Ghostface Killah certainly represents a paradox; he is both all that is great and wrong about hip-hop. He is one of the most prolific members of the Wu-Tang Clan - releasing nearly 10 albums - he constantly strives to be original, which is evident from the people he chooses to collaborate with, and he is constant in contact with his public, doing regular interviews and podcasts. However, he is misogynistic – holding the view that women should be viewed differently sexually by society – and he is violent – the notorious case being breaking Mase’s jaw during a scuffle in a nightclub. Yet it is impossible to get away from his natural charm, this is due to him willing to expose his raw self on his albums.

In his new his album, Ghostdini: The Wizard of Poetry in Emerald City, Ghostface channels his more misogynistic views through a pimp/lover/fucker called Ghostdini. And of course Ghostface is bold with the presentation of this alter-ego; especially when you consider the cover-art is three semi-clad women essentially lingering outside Emerald City so the Great Ghostdini will invite them in. This absurdist, over-the-top image of Ghostface’s alter-ego is maintained throughout the album, and there are definitely many laughable moments throughout, especially in songs like Stapleton Sex, Do Over and Goner.

However, Ghostface strays down the worn hip-hop path of R’n’B in bringing his Ghostdini persona to the front; which has a low success rate with rappers due to the fact that there is always a feeling of the music is being watered down by vocal contributions and mainstream production, and sometimes even the cringy moments when rappers decide to sing too. Well, this album has all the ingredients of a crossover album; plenty of vocal contributions from powerful R’n’B singers (John Legend, Raheem DeVaughan and Estelle to name some), production based around instruments rather than looped samples, so there is plenty of piano and bass trumpets here (thank God Ghostface manages to stop himself from singing).

The production on the album is definitely noteworthy, with a host of main-stream producers contributing; Scram Jones, JUSTICE League, Sean C & LV and L.T. Moe. The album's production reminds of the days of Bone Thugs-n-Harmony with some great mainstream, poppy backing tracks with a definite sense of purpose through-out. Also, the producers' previous work with people such as Ne-Yo becomes very apparent with the contributions.

And of course, because it's an R’n’B album, there are some slower more provocative songs; Stay, Forever and Let's Stop Playin'. These songs centre around the more loving side of the Ghostdini character, where Ghostface raps about calming down these sexual relationships and moving on. The tones of these songs feel genuine and once again Ghostface’s charm shines through.

When I look over the album in the view that Ghostface wanted to make this album as step towards “maturation” in the vein of Mary J. Blige, there are mixed feelings. The album is a solid R’n’B album and made all the more impressive with the guest appearances. However there are still traces of hardcore hip-hop throughout the album, so this isn’t a purist's R’n’B album, and the joking nature of the album undercuts a feeling of maturing. I would advise those who are fans of the Wu-Tang Clan and Ghostface in their more grimey forms to stay away from this album.

- Peter Downey

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