Enter the Sensei’s of Rap: How Wu-Tang Definitively Influenced Hip-Hop

July 23, 2022 by Giovanni Recinos in Classic Reviews, Read

Both off the mic and on, the group of nine New Yorkers known as the Wu-Tang Clan would each bring their own different backgrounds, styles and influences to hip-hop culture. Wu-Tang would hit the scene in ‘93 with lyrics about chess, street slang, and marvel comics, all of this while sampling kung-fu flicks. Though these were not common themes in hip-hop at that time, for every reason that the Wu-Tang Clan should not have worked, was another reason that it did. On November 9th, 1993, hip-hop would be changed forever with the release of Wu-Tang’s debut album, Enter the Wu-Tang (36 Chambers).

Before the album’s release, the group’s formation would be as chaotic as you would probably expect from a group of that size. With Ghostface Killah and Raekwon initially starting as street rivals, or RZA and U-God recently leaving incarceration, and members such as Method Man just narrowly escaping death, getting them all into the studio had to be some sort of fate at work. One of the members, RZA, would play a great role in this formation. After being dropped from the label Tommy Boy, he would swear to no longer succumb to the industry’s standards of “hit-making” and would begin producing music that he believed in. The next step in achieving this goal would be bringing together the superpower team to rap over these beats. RZA started in the family, with his cousins, the GZA and Ol’ Dirty Bastard.

The album plays out as a sort of calculated chaos, with no member sounding like another. Though this is the case, they are able to find chemistry through their obvious competitive hunger to deliver the best verse for each track. Whether it was Ghostface Killah’s blunt delivery, Ol’ Dirty Bastard’s sporadic personality or Inspectah Deck’s street knowledge, the groups' varying archetypes were able to find orchestration through the RZA’s guiding direction. While on paper the many topics on the project together could be seen as nonsensical, each members’ ability to bounce energy off one another turns it from just a bunch of ingredients, to a dish. With the Wu-Tang’s choices of themes and styles playing the critical “spices and flavors” that made their “dish” stand out from the rest. It should also be noted that a large percentage of the album’s success should be accounted towards Wu-Tang’s style and branding. With their grimy and low budget music videos, the iconic “W” logo, and chants including the famous, “SUUUU.”

Enter the Wu-Tang (36 Chambers) would be an instant hit launching the careers of every member exponentially. Many labels including Def Jam Records would aim to sign the nine piece, but many of them would fail as they wanted to sign the group as solo members along with the group deal. RZA, who played the main role in deal making, would not allow this to happen as he wanted to infect the Wu-Tang brand through the entire industry, not just through one label. The group would eventually sign a group deal with Loud Records, with that solo deal freedom included. Method Man would be first, signing to Def Jam Records.

The Wu-Tang debut album would mark the beginning of Wu-Tang and RZA’s powerful streak of solo and group projects. With Method Man’s catchy Tical, following in 1994. Ol’ Dirty Bastard’s grimy and oddball personality on Return to the 36 Chambers: The Dirty Version, Raekwon’s mafioso movie inspired, Only Built 4 Cuban Linx…, and GZA’s lyrical masterpiece, Liquid Swords in 1995. Ghostface Killah would bring back his back-and-fourths with Raekwon on his debut, Ironman in 1996. Lastly, ending with Wu-Tang’s more mature follow up project Wu-Tang Forever in 1997. A majority of these projects would be almost solely produced by RZA. All of this does not even include the great list of features provided by the members to classic albums including Moment of Truth by Gang Starr, All Eyez on Me by 2Pac and even newer records all the way up to the recent release of Mr. Morale & The Big Steppers by Kendrick Lamar.

The Wu-Tang debut set the groundwork to inspire generations with each of these projects further creating their own sub-genres and sounds. For example, RZA would be one of the first, if not the first, to adopt the “chipmunk samples” that would become a staple to early Kanye West production. Ghostface Killah would also adopt the persona Tony Starks or “Ironman” which would inspire artists such as MF DOOM or CZARFACE to adopt their own comic book inspired identities. Ol’ Dirty Bastard’s chaotic sound would open the floodgates to many experimental rappers including Mos Def, Danny Brown, JPEGMAFIA and others. Raekwon would help establish mafioso rap in New York and beyond, which would be carried into classic albums like Jay-Z’s, Reasonable Doubt, Notorious B.I.G.‘s, Life After Death and Pusha T’s, DAYTONA. The Wu-Tang Clan were not lying when they said they were for the children, as they would become strong idols and influencers to all kinds of future artists, whether they were from the East or West.

