by osmosis

The conceptual strength that Wu-Tang and its affiliates display are the points the set the Shaolin apart from other rap crews and solo acts. Through the mental acumen displayed by the higher profile members of the Clan, the Wu’s sold something like 12 million albums. That’s pretty incredible considering that eight member crew (nine, if you count ODB) doesn’t frequently garner too much radio play – unless Method Man has a sitcom or something. But one of the lesser know contributors to the Wu Syndicate, U-God, is set to shell out a third full length since his ’99 solo debut.

The buoyancy that early crew efforts sports is noticeably absent on U-God’s latest disc. While he includes a litany of guest spots, the lyrical content for the most part seems too focused on traditional rap tropes, instead of Supreme Mathematics or other religiously sprinkled references to intelligence. As the album begins with on unexpected Mike Tyson vocal sample, it quickly becomes clear that Dopium is going to be given over to rhymes about being the greatest at this or that. Even if the approach just sounds tired, though, it works for the most part. And making use of his industry clout, U-God calls in a few favors from his brethren to help out. Featuring Mike Ladd, a producer and rapper that deserves more attention, makes “Lipton,” with its playfully sung chorus, entertaining in a way that much of the Wu catalog isn’t.

Part of what should separate Dopium from other Syndicate discs, apart from working with the emerging Babygrande label, is the fact that U-God has foregone the production of the RZA. Instead, the disc, dominated upfront by beats from Teddy Ted & J. Serbe, cops a dusty sound not unrelated to expectations that come with being a Syndicate member – even the track that sports Jim Jones on a few verses has some sample from a ‘70s blaxploitation flick.

What ends up lessening the overall impact of Dopium are the few remixes and ‘bonus’ tracks at the end of the disc. Reworking some portion of a disc as an way to pad an offering out isn’t generally frowned upon even if the resulting product bears little resemblance to the original. However, these three remixed tracks add a burdensome electronic touch to the other wise organic boom bap that litters the rest of the disc. It only adds up to about twelve minutes outta the fifty that make comprise the album, but closing Dopium out in such a poor manner serves only to lessen a reasonably strong effort from U-God.