When it comes to thought provoking, street-bred raw lyricism, the Wu-Tang Clan's fountain of wisdom, GZA takes his job very seriously. The way he crafts his double-edged rhyme flow mirrors the skill and precise technique of one who works with fine ceramics. GZA's metaphoric and multi-layered lyrics are often touted by critics as his rap name implies; genius.
Born in Brooklyn, NY and raised in every borough of New York City, The GZA's workmanship can be found three albums deep with classics dating back to 1991 including the albums Words From The Genius, the gold-selling Liquid Swords and Beneath The Surface. Before his days of microphone notoriety, GZA found himself, during the early ages of rap music, travelling throughout New York City sharpening his rap skills in scattered rhyme battles. "I've studied rap in every borough," the GZA says proudly. "I've been rhyming before a lot of these cats out here were born. We've [Wu Tang Clan] always drank, ate and slept hip-hop. I love it." On his latest blockbuster album Legend Of The Liquid Sword, The GZA makes reference to his hip- hop foundation on the reflective Fam (Members Only) "I grew up around B-Boys, DJs, MCs, through rap, never thinking in ways of TV," the Genius raps. "It was strictly all about magnificent rhyme clout."
During GZA's travels, he encountered other rap veterans that recognized his promise and helped to nurture his talent. "I watched a lot of people come up that are big now," Genius says earnestly. "I used to make demo tapes with cats that rocked with Russell Simmons and people like that. The history goes so far back; I've always been really focused on writing dope rhymes."
The GZA's dream of perfection has been realized once again on his fourth album to date. Legend Of The Liquid Sword not only regains the powerful momentum started by the last three releases, it adds to the Genius' verbal legacy with uncompromising integrity. Heat-seeking darts like the introspective, Auto Bio where GZA breaks down the elements of his life that created the man he is and the crime thriller Luminal.
What has always set The GZA apart from the ordinary is his ability to create complex images with simple context. In the same way it's said that a picture is worth a thousand words, Genius assembles his words to create thousands of vivid pictures. "I don't like to just be simple," he explains. "Even though some of my stuff can seem simple at times, I like to write in a way that when you listen to it over and over again, you hear something new and it requires you to think." Legend Of The Liquid Sword does just that. Whether the listener gets captured by the vocal acrobatics of Santi White (who has written songs for Res) on GZA's Stay In Line or the authentic old school soul production on the masterpiece Animal Planet, Genius weaves satisfying brain food through his lyrics. In his phenomenally cerebral use of metaphors, The Genius flawlessly equates human city dwellers to animals in the jungle onAnimal Planet , which was produced by rhythm doctor Bink (who has produced heavyweight joints for Fat Joe, Nate Dogg, Mr. Cheeks and Faith Evans). With beats by fellow Wu Tang brother RZA, Jaz-O (Jay-Z's Reasonable Doubt album), DJ Muggs (who has produced for Cypress Hill, Mobb Deep), Wu producer Mathematics (Ol' Dirty Bastard, Method Man, Sunz of Man), Arabian Knight and other sonic masterminds, GZA's talents come across even heavier. On the adrenaline raising Hip Hop call to arms, Knock, Knock (the album's shining debut single), The GZA asks on the chorus, "knock, knock, who the f*** is banging at my door, is it abstract, commercial or hardcore?" In his signature way of ill rhyme construction, GZA further defines the parameters of whatrap music should be.
Don't call GZA's comeback just a comeback, it's a return of an entirely revolutionary thought process. "When we did Back In The Game on the Wu-Tang Iron Flag album, I did a verse about gambling," he explains solidly. "I didn't want to be 'back in the game' or 'back on the block,' that's typical. I made it all metaphorical." It's those same metaphors that makes the Genius' liquid sword a living legend in it's own time.
Name: GZA/Genius
Real Name: Gary Grice
Label: N/A
Web: N/A
Stringplay
GZA/Genius Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Uh, and it goes like this
Uh uh uh uh, it goes like that
Now let me tell you who I am
Up early in the morning, dressed in black
Who dat? *echoes*
Genius/GZA
Broadway classical, led men to rage
Like currents, the beat change and now a flow is strange
You in the arctic wit wolves that viciously main
Thugs that roam clubs, in the dark wit fireworks that spark
The saltwater vibrations comin from sharks
Blood-thirsty kids bite just as well as I write
You're like secretaries who can't type, you're no use
Broke down vessels who want a boost, there's no jokes
Quick fast you, get stumped cuz you played, your organ pump Kool-Aid,
from Indiana wit the Jones of a Lost Crusade
Hip-hop done hit the church,
choir girls rockin mini skirts The b-side kept plenty hurt
Push like the shovels in snow storms
And stack piles of foul, the shit you must GROW ON! *echoes*
Method Man
Uh and it goes like this
Uh uh uh uh, it goes like that
Uh and it goes like this
Uh uh uh uh, it goes like that
Pay no attention to the evil they speak You caught the beef
Wit the equal eye, poisonous beats from underneath
Crack the concrete wit two left feet Head on my meat
Ain't no games here we playin for keeps (WE PLAY FOR KEEPS!)
Introducing, the crowd seducing man on the street
Penitentiaries is either half-dead or too sweet
Back to basic, condition-al god, plus I can take it
Wagin war within the matrix, it's hard to see
Touch, hear, smell or even taste it, take your places
We runnin in these human races, bucking naked
Back-slappin kid yappin, actin villian
catchin feelin like we cap peelin as if we killin
every brick in every project building
From Cabrini Green to Tildens,
sincerely yours Mista Meth and Maximilion (da millions, da millions)
(Ka ka ka ka ka ka ka KAAA!) (da millions ha!)
