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Thread: A look back at "Bobby Digital in Stereo" + 'Do You Hear The Bells' (FLAC) + RZA comp

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    Killer Bob claaa7's Avatar
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    Default A look back at "Bobby Digital in Stereo" + 'Do You Hear The Bells' (FLAC) + RZA comp

    When discussing RZA as a marvel of Hip Hop production the template that really shows his depth and range is usually accepted to be his work between "Enter The Wu-Tang (36 Chambers)" (1993) and "Wu-Tang Forever" (1997), the two WTC group albums, and the solo albums in between. Those latter projects is what we commonly refer to as the first round of solos, five albums which each offered a unique look into the starring emcee's persona, style and musical preferences - or their respective chamber as the Wu themeselves would call it. The way RZA managed to craft a complete body of work for each individual emcee (that was also distinct from the group projects) which was easily distinguishable from the previous and next projects through their sonic substance and either the samples used or the way they were used. The music created for those albums not only reflected the emcees voices but also a sound which were the musical equivalents of their respective personality. "Ironman" (1996) is a great example. For Ghostface who always had a strong love for the soul classics of the '60s and '70's, RZA used those type of records as sample souces (Al Green, Jackson 5, The Persuaders, etc.) and took a cleaner and more polished approach to the music than he did for Raekwon's hard hitting, red hot street opera released a year earlier. RZA and Ghost even invited Force MD's and Delphonics to add their voices to the album and created their own take of a heartfelt soul classic with Mary J. Blige on the autobiographical "All That I Got Is You". It's no question that this was clearly Ghostface's chamber, his personal work, and RZA did a marvelous job of tailoring it to suit his musical needs. In contrast compare it with Method Man's "Tical" (1994) which was all around super grimey, dark and dusty. Layered with unorthodox sounds, heavy drum programming and such heavy low end that the basslines would damn near blow out your speakers ("Biscuits" is a good example), the close-to-scary darkness that surrounded the songs was the musical equivalent of the blunts dipped in honey that Meth supposedly smoked at the time. Each of the albums RZA produced around this time can be described by pointing out their differences, but it's also important to note that despite each album being easily distinguished from the next, RZA also managed to create them in a way that collectively would help create an unmistakable Wu sound - a sound that to this day has never succesfully been re-created by anyone else (despite superb "interpretations" by people like True Master and Allah Maethematics).

    I would like to challenge this commonly accepted discourse by making a case for the inclusion of RZA's very own solo debut "Bobby Digital: In Stereo" (1998) to be considered as a natural part of the aforementioned first round of albums that defined RZA as a producer and built the Wu-Tang brand. In that case it both marks the end of an era as well as the beginnings of a new one, something that can be said for "Wu-Tang Forever" as well. Coming two years after Ghostface's soulful celebration and embracement of his life, beats and rhymes, RZA went back to his well of inspiration to craft yet another totally individual chamber of sounds within the Wu-Tang pantheon. But this time the resulting body of work would take even the most loyal of followers by surprise as RZA stripped down the majority of what had made him number #1 to the hoards of people who worshippped at his altar - his mastery of creating music from samples. Although his various albums had contained very different styles they all shared the common thread of being sample based music. Around 1996 he had instead begun experimenting with a wide range of keyboards and synthesizers which he dubbed his "digitized orchestra" while also taking up Western music theory. Looking back at the album today and putting it within a wider context we can however see that this wasn't as sudden a transformation as was once believed the first time fans heard the synthesized "B.O.B.B.Y." blast through the speakers. I would say that the earliest precursor that could be considered Bobby Digital material would be the Hide-Out Remix of the Method Man single "The Riddler" (from 1995's Batman Forever soundtrack). Another joint that appeared months before the first single from "In Stereo" is called "And Justice For All..." which was featured on the Razor Sharp compilation "Wu-Tang Killa Beez: The Swarm". Naturally, a lot of the stuff we heard were already beginning to take shape on "Wu-Tang Forever" with its stripped use of samples in favor of digitized keyboards based on chord progressions and European music theory.

