For whatever reasons or circumstances beyond my knowledge, Masta Killa, the ninth member of the Wu-Tang Clan, got a bum deal. He was the last MC of the original Clan to release a solo record, over a decade after 36 Chambers, and with the release of his second solo LP last week, is just now beginning to get the recognition he deserves. Made in Brooklyn (2006) is a strong release that is better than anything the rest of the Wu has done in years, Fishscale excluded, of course (that Grandmasters record wasn’t bad, either). It’s also has some serious flaws, marred by weak productions and questionable asides into lame, cookie-cutter reggae and some dull R&B nonsense.

Masta Killa only contributed one verse to 36 Chambers, on “Da Mystery of Chessboxin’,” but it was one of the most memorable on the record (“Homicide’s illegal and death is the penalty”). The oft-repeated anecdote of him recording this verse while in prison made ample fodder in shaping the Wu’s legend, but is, in fact, untrue; Killah Priest was slated to appear on the track but fell asleep in the studio, only to awake as Masta Killa was finishing his incendiary verbal assault. For the next decade, an appearance by Masta Killa was often one of the highlights of a Wu record, his mysterious, laconic drawl complimenting the other MCs’ flows marvelously, whether it was Meth’s stoned humor, Rae’s grim street portraits, or GZA’s calculated ferocity. His subject matter is dense and tricky to decipher upon first listen, often a blend of chess metaphors, martial arts weaponry, and Kung Fu combat techniques. And the man loves his weed. He isn’t everyone’s taste, but I find him fascinating to listen to.

One can only fantasize about Masta Killa dropping his first solo record during RZA’s studio prime, say, back in ’95. Sadly, it wasn’t until two years ago when No Said Date (2004) was released, but it was heralded as a return to form for the Wu, and subsequently became the last album where all nine original Clansmen appeared (R.I.P. ODB). Made in Brooklyn is similar in that there are a host of producers (from Pete Rock to MF Doom), but unlike No Said Date, many of the beats here sound like studio leftovers. Lyrically, Masta Killa shines on each track, his weathered, seasoned voice gliding nimbly over the arrangements, and the guest spots from the Wu veterans are surprisingly strong. “Ringing Bells,” a fine Bronze Nazareth production released this past spring on Nature Sounds’ Natural Selection compilation, is a great example of Masta Killa’s poetic complexity and swift wordplay – and note the abrupt end to the first verse, one of his bizarre idiosyncrasies that I’ve never figured out.

“Ringing Bells” – Masta Killa 3:13 (Made in Brooklyn, Nature Sounds 2006)

One would think that the Wu and their orbiting group of affiliated producers would be tired of flipping Al Green samples at this point, but unfamiliar beatsmith Jig Sor manages to construct a sugary loop from “You Ought to Be with Me” without treading old ground for “Pass the Bone (Remix).” Masta Killa’s blunted delivery sounds improvised at times, almost as if he was freestying in the studio while occasionally glancing at his rhyme book.

“Pass the Bone (Remix)” – Masta Killa 4:04 (Made in Brooklyn, Nature Sounds 2006)

Made in Brooklyn doesn’t shy away from the Wu guest appearances, but the remaining Clan members hold it down with relaxed confidence. U-God has always been my least favorite MC of the collective, but his opening volley on “Iron God Chamber” is one of the best verses I’ve heard from him. RZA seems revitalized after a low-key past few years, and Meth actually sounds as if he hasn’t turned into a complete embarrassment for the small cadre of fans he has left. The beat from Whyz Ruger (?) is nothing to get excited about, but this is the stuff Wu devotees will relish, evidence that the almighty Clan hasn’t exhausted its last breath just yet.

“Iron God Chamber” – Masta Killa feat. U-God, RZA, & Method Man 3:50 (Made in Brooklyn, Nature Sounds 2006)