My Lovin Is Digi
The word genius can be bandied about with careless abandon in the musical world and, in the rap game, where hyperbole is often the language of success, it is easy for the term to become debased. There are a few true masters of their art, however, and in my mind one of the figures who really deserves to be heralded as a cut above is none other than the Rza-razor-Rza-razor-sharp Mr Robert Diggs, aka RZA, Prince Rakeem, the RZArector, Bobby Steels, the Abbott, Bobby Digital, and probably a whole host of other monikers swirling around his deranged mind.
His rhyming style might not be to everyone's taste, nor indeed his production, but surely even the must curmudgeonly of heads would give credit where credit is due to his supreme mastery of the studio sound board. Indeed, talking of credits, have a look at the guy's discography and credit list, and you will be amazed at the sheer volume of the output, a prodigal work rate. Look closer, however, and you will find very few duds amongst them. The beats-for-hire approach of many of his contemporaries does not really apply to the RZA and when he applies himself to a project you seem to get the whole dedication of his talents. Reel off the Wu albums and affiliated solo projects (has there been a richer vein of form than that which produced Enter the Wu-tang, through Gravediggaz' Six Feet Deep, Tical, Cuban Lynx, Return to the 36 Chambers, Liquid Swordz, I could go on!), the soundtracks (Ghost Dog especially is an unheralded gem), the man's own solo output, and it all adds up to a canon of work that is quite simply stunning in its size, quality, and unceasing innovation. If further proof is needed, go and dig out 2000's Bobby Digital in Stereo album again. You know the one you shelved as you just didn't really feel it at the time. Listen again. Then again. Then a few more times. Then tell me it's not incredible.
His rhyming style might not be to everyone's taste, nor indeed his production, but surely even the must curmudgeonly of heads would give credit where credit is due to his supreme mastery of the studio sound board. Indeed, talking of credits, have a look at the guy's discography and credit list, and you will be amazed at the sheer volume of the output, a prodigal work rate. Look closer, however, and you will find very few duds amongst them. The beats-for-hire approach of many of his contemporaries does not really apply to the RZA and when he applies himself to a project you seem to get the whole dedication of his talents. Reel off the Wu albums and affiliated solo projects (has there been a richer vein of form than that which produced Enter the Wu-tang, through Gravediggaz' Six Feet Deep, Tical, Cuban Lynx, Return to the 36 Chambers, Liquid Swordz, I could go on!), the soundtracks (Ghost Dog especially is an unheralded gem), the man's own solo output, and it all adds up to a canon of work that is quite simply stunning in its size, quality, and unceasing innovation. If further proof is needed, go and dig out 2000's Bobby Digital in Stereo album again. You know the one you shelved as you just didn't really feel it at the time. Listen again. Then again. Then a few more times. Then tell me it's not incredible.
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