming 25th anniversary of the album’s release. As a result, I really went at it hard – forty hour weeks in the British Library, trying to get through and assimilate all the information I needed (and some that I didn’t). It’s the most intense period of work I’ve ever done on a book and it was pretty exhausting.

In terms of being taken somewhere, I also went and spent time trudging round Staten Island, getting a feel for the place – its atmosphere and geography. That was essential in all kinds of ways – I didn’t realise, for instance, that the spot where Eric Garner was killed by the police was so close to where the first Wu Wear store was located. These kind of connections are what animate the finished book.

Being white, and from the UK, I sometimes struggle to write about the history of black American music and culture, for fear of coming across as a phoney. I noticed that you seem conscious of this in the book too. Is it hard to write authentically about things you never actually experienced first hand?

I’m not too worried about authenticity – which, as I explore in the book, is a pretty loaded concept anyway. I think it’s more important to worry about being responsible in what I do. That means being clear and open about the perspective that I’m coming from and it means interrogating my own assumptions. It means, in effect, abandoning “objectivity” and instead focussing on love.

Having said that, I suppose being an outsider also allows you to provide a different perspective?

Yeah maybe – although it’s arguable that being an outsider to an outsider culture makes you a cultural insider at a broader level. To put it another way, you can’t use that as an excuse and you certainly can’t privilege your perspective over another. I think, once again, it’s best just to be honest about where you’re coming from and then it’s up to the reader to decide what they make of that. Nobody has to buy the book!

The response to the book had been very positive. But I’m curious to know if you’ve had any feedback from the Wu or those in their circle. Do you know if any of them are aware of the book?

No feedback, no. The publisher sent it to the management of a couple of the members but beyond that I have no idea.

I’d like to talk about Big Dada. You founded the label and ran it for several years. Tell me about that experience.

That’s a big question! It was fifteen years of my life (a little more, in fact), so it’s hard to sum that up in a few sentences. We tried to change the landscape for Black music in the UK and to some extent we achieved that and to some extent we failed. I’m really proud to have worked with all the artists I worked with, even when they hated me or my ideas (which they sometimes did). But running a record label is hard, unrelenting work, most of the time you don’t achieve what you hoped for, and eventually I was ground down by it. I wish I’d managed to make it more sustainable without me but I don’t regret stepping away.

What are some of the releases from your time there you are most proud of?

There are so, so many. Not sure it would be fair to the others to pick out a couple. Suffice to say, I’m really proud to have released albums by Roots Manuva, New Flesh, Gamma, Infesticons, TTC, Ty, MF Doom (King Geedorah), cLOUDDEAD, Wiley, Spank Rock, Infinite Livez, Lotek Hifi, Busdriver, Anti-Pop Consortium, Diplo, Speech Debelle, Offshore, Congo Natty etc etc, right up to the last two signings of ‘my’ era, Young Fathers and Kate Tempest.

Lastly, considering how their last few albums have been mediocre at best, what would the perfect Wu-Tang Clan comeback album look like in your eyes?

Ouch, that seems a bit harsh. In all honesty, I’d rather hear a debut album by a group I’d never come across before which had the same levels of energy, inventiveness, aggression, humour, originality, street smarts and vision as “36 Chambers.” THAT would be worth seeking out!

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Chamber Music: Wu-Tang and America [In 36 Pieces] is out now, published by Faber & Faber. Get it here. Those in the UK can purchase here, published by Granta under the slightly different title, Chamber Music: About the Wu-Tang [In 36 Pieces]. Follow Will Ashon on Twitter. Interview by Ben Pedroche.

The best hip-hop writing from last week

Its been another good week for hip-hop writing and journalism, with many of the usual suspects writing the best material. Here’s a round-up.

DJ Screw: A Fast Life in Slow Motion by Lance Scott Walker

Whether you are a fan of his music or not, the impact DJ Screw had on rap in his all-too-short life is huge. In this well-researched and extensive article, the writer pays proper tribute, telling the full story of Screw’s come-up, without focusing too much on his abuse of Lean and subsequent death. Read here.