    With this in mind it's clear that this "new" sound wasn't something that The RZA had haphazardly thrown together with the simple reason of doing away with sample-based music. This was a style that he had been working on and trying to perfect for quite some time, and someone with as good an ear as The Abbot has proven to master a style rather fast. What makes "In Stereo" so intriguing from a production standpoint is that it's still quite firmly rooted in the unpredictability and originality that came from RZA being a producer from starting out as a DJ (basing everything by ear), in contrast to a producer working slavishly from music theory (basing everything on "logic"). This unpredictability is something that RZA to a large degree lost as he became more immersed in Western musical theory, but on here he had yet not truly "got a grip on it" more than the most basic stuff, which allowed him to create a sound that mixed traditional and unexpected elements. Two great examples of this is "Unspoken Word" and "Mantis". On the latter cut he has the fat drums programmed, a repetitive piano loop, and really very little else, until he chooses to use what should, by all natural logic, be an incredibly annoying sound effect that sounds something like a repetitive control tone. This is used to create a kind of melody and is then looped across the entire track. With Bobby, Masta Killa and Tekitha all going hard as fuck the end result is hypnotic in its brilliance. The inclusion of . "Unspoken Word" similarily creates a hypnotic groove out of a fascinating anomali, created by a rock hard, but very short loop with a vocal sample that never gets to finish before it is looped back again. This keeps repeating for 5 minutes straight while RZA spits some of the hardest bars on the album - there's a lot of quotables on here and to me this would've been a better first single than the somewhat mediocre "B.O.B.B.Y.".

    Like the preceding Wu-Tang albums he produced "In Stereo" is a very cohessive and thematically tight album. The musical tranks linked by accoustic piano intermissions of spoken words in different languages shouting out Bobby Digital as the worldwide superhero he is. As I mentioned above I was never crazy about the lead single "B.O.B.B.Y.", but from the second song and up to the last song on the thematic closer "Domestic Violence" "In Stereo" plays out like a modern day masterpiece. Similiar to the earlier albums mentioned above, the LP is filled with Wu-Tang Clan members (most generals make an apperance in one way or another - save for Raekwon) and like on the older albums some of the best tracks are the posse cuts and cuts with guests. Perhaps because RZA, though a good rhyme spitter, he's always best when surrounded by emcees of equally high caliber ("N.Y.C. Everything" with Method Man; the Inspectah Deck produced "Kiss Of A Black Widow" with ODB; the posse cuts "Holocaust", "Terrorist" and "Bobby Did It"). It also stands out as it is the first true Clan solo that heavily features what RZA in a The Source article in late '99 called his "C-artists" (Killarmy, Black Knights, North Star, Tekitha, Ms. Roxy, etc.). As such it was the first album that introduced the somewhat legendary Holocaust on a track where he attacked the song so viciously that he got the track (which was originally titled "Silkworm") named after him. Those two posse cuts with Ghost are also among the first two tracks to feature the style that Ghost would attract the whole world to with his "Supreme Clientele" style some 18 months later.

    When discussing "In Stereo" as a classic it is important to note that the album features 21 tracks, with the information that the four final tracks are bonus RZA tracks (as in not made in Bobby Digital persona). As such the liner notes makes it clear that "Bobby Digital in Stereo" is finished when track #17 fades out - the excellent artistic and violent expression that is "Domestic Violence". Therefore it should be noted that when I am discussing "In Stereo" as a personal classic and a profound and cohessive musical statement on par with the first round of Wu-Tang solos, those sentiments are based on the front-to-back experience of listening to tracks 1 to 17. While a couple of the bonus tracks does have some merit (especially "Lab Drunk") it makes the album sound dragged out and the two weakest songs on the entire disc finish things off diminishes the artistic statement of the preceding cuts. To end the album on the one-two punch that is "My Lovin' is Digi" and "Domestic Violence" is nothing short of genius - the first one being a majestic string filled affair with beautiful, seductive female vocals and Bobby Digital declaring his love for women and love in general. On the other hand, "Domestic Violence" is the gritty backside of that same coin - where Bobby describes a fallen relationship in the harshest terms possible over a stripped down but gut punchingly hard beat. When the song fades out after over 5 minutes we've been treated to misogynistic rhymes and hateful attack on the former partners as well as a chaotic outro with U-God on the phone interrupting the fighting couple in a most cinematic way. When the song finally ends the sudden sound of silence is almost a relief, and like the moments after you've seen a great movie that had a profound impact on you, you'll sit there reflecting on Bobby Digital and his weird, intense world of hip-hop, drugs, women and violence.




    Download "Do You Hear The Bells" / "NYC Everything" in FLAC
    http://claaa7.blogspot.com/2016/07/b...in-stereo.html



    BOBBY DIGITAL compilation
    http://claaa7.blogspot.com/2016/08/c...in-stereo.html



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  2. #2
    Battle-Scarred Shogun shogun85's Avatar
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    WTF happened to The Cure?!


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    French kissing in the USA Hal Incandenza's Avatar
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    claaa I agree with your view of In Stereo. it has its own unique sound - unique world I'd almost say

    for me it's on par with the solos that came out before Forever

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    If they consider Killarmy C list, who is b list to them?

