The Wu-Tang Clan is oft revered for the amount of distinct personalities it housed. Ghostface Killa was hyped, GZA was understated but had a razor-sharp pen, but Ol’ Dirty Bastard was unquestionably the most freakish. Combining a lumbering rap style with a wild and tuneless singing accentuation, he was a standout figure in a pack loaded with rap legends. However, when the Wu would splinter off to make solo material, Bastard’s second album in 1999 would animalise his music to create some of the most carnal, and forward-thinking, rap material ever conceived.

The record starts off well enough, with an infectious funk jam, “Recognise”, where ODB brings a ragged guard dog-like performance, simmered by Pharrell’s cool flow on the hook. The following track, though, is where the album gets batshit insane. On a cover of Rick James’ “Cold Blooded”, ODB he is singing out-of-tune, and screaming his studio to the ground, continuing to do so all through the LP’s duration. Tracks like “I Can’t Wait”, “Dirt Dog”, and especially “You Don’t Fuck With Me”, he is embodying a drill sergeant, with no way to look past his manic screeching. This leads to points where the microphone distorts and clips, so intense are the vocals. Yet, looking at the hip-hop landscape of today, and many underground rappers are attracting fans by making themselves seem like an unapproachable nutcase. At the time, rappers were seen as more marketable if they were calm and collected thugs; take 50 Cent as example. But in the viral social media age, the rappers that get attention are those who are the most insane and exciting, like 6ix9ine.

Please turbocharges the idea of repetition - which in a world where Lil Pump and company top charts with simplistic hooks, was ahead of the curve - as well as a distinct religious undertone - ironic considering that he sounds in need of an exorcism. “I Want Pussy” is the LP at its most gloriously asinine, with obviously vulgar lyrics encapsulating a sinister guitar loop. It should be noted that ODB would later be diagnosed with schizophrenia, which may have contributed to way this album was constructed, as comparisons can be made to Kanye’s The Life Of Pablo as similarly Pollock-esque.

Parts of the production duties was handled by The Neptunes, whose stellar beats would go on to be hugely inspiration in their own right. “Got Your Money” was one of their earlier breakout hits, and their signature flat, punchy drums and distinctive synth lines turn up here. The track also shows that not all of the record is assertive. In fact, “Good Morning Heartache” is a beautiful ballad that pairs a jazzy piano with Lil’ Mo’s glistening voice.

ODB’s last album released during his lifetime leaves a legacy of insanity. Taking the idea of eccentric delivery to the extreme, the record borders on grating, but can be looked fondly in retrospection, with a good sense of humour, and in admiration for the maddening image it presents.