The Selective Memory of Rap Fans by Robbie Ettelson (Unkut)

At a time when a lot of classic albums are celebrating their 20th or so anniversaries, Unkut points out how others are being forgotten. He singles out the X Clan album To The East, Blackwards as a prime example, and how it was a project of way more significance than most care to remember. Read here.

GZA Speaks: The Lost Art of Lyricism by GZA

He may be pointing out what most of us already know, but its interesting to have a first-hand opinion about the state of rap lyrics from one of the best rappers still working today. The highlight comes at the point where GZA explains how two different artists would interpret the same simple subject matter. Read here.

The best hip-hop writing from last week

Its been another good week for qualify hip-hop journalism and long-form articles. Here’s our top picks from the last seven days:

Origin Stories: The Neptunes by Chris Williams

This article for Red Bull Music Academy looks at the history of Pharrell Williams and Chad Hugo, and how they came up in the Virginia music scene before changing the commercial forever rap game as production powerhouse The Neptunes. Read in full here. If you also haven’t yet seen the incredible Revolutions On Air: The Golden Era of New York Radio 1980-1988 documentary, watch it here.

Gettin Kinda Hectic: Snap and Chill Rob G’s Epic Power Struggle by Robbie Ettelson

Robbie Ettelson is one of the best writers documenting the history of hip-hop, and here breaks down the troublesome making of monster dance hit Power, which included vocals from Chill Rob G. It appears on the always brilliant Cuepoint, and you can read it in full here.

Why the Term ‘Jazz-Rap’ Needs to be Deleted from the Internet by Seve Chambers

Sparked from a recent twitter debate by 9th Wonder, the article looks at the pointless need for some critics and writers to pigeonhole music into sub-genres, and how ultimately, none of it really matters. Read in full here.

The Evolution of Jaime Meline by Ben Pedroche

Lastly, we’ve gone and included one of our own long-form articles from last week, by our editor. It tracks the many different chapters in the career of El-P, and how he’s one of the few hip-hop artists to stay relevant for so long. Read in full here.

The best hip-hop writing from the last seven days

Here’s a round-up of the best hip-hop journalism from the last week, from sites where you’ll find some of the best music writing today.

Kanye Haters at Glastonbury: Racism, Rockism and Flying Bottles of Piss by Ashley Clark.

This excellent piece looks into the true-meaning behind the hate thrown towards Kanye West since it was announced that he’ll be headlining the hallowed Glastonbury music festival in the UK.

Read here.

The White Lie That Broke Bobby Caldwell by Jered Stuffco.

Singer Bobby Caldwell has been sampled in many rap songs, including The Light by Common, and Do For Love by 2-Pac. This article tells the story of how the industry and fans around the world were shocked when it first transpired that Caldwell is in fact white.

Read here.

Posdnuos Shares How De La Soul Will Spend Your Kickstarter Contributions by Martin Connor.

In this exclusive interview, Pos provides more info about the group’s incredible Kickstarter project, and progress on the new album so far.

Read here.

Our fears for the new Cannibal Ox album

Cast your mind back to 2001. Years before Run the Jewels, El-P was already a hero of New York’s underground hip-hop scene. Four years had passed since the release of the seminal album Funcrusher Plus from his group Company Flow. But in the short years since then, the group had disbanded, and that late-90s golden era of independent hip-hop labels had started to die fast. Bobbito’s Fondle’em Records was on its very last legs, and even Rawkus, the label that had released Funcrusher Plus and so many other incredible records in such as a short space of time, was in decline.

El-P was doing everything he could to keep the spirit alive though, and by now his Definitive Jux record label had built up solid momentum as the new flag-bearer for all things quality indy rap. In the next few years, Def Jux would release a run of incredibly creative hip-hop records that would gain critical praise and cross-over appeal, and breath new life into a sub-genre that tended to get pigeon-holed rather pointlessly as ‘alternative hip-hop’.

The line-up of talent on the label was a mixed-bag of new voices and established ones, often bringing out the absolute best in artists like Murs, Mr Lif, Aesop Rock, RJD2, and El-P himself. Def Jux would eventually shut up shop less than a decade later, but the legacy it left is still felt today, especially in the spirit of modern independent hip-hop labels like Rhymesayers and Mello Music Group.

