Killarmy (pr. "killa-army") is the best-known affiliated group of the Wu-Tang Clan, one of the earliest and one of the most successful. The group is founded by General Wise aka Wisegod Allah, the manager of Killarmy: between 1991 and 1992, RZA, ODB and Ghostface Killah move to live in Steubenville, Ohio and meet General Wise. When the boys who would go on to form the Wu-Tang Clan return to Staten Island around 1993, they keep their ties to Ohio and some of their friends there later become Wu-affiliates. Wise is later killed in 1997, Ghostface dedicates to him the track "Wise (In the Rain)", destined to "Supreme Clientele" (2000) originally, then inserted in the compilation "Hidden Darts" (2006).
Formed in 1995, it's originally composed of New York rappers Terrance "9th Prince" Hamlin (younger brother of RZA; born in Brooklyn), Domingo "Dom PaChino" Del Valle (born in Manhattan, raised in Stapleton), Raphael "Islord" Stevenson, Jeryl "Killa Sin" Grant (brother of Power, executive of the Wu-Tang Clan; of Staten Island) and by the producer of Steubenville, Ohio, Selwin "4th Disciple" Bougard, joined in 1996 by the rappers of Steubenville Samuel "Beretta 9" Murray and Jamal "ShoGun Assason" Alexander. The group is founded by General Wise aka Wisegod Allah:
Killarmy has released several singles since 1995 and is the second group to sign with Wu-Tang Records after Sunz of Man, releasing their debut album in the summer of 1997, anticipating the debuts of half of the Clan members. The album is entirely produced by the beatmaker 4th Disciple, an affiliate of the Wu-Tang Clan who worked on "36 Chambers" and the supergroup's first solo albums, all classics, leaving two rhythms to The RZA. Guests are Masta Killa of Wu-Tang Clan, Streetlife supergroup affiliate, uncredited Hoffa aka Cloud 9 associate, Hell Razah & Prodigal Sunn of Sunz of Man. The title of the album is drawn from the book of the writer Milton William Cooper.
1. "Dress to Kill" (Killa Sin, 9th Prince & Shogun Assason)
Skit that it's not known where it's taken from. It works anyway, I don't care. It has to give that atmosphere of war and tension, and it does. Period. Midtempo drum, good bassline, melodic samples from "Get Out of My Life, Woman" by Iron Butterfly. Then the boys enter. Hook hardcore, then, rightly so, the first you hear is Killa Sin. Definitely, the best of the bunch right away. A certainty. Destroys the track. He enters in a professional way, with a confident, energetic, clean, solid delivery style. It's what you expect from a Wu-Tang Clan rapper. Then enters 9th Prince, messy, aggressive, random, completely random. His style is copied identically from that of his older brother RZA, it's almost eating all the words. This doesn't detract from the fun of the track, indeed, this track seems to have been born as part of the "natural duo" 9th Prince & Killa Sin, to which Shogun's verse is later added, after the hook. This third rapper shows a more orderly delivery style than 9th Prince, he's calmer, he does a good job. The song is a solid introduction to the rest of the album, battle hardcore rap that mixes braggadocio and war. Great introductory choice, Killa Sin dominates in front of Shogun, then RZA's brother.
2. "Clash of the Titans" (Shogun Assason, 9th Prince, Dom Pachino & Beretta 9 ft. Streetlife)
Impressive beat of 4th Disciple which creates something atypical for such an album. He goes to sample the "Celeste Aida", a late 1950s version of a romanza from Giuseppe Verdi's "Aida". Enrico Caruso's versions deserve to be heard. The rhythm of 4th Disciple features a dry midtempo drum, criminal synthesizer in the background, bass line in the background, raw piano, rusty strings that come back like the undertow to constantly scratch the rhythm, it sounds just like a production of the Prime RZA. It's magnificent. 4th Disciple truly deserves the praise he gets and the praise he doesn't get. He did a great job here, throughout the album actually, it's one of the reasons, if not the main reason, for which this record is considered a sort of forgotten and underestimated underground classic by the majority of fans and true hip-hop heads. This is the first Killarmy posse, everyone is there except Killa Sin.
