The track that I have chosen to analyse is ‘Wu‐Tang Clan Ain’t Nuthing ta F’ Wit’. This track uses many different samples. RZA has found segments of various songs and degraded them to create something completely different.

This track is very swung and has a consistent bounce throughout. Once in a while, the sample changes to another. It doesn’t have too many layers and is arranged with the bassline, sample stab, and swung drums. The sonority of this track is quite simple, as he has chopped a short part of a sample, so the harmonic rhythm isn’t significant.

The main part of this song that brings it all together is the vocals, as they hold a huge part in the track. Wu-Tang Clan managed to syncopate their voices when rapping, and this adds more life to the track, as being so imperfect almost makes it perfect. Wu-Tang also emphasises their words with spirit, and this makes the track a lot more appealing to listen to.

The song immediately starts with the technique of intertextuality. This is because it starts off with the phrase ‘tiger style’ from the movie ‘Executioners From Shaolin 1977.5’. As RZA creates his beats, he adds many different samples to bring his tracks to life.

What is so good about intertextuality is that it shows that everything comes from somewhere. RZA using these samples lets people from different cultures and backgrounds who already know the original samples, more inclined to listen to a track with a fusion or a track that contains a sample that they like. I do believe that RZA was doing this out of the fact that he loves sampling and I don’t feel like he does it to grab attention and pull in more people. But it is very helpful that this is a benefit of sampling. RZA’s tracks have inspired many people to sample in different ways and it is phenomenal that he has had such a positive effect.