I'm well aware...I was one of those that still doesn't love IWW the same as the internet now does...this is because I played Illmatic for a full 2 years prior, and expected the similar sound with more 'hardcore/gangsta' influence (like how Nas was rapping on "Eye for an Eye"). I was dissappointed w/ IWW at first but still had lots of songs I loved. I don't view it as the same flawless-level classic in the same vein as illmatic, RTD, 36 Chambers, OB4CL, LS, or even Ironman.
I'll take The Infamous and Ironman over IWW any day. The Mafiosi raps felt a bit forced to me, especially compared to OB4CL which handled the Mafiosi/Drug Kingpin themes flawlessly. It was very obvious at the time that Nas hopped on the trend, going from project kid that was halfway connected to street level dealers to full on multi-kilo dealing, internationally connected wise guy. I was never a big fan of the globalized Kingping shyt b/c it feels forced and fake af. Why can't MFers be on some Avon Barksdale shyt if they're going to over-inflate shyt? Why they trying to act like they're Sosa, some kind of cocaine aristocrisy that consists only of South Americans? I liked how Biggie, Rae, CNN handled the dealer shyt much more...felt like Goodfellas (flawless film) rather than Casino (still classic 9.5/10, but it does NOT envoke the same vibe, same nostalgia, same gravity)
For the bolded, idk how any keen listener can not hear a MAJOR difference between 1995 The Infamous and 1996 Hell On Earth. Hav's drums were filthy boom-bap on The Infamous...by the time Hell On Earth came out, the sound was much more refined, still had the hard, but a little less sewer-grime feel, less project stairwell vibe.
Same with RTD and LAD...LAD isn't boom bap at all.
RZA's production from 36 Chambers>Return to the 36 Chambers>CL became much more refined as well.