As the sequel to one of the most celebrated hip-hop albums of all time, Only Built for Cuban Linx 2 is perhaps rivaled only by Dr. Dre’s ‘Detox’ in terms longstanding fan anticipation. Rumours and half truths abounded for both releases over the years, but recently, Raekwon’s LP has stoked fan fires by showing signs of actually existing. Being fed an agonisingly slow diet of tracks such as Criminology ’09 and the glorious banger that is ‘New Wu’, fan expectations for the new album are now reaching stratospheric levels. Considering that the original OBFCL hits coolography’s speakers with a near religious regularity, to say that the self-confessed Wu-heads at coolography accepted invites to an album playback hosted by the chef himself gladly is a ridiculous understatement…

At the cosy townhouse hotel the Leonard, hardly the most apt setting for a follow up to an album claimed to be ‘music for drug dealers’, coolography waited. And waited. And waited.

After a slow trickle of attendees and a handful of technical issues resolved, we soon had, with track list in hand, sounds of the LP reverberating across the intimate meeting room. An LP indeed, spanning roughly 23 tracks with a producer list that, for any other album, would be incredulous; Rza, J Dilla, Dre, Alchemist, Pete Rock, and Marley Marl all making appearances makes for a heavyweight album indeed. Alongside this, add guest appearances from luminaries such as Jadakiss, Styles P, Slick Rick and Busta Rhymes, let alone Ghostface Killah and nearly the whole Wu roster? You have, on paper, an album worth a 14 year wait.

Making no secret of the album’s sequel nature, the opening track begins exactly where the first album left off, with ‘Return to the North Star’ utilising the same solemn backing from OBFCL1′s ending track ‘North Star.’ With Papa Wu sounding off like only Papa Wu can, the album moves into yet more familiar Wu territory with kung fu movie samples, and a pounding, classic Rza beat. Though to our surprise, the ‘House of Flying Daggers’ was actually a J Dilla construction – perfectly emulating the Rza style, from one master of the field to another. With a hungry verse from Raekwon, followed by Ghostface’s rapid delivery, and Method Man flowing better than he ever has, the nodding heads and closed eyes across the room signified a good start.

The following tracks brought on a welcome unification of old school hip-hop figures, with Pete Rock on ‘Sonny’s Missing’, and funky production from Marley Marl on ‘Pyrex Vision’. ‘Godfather’ features Inspectah Deck on outstanding form over an unmistakable RZA beat (‘..it’s that black Mozart shit!), evoking feelings of classic Wu-Tang Clan. The reminiscing continued with Rae and Ghost on ‘Penitentiary’ (another RZA production), trading verses and crafting an claustrophobic atmosphere of paranoia. Dr. Dre makes a surprising appearance on the boards with ‘Catalina’, and delivers with addictive, typically Dre piano loops. This version sadly lacked the advertised Busta Rhymes verse, and we were left curious for more. Scram Jones contributes to a couple of tracks, more notably with Jadakiss and Styles P on ’40 Deuce.’ The highlight beat of the album may have to be the Alchemist laced track  ‘Surgical Gloves’, invoking incessant head nodding from the captive audience and balanced by Raekwon’s unstoppable flow. Though most rappers would struggle to keep up with such weighty company, Raekwon’s flow, delivery, and storytelling seemed to be as on point as ever; coolography is unsure whether this is easy or hard for someone with a couple of decades of rapping under his belt.

A recognisable shout of ‘where the weed at?’ echoed in the post playback silence, and Raekwon himself stepped into the room. A Grey Goose screwdriver in hand, he then proceeded to embark on a very thorough and intimate Q&A session. Regarding the album, Raekwon described how he wanted it to be a ‘flashback to the real shit’ and bringing the essence of hip-hop ‘back for the fans’. At roughly 23 tracks he wanted to be generous to the fans, understandably facing such a lengthy wait for a true sequel album. With a boisterous apathy towards record sales, Raekwon expressed a desire solely to please the fans, who are ‘more like critics’ these days. Justifiably, Raekwon claimed to have proved everything he needed to prove in the rap world, with sales being a simple bonus. Additionally, Rae left tantalising hints at an upcoming Wu world tour, and also the fact that ‘there will always be a new Wu-album…’

Though mostly complete, the album was still in its final stages of mastering, and so verses and tracks could change slightly from the version we heard. Admittedly, the album was not experienced in full (multiple listens on a real sound system are the very least it deserves), but coolography are nonetheless impressed. Comparisons will be drawn to the original, but both albums are from a different time and place, and should be appreciated as such. Those looking to recreate an identical experience to the original will go away disappointed, but those pleased will be the ones looking for a nostalgic slice of raw hip-hop from a master (and masters) of the art. That, frankly, is what hip-hop needs the most right now.

Only Built For Cuban Linx 2 is out September 7th