loosie: words: Album Review: Cappadonna's “The Struggle”

Album Review: Cappadonna's “The Struggle”

The Wu-member turned Baltimore cabbie returns without fanfare.

by D. L. C. | 2003.08.29

The legend of famed New York Hip Hop super group, The Wu Tang Clan, is a tale that hardly needs repeating - but if a refresher is needed, one will be provided. Featuring a core unit of nine MC’s of varied skill level and style, they helped to pioneer a rare feat: making gritty underground hip-hop music commercially viable. The Clan enjoyed a freedom not afforded many rap acts during the early and mid 90’s, swelling to ranks that numbered into the 100’s with many sub-groups (one could argue sub par) and artists bearing the Wu Tang emblem.

During this insurgence, several core Clan members were signed to solo record deals and used their respective releases to feature fledgling artists within the larger scope of the Clan. Of these up-and-coming acts, Cappadonna eventually emerged as the Wu Tang Clan’s official tenth member.

From his 1995 debut on Raekwon’s single “Ice Cream” from Raekwon’s solo “Only Built For Cuban Linx”, Cap had a hand in one of that summer’s biggest records. Bolstered by Wu Tang resident rock-star Method Man’s chorus, the cameo helped spur interest in the gruff and disjointed sex-laden flow of Cappadonna. The following year, he received third billing as a featured artist on Ghostface Killa’s solo debut, “Ironman”. By this time, Cappadonna’s career was on a meteoric rise. Following a star turn on several tracks on the Wu Tang Clan’s double disc 2nd release, “Forever”, he eventually dropped his long-awaited solo debut LP in 1998, titled “The Pillage”.

Although the LP eventually sold gold, many found Cappadonna’s on-beat offbeat style of rhyme passionate but annoying. Critics felt Cap lacked the skill to carry an entire album by himself and it showed as he shined on many of the posse-style tracks on the disc yet seemingly struggled when he was by his lonesome. The follow-up, “The Yin and The Yang”, was a commercial and critical failure and it seemed that the Wu Tang gravy train was drying up as well.

Fast-forward to 2003 and we find Cap a humbled man. Stripped down. No longer enjoying the high life of a world famous rapper. He’s now a Baltimore, Maryland cab driver striving for a comeback. Also visible is the minimal amount of Wu Tang connection present on this new venture. His 3rd album, “The Struggle”, released by A&P/Code Red Entertainment and slated for a fall release, is an appropriate title indeed.

The most glaring difference in Cappadonna’s new direction is his aggressiveness on the microphone. He will never be known as the most graceful MC in the world but you can’t deny that the man’s got moxie. The album starts of strong with lead song “Cap Is Back” featuring his actual brother, Lounge Mode, on the chorus. Produced by newcomer Calogero, the track has none of the signature Wu sound most are accustomed to. However, this is not an impediment as the song has a certain amount of drive and Cap’s performance is better than anything fans witnessed on his last release. The next track, “Role Of Your Lifetime”, another Calegero-produced track has the feel of the Wu bangers of old. No true lyrical direction is present in the song – just straight up potty-mouthed battle rhymes and chorus assistance from Solomon Childs (an MC last featured on the Wu Tang Records compilation, "The Sting").

The following track, "Blood Brothers", produced by longtime Wu producer 4th Disciple again captures the soul of the earlier Wu Tang sound and finds our subject employing a more on beat style than previously heard before. Cap sounds hungry and it's evident he's concerned with nothing but showing he's still got it. The track features rhymes from his sibling Lounge Mode, who obviously isn't as accomplished as his brother. Still, the song works mainly on energy alone despite a very thin hook.

The album hits a huge snag with the dedication track, "Mamma", so far Calogero's blandest beat which sounds like a cutting room version of a Kanye West beat. Cap does his best to stay on a topic of giving his mother well deserved praise but loses focus towards the end and the hook is atrocious. Things pick back up on the hyperactive "Get Away From The Door" featuring Inspectah Deck on the hook. Label mate Remedy's dramatic track fits the urgency of Cap's lyrics and Deck's chorus is sure-shot fist raiser.

Keyboarditis doesn't avoid this LP, and after hearing "My Kinda Bitch", produced by Alvin, you'll wish it did. Beyond being a wee bit misogynistic, the song has little in the way of redeeming value. The title of the song is the hook, if you want to call it that. You can skip this track and you won't be missing a thing. "Do It (Push)", produced by SoulFingaz is definitely aimed for the club and radio. The only problem with that is Cap's foulmouthed lyrics would have to be re-recorded if they want this song to get any type of spins. It isn’t a bad song by any means but a radio edit should be completed quickly if the label chooses to release this as a single (which they should).

The closing track, "Struggle With This", featuring production of longtime EPMD affiliate Charlie Marotta and lyrical assistance from King Just, is a overdramatic song that would best suit Rocky Balboa entering the ring. The song is hype and the animated deliveries of Just and Cap gives a glimmer of promise but it all becomes undone by the time the hook comes in. It fits the theme of the LP well, however.

At times Cap seems to want to impress us with his performance, perhaps forsaking lyrical prowess in the process. In another breath, he wants the listener to have fear of him as this Staten Island thug. In yet another vein, Cap likes to just pop off at the mouth and wants us all along for the ride. The true struggle for Cappadonna will be if he can get the buying public to believe in his gritty landscape as much as he does. With the radio being dominated by cutesy sing along choruses and big budget videos to match, Cappadonna's solid "comeback" LP could be faced with the biggest struggle of all: capturing the attention of this new era of hip hop fans.