Giovanni Recinos is a staff writer.

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How J Dilla's "Donuts" Permanently Reshaped Hip-Hop Production

July 10, 2022 by Luke Modugno in Classic Reviews, Read

by Luke Modugno

Art is fluid, everchanging. Altered by powerful voices and minds, potent creatives seem to always carve out new paths and directions within the artistic bounds of their medium. However, you seldom see a singular composition definitively erase the once unnavigable borders of art and delineate new ones. Circumstance, unmitigated creative fearlessness and a willingness to adapt are required in order to shift the tectonic plates that lie beneath the surface of an art as ancient as music. All of those requirements were met when fabled rap producer J Dilla left the world of art with his groundbreaking beat tape Donuts.

Donuts was born out of circumstance. J Dilla emerged in the late 90’s as a prominent underground producer for local rappers, until breaking through with the notable rap collective Slum Village. Working with acts such as A Tribe Called Quest, Common, The Pharcyde and more, Dilla quickly made a name for himself with the complexity in which he chopped and looped his beats. Dilla’s production wasn’t just unique and ear-catching. There was distinct warmth, vibrance and vivaciousness erridating from the way Dilla’s kicks, drums and loops sat.

Whenever Dilla decided to hop behind the boards, his beats exemplified personification of the human experience. The intimate guitar on “Didn’t Cha Know'' projects the image of a dawn sunrise peeking through a window with the curtains flapping in the wind, especially paired with the silky-smooth vocals of Erykah Badu. The kicks draped over the melancholic vocals of The Pharcyde on “Runnin’' sounds like a comfortingly warm summer night. Uptempo, drawn-back, soulful or bouncy. Dilla was a chameleon that could shape-shift his production style to fit the artist he was working with flawlessly. Dilla didn’t just produce, it was more than that. His dense hip-hop orchestras reverberated with listeners at a deeper level.

It was this boundless talent, along with tragedy, that allowed for the creation of Donuts. In 2005, Dilla was diagnosed with a rare blood disorder known as Thrombotic Thrombocytopenic purpura (TTP). Unfortunately, TTP is extremely deadly, with a fatality rate of 70-80%. Despite at first continuing to tour and work, Dilla was eventually confined to a hospital bed as his symptoms continued to worsen. Understanding his mortality, Dilla brought his MPC3000 and a record player to accompany him in the solidarity of his hospital bed. The goal? Use his ingenious, renaissance-level production skills to create a project that acted as a love-letter to his family, friends, fans and his time spent on Earth.

As friends and family came to visit Dilla, they would contribute to the creation of Donuts, by gifting him new records to chop, loop, manipulate and organize into his cacophonously intricate production style. Being the chronic sampler that Dilla was, his ear became immensely picky.

In a documentary made about the album's creation, Dilla’s mother illustrated just that, “When I took the crate up, and he looked through it, I think out of a whole milk crate full of 45s, I think he might have taken a dozen out of there and set them aside. He said 'you can take that back to the house'. He said 'none of that's good'." Using inspiration and direction from the people he loved most is a wholly tangible and immediate feature of the record, as Dilla cycles between a diverse set of genres and sounds for his samples, demonstrating the crate digging done on his behalf. From 70s soul records to traditional African drums, Donuts sounds what it would feel like if the complete contents of a dusty, out-of-date record store smelted the entirety of its stock into a singular vinyl disc. Borrowing literal milliseconds of various records for miniscule portions of songs off of Donuts, Dilla’s patchwork style blends and pairs endearingly well with the tools his family provided him with.