Hook, then Shogun's entrance might not be what you expect, but the guy walks away the same way U-God and Masta Killa might walk away at their best. He may have just thrown out the best verse on the record and you didn't even realize it, he has a good flow, he's confident, energetic, in the end he doesn't disappoint as it might seem from his entry into the track. 9th Prince follows, continues his aggressive casual style, eating bars like spaghetti amatriciana, I think that for the rest of this track by track I'll call his very light-hearted style this way. For whatever reason, Dom Pachino aka PR Terrorist can't wait for his friend to finish his verse and he starts dropping bars early with a hardcore rap that should dominate the beat, but for some reason it doesn't. The rhythm is killing everyone or almost.
Sort of short interlude that precedes the verse of the first guest of the LP, the friend of Method Man Streetlife, affiliate of the Wu-Tang who's a surprise on this disc, because he's not expected here: Streetlife comes in and takes the track away with a solid verse, representing Park Hill and placing more tributes to friend Ticallion Stallion here than in an entire Wu-Tang Clan album, right from the first word he says. He walks away with such confidence and certainty that he's the best within those four walls at that moment who also allows himself to stop before the end of his verse, reminds me of Usain Bolt when he did that 9.69 in Beijing. Beretta 9 to the final verse, like it still mattered, alright. The beat breathes half a minute to go and deserves it, what a tribute to RZA. The song is the b-side of the second single, "Wu-Renegades".
3. "Burning Season" (9th Prince & Killa Sin)
This is a Staten Island track, one of the few on this LP, one of the natural duo inside Killarmy, formed by the first two members of the supergroup. There's 9th Prince on the hook, but this is a kind of Killa Sin solo that shows you why he's thought to be the best rapper in Killarmy and one of the best affiliates of the Wu-Tang Clan in general. That also means one of the best ever to come out of Staten Island. Police sirens, the beat arrives. Boom bap, dry hard drum, good bass line in the background, great sample from Al Green's "Light My Fire". Honest hook by 9th Prince, three verses by Killa Sin immediately paying homage to the Wu-Tang Clan and its classic "C.R.E.A.M." from the debut released four years earlier. Energetic, confident, clean, dominant flow on the rhythm, three hardcore verses in this track that definitely ends up among the highlights of this album. It would be on any Wu-Tang album as well.
4. "Blood for Blood" (Dom Pachino, Shogun Assason, 9th Prince & Beretta 9)
Second posse of Killarmy and has the same performers as track number two, there's no Killa Sin nor Streetlife. Sensational sample from Dead Can Dance's "The Wind That Shakes the Barley". Booming bass, livable drum, enjoyable rhythm. The rap from the boys fits the slow beat, it comes out a slow song that sounds great. Dom Pachino with a quiet style, Shogun more energetic. Chorus, then 9th Prince calmer than usual, this is one of the few times that he doesn't eat his words and manages to drop a verse that he understands entirely, the rhythm helps him. Beretta 9 closes with the final verse, for the second time in a few songs it has the honor of the last verse, I wanted to make a comparison with the other guy who occupies the same role in the Clan, but after writing it I realized that it's practically blasphemy. No one impresses, and 4th Disciple's beat is way better than rap.
5. "Seems it Never Fails" (Islord & 9th Prince)
Islord's first appearance on the record, this guy is the least liked member of the group and there must be some reason behind it. Personally, I like his voice less than that of the other interpreters, not that his lyrics are worth analyzing. If you still think 4th Disciple isn't one of the best producers to ever emerge from the nineties, here's yet another proof to change your mind: the guy pulls out one of the best beats on the record. Sad piano keys, beautiful ethereal sax that resonates in front of the rhythm, crunchy drum, raw, dirty, dusty bass line, perfect underground rhythm. It's a shame that Islord and 9th Prince are up here instead of Inspectah Deck and Method Man, for example. Negligible hook, hardcore delivery of an unusually inspired Islord, hook, then 9th Prince goes hardcore with aggression. Short choice, questionable rap, the track isn't one of the best on the record, despite an excellent beat.
6. "Universal Soldiers" (Killa Sin, Dom Pachino, Shogun Assason & 9th Prince)
Skit kung-fu, no one knows where. Sample female chipmunk soul that actually comes from the Isley Brothers' "Ohio/Machine Gun," the producer sped it up. Boom bap with solid bassline in the background, dry midtempo drum, synth lines in the middle of the beat. After two tracks, Killa Sin is back in front of everyone and leads the track with a silky flow and good energy, after him Dom Pachino, Shogun and 9th Prince completing the third posse of the group.
