Adrian Younge Presents: Twelve Reasons To Die II Explicit Lyrics

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Fans who have been waiting for the past two years can finally rejoice: Adrian Younge's and Ghostface Killah's Twelve Reasons To Die II is coming soon. To up the ante this time around, Ghostface has added a very important lyrical companion to the mix: Raekwon. The chemistry that was cemented two decades ago on Rae's classic ''Only Built For Cuban Linx'' is a strong as ever, clearly heard on five out of the album's 13 songs. And on the topic of chemistry, executive producer and Wu-Tang patriarch The RZA returns to ''Part II'' as the story's narrator. Where the first installment of ''Twelve Reasons To Die'' was based in 1960s Italy--detailing the machinations of the feared DeLuca crime family--''Part II'' inhabits the grimy streets of mid-1970s New York City. Descendants of the DeLucas are running the city, but a powerful, younger crime syndicate is percolating, commanded by black gangster Lester Kane (personified by Raekwon). As Kane's power grows, he takes on the DeLucas and a bloodbath ensues. Kane has always known the legend of Tony Starks, who was killed by the the DeLucas in Italy and whose remains were partially used to create twelve vinyl records. When played back in the ''old world,'' the Ghostface Killer rose and destroyed the Italian faction. This plays into the story's conclusion at the end of ''Part II.'' The storyline for ''Part II'' is vividly brought to life with the help of Younge's never-endingly evocative and unique brand of cinematic, psychedelic soul. The music--on which Younge himself plays upwards of of 10 instruments on certain songs--was recorded strictly on analog tape, to bring out the true grit of the '70s era that provides the ''Twelve Reasons'' backdrop. Review ------ If ''Twelve Reasons to Die'' is a comic, then its sequel is the cinematic adaptation or a reboot of the franchise; the source material is the same, but the execution is tightened in places. It has a bigger-budget feel, stronger guests, better pacing, and a more careful consideration for its audience. RZA narrates the passages too tricky to rap. Adrian Younge warps thick '70s soul sounds into a concrete jungle. But mostly, ''TRTD II'' is simply able to succeed where its predecessor failed with the benefit of hind. With a proper framing device, more capable bit players (ub and Chino XL), and closer attention to detail, Ghostface and Younge do a better job sketching out an alternate universe. The key to ''TRTD II'' is Raekwon, who stars as Lester Kane, an upstart New York City kingpin at war with [crime family] the DeLucas in the mid-'70s and a foil for Ghostface's [character Tony] Starks. Here, unlike on [Raekwon's] recently released gaudy solo album, ''Fly International Luxurious Art,'' he is noticeably comfortable, penning engaging underworld scenes. ....something happens to [Ghostface] rapping next to Raekwon: On ''King of New York'' he is as graphic as ever describing Kane (''the New York mob scene is just ed of his suits''). Seconds later, Rae chimes in as Kane, and the exchange breathes real life into the character, who plays a pivotal role in the plot. Raekwon's dense, barreling lyricism is perfect for the action sequences of ''Return of the Savage'' and ''Blackout,'' where fire is exchanged in flurries. Ghostface is still sometimes hilariously literal on ''TRTD II'' (''Bash him with a disco ball/ It's the '70s!''), but when challenged, like on the Vince Stes-assisted ''Get the Money,'' he still comes up with great writing. Ghostface is the visible star at the center of the production, but he is backed by Adrian Younge, the silent star who stitches ''TRTD II'' together at the seams with his evocative soul instrumentation. His murky production does a lot of the heavy lifting dramatically: He creates the worlds in which these characters interact, and his work gives everything that happens texture. --Pitchfork, July 7, 2015