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” Although Ol ‘ Dirty Bastard is given co-production accredit on “ Da Mystery of Chessboxin ‘ ” and Method Man is co-credited for “ Wu-Tang Clan Ai n’t Nuthing ta F ‘ Wit, ” critics and admirers universally credit RZA with developing a “ cold even digital production vogue helped legitimize the habit of more diverse sample sources to the hard-core New York knock massive, breaking away from James Brown based beats and embracing a dash that turned the Underdog composition into the baleful finale for a group of clandestine terrorists. many critics argue that the minimalist means of production plays immediately into the appealing “ street ” choice that makes the album a authoritative, including Ben Yew, who stated, “ Because did n’t have the best desegregate or recording equipment, the album is wrought with a ‘dirty ‘ quality-the drums have more bass and are more hard-hitting than they are crisp and clean the samples have an eerie, about haunting type of echo and the vocals, because each penis ‘s voice is already aggressive and game, absolutely match the production. The farinaceous voice of Enter the Wu-Tang is due, at least in partially, to the use of cheap equipment to produce the album. The use of soul samples and respective esoteric clips, and the technique by which RZA employed them in his pulsate was singular and largely unprecedented in hip-hop. He complemented the rappers ‘ performances with “ lean, menacing beats that evoked their farinaceous, urban surroundings more efficaciously than their words, ” according to Stephen Thomas Erlewine of Allmusic. Group leader RZA produced Enter the Wu-Tang (36 Chambers) by creating sonic collages from classical soul samples and clips from martial arts movies such as Shaolin and Wu Tang ( 1981 ). Reading: Enter The Wu-Tang (36 Chambers) production