вЂњAll In Together NowвЂќ is head banging respect to OlвЂ™ Dirty Bastard, and вЂњThose ThatвЂ™s Bout ItвЂќ is an excellent opening, and shows that this effort is a bit more of a story tellers album instead of a rap hustlers album. Even then, he has some highlight there as well.

GZA puts up a great performance as well, but that is merely status quo for him. Another highlight on Grandmasters production-wise is вЂњThose ThatвЂ™s Bout ItвЂќ, a song that consists of a menacing-sounding keyboard and high pitched soul samples. Production-wise, highlights come in the form of вЂњQueenвЂ™s GambitвЂќ, which has a very minimalistic use of a singular piano line and slight back drop of horns and bass, to create very relaxed, easy moving, and almost jazzy groove. Muggs occasionally adds a little bit of light flavor in order to spice up the record, like the dream-like sequence in the beginning of the third verse of вЂњDestruction of A GuardвЂќ, but the production mostly consists of a precise, hard hitting hypnotic dark atmosphere, with the occasional use of soulful voices. Why is that Grandmasters is so good and albums like Legend of the Liquid Swords are good but boring? Well, this could be the production of DJ Muggs, who, like RZA on Liquid Swords, creates a dark atmosphere on his own. On Grandmasters, GZA makes an album that is almost worth every ounce of weight that Liquid Swords was, and is easily one of the best solo Wu-Tang albums released so far. TheyвЂ™re great albums, but without the presence of a soul producer, they sounded a bit uninspired musically. That easily explains his first two albums after Liquid Swords.

GZA is on his way to a make a master piece again, or is he? While he is one of the best MCвЂ™s to ever have a grip on the microphone, heвЂ™s a bit boring on his own with a production genius behind him, making the perfect beats for him. Review Summary: GZA gets Muggs and makes the best album of his career since Liquid Swords

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