What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

This hook is another Paul McCartney jack by KRS, this time from “Let Em In” by Wings.

http://www.youtube.com/watch?v=orAkeA7jLss

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Cypress Hill flip the Beastie Boys classic Paul Revere into a tale of drugs and cops.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

For the intro KRS flips the melody and some of the lyrics from “Hey Jude”, written by Paul McCartney and performed by the Beatles.

This is the first of several KRS homages to McCartney songs. Also see his interpolations of “Let ‘Em In” (on “Jimmy”) and “Ebony and Ivory” (on “100 Guns”)

This video is processing – it'll appear automatically when it's done.

[Verse 2: Inspectah Deck]
I rip it hardcore, like porno-flick bitches
I roll with groups of ghetto bastards with biscuits
Check it, my method on the microphone's banging
Wu-Tang slang'll leave the microphone hanging
Bust this, I'm kicking like Segall, Out for Justice
The roughness, yes the rudeness, ruckus
Redrum I verbally assault with the tongue
Murder one, my style shot your knot like a stun-gun
I'm hectic, I wreck it with the quickness
Set it on the microphone, and competition get blown
By this nasty ass nigga with my nigga, the RZA
Charged like a bull and got pull like a trigger
So bad, stabbing up the pad with the vocab, crab
I scream on your ass like your dad, bring it on

[Hook: RZA]
Bring da motherfuckin ruckus
Bring da motherfuckin ruckus
Bring da mother, bring da motherfuckin ruckus
Bring da motherfuckin ruckus

[Verse 4: GZA]
Yo, I'm more rugged than slaveman boots
New recruits, I'm fucking up MC troops
I break loops, and trample shit, while I stomp
A mudhole in that ass, cause I'm straight out the swamp
Creeping up on site, now it's Fright Night
My Wu-Tang slang is mad fucking dangerous
And more deadly than the stroke of an axe
Chopping through your back
Giving bystanders heart-attacks
Niggas try to flip, tell me who is him
I blow up his fuckin prism
Make it a vicious act of terrorism
You wanna bring it, so fuck it
Come on and bring the ruckus
And I provoke niggas to kick buckets
I'm wetting CREAM I ain't wetting fame
Who selling gain I'm giving out a deadly game
It's not the Russian it's the Wu-Tang crushin
Roulette, slip up and get fucked like Suzette
Bring da fuckin ruckus
Wu-Tang Clan – Bring Da Ruckus (Demo Version)

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

See the album version of Bring Da Ruckus for explanations.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

A gem from Ghostface Killah’s 1996 debut Ironman. Samples the classic “Nautilus” by Bob James, one of the most sampled tunes in Hip Hop.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

The original version of this song was produced by Lord Finesse in 1993 but never saw a proper release. It eventually appeared remixed on the posthumous 1999 album Born Again. Sadat’s opinion on which version he prefers, below:

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Originally released as the b-side of “Can I Kick It?”, this was the public’s first taste of the darker, moodier sound that would define The Low End Theory.

There are two versions of the song. The original version features Afrika from the Jungle Brothers while the more widely known remix does not.

The main sample is “Pot Belly” by Lou Donaldson (also used by Main Source in “Just a Friendly Game of Baseball”). The closing dialogue comes from the skit “EXP” by Jimi Hendrix. Tip would later lift drums from the same album for “Scenario”.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

DOOM and Danger pay homage to the show that started it all, Space Ghost Coast To Coast, a surreal talk-show parody that brought to the creation of [adult swim].

The song name itself is a play on words, “space hos” referring to “space host” which is what space ghost is, with his intergalactic talk show, and “space hoes” which are the cartoon ladies doom references in his verses.

“Space Ho’s” features a sample from the Keith Mansfield Orchestra’s 1969 song “Morning Broadway”. Mansfield’s orchestra is also sampled in another track on this album; “Funky Fanfare” is used by Danger Mouse for the beat in “Old School Rules”.

A Madlib remix of this track appeared on the Occult Hymn EP.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

According to an old comment on Stretch Armstrong’s blog, Jason Staton was a college radio DJ at Michigan State University (and possibly the interviewer whose voice is heard on Enter The Wu-Tang: 36 Chambers):

We had a show similar called the Cultural Vibes in East lansing MI MSU 88.9 college radio and it was hosted by Jason Staton and Lady Capone (Boss’s cousin), who was interviewing them on Enter the 36 lp.

Not to be confused with mumbling mockney Jason Statham.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Nice play on “The Legend of Sleepy Hollow”, a short story by Washington Irving.

The main antagonist of “The Legend of Sleepy Hollow” is the headless horseman. Meth says “niggas is sleepy hollow” because the Wu be choppin' heads, boy.

This video is processing – it'll appear automatically when it's done.