Throughout the final year of his life, Dilla’s condition worsened considerably. His legs and arms would periodically swell, hindering his ability to work on Donuts. If the pain of using his fingers to operate his MPC became too much to handle, his mother would massage his fingertips, he was simply bent on finishing the record. His sheer determination radiates from each track. From the roaring, vigorous guitar that defines the blood-curdling opener “Workinonit,” spry dance tracks such as “Dilla Says Go” and “Light It,” somber love songs like “Stop”, to signature soul loops on “One for Ghost” and “U-Love,” “Donuts” is a 31-song exhibition in sampling mastery and pushing the boundary of what it means to produce into uncharted territory. This isn’t hyperbole either. Think John Coltrane, Duke Ellington, Wolfgang Mozart, this is the company J Dilla stands in with just how innovative projects like Donuts are. Let me explain.

Dilla wasn’t just chopping samples in a way that made your head bop, he was tinkering with and altering our conception of music time. Thanks to the compositional study done by author Dan Charnas in his novel “Dilla Time: The Life and After-Life of J Dilla,” we have a genuine understanding of just how indelible Dilla’s mark on music is. Let’s take a deep-dive into some music theory.

The vast majority of European music counts its rhythm evenly, meaning every beat is of equal length. This is otherwise known as straight time.

Things changed with the introduction of jazz, particularly African-American jazz. Early jazz goliaths such as Louis Armstrong started introducing the concept of beats coming long-short, long-short, which then became known as swing time.

None of that meant anything to J Dilla. With the technological revelation of the MPC, rules like that were nothing more than a musical custom. Thus brought the creation of Dilla Time, fusing both swing and straight time simultaneously. Effectively shredding the shackles of hip-hop producers for eternity, Donuts quite literally reimagined how we view music.

Donuts was officially released on February 7, 2006 to immediate critical acclaim. Sadly, Dilla passed away just three days following the release of the record, unable to revel in the musical feat he had just accomplished. Although Dilla was relatively underground at the time of his passing, the hip-hop world has never glossed over the significance of his work.

“We have to make music and think ‘if Dilla was alive, would he like this?’” said Kanye West in an interview with HYPEBEAST. “It was like he was making Quincy Jones production sessions out of his MPC. His music just felt like drugs.” Frequent collaborator, friend and fellow member of the Mt. Everest of legendary hip-hop producers Madlib has been outspoken in his praise of Dilla. “ “[His production was] like that human feel, and the selections that he chose to sample. Every producer bows down to Dilla whether they like it or not, because everybody took something from him like Coltrane.”

Madlib isn’t wrong. Dilla’s influence reaches well beyond the borders of hip-hop. From modern jazz to R&B, to funk, to lo-fi, Dilla’s bold defiance of musical rules continues to inspire waves upon waves of producers who think outside-the-box. Every off kilter drum, kick or vocal sample that sounds uniquely out-of-place can be traced back to this record and the mind of Dilla. In that way, much like the shape that a donut embodies, Dilla’s impact on hip-hop will be never ending. Rest in Peace Jay Dee.

Luke Modugno is the editor-in-chief of StereoVision.

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MF DOOM x Czarface: SuperWhat? Review

June 29, 2021 by Guest User in Read

By Luke Modugno

The hip-hop world came to a standstill on New Year’s Eve of 2020 with the bombshell news of the passing of legendary New York rapper MF DOOM. During DOOM’s illustrious career in hip-hop, he crafted a legacy of mystery and boundary-pushing musical innovation, leaving behind a catalog littered with classic records. Known as a chronic collaborator, one of DOOM’s final projects before his passing came in the form of a joint project with the rap super-collective CZARFACE (consisting of producer 7L, Esoteric and Inspectah Deck), on their 2018 effort “Czarface Meets Metal Face.” Although DOOM has since passed, the combination of the two hip-hop giants has returned, with the release of the first official posthumous DOOM project coming in the form of Super What? the follow-up to their 2018 collab project.

Originally slated to drop before the pandemic and the passing of DOOM, Super What? is a sharp 10 track project spanning 28 minutes and doesn’t overstay its welcome. The project does exactly what it sets out to do: build on the chemistry formed between DOOM and CZARFACE with comic-book inspired production and raps.