7. "Love, Hell or Right (Skit)"
Skit. Skippable. The rhythm is beautiful, from a sample of "We'Ve Only Just Begun" by the Maestro Henry Mancini & Doc Severinson.
8. "Wake Up" (9th Prince & Killa Sin ft. Sunz of Man aka Hell Razah & Prodigal Sunn)
Ok. That skit is a shame because 4th Disciple wastes a beautiful beat on a useless skit. However, the tributes to Mancini aren't finished, not directly, because you can't afford to sample him just once without anyone noticing. In "Wake Up", b-side of the group's first single "Camouflage Ninjas", there's another homage to Henry Mancini. The RZA's first signature beat on this LP, Bobby Steels reminds us why he's one of the best producers ever. This is one of his best beats ever, never mind the Wu-Tang Clan, never mind the solo Wu records. Although this beat deserved "Ironman". It deserved the debut of Rebel INS. It's beyond, it's fantastic. The sample RZA takes for this track is the sensational "The Lonely Man" by Joe Harrell, which served as the intro theme music for "The Incredible Hulk" tv series in 1978, but that song has some piano keys that are similar to those of "Love Story" by Henry Mancini.
This is a song that reminds us that, at the origins of the Wu-Tang Clan, shortly after the release of the group's debut, another supergroup that was born of the Staten Island one had to be formed. In a similar way to what happened with the Black Knights of the North Star, the group would have called many different characters: one of the first cuts of this magnitude is "Soldiers of Darkness", released in 1995. Inside are 9th Prince (brother of RZA), Killa Sin (brother of Power, the manager of the Wu-Tang Clan), Prodigal Sunn (cousin of RZA), Killah Priest (one of the closest affiliates of the Wu-Tang Clan) and 60 Second Assassin (cousin of ODB). Nothing more was done about that supergroup, I guess that the cause was the lukewarm response received from that single, which didn't do the same numbers as "Protect Ya Neck" in the streets and didn't get a feeling similar to Wu-Tang's hit among people. Eventually, from this group two different ones would form, Killarmy with 9th Prince and Killa Sin and Sunz of Man with the other three, later both reinforced with other rappers. This track dusts off that supergroup that never saw the light: inside there are three of those five interpreters of "Soldiers of Darkness", instead of Killah Priest and 60 Second Assassin there's Hell Razah, who's another member of Sunz of Man.
Hook co-starred with Sunz of Man, then 9th Prince has the honor of opening the cut. The young rookie spits hardcore with his spaghetti style and uses the pause of the rhythm to drop some of his lyrical-spiritual-miracle flow (I realize only now that towards the end of his verse there's an epic "visual individual incriminate the criminal"...), sensational, this guy has figured out how to do it, and his à là second-rate RZA style does nothing but embellish this track. Even the rhythm itself seems incredulous of what has just been heard and perhaps itself expects the boy to drop a few more bars, because the hook comes only moments later. This short moment, it's about three, maybe four seconds, it's beautiful and that alone is worth the price of the disc, fabulous.
The hook finally arrives on those sad and melancholy piano keys that seem to come right from Mancini's "Love Story", the sample is by Joe Harrell, but Mancini's influence in that Harrell song is clear to me. Second verse to Hell Razah of Sunz of Man, second guest on the disc. He delivers bars with a rough but clean flow, not as usual. He's fantastic. Maybe too much. Unlike all the other guys who preceded him, Hell Razah recites socio-conscious and metaphysical lyrics that are typical by definition of the Sunz of Man and Killah Priest specifically, although in all solo discs of individual members of the Brooklyn group you can find similar excerpts, including in Hellraizor albums. In fact, he's carrying on the best verse of the entire album. It's a great verse. Sounds like a verse written by Killah Priest that perhaps, for some reason, Hell Razah performed on this record. If Hell Razah wrote it himself, props to him. It's Killah Priest level. He could even take the whole album with these bars.
Hook. You expect it to be the same hook you've heard twice already and then be able to pause for a few seconds before the next verse, instead Killa Sin decides to enter immediately after only one of the four bars of the hook, to reaffirm that this is an album of his property and that the others are all guests. Killarmy's emcee blows the beat away with a phenomenal kashmir flow worthy of the best Wu-Tang Clan tunes, absurd. Hook, then Prodigal Sunn has the honor of closing one of the best posse tracks by the Wu affiliates. The piece is opened by RZA brother and closed by RZA cousin. P Sunn drops a technically challenging verse with good flow and solid delivery, trying to mend a cut already torn by the two previous rappers with lyrics similar to those of Hell Razah, different from those of Killarmy.
