Masta Killa " Selling my Soul"

Masta Killa may be the silent assassin of the Wu-Tang Clan, but his sword cuts sharp when he does speak. The legendary Brooklyn emcee recently released his third solo album Selling My Soul and I had the opportunity to speak with 9th member of the Clan about a variety of subjects. Masta Killa & I spoke about the new LP, his inspiration for its production style, the status of his Loyalty Is Royaltyalbum and why timing is of the utmost importance to his work. Jamel Arief also sheds light on a reggae project he’s been working on and explains why he believes we’ll finally see the Wu-Tang Clan come together once again for a new album in 2013. You can check out everything Masta Killa had to say below.

Justin: What’s up Masta Killa?

Masta Killa: Just, what’s going on brother?

Justin: I wanted to talk a little about your new album Selling My Soul. Originally the third album you were planning was Loyalty Is Royalty, so how did this one come about and end up being released instead?

Masta Killa: I was kind of testing the climate of where I thought the music was at this time. And it just seemed like to me, Selling My Soul was needed for the Hip Hop universe because right now, my opinion is you can’t get any music like [Selling My Soul]. Everything else is like you can get that over there, you can get that over here. I just felt like Selling My Soul is needed right now for the people, just good music that you can put on without having to fast forward and be played at any occasion. I felt this was the right time for this particular project.

Justin: One of the things that stood out about the album was the vibrant, soulful production. It actually reminded me of Ghostface’s The Pretty Toney Album and I know you shouted him out on this LP. So, was there any influence from that project for you here?

Masta Killa: Well, I’ve been influenced by beautiful music since I knew what music was. I have a song on there called “Dirty Soul” where I mention a few artists that I’ve been a fan of and that I’ve studied since, like I said, first started listening to music. So for me, to just want to make something beautiful and to make something nourishing is only me giving back everything that I’ve studied.

Me and my brother Ghost, we have that same ear for music. He loves a lot of old soul. We get on the road, we go in chambers, put on some old stuff and we be singing and bugging out. [Laughs] So our chambers are similar and that’s probably why you hear that closeness of both our chambers.

Justin: You mentioned “Dirty Soul” and you pay homage to Ol’ Dirty Bastard on it, mimicking his rhyme style. What was it like to do that tribute to him?

Masta Killa: Aw man, I had to give it to ‘em cause to me he was one of the most soulful brothers within Wu-Tang. I mean, he was dirty soul! When I heard the production, immediately when I heard it I was like, “This is something my brother Dirty would’ve loved.” It just sounded like him. So I was like, I’m gonna go write in one of his chambers and I’m also gonna pay tribute to – not all cause if I list all the groups that I loved, it probably would’ve been a ten minute song [Laughs] – but I’m gonna drop a few names of a few people that I love and respect and I have to mix in my brother Dirty. And as a matter of fact, I’m gonna say a rhyme of his just to pay homage and how I think he would have done it you know?

Justin: Absolutely. Now another standout track for me was the joint with Kurupt, “Cali Sun,” and it does not have the typical production we’ve come to associate you with. Is it important to challenge yourself like that as you continue on in this game and take those types of chances? Read more

As a big Masta Killa fan, I was looking forward to this release, only to be disappointed by an abbreviated album lacking cohesion. The artist stated that he planned to put his "soul" into the project, hence the title. However, unlike symmetry and quality production on Ghostface Killah's R&B influenced "Ghostdini: Wizard of Poetry", this album is disjointed by a lack of consistent soul. On "Wise Words", Killa talks over Zapp's "Be Alright" which seems more like an uncreative sample of Tupac's "Keep Your Head Up" as opposed to a sampling of the original version. Killa actual takes production credit on this song, however, "reproduction" is a better term. On "Divine Glory" he takes a direct stab at R&B rap. Unfortunately, the song lacks any musical substance. At one point, the beat drops for about 30 seconds as Killa raps a cappella. Once the beat returns for another 45 seconds, the song is cut abruptly without wind-down. Perhaps the biggest disappointment on this album is "Dirty Soul" which is said to feature Ol' Dirty Bastard. Instead, we have another song with Killa speaking over the beat, paying tribute to various R&B groups. He eventually begins to honor several "soul brothers", including Ol' Dirty Bastard. Once this introduction is made, Killa proceeds to kick a verse imitating Dirty which is a far cry from an actual guest feature. There are few noteworthy songs on this disc: "Soul & Substance", "Things Just Not the Same", "Food", and "All Natural", with the later song falling short of the three minutes. This is another problem with the album - all but four songs fall under four minutes. When you add this to a few unremarkable skits, along with one song ("Wisdom") that is basically a skit without an artist, you have what amounts to an EP. Making matters worse for hardcore Wu-Tang fans, the album is void of any appearance by a clan member. Instead, we're given "Cali Sun", a lifeless song featuring west coast artist Kurupt. Masta Killa may have struck a good idea when planning this project, however, the album lacks quality or punch. With six years separating his last release, this will be a disappointment for most fans. I take some satisfaction in supporting one of my favorite artists, but wonder how satisfied Masta Killa is with this album.

It seems oddly appropriate that, some 10 years after the Wu-Tang Clan first put the world on notice, Masta Killa would finally get to put out his solo album--he's the last of the original Clan members to deliver one. Even more remarkable is that, at a time when the Wu mostly seem like material for a future "I Love the '90s" installment (Ghostface excepted), Masta Killa puts together an impressive album in the best tradition of the Clan: dusty, dissonant soul loops, lyrics that are all about style rather than shine, and that classic sinister quality embodied by the Wu's best albums. Had this album come out in 1998, people might have hailed it as another Wu classic, especially with the brilliantly biting "School" and the unexpected sentiment of "Love Spell." Add in cameos from all the family--Ghost, Inspectah Deck, the GZA, etc.--and No Said Date suddenly takes you back to the heady days of, oh, 1996. Way old school. --Oliver Wang

Seriously, Masta Killa was the last guy I expected to hold down the Wu Tang when they started to slip. When I got word that he was dropping an album back in '04, I just knew it was going to be the worst solo album in the entire Wu camp (Not that he was wack, but every group has that one guy that may not get as much shine/spotlight as the rest of the crew...Masta Killa was that guy). Then I popped No Said Date into my CD changer......and it's still there. Fast forward to 2006 ...... With the release of Made In Brooklyn, Masta Killa should easily be regarded as one of the most consistant Wu members (along with GZA and Tony Starks). The album has a distinct Wu sound despite production from cats like Pete Rock, PF Cuttin', MF Doom, and some relatively unknown beatsmiths (Jig Sor, Whyz Ruger, Chris Conway, Mark Grant....just to name a few). To list every dope track would result in me writing a 12 paragraph review. Trust me when I tell you that this joint is nothing short of definite satisfaction. The production is tight, MK brings it on the mic, and every living member of the Wu (R.I.P. Ol' Dirty) comes through to drop verses. As far as flaws, there aren't many. I wasn't really feeling "Let's Get Into Something" or "Lovely Lady" and "Older Gods" may fall under skip material if you're not in the mood for it. The rest of the album is practically untouchable. As a whole though, the album isn't as creative as his previous LP. Made In Brooklyn is as good as you're going to find in rap this year. This album along with strong joints from Ghostface (Fishscale), Inspectah Deck (Resident Patient), Mathematics (Soul Of A Man), Raekwon (The Vatican Mixtape), and Bronze Nazareth (The Great Migration) marks a strong return for the WU in 2006. It gets two thumbs way up from me. I recommend making this one a collection piece. Standout Tracks: East MCs feat. Victorious, K. Born, Killa Sin, & Free Murder, Pass The Bone [Remix], It's What It Is feat. Raekwon & Ghostface (My Favorite), Iron Gods Chamber feat. U-God, RZA, & Method Man, Street Corners feat. Inspectah Deck & GZA, Nehanda & Cream, E.N.Y House, Ringing Bells, and Then & Now feat.Karim Justice, Shamel Irief, & Young Prince