Inspectah Deck was born in the Bronx, but moved to Staten Island when he was a child, living in the Park Hill Projects in Clifton, where other members of the future Wu-Tang Clan would live and congregate. He is one of the lesser known Wu-Tangers, but certainly not the least talented. He has been a member since their debut, Enter the Wu-Tang (36 Chambers) (1993), a project that he worked on after returning from a jail sentence. (It was in prison that Deck earned the nickname “Inspectah” for his silent and observatory manner.) He had a high-profile role in the group’s early work, delivering the opening verse to the classic underground single Protect Ya Neck, as well as a now-famous verse on the equally successful single C.R.E.A.M. and star turns on Bring Da Ruckus, Da Mystery Of Chessboxin and 7th Chamber. He later appeared on Wu-Tang side projects and solo records like GZA’s Liquid Swords and Raekwon’s Only Built 4 Cuban Linx, though compared to other members he was relatively quiet during the first round of solo releases. His own debut was originally scheduled for this 1994-1997 period but for undisclosed reasons was held back until after the group’s second album. Nevertheless, in 1995 (1995 in music) Deck released his first solo track (technically credited to the whole Clan), “Let Me at Them”, on the Tales from the Hood soundtrack.
He provided the Clan’s second group album Wu-Tang Forever with many of its highlights, echoing his explosive opener to Protect Ya Neck with the now equally famous opening verse to the hit single Triumph as well as contributing the Stevie Wonder-sampling solo track The City. The album also featured Deck’s production debut, arranging the ominous, piano-driven Visionz. This set the scene for his now long-delayed debut album Uncontrolled Substance in 1999 (see 1999 in music) on which he produced most of the beats, his 1970s funk influenced style being quite a radical departure in sound from the style of other Wu-Tang productions of the time. As well as the self-produced tracks, Deck had assistance from Wu producers RZA, True Master and 4th Disciple as well as Pete Rock (on whose Tru Master single Deck made a guest appearance at around the same time). The album did not sell especially well but was a moderate critical success. Between 1999 and the release of the Wu-Tang Clan’s third album The W in 2000 (see 2000 in music), Deck continued to contribute beats and guest verses to other Clan members’ solo projects, including GZA’s Beneath the Surface, RZA’s Bobby Digital In Stereo, and Method Man’s Tical 2000: Judgement Day.
Deck released his second album The Movement in 2003 (2003), which was mostly produced by Ayatollah and featured a slightly more commercially minded style than his debut. Like his debut, it received mixed but generally positive reviews and relatively moderate sales success. -WIKIPEDIA
Just like any burgeoning culture, hip-hop is inundated with corruptions and false promises. Lately, the MCs in commercial leadership are too busy basking in their new found riches to uplift the starving streets that supported their talent in the first place. But while the false prophets are shopping at Chanel and sipping Cristal, there’s a growing number of MCs that are dead set on pulling hip-hop music out of fantasy rap mode and back into potent reflections of real life.
As a member of one of the most significant musical collectives in recent history, Inspectah Deck of the Wu-Tang Clan has never fallen victim to the ill powers that be. Inspectah Deck was one of the featured rappers on many of the Wu Tang Clan’s major hits like: “Triumph,” “C.R.E.A.M.”, “Pinky Ring” and more. And just like any gracious minded veteran, the Staten Island raised MC is primed to supply the street’s demand for real live hip-hop on his second solo album, The Movement due out on I.N.S. Productions/ KOCH Entertainment/ In The Paint on May 20, 2003.
With 18 new tracks produced by former UMC member, Hassan a.k.a. Phantom Of The Beats and longtime QB producer Ayatollah, The Movement is chock full of rugged inspiration. “This is where y’all gonna see me take a stand,” explains Deck. “I’m gonna be on the front line taking shots like a Huey Newton Black panther type dude.” As a child of the ‘70’s Inspectah Deck is known to merge both the deep soul and righteous posturing of the decade’s urban legends seamlessly with today’s current events. With the soulful Blaxpotation sounding “Stereotype,” the funkdified Inspectah morphs into his latest alias, Manny Festo and commands respect through the weight of his character, not his bankroll. On the hard edged “U Wanna Be,” Deck truly rocks the mic with a flagrant flow that perfectly compliments Phantom’s up to the minute sonic stylings. Through lines like, “All the killers I know are either 6ft below or lost in the system doin’ years in the hole” Deck shakes down the rap games mass produced studio thugs while informing the youngsters about the fundamental importance of paying dues.
Unlike Inspectah Deck’s previous work with the Clan, The Movement allows the versatile MC to truly flex his skills. When you’re doing a Wu-Tang Album there’s so many creative minds clashing that sometimes the best thought may not get acknowledged,” relays Deck. “With my album, I’m behind the wheel of my own car. It’s much easier for me to see where I’m going when I’m in control rather than having somebody else steering your life or your career for you.”
Taking his independence one step further, Inspectah Deck has terminated his relationship with the now defunct Loud Records. Despite his former record company’s inability to properly market and promote his ’99 debut, Uncontrolled Substance, Deck still managed to go Gold and receive both critical and national acclaim. This time around he’s taking his destiny into his own hands and releasing The Movement through his own company, I.N.S. Productions.
By challenging both conventional big business standards and popular hip-hop principals Inspectah Deck is poised to enrich the rap game with one his most thought provoking and lyrically cohesive works to date. The Movement is sure to give starving fans everywhere the substantial rap fill they’ve been looking for. “This album is not anti-establishment, it’s not anti-White man, it’s anti-anything,” confirms Deck. “I’m not trying to save the world; I’m just trying to save the music. The music I grew up with educated you. I’m trying to take it back to when you got respected on the weight of your thoughts and character and not your material possessions.”