Back to 2001, where Def Jux put out their finest release of all; Cold Vein, the debut album from Cannibal Ox. A genuine game-changer, it was a record that embodied everything the label stood for, and was about as far as you could get from a commercial rap record. Fans loved it, critics loved it, and it was instantly hailed as a classic.

And then, nothing. We’ve since had a handful of impressive solo albums from both group members, Vast Aire and Vordul Mega, but no full length album post Cold Vein (we aren’t counting the live album from 2005).

We all got pretty damn excited then when it was recently announced that the group would soon be dropping Blade of the Ronin, a brand new album at last. Our hopes were crushed again however, when it became obvious there would be no input from El-P.

It’s unfair to say that El-P’s production was the best thing about Cold Vein, but it was certainly the driving force, and the most overtly refreshing and unique element of the album. There is no doubt that Vast Aire and Vordul Mega are incredibly gifted artists and writers, and the hip-hop scene has been itching to get more records from both of them. But take El-P’s soundscapes out of the equation, and it will be hard for the new album to make anywhere near the same impact as Cold Vein.

Blade of the Ronin does have some good things going for it. For starters, and as already stated, both members of the group are superior rappers. The guest list also happens to include spots from Elzhi, Artifacts and a certain MF Doom. But on the leaked credit list, there’s still not a single mention of El-P anywhere. Production duties seem to be resting on the unknown Bill Cosmia instead. And with all due respect to Bill, when we read that, our hearts sank even further.

To try and make another album like Cold Vein would of course be a mistake anyway, and even if they did get El-P, his sound has changed dramatically since 2001. But without him at all, we fear this may be one long-awaited return that might just disappear without much of a trace. We hope to be proved wrong, and that come March, you’ll be seeing us eat our words.

UPDATE: The group recently previewed the MF Doom featuring track Iron Rose. It’s pretty good, so those words we hope to be eating may be consumed sooner than we thought.

Blade of the Ronin is set for release on March 3. Pre-order now.

Christmas, all rapped up.

Christmas is coming fast, and if you are anything like us, you’ll leave the present buying until the very last minute. At that point you’ll panic buy, and your loved ones will get the same old shit you got them last year. Again.

For those that like to get in nice and early, here’s some present ideas for the classic hip-hop fan in your life. And by that we mean you, because these are the things you should be asking Santa for this year. You’re welcome.

Check the Technique 2: More Liner Notes for Hip-hop Junkies, by Brian Coleman

The first Check the Technique book from hip-hop writer Brian Coleman was certified classic, bringing us the story behind some of the best albums in the history of rap. The follow up is just as good, with in-depth analysis and interviews covering the creation of 24 milestone albums, including Lord Finesse’s Funky Technician, DJ Polo & Kool G Rap’s Wanted: Dead or Alive, The Beatnuts’ Intoxicated Demons, Ice Cube’s AmeriKKKa’s Most Wanted, KMD’s Black Bastards and 3rd Bass’ The Cactus Album. It is well written and nicely put together, and if you buy from Rap and Soul Mail Order, you even get a special Smif-N-Wessun 7″ thrown in too.

Order from Rap and Soul Mail Order in Europe, or Get on Down in the US.

Dust & Grooves: Adventures in Record Collecting (Second Edition), by Eilon Paz

With vinyl sales back on the rise, interest is getting bigger. True hip-hop heads never actually stopped buying records of course, and we like nothing more than snooping through the vinyl collections of our favorite artist via shows like Crate Diggers. Dust & Grooves is a coffee-table book exploring the collections of hip-hop artists and beyond, with interviews covering how each library has grown, and its best gems. The updated Second Edition features new contributions, including a chance to see what Questlove has in his many crates. It’s by no means cheap, but is beautifully illustrated and presented.

Buy from the Dust & Grooves website.

Limited Edition J Dilla figure

Dilla Dawg was one of the greatest to ever do it, and a personal favorite of ours. Ma Dukes has been overseeing the release of several special products recently, and this one is nicely timed for the Holiday Season (although it may not arrive until the New Year!). The figure comes complete with Detroit cap and Stussy tee, and miniature Dilla is even holding his beloved sampler. There have only been 2,000 made, and they are already selling like hot ~~cakes~~ donuts.

Pre-order yours from Rappcats.