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    Veteran Member LordReveal's Avatar
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    This review is 100% on-point. Everything mentioned in the review is what I always thought of this strange, weird, sonically different yet beautiful and classic piece of work.
    The Holy Temple Is The Mental

  6. #6

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    Quote Originally Posted by David Daniel Davis View Post
    If they consider Killarmy C list, who is b list to them?
    Seriously.

    Killarmy has a nearly flawless discography, Wu-Tang Clan can't even make that contention.

    Half of the Clan's albums are garbage, while the Rmy's short but sweet run is among the most legendary in Hip-Hop (IMHO)...


    Quote Originally Posted by CharlesJones View Post
    Thanks for your hate hahahahahahahahahahahahahaha.

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    God's Replica Mumm Ra's Avatar
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    album is a masterpiece from the first track through the last, 21 tracks without having to skip a single one. idk if the general consensus has this as a classic but I do


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    Quote Originally Posted by Samurai_Turkey View Post
    Seriously.

    Killarmy has a nearly flawless discography, Wu-Tang Clan can't even make that contention.

    Half of the Clan's albums are garbage, while the Rmy's short but sweet run is among the most legendary in Hip-Hop (IMHO)...
    This is stupid. They released 3 albums in 4-5 years. Wu dropped 4 classics and 3 near classics in a 4 year span, putting Killarmy up against the Wu is ridiculous shit
    Posts by The Hound are signed TH.

    Quoting ≠ Agreement.

  9. #9

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    Bobby Digital is the fucking shit

  10. #10

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    Lemme first off say I love In Stereo. It's an incredibly dope album, I used to bump this nonstop, and it'll always remind me of an era.

    That said, the era it reminds me of is not the original Wu era and I can't group it alongside those. Tho it may be one of the last great RZA productions as a whole, it's definitely of the 2nd generation of Wu albums. I do agree what was said about him moving into doing more self-composition but not quite having mastered it yet which gives it that raw edge. The drums on In Stereo still sound mad flimsy to me though. Still a great album, just listened to it front to back the other day.

    I wanted him to drop The Cure. If it woulda been half as good as it was back in the day in my head, it woulda been one of the best Wu albums of all time.

  11. #11

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    c7 i download all ya proiects, you really put the work in to capture the eras perfectly

    bro can you please update the pretty tony comp?i will keep uploading it as it comes out for you so you can keep updating

    i would love 8 diagrams comps with watch your mouth, original wolves, nuttin can stop me now remix, face the problemz, etc. or even rza blunted soul rnb album mix with wu revolution, sweetuh love, daily routinew, 97 mentality.supreme clientele etc

    id help you if you needed it. your work is pre3serving the culture, being one of the only real spots to find this material nowadays. good work bro as always.GREAT job please keep it up ya blog is great

  12. #12
    VogeltjesDansBende lid Jet Set's Avatar
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    Quote Originally Posted by shogun85 View Post
    WTF happened to The Cure?!

    Never saw the Instrumentals, movie or 5.1 remaster either.
    Wu-Tang: failing the internet tubes since 1997

  13. #13
    Veteran Member Punch's Avatar
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    In Stereo is a near masterpiece with only a few missteps( the bonus tracks sans Lab Drunk).
    I've always said that the shift in RZA's style can be traced back to Marvel off of Ironman.
    While I think In Stereo can hang with the other first-era solos, Forever makes for a pretty clear marker for the end of that era. After taking care of everyone else, In Stereo feels like RZA unfiltered and the start of a new wave.

    This was great Claa. This part was perfectly said
    What makes "In Stereo" so intriguing from a production standpoint is that it's still quite firmly rooted in the unpredictability and originality that came from RZA being a producer from starting out as a DJ (basing everything by ear), in contrast to a producer working slavishly from music theory (basing everything on "logic").
    As for myself: I had come to the conclusion that there was nothing sacred about myself or any human being, that we were all machines, doomed to collide and collide and collide.
    - Kurt Vonnegut


  14. #14
    Shaolin Master
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    which ones are the 4 bonus tracks mentioned on the back cover ?

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    Killer Bob claaa7's Avatar
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    ^ the last 4 songs on the EU/US version

    ForensikZ - thanks for the praise.. i will look into putting together "pretty toney" comp again, i don't have that specific comp anymore but i don't think it would be too hard to redo it



    daily updates: news, articles, reviews, the best compilations on the net. that true skool street hop!

    r.i.p. Johan D, Kaddu, Ricke a.k.a. "Slick Rick" and the rest of the fallen soldiers - you'll never be forgotten!

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