One of the quieter moments on the otherwise intense duration of 36 Chambers, ‘Can It Be All So Simple’ highlights the unique chemistry of Raekwon and Ghostface Killah – undoubtedly two of the best storytellers within hip-hop discourse – with the pair’s ruminations on mafioso rap laying down the blueprint for Raekwon’s critically acclaimed solo debut, Only Built 4 Cuban Linx… SONGS SAMPLED: ‘The Way We Were / Try To Remember’ – Gladys Knight & the Pips, ‘I Got The…’ – Labi Siffre. Listen closely to the piano samples around the 1:20 mark, then get cultured and compare it with Monk’s 1956 classic ‘Black and Tan Fantasy’. In addition to sampling various elements from Syl Johnson’s ‘Different Strokes’, including the horn line, guitar stabs and groove of the song, ‘Shame On A Nigga’ also features two small yet mighty samples from Thelonious Monk – one of the finest jazz pianists of the 20th century. Emphasising attitude, shock value and delivery over lyricism and flow, ODB’s impact on hip-hop culture was immediate, and although he sadly passed away in 2004, his wild spirit lingers today through the likes of rap oddballs Young Thug and Danny Brown.Īlthough two knockout verses from Ol’ Dirty Bastard certainly make this track a special one, once again you’ve got to give props to RZA for his sampling here. While showcasing the verbose lyricism of two of Wu-Tang’s heavy-weight MCs – Method Man and Raekwon – the highlight of ‘Shame On A Nigga’ is undoubtedly the introduction of Ol’ Dirty Bastard. SONGS SAMPLED: ‘Different Strokes’ – Syl Johnson, ‘Black and Tan Fantasy’ – Thelonious Monk, dialogue from Shaolin and Wu-Tang.
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Elsewhere, there’s another drum beat which enters around Ghostface Killah’s first verse, which is actually sampled straight from a record full of samples created by Ralph Vargas and Carlos Bess for hip-hop producers, aptly named Funky Drummer. Opening with an iconic grab of dialogue from the English dub of the 1980 kung-fu flick Shaolin and Wu-Tang, the dirty boom-boom bap drums of ‘Bring Da Ruckus’ come courtesy of the 1973 Melvin Bliss track ‘Synthetic Substitution’, with the RZA slowing and pitching down the song’s opening drum break.
Using an assortment of lo-fi sampling units and production gear, 36 Chambers is chock full of gritty, bass heavy beats like these, with RZA meticulously merging soul samples and clips from kung-fu films with his own programming to make some of the hardest beats of the 1990’s. SONGS SAMPLED: ‘Synthetic Substitution’ – Melvin Bliss, ‘C#B2’ – Ralph Vargas and Carlos Bess, dialogue from Shaolin and Wu Tang.Īs far as opening tracks go, nothing slaps as hard as ‘Bring Da Ruckus’ does. Read up on all the latest interviews, features and columns here. With 36 Chambers fast approaching its 25th anniversary, we revisit some of the best samples on one of hip-hop’s most beloved and timeless records – Enter The Wu-Tang. In addition to their iconic, kung-fu inspired names and aesthetic, Wu-Tang was single-handedly responsible for ushering in a new era of hip-hop production, based around raw, gritty drum samples, sparse piano lines, chanting vocals and of course, samples from martial arts films, all curated by the Clan’s producer and spiritual leader, RZA.
Featuring nine members, each with a unique stage persona, name, and rapping style, the Wu-Tang Clan made their mark on hip-hop with the release of their debut album, Enter The Wu-Tang: 36 Chambers, changing the way artists and critics considered rap forever.
Dre, Snoop Dogg and 2Pac, the East Coast was quietly cooking one of the most influential hip-hop albums the world had ever seen. Revisiting the sampling genius of the RZA, 25 years on.Īt a time when hip-hop was dominated by the G-Funk grooves of the West Coast lead by the likes of Dr.