The question then becomes, what about a Wu-Tang MC doing an entire project with a non-Wu producer, specifically GZA and DJ Muggs’s Grandmasters or Ghostface and Adrian Younge’s Twelve Reasons to Die? I went back and forth on this one, but ultimately decided that they should be included, if only because it is a new phenomenon. However, it would include Wu-Massacre, which is a collaborative effort between Raekwon, Method Man, and Ghostface Killah, three charter members. This includes Gravediggaz, Redman & Method Man’s Blackout albums and Ghostface Killah’s & Sheek Louch’s Wu Block. In Hip Hop this can mean a variety of things, but for the purposes of this list, it means any albums with artists from outside the Clan are not eligible. Posthumous projects, specifically Ol’ Dirty Bastard‘s A Son Unique, are not eligible.In addition to Cappadonna, this includes Sunz of Man, Killarmy, Shyheim, Cilvaringz, Killah Priest, or anyone else listed here. Though he is now considered a member of the group, he is not one of the original nine and, being a traditionalist, I will never consider him an actual Wu member. So, naturally, I decided to make my own top 20 list of Wu-Tang albums. The top twenty Wu albums list for Complex, also ranked and written by Cantor, is far better, but I had some disagreements, most notably what was eligible for inclusion. Unfortunately, that list is all sorts of wrong. As a person that appreciates the making of a list or two to put the history of Hip Hop into context, it was an admirable effort and, again, I love how much love is being heaped upon the Wu. While the piece regarding the attempt to listen to every track by RZA seems silly to me - mostly because I am absolutely positive I’ve heard everything by both the Clan and RZA himself many times over - but the one that really raised my eyebrows (and had multiple people tweeting me), was the one in which the author attempted to rank the top twenty Wu-Tang Clan group and solo albums of all time. Others, however, missed the mark, specifically Slate. Some, like Paul Cantor’s piece for Noisey and the staff of Grantland each choosing a member to praise, were outstanding and made me happy to be a longtime fan of Hip Hop’s version of The Beatles.

As a well-known Wu-Tang Clan disciple, I was nothing short of overjoyed with the number of articles and retrospectives of the group and its impact on the twentieth anniversary of its debut album, Enter the Wu-Tang (36 Chambers).

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