Last appearance of Islord on the album, uncredited, I don't even know where he is, I believe he's in the hook shouted with the others. Sensational track, there's little more to say. The guys yell random stuff in the outro and it doesn't get any better, space to the beat that deserves to breathe for half a minute like on RZA's finest records.
9. "Fair, Love and War" (Killa Sin, Beretta 9, Dom Pachino & Shogun Assason)
More experimental production of 4th Disciple for the fourth Killarmy posse track. Rhythm based on very heavy and cruel synth lines, boom bap, minimal drum, graceful bass line in the background, pleasant melody. Killa Sin opens the game with an excellent flowing energetic flow, then Beretta and Dom Pachino. Skits precede and follow the final verse of Shogun Assason, which ends the track for the second time after having already done it in the first track of the record. First of three tracks in which the leader of the group 9th Prince isn't present, it had never happened so far.
10. "Wu-Renegades" (Killa Sin, Dom Pachino, 9th Prince & Beretta 9)
Second promotional single from the album, fifth posse track of the group, second in a row. 4th Disciple samples Christian Sinding's "Rustle of Spring" and an 1888 composition by Nikolai Rimsky-Korsakov to construct this beat. Dry syncopated drum, thick bass line, huge samples. Skit, hook by Killa Sin. Discreet delivery by Dom Pachino, then Killa Sin arrives and overshadows him with an unstoppable, elegant, confident, clean, wonderful flow. 9th Prince with his spaghetti style follows his friend before the final verse of Beretta 9, better than usual, but still a few steps below the level reached by the best on this CD. Great track.
11. "Full Moon" (9th Prince & Killa Sin)
Sample from Brooklyn Bridge's "Requiem" breathing into the track as the rain falls and the wind blows. Another Staten Island track from the original members of this underrated group on the hardcore hip-hop circuit. 9th Prince is more inspired than usual and dedicates the song to a friend in prison, while Killa Sin tells of a dead friend. Severe boom bap, tough drum, dark and sad vibes, robust reflective track. Killa Sin has another march throughout the album, even here. The rhythm breathes at the end of the track, deservedly so.
12. "Under Siege" (Shogun Assason, Dom Pachino & Beretta 9)
Skit from the movie "Full Metal Jacket" (1987). Discreet boom bap, skeletal drum, oriental samples. Hardcore rap by these guys in an interesting track because there's no group core, so far one between 9th Prince and Killa Sin had always appeared in the tracks. I really wish I could say their absence isn't felt here, but I'd be lying. The fact that the track stretches to four minutes doesn't help, on the bright side there's more room to shine for Shogun Assason who takes the first of three tracks in a row.
13. "Shelter" (Beretta 9 & Shogun Assason ft. Hoffa)
This is a totally Steubenville, Ohio track. Historic first cut of what will later be the Criminals in the Army duo formed at the end of the 2000s, over twenty years after this track, precisely by the two Killarmy rappers. Also inside is guest Hoffa aka Cloud 9, a sort of Killarmy associate whose fate after this record is unknown to me. He's not a Wu-Tang affiliate. It matters little. Long hook from the boys, then the Beretta 9 enters with a calm, normal style. I'd like to say elegant, but he's not there, he's not in that area. He's just saying things, almost in spoken word. Boom bap, minimal drum, good background bass, elegant melodic samples (these yes). Shogun's verse doesn't even come close to being nominated for a Quotable, but he delivers it with such confidence that I can't tell. The track could close a minute, but don't you want to let the rhythm breathe for a while? This one didn't deserve it like other rhythms on this LP and in fact it has the most space to be appreciated when there's little to be appreciated, strange choice here.
14. "Camouflage Ninjas" (Shogun Assason, Dom Pachino, Beretta 9 & 9th Prince)
First promo single from the album. Skit from a kung-fu movie to keep the connection with the Wu-Tang Clan, sample from "Mom" by Earth, Wind & Fire. Boom bap, good bass, hard dry drum, melodic rhythm, good musical background for the hardcore rap of the performers. The track also boasts a Raekwon sample straight from "Criminology". Sixth posse track on the album, featuring the same performers as "Clash of the Titans" and "Blood for Blood": Shogun on the first verse, Dom Pachino with energy on the next stanza, then Beretta 9 and 9th Prince. The latter spits bars with his style, but this time he seems to have managed to spit more or less everything, always in a messy and crude way, but that's fine. The beat breathes for a minute along with Raekwon's sample repeated to the point of exhaustion.
