Enter the wu tang 36 chambers megaupload

But all of a sudden you seen a man standing [on stage] in the middle of their set, with a stocking mask [on his face], right?

And this group is just going back and forth on the mic, and then [they see] this dude standing there with this stocking mask on in their middle of their set. And then all these dudes with masks just come on stage. And they push everybody out. And that place went bananas, bro. Yo, man, it was fight music. I want to say some names, but this was like 20 years ago.

Only like KRS has held it down. Rakim held on. But anyways…. I like these dudes. That was it. So I come back to New York and went to talk [about concepts for the cover] with the RZA in the studio when they were finishing the album.

The studio was called Firehouse. This place had holes in the walls, wires were coming out of the walls, chicken wings all on the floor, blunt wraps all over the place, empty 40s all over. The place was insane, dude. I been wearing this shit for like three days. We talked about karate. I grew up with all the Bruce Lee movies. I loved their logo. So I got an artist to carve it out of foam core and paint it gold. And then we got a crazy church location that Jackie Murphy shared with me.

It was called the Angel Orensanz Foundation. I went and checked out the location and fell in love with it. Today, that place is gorgeous. There was like rocks coming out of the walls. It was just crazy. So then we were ready to shoot.

Loud Records, at this point, I think was [based] in L. Steve [Rifkind] was kinda traveling or whatever. There was really no one overseeing this. Boom , boom , boom. You get to be creative. There are a lot of great marketing directors out there, but sometimes they go for the obvious. The greatest album covers are the ones where the artist is not on the album cover.

To me, at least. So, anyway, we get a date [to shoot], and I get a Winnebago and we wait for the crew at the Staten Island ferry. Get something. So we went in and did it. Because I witnessed it. Everybody [in the group] at that point wanted to show their faces. Before that happened what did you think you were gonna shoot? Daniel Hastings: I thought I was gonna shoot the same thing that I did, but showing their faces.

But since not all of them were there we had to use the stocking masks. I think my school for this was really rock n' roll: looking at all these rock n' roll albums [as a kid] that rarely showed the artist on the cover.

And if they did it was some great photography. I had every record that was coming out in the '80s. And I was the kind of kid that would look at the [album] covers and listen to the songs on my Walkman. Iron Maiden, for example. Looking at a record and listening to it on my Walkman was a part of me growing up. Concepts would tell you how the music was gonna sound [before you heard the album]. I heard the Wu-Tang, I gave it a visual of what the record sounded like.

The sound helped me visualize it. Images as album covers leaves a lot to the imagination for the audience. To see this artwork and hear this music takes you to this other space. And Wu-Tang specifically was such a different sound at that time. Big Daddy Kane - Prince of Darkness 1. Mic Geronimo - The Natural 1.

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