It boils down to creativity vs consistency.
I know a premo beat after 20 seconds and it doesn’t change. Rza shit hit different
Rza is next level, weird how people forget how advanced Rza was in the 90's, nigga had 5 different production styles, one for each alter ego. Rza is more advanced than Preemo, but Preemo is more NY than Rza. I am sure Rza produced way more full albums, soundtracks, and movie scores than Preemo, but Preemo has produced on more "NY" classic songs.
Rza had shit on smash from 1993 to 1995, which is widely considered the peak time in Hip Hop.
1993: RZA
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CREDENTIALS: Enter the Wu-Tang (36 Chambers) (Wu-Tang Clan)
When the Wu-Tang Clan arrived on the scene in the early ’90s, they were more than a supergroup. They represented a musical movement that changed how record deals were structured, how rap fans spoke—and, ultimately, how hip-hop sounded. The chief orchestrator of this cultural shift was Robert Diggs. Known as the
RZA (f.k.a.
Prince Rakeem), he crafted productions that were the backbone of the Clan’s debut opus,
Enter the Wu-Tang (36 Chambers).
One of the first voices listeners hear on the album’s opening track is that of RZA on the hook, yelling, “Bring da muthafuckin’ ruckus!” And that’s exactly what he did with
36 Chambers. Full of murky, mechanical beats and soulful samples, spliced with sound bites from classic kung fu flicks, the album was like nothing rap fans had heard before. Created outside of the glossy music industry, it was the direct kick to the nuts that the game needed.
36 Chambers spawned several classic tracks that highlighted the talents of not only the group’s nine MCs, but also the mastermind behind the boards. Lead single “Protect Ya Neck” and its official B-side, “Method Man,” were bare-bones productions that showcased RZA’s less-is-more approach to beatmaking. Meanwhile, gems like “C.R.E.A.M.,” “Tearz,” and “Can It Be All so Simple” exemplified his knack for marrying dirty drum patterns with beautifully chopped-up soul samples. The latter technique planted the seeds for the chipmunk soul era of the 2000s, which is often linked to a brash young rapper/producer from the South Side of Chicago. But even Kanye West acknowledges the fact that RZA had a major influence on his production style. The second golden age of hip-hop is often pegged to 1994, but truthfully it started a year earlier, when the world was introduced to the game-changing sounds of the RZA.
HONORABLE MENTIONS: Q-Tip/A Tribe Called Quest, DJ Premier, Dr. Dre
1995: RZA
Image via Complex Original
CREDENTIALS: Only Built 4 Cuban Linx… (Raekwon);
Return to the 36 Chambers: The Dirty Version (Ol’ Dirty Bastard);
Liquid Swords (GZA)
After the Wu-Tang Clan exploded onto the scene with
Enter The Wu-Tang (36 Chambers) in 1993, RZA moved to phase two of the Wu-Tang plan: infiltrating record labels and spreading the Wu doctrine across a number of projects. With each artist able to sign his own solo deal outside of the Clan, Method Man kicked things off with his RZA-produced 1994 debut
Tical—foreshadowing the three RZA-helmed solo albums released during the Wu’s 1995 run.
Raekwon’s
Only Built 4 Cuban Linx… was one of the biggest releases of the year. Known to fans as “The Purple Tape” due to the translucent purple cassette it arrived in, the album found Rae establishing his own chamber, which was more closely tailored to
Scarface than
Five Deadly Venoms. That was no issue for the RZA, who sourced classic crime films like
The Killer and
Carlito’s Way to provide the glue that connected Rae’s gritty dopeboy tales and mafioso dreams to the Clan. Together, he and Rae cooked up a certified hip-hop classic.
The same can be said of GZA’s
Liquid Swords, a captivating puzzle box of philosophy and street tales. Produced entirely by the RZA (save for the CD-only
bonus track), the album used sounds plucked from a wide variety of sources, including New Edition, Three Dog Night, and Cannonball Adderley. RZA came up with challenging patterns and rhythms that fit the deep lyricism and coded language that the GZA penned over them. It was closer to
Enter the Wu than “The Purple Tape” and provided a perfect representation of what the GZA brought to the squad.
For the RZA’s third trick, he churned out
Return to the 36 Chambers: The Dirty Version, the solo debut from his and the GZA’s cousin Ol’ Dirty Bastard. RZA didn’t produce the lead single, “Brooklyn Zoo,” but he did provide the infectious piano twinkle and understated groove of standout “Shimmy Shimmy Ya.” From the subversive melodies of “Raw Hide” to the playful throwback hip-hop of “Cuttin’ Headz,” the RZA got the best out of the Wu’s biggest character.
The Wu mastermind was supremely in demand in 1995, also producing tracks for Cypress Hill (“Throw Your Set in the Air,” “Killa Hill Niggas”), the
Batman Forever soundtrack (Method Man’s “The Riddler”), and Shaquille O'Neal (“No Hook”). Basically, anyone who was looking for the sound of New York hip-hop in 1995 had to holler at the RZA.
HONORABLE MENTIONS: Havoc/Mobb Deep, Da Beatminerz, Easy Mo Bee
The Best Hip-Hop Producer Alive, Every Year Since 1979
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