15. "Swinging Swords" (9th Prince, Dom Pachino & Killa Sin)
4th Disciple samples Billie Holiday for this track, "Swing Batter Swing". Song destined to be the third single. Boom bap, fresh crunchy drum, booming bass, synth lines, piano keys, melodic rhythm, nice work from the producer. There's also a dinosaur cry in the background that keeps coming back throughout the track. Introductory verse to 9th Prince that delivers with his patented raw, fast, messy style. Dom Pachino good, Killa Sin better, this track is also taken [by him], he's dominant in this disk.
16. "War Face" (9th Prince, Beretta 9, Shogun Assason & Killa Sin ft. Hoffa aka Cloud 9)
Obvious tribute to the "war face" that Sergeant Hartman asks the soldier nicknamed "Joker" to do in Stanley Kubrick's famous cinematic masterpiece "Full Metal Jacket" (1987). The flick is also sampled as an introductory skit for the song, right in the war face scene. The beat chosen by RZA for his second and final production, co-produced by 4th Disciple, is that of Bounty Killer's “War Face (Ask Fi War Remix)”, a remake of his 1995 song "Ask Fi War". The remix boasts Chef Raekwon as guest. Boom bap with reggae vibes, hard drum, eclectic keyboards, heavy bass.
9th Prince is obviously ahead in the track produced by his older brother and delivers inspired. He's also the first to spit on "Wake Up", the other track produced by Bobby Steels. Then Hoffa aka Cloud 9 returns as guest. He's without infamy and without praise, he doesn't stand out. Sure, these guys have an obsession with a certain 20th century dictator, it's not easy to find a hip-hop record where it's mentioned more frequently than on this LP. Steubenville section with Shogun & Beretta 9, average rap, hook, then Killa Sin rips the track in its last appearance on this CD.
17. "5 Stars" (9th Prince, Beretta 9, Shogun Assason & Dom Pachino ft. Masta Killa).
Last track. Eighth posse track on the disc, the same performers as most of the Killarmy posse tracks are featured here, in other words everyone except Killa Sin and Islord. Masterpiece by 4th Disciple, not the first, not the last. The boy takes a sample from "Suicide Is Painless" by Johnny Mandel & Mike Altman, better known as the soundtrack of M*A*S*H.
9th Prince hardcore verse, Beretta 9 follows, then 9th Prince chorus. Shogun is headed on his way to being the second best of the bunch in this effort. Then Dom Pachino, none of these guys are really impressing and the rhythm sounds far better than them, coming straight from a masterpiece. The last verse introduces Master Killer, the only guest who came directly from the Wu-Tang Clan, the ninth member. Yes, according to many, the boy is only here because he has no other commitments, sure, sure. Masta Killa comes from six straight classic records in a row, everything he touched turned into a classic, "36 Chambers" (1993), "The Dirty Version" (1995), "Only Built 4 Cuban Linx" (1995), "Liquid Swords" (1995), "Ironman" (1996) and "Wu-Tang Forever" (1997). After the release of this record, it will be in the albums "The Swarm" (1998), "Tical 2000" (1998), "Bobby Digital in Stereo" (1998), "Beneath the Surface" (1999), "Immobilarity" (1999) and "Supreme Clientele" (2000), all certified gold. He's already working on his debut album, it will take another 7 years to see the light of that album, but he's already working on it.
Masta Killa enters very calmly and practically poses his verse, it's glacial on a combative and cinematic beat, like a war movie, creating a crazy dissonance between the rhythm and his verse. Easily one of the best lyrics on the record, if not the best, is on a whole different level and he knows it. Even aficionados believe that he arrived here without commitment and without desire, but look what he's gone to place, with what confidence and safety he's reciting these bars with his calm style, he's elevating the whole project with this clean, super-polished performance.
