It was only a matter of time until the Wu-Tang empire marked its territory in California. Quite frankly, I’m surprised it took this long. Unfortunately, the empire is crumbling, and it has been for years. Many will argue that it was albums such as this one that played a pivotal role in bringing the kingdom to its knees; the Wu-Tang b-teamers. I don’t subscribe to that theory but I certainly don’t argue the point that too many mediocre albums have featured the ‘W’ stamp of approval.
While this may be the official jumpoff for the Wu on the left coast, Northstar are not newcomers to the family. After meeting RZA in ’98, Christ Bearer and Meko soon popped on a series of Wu related releases.
Northstar sets out to prove that even in Long Beach the sword remains sharp and lethal. Sadly, it isn’t. It is dull, rusty and on the verge of breaking. Those ‘b-team’ albums that people call the Achilles heel of the Wu is epitomized by this album. Christ Bearer and Meko are average emcees at best; I really have to wonder what RZA saw in them. Aside from that, it is the usual; RZA slaps his name on the album as the executive producer and lends them a few cutting room floor beats. With 4 production credits to his name, RZA sounds like he spent a total of 10 minutes making all of them. The best of the bunch is “Red Rum” where it’s simplicity and booming bass work well with the elementary deliveries. “See Me” and “Destiny” are both absolutely unbearable Digi keyboard beats featuring lyrics that only make the song worse. A Cali low rider theme is attempted with “64,” complete with an ill-conceived “Boyz ‘N The Hood” inspired hook.
Shockingly, it is Euro house legend Armand Van Helden that provides two of the albums best moments. The sped up vocal sample may be played, but it is still dope if it is done right. The albums opener “Luv Allah” is proof of that. Van Helden manipulates another female vocal sample with equal success on the banger “Nuttin.” Thankfully, Mathematics is also on his game and offers up a couple high quality moments. “We Got It” is the best track on here, not only for the beat but for the song structure and the emcees’ best performances. “Duckie” is really dope too, though I can’t help but imagine what Ghost would have done to this beat.
The fun stops there though as there is nothing else redeemable about this album. “So So Serious” is bad enough, but “Ballin” just puts it to shame. It sounds like D.R. Period mistakenly gave them a beat from his R&B pile and the hook is straight up one of the worst I’ve ever heard. The pointless and irritating skits that litter the first half of the album are also impossible to ignore. Like too many Wu releases of late, there are a handful of nice tracks worth listening to but other than that, this album is better left on the shelf.