The project opens with quite the attention-grabber in “The King and Eye,” featuring Darryl McDaniels, best known as the founding member of collective Run-D.M.C. The track is a peek into the rest of what's to come from the rest of Super What?; a masterclass from Esoteric that simply carries the song and project.

The track that made me fall in love with this project had to be “Mando Calrissian.” Over a main menu-esque beat, Inspectah Deck opens the track with a triumphant, braggadocious verse followed by a stunning yet brief DOOM verse, perhaps his best in years. The track concludes with Esoteric spiting arguably the best verse on the project, with countless Mandalorian and Star Wars references.

On prior CZARFACE projects, Inspectah Deck and Esoteric usually go hand-in-hand, trading bars and verses that formed a chemistry between the two emcees that made the supergroup so intriguing. However, with Super What? Esoteric carries the weight of the project, along with DOOM. Inspectah Deck’s verses are shorter and less attention-grabbing, almost as if he put less effort into the project than the rest of the collective.

Similar to CZARFACE Meets Metal Face, DOOM’s involvement on the project is a bit passive at times. One of DOOM’s strong suits as an artist is his inventive production. However, DOOM has zero production credits on the album, leaving 7L to shoulder the entire load. While the production certainly isn’t stale, the unutilized presence of a monolithic producer in hip-hop history is disappointing. Additionally, DOOM has short verses on this record, none exceeding a minute or so. At times, DOOM’s presence on the record is thin and calling this project a comprehensive collaboration could be seen as a stretch.

Overall, Super What? is a fun and light-hearted project. Although it’s a noticeable step down in quality from their former collaboration, when artists as talented as MF DOOM and CZARFACE get together, there are sure to be fireworks, ill beats and rhymes, and plenty of comic book references. Rest in peace MF DOOM.

Favorite Tracks:

Mando Calrissian

Break in the Action

Czarwyn’s Theory of People Getting Loose

Rating: 6

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Recently, StereoVision writer Kaila Cherry caught up with Small, a musician, graphic designer, and photographer from Oakland California. Over the course of the interview the two talked about gender expression, Kanye West, building a universe, and so

Classic Review: With Stunning, Sample-Heavy Production and Mythical Rhymes, 'Madvillainy' Forms Hip Hops Most Villainous Duo

February 22, 2020 by Luke Modugno in Read

By Luke Modugno

We’ve always been captivated by the archetype of the villain. Of course, we all love a gratifying hero’s journey, but a well executed, memorable villain becomes legend. In cinema, we have characters like Thanos, Darth Vader and the Joker. In rap music, it's MF DOOM and Madlib.

Both outcasts of hip-hop and thriving underground artists, the infamous duo teamed up in 2004 under their moniker “Madvillian” to release their cult classic Madvillainy.

Although the 22 tracks of the project breeze by in under 50 minutes, Madvillainy’s razor edge rhymes and transcendent production makes for an album as iconic as DOOM’s metal mask.

In the years leading up to Madvillainy, DOOM and Madlib were on two completely different paths. Madlib saw success early in his career as his inherent knack for mixing obscure samples from every corner of the music world with hip-hop aesthetics was recognized. In 1999, he was signed to Stones Throw Records. After his debut solo album The Unseen (released under the alias Quasimoto) was met with critical praise, Madlib was poised for a successful career as a producer.

But DOOM’s path to success was anything but similar to Madlib’s. Under the name Zev Love X, DOOM formed the group KMD with his younger brother DJ Subroc and another rapper named Rodan. The group achieved minor commercial success in New York with singles “Peachfuzz,” and “Who Me?” But all of KMD’s potential was crushed when Subroc was struck by a car and while crossing the street, killing the 19-year-old. That same week, KMD was dropped from their label, partly due to their extremely controversial then upcoming project titled Black Bastards. DOOM was devastated and became nearly homeless for three years. He dropped off the radar and swore revenge on the industry that he believed ruined his life.