Final Thoughts
Released two months after "Wu-Tang Forever", this disk won't convert casual listeners into human banners of the double v. It was not born for that purpose. Just as the Wu-Tang Clan found their way by fusing kung-fu and hip-hop, Killarmy try to follow that same path fusing war and hip-hop. It's not the most original concept in the world, because in the same period Capone-N-Noreaga release more or less the same thing, with a similar type of music and similar topics, achieving better sales results. In a golden age for the Wu-Tang Clan where anything with the slightest logo of the supergroup attached to it's literally snapped up, RZA manages to gift an entire recording career in the rap industry to his younger brother 9th Prince and his fledgling hip-hop group. That is, half a dozen noname-guys for whom this album also coincides with their debut in the rap game. 9th Prince and Killa Sin both appear uncredited in the Sunz of Man's single "Soldiers of Darkness" (1995), and they're both on the second disk released by Shyheim ("The Lost Generation", 1996), Hamlin's childhood friend. Killa Sin is featured on a bonus track on the Real Live album, "Real Live Sh*t Remix (Special Bonus Track)", performed with Lord Tariq, Cappadonna and Ghostface Killah in 1996. Additionally, he's one of the featured rappers on the title track of the "Soul in the Hole" soundtrack (1997), in a song featuring the aforementioned Shyheim and Royal Fam rappers Timbo King and Dreddy Kruger, with a intro by Ghostface Killah and a chorus by Tekitha, both uncredited. 4th Disciple you know him, from the scratches in "36 Chambers" onwards he's had his hands on every single first wave solo album of the Wu and his choices behind keyboards on Wu-Tang's second disc are some of the best on the double album. Here he gets the chance to be the RZA of the situation, he produces the entire record while Bobby Digital lays in a couple of beats.
Last and least, Islord. This boy debuted before participating in this confused ensemble worthy of a Boccaccio novella in which seven guys decide to retire to a recording studio and write, then recite, a few words about wars, terrorism and battles in their own way with their own style. Islord is present, uncredited, in one of the singles of an unknown duo who have decided to call themselves, without too much originality in fact, Lo Down. It's pretty unbelievable: in 1993 (probably), these two guys present their demo and manage to snatch a contract from a minor label, Grifter Recordings, publishing a sort of maxi-single / EP in early 1994. Up to here nothing strange, except that practically all their material is stolen from other artists much more famous than them, who remain unknown even for the completists: the last verse of "Instruments of Chaos" is stolen entirely from Raekwon's verse in "Meth vs Chef" from Method Man's debut album "Tical", released in the same year. To perform this last verse is Islord himself, who will only later be part of the Killarmy, but who at the times was close to Raekwon, was not a rapper and was credited as "assistant engineer" in the Chef debut LP "Only Built 4 Cuban Linx". "Mask of the Phantom" features another entire stolen verse, this time from underground rapper Tame One of the Artifacts, this is a verse that he used in a freestyle on the Stretch and Bobbito show a few months before Lo Down's demo was released.
The production made by 4th Disciple is inspired by that of the Wu-Tang: splendid jazzy boom bap rhythms, robust drums and samples that pay homage to war films instead of the kung-fu ones typical of the Wu songs. The lyrics are good, the hardcore rapping leaves something to be desired most of the time, as it lacks the personality in delivering these battle raps, made up of bars that focus mainly on war, terrorism, battles, militant and street themes, with street slang and references to the Five Percenters.
9th Prince is the major performer with 13 appearances, followed by ShoGun Assason (12), Killa Sin (9), Dom PaChino (9), Beretta 9 (9), and Islord, of which two collaborative tracks released years earlier as promotional singles are inserted, because he's in prison at the time of registration, which took place between New York and Steubenville. Most of the rappers don't stand out from the others, the only one to emerge on several occasions is Killa Sin, clearly the album's MVP. Shogun provides often a good performance, then Dom Pachino. It's not easy to recognize them and distinguish one rapper from another, furthermore, there are no songs in which all six performers participate together, this is due to the fact that Islord was imprisoned during the recording of the album. But even excluding Islord, there isn't a single track among these seventeen where the other five boys are present together, and this is quite curious.
First affiliate LP to come out under Wu-Tang Records, also released by Priority and EMI, the project gets a good commercial response, and is crushed by critical snobs, who immediately label it a "Wu-Tang B series" record. Solid, coherent, tight, full of surprising joints, it's one of the best albums made by an affiliate of the Staten Island group and establishes Killarmy as an important reference point for the entire Killa Beez universe.
Highlights: "Dress to Kill", "Clash of the Titans", "Burning Season", "Wake Up", "Wu-Renegades", "Camouflage Ninjas", "Swinging Swords", "5 Stars".
Rating: 8/10.
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