Even if just considering the folks that are perceived as mainstream producers, there’re still too many people working to actually know about everyone that matters. And even if there were possible, it would essentially end the pleasure in diggin’ around in digital crates or their real world equivalent – when was the last time you visited your local record store?

Rhythum D (also spelled Rhythm D) is unfortunately one producer who has somehow managed to slip through the cracks of the industry, much like Battlecat, but should be looked upon as an exact representation of what G-Funk production was and still should be. Yeah, Dre is still probably one of the three best behind-the-boards dude to have on your disc. And while Rhythum D shouldn’t necessarily be considered in the same breath as Dre, he should be considered. Unfortunately, if it weren’t for the Smoking Section, I probably wouldn’t have ever even heard his name.

Because of the scattershot nature of most rap albums productions, there’s rarely an entire disc the sports the work of a lone producer. Maybe that works in the best interest of the emcees on such offerings – being able to draw on the notoriety of different producers can’t hurt record sales after all. At the same time, though, this strategy can allow for some uneven albums. And it’s also resulted in Rhythum D’s production credits being a bit scattered at best.

Probably, Rhythum D’s most notorious collaborations game through the members of N.W.A. subsequent to dissolving the group. Since Dre went his own way, there was need of a producer adept at the laid back, funky and historically significant production style that Yella, Ren and Eazy-E were accustomed to. D was more than happy to help.

Through his association with Eazy, Rhythum hooked up with the Cleveland East Siders in Bone, Thugs ‘n Harmony, producing a portion of the group’s single Creepin’ On Ah Come Up in 1994. When members of Bone, Thugs went on hiatus, Flesh ‘n Bone began a stilted solo career. And on each of his solo discs – before being incarcerated for threatening an acquaintance with an AK – Rhythum D managed to provide a bit of production work.

Those discs weren’t released to resounding acclaim, but an earlier disc that D worked on, which didn’t receive as much press as it deserved, found the producer turning in his most accomplished, steady and more over, funky works.

The 1995 disc from rappers B.G. Knocc Out & Dresta, Real Brothers, doesn’t stray from any trappings of that decade’s g-funk, but working within that mold, it’s really a successful release. