![wu tang clan cream samples wu tang clan cream samples](https://thumbnailer.mixcloud.com/unsafe/600x600/extaudio/3/7/1/a/9ba4-0d0c-45fe-93d1-bdf8952a08da.jpg)
I used to walk in and out of the room and hang out and listen to the stuff, but when they finished they didn’t have enough money to pay! I told RZA, “Don’t worry about it, man, give me it when you have it.” It was like $300 or so. They did “Protect Ya Neck.” It was an amazing track, very wild and hardcore. I always wondered if he had a falling out with RZA or something. Nobody had heard of them and I think it was assumed this was another group of friends making a demo and they probably weren’t very good.Įven when the Gravediggaz came out, I was always asking, “Where’s RNS?” Nobody seemed to give me a straight answer. His cousin was this guy Rakeem, and he was working with a group called the Wu-Tang Clan.
![wu tang clan cream samples wu tang clan cream samples](https://i2.wp.com/musophone.com/wp-content/uploads/2021/10/cream-1024x889.jpg)
![wu tang clan cream samples wu tang clan cream samples](https://i.ytimg.com/vi/52-8k6yWRJs/hqdefault.jpg)
I think RNS ended up telling his cousin that I was good and so I started doing sessions with him. He was maybe ten or so but he had mad skills and it went well. I filled in on a session with a producer named RNS who was doing a record with a kid named Shyheim. Him and RZA were boys and occasionally RZA would come by and work on some of Shyheim’s stuff, but it was really RNS who was the one I was dealing with at that time.
![wu tang clan cream samples wu tang clan cream samples](https://www.planetmeech.co.uk/media/images/user-images/40403/fullsizeoutput_1511-edit.jpeg)
The producer, RNS, was the one that I would work lots of sessions with and he was the one that told me one day, “I’m putting together a group of guys and I’m going to call it the Wu-Tang Clan.” He was the one that really said it to me. The oral history that follows details how a squad of engineers helped shape the sound of one of the most important debut albums in hip-hop history. This vibe of tough production that prioritizes cavernous bass tones and thudding drums over melodic flourishes also inspired the underground, independent rap movement that sprouted up in the mid-’90s, and remains synonymous with classic East Coast hip-hop.
#WU TANG CLAN CREAM SAMPLES PLUS#
As the Wu-Tang MCs rolled out solo albums, the Firehouse engineers found themselves behind the boards on equally rough projects from Ol’ Dirty Bastard, Method Man and Inspectah Deck, plus RZA’s Bobby Digital persona and the Gravediggaz spin-off group. The sonic template laid down on 36 Chambers continued to influence hip-hop throughout the ’90s. During rowdy late-night sessions with the group, Ryman and Bess became “the go-to guys for RZA” as they helped preserve the producer’s hardcore approach to beatmaking, ensuring the tracks possessed an in-your-face impact. “We all learned from each other and competed for the best sounding mixes,” says Ryman. The talents of Carlos Bess and Nolan “Dr. Ethan Ryman, who ended up overseeing the 36 Chambers sessions, arrived after “losing my shirt on a production company business and needing money and experience in the studio, so I was taking everything that came my way.” Ryman was flanked by Dennis Mitchell and Blaise Dupuy, who had both previously worked at a Manhattan studio called the Box before Vazan courted them when it closed. “You’re gonna hear the new style now: this isn’t Rakeem, it’s RZA, the RZArector!”Īdding technical audio support to this new Wu-Tang style was a wave of engineers that had found their way to Firehouse. “We’re gonna show everyone they were wrong,” Vazan recalls RZA telling him. The deals went sour and they were dropped, but the rejection prompted the formation of the Wu-Tang Clan. RZA and GZA (then recording as Prince Rakeem and the Genius) also cut solo demos at the Firehouse which scored them record deals with Tommy Boy and Cold Chillin’. The spot wound up attracting a hip-hop clientele key late ’80s and early ’90s artists like the Audio Two, MC Lyte, Das-EFX and Guru passed through the vocal booth. He opened the studio in 1988 and sought to drum up business via adverts placed in the Village Voice. Originally situated in an old fire station on Dean Street in Brooklyn before later moving to Manhattan, it was owned and run by the engineer Yoram Vazan. True to RZA’s vision, the Wu’s lo-fi production was coated with a grimy and grungy patina that would become the clique’s calling card – and this texture was facilitated by a team of up-and-coming engineers working out of a small studio called the Firehouse. As RZA told Hip-Hop Connection magazine back in 2006, “You had Snoop and Dre dominating with this really low and funky but powerful bass sound, so I wanted to show them how New York bass did it, that really gritty bass sound – and make it louder! I wanted things to be tough from the very beginning right to the end.” Dre had formulated in Los Angeles and taken into the mainstream. Released in 1993, Enter the Wu-Tang (36 Chambers) resonated like a rugged New York City response to the slick and melodic g-funk sound that Dr. The Wu-Tang Clan’s debut album changed the sound of hip-hop.