Uh and it goes like this
Uh uh uh uh, it goes like that
Uh and it goes like this
Uh uh uh uh, it goes like that
Uh and it goes like this
Uh uh uh uh, it goes like that
Uh and it goes like this
Uh uh uh uh, it goes like that
Uh uh uh uh
Uh uh uh uh
Wu-Tang Killa Bees on the swarm
(WE PLAY FOR KEEPS!)
(WE PLAY FOR KEEPS!)
Wu-Tang Killa Bees on the swarm
And it goes like this
The lyrics to GZA/Genius's song Stringplay talks about the art of rhyming, an element in rap music that involves the use of similar sounds, especially at the ends of words, in order to make a particular point or to achieve a particular effect. GZA/Genius uses the metaphor of a string to describe rhyming, emphasizing the importance of the flow and change of the beat in rapping. The verse also describes the rough environment of the streets where rappers come from, with references to wolves, thugs, and fireworks.
Method Man's verse introduces himself as a man who is up early in the morning and dressed in black, a reference to his role as a member of Wu-Tang Clan. He uses internal rhyming to create a catchy rhythm that emphasizes the importance of the lyrics. He also makes a reference to crack, which was a major issue in the rap community in the 90s. The chorus repeats the same phrase over and over again, emphasizing the simplicity yet effectiveness of the rhyming technique.
Overall, the song celebrates the art of rhyming and showcases the talent of GZA/Genius and Method Man as skilled rappers.
Line by Line Meaning
Yo, yo, Marvel this theatrical, drama on stage
The following events are similar to a theatrical and dramatic display
Broadway classical, led men to rage
The situation is resembling a classical Broadway performance which is enraging people.
Like currents, the beat change and now a flow is strange
The beat of the song has changed like ocean currents with an odd flow.
You in the arctic wit wolves that viciously main
You are in an arctic region with wolves that are dangerous and ferocious.
Thugs that roam clubs, in the dark wit fireworks that spark
Thugs are scoping out clubs with fireworks that they use as weapons every now and then.
The saltwater vibrations comin from sharks
The ambiance and reputation are intimidating and dangerous.
Blood-thirsty kids bite just as well as I write
The kids are vicious and ferocious, just like GZA's rhymes.
You're like secretaries who can't type, you're no use
You are similar to a secretary who can't type - useless.
Broke down vessels who want a boost, there's no jokes
Desperate people who cannot get a break, and this is no laughing matter.
Quick fast you, get stumped cuz you played, your organ pump Kool-Aid, from Indiana wit the Jones of a Lost Crusade
You will quickly get stopped because you are playing, and your heart is weak - like Kool-Aid. GZA makes a double reference to Indiana Jones and the Crusades, indicating that his story or journey is comparable to theirs.
Hip-hop done hit the church, choir girls rockin mini skirts
Hip-hop has penetrated the church, and now even choir girls are wearing mini-skirts.
The b-side kept plenty hurt
The other side of the music (b-side) is causing plenty of harm/pain.
Push like the shovels in snow storms
Push forward like when shoveling as a snowstorm is happening.
And stack piles of foul, the shit you must GROW ON!
GZA believes that everyone needs to stack piles of negativity in their lives so that they can grow.
Pay no attention to the evil they speak You caught the beef
Ignore those who bring negativity, you caught that negativity.
Wit the equal eye, poisonous beats from underneath
With an equitable eye, dangerous rhythms are discussed from below the surface.
Crack the concrete wit two left feet Head on my meat
GZA uses a metaphor that implies he dances as if he has 'two left feet.' He directs the audience's attention to the beat (Head on his meat).
Ain't no games here we playin for keeps (WE PLAY FOR KEEPS!)
This isn't a game - they play for keeps (an emphatic repetition to emphasize the point).
Introducing, the crowd seducing man on the street
GZA introduces himself as an infectious entertainer on the streets.
Penitentiaries is either half-dead or too sweet
Half dead or corrupted prisoners in Black communities is disgraceful.
Back to basic, condition-al god, plus I can take it
GZA wants to confront his fear and go back to primary principles with the ability to handle any challenge.
Wagin war within the matrix, it's hard to see
GZA fights against an elaborate and obscure system that is difficult to perceive.
Touch, hear, smell or even taste it, take your places
Everybody who can sense these changes should take their position.
We runnin in these human races, bucking naked
People are running in a never-ending rat race and having to hurry with inadequate resources or clothing to sustain.
Back-slappin kid yappin, actin villian catchin feelin like we cap peelin as if we killin every brick in every project building From Cabrini Green to Tildens, sincerely yours Mista Meth and Maximilion (da millions, da millions) (Ka ka ka ka ka ka ka KAAA!) (da millions ha!)
People should stop unnecessary bragging and acting like villains, like they're destroying every project building from Cabrini Green to Tildens. GZA and Method Man are sincerely trying to express this message. The million-dollar question is whether we can overcome it all.
Wu-Tang Killa Bees on the swarm
The Wu-Tang Killa Bees are on the chase.
(WE PLAY FOR KEEPS!)
They are playing for keeps (a reminder).
And it goes like this
The song continues with the next verse.
Wu-Tang Killa Bees on the swarm
The Wu-Tang Killa Bees are on the chase (following up on the earlier line).
Contributed by Landon I. Suggest a correction in the comments below.