In 1997, a masked man started showing up at open mic events in Manhattan, stealing the show with clever rhyme schemes and mythical narratives that drew attention from the music industry. That masked man was of course MF DOOM, no longer under the name Zev Love X. DOOM continued to impress and was signed to Fondle ‘Em records in 1997 and two years later, released his debut studio album, Operation: Doomsday, to critical acclaim. DOOM didn’t stop there, releasing Take Me to Your Leader and Vaudeville Villain under aliases King Geedorah and Viktor Vaughn respectively. Both projects were successful ventures into world building, establishing DOOM’s untamed creative mind.

After his early run of success and wildly unique persona, DOOM grabbed the attention of Madlib and they began working together.

As soon as the news broadcast cuts in on “The Illest Villains,” the listener is thrown into a fictitious realm, ruled by the Madvillain.

“As luck would have it, one of America’s two most powerful villains of the next decade is turned loose to strike terror into the hearts of men/one of the worst of all was the Madvillian/ villains who possess supernatural abilities/villains who were the personification of carnage.”

Throughout Madvillainy, Madlib’s visionary production paired with DOOM’s dark, deep voice and lyrical ability allows Madvillainy’s mythical world building to become a reality. Each track is a new scene of the movie, with DOOM’s villainous reign illustrated somewhere between reality and fiction. DOOM finds himself in situations rooted in reality (mental health struggles, drug addiction), while simultaneously acting as an imaginary nefarious villain, ruling his realm with an iron fist.

The album plays on a “seminal connection that audience can relate their experiences to the villains and their dastardly doings,” as heard on “The Illest Villains.” The result is a one-of-a-kind project in hip-hop, that manifests a world of abstract antiheroism that feels as developed as the plot of a Marvel movie.

Madvillainy sees both DOOM and Madlib at their most inventive. Often rapping in third person, DOOM develops his own character, stringing together clever bars about his villainous deeds and life as a “ruthless mass conqueror.” Yet we get moments of introspection peppered throughout tracks, concerning mental illness, drug addiction and bad habits that keep DOOM in a cycle of perpetual wrongdoings. By the end of the project, the masked man staring back at you on the cover of Madvillainy seems tangible, a real-life villain living in our world.

On the track “Rainbows,” DOOM warns the streets that he is watching, establishing himself as a threat lurking in the shadows. Behind Madlib production that sounds like it’s straight out of a Batman cartoon, the track is an example of the unparalleled expertise in scene setting.

From playing the role of a disgruntled Viktor Vaughn, making a phone call to his girlfriend who cheated on him with DOOM on “Fancy Clown,” to rhyming about his kleptomania as a result of his rough childhood on “Curls,” Madvillainy is DOOM’s most cohesive lyrical performance in his discography.

Digging into the deepest caves and crevices of soul and jazz, Madlib produces the most imaginative beats of his illustrious career on Madvillainy. While working on the project, Madlib travelled to Brazil to hunt for loops he could utilize in samples. Sifting through mom-and-pop record shops in Sao Paulo, Madlib bought multiple crates of soul, jazz, Brazilian and Indian records. His unique sampling and use of audio clips from 1940’s movies like “Frankenstein” gives Madvillainy its inimitable quality of production. “Accordion” remains one of the most recognizable and unique beats in hip-hop history. The hard baselines that grace “Meat Grinder” represents the essence of Madvillainy; a godly and iconic rhyme scheme from DOOM and a multi-sample masterpiece of a beat that gives the project its grimey, ominous tone. With more stunning production on “Raid,” “All Caps,” and “Rhinestone Cowboy,” Madvillainy shows one of the best producers in hip-hop history in rare form.

Madvillainy was received with rave reviews upon release and has stood the test of time as an undisputed underground rap classic.

As the applause slowly fades on “Rhinestone Cowboy,” you slowly come back to reality after being utterly immersed in a fictional land created by DOOM and given life by Madlib. In contemporary hip-hop, Madvillainy sits on an island as an isolated work of perfection. Even Madlib’s later team-up with Freddie Gibbs on Pinata and Bandana doesn’t nearly reach the level of mastery and excellence of Madvillainy. As long as our society has a secret affinity for the villain, Madvillainy will continue to captivate hip-hop as the quintessential antihero of the genre.

Favorite tracks:

Meat Grinder

All Caps

Rhinestone Cowboy

Rating: 10

Listen to Madvillainy here:

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