Wu Tang Clan
The W

Loud/Sony

After already having “infil-
trated every major label, The
Wu Tang Clan can be attrib-
uted with bringing some of
the hardest of the hardcore

R&B to the scene.

Wu Tang actually had diffi-

culties trying to find a signing
seven years when they “burst

ut of the forgotten borough

of Staten Island (Shaolin).”
Hit single Protect Your Neck
brought the Wu success but
shopping for a deal they
found that labels thought they
were either too hardcore or

they wanted to keep the
entire group locked down. It
was Loud which
allowed the Wu to record as a
group but also left them the
freedom to do
deals outside of the label.
Since then it has been the
“distinct-and charismatic” per-
sonalities which have made~
the Clan such a success. The
family of ten consists of The
RZA, The GZA, Raekwon the
Chef,
Inspectah Deck, U-God, Ol’
Dirty Bastard, Method Man,

finally

individual

Ghostface __ Killah,

Masta Killa, and Along with their musical
Cappadonna’. Individually career, the Wu has also been
and as a group, they have _ involved in their own fashion
blazed “an indelible trail brand name, Wu Wear, and

through the industry with a
slew of gold and platinum

has been the first hip-hop
group to create their own

records.” video game “Shaolin Style.”
With the heavy competition-- --Now thatthe Wu Tang Clan”
in the R&B scene, the Wu's has dropped their third

success can be attributed to
their base of consistency,
originality, and innovation.

release, the industry is shak-
ing again as an “all killa, no
filla” program is brought out

Few would dispute the fact with The W.
that the Wu pushes the
proverbial R&B envelope to -Kevin Milos

new limits on a regular basis.

The Hip @ Work in P.G.

Well the Tragically Hip -
those ministers of Canadiana
themselves - blessed us with
their presence once again on
November 19th. And bless us
indeed they did. The Hip were
in rare form, brooding and
complicated yet obviously
having a good time. The addi-
tion of keyboardist Chris
Brown and backup singer
Kate Fenner, both formally of
the Bourbon Tabernacle Choir,
rounded out the band nicely,
giving many of the songs a
richer, deeper quality.

Starting off with “My Music @
Work,” and following with
“Grace Too,” Gordon Downie
and company teased the
crowd, using their elongated
set time to build up the mood
and then bring it back down
again. The first set was high-
lighted by a terrifically pensive
version of “Yawning or
Snarling,” Gordon trading
verses with back-up singer
Kate. Her wonderfully rich,
Grace Slick-like vocals were
sung with all she had and it
was enough to send chills up
your spine. “Gift Shop” and
“Tiger the Lion” were also fan-

tastic and were accented by
wicked lighting, working in
great time with the music and
adding a lot to the perfor-
mance.

After a half-hour intermission

at 9:30 PM, the Hip were back,
this time starting out with a
slightly funked-up version of
“Wheat Kings.” Gordon began
to warm up to the crowd a little
more, pontificating to his fol-
lowers with his characteristic
rants and crazy gyrations. As
“Greasy Jungle” was begin-
ning, he said to the crowd,
“This one requires audience
participation,” (pauses a

Read On For More HIP Pics

minute), “I don’t think I’ve ever
said that in my 39 year career,”
(pauses a few more minutes),
“as a hairdresser of course.”
Nothing in the entire

show could touch the perfor-

mance of “At the Hundredth
Meridian.” The Hip hit pure
magic - something clicked and
everything sounded like gold.
In mid-song frenzy the whole
noise stopped and Gordon
was left chanting in a single
white spotlight until suddenly
the cacophony resumed in a
fever pitch. After the song was
over the decibel level hit

(continued on page 12)

Marilyn Manson CD
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you're a fan!) The winners and their answers
were:

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over-the-edge @ unbc.ca
(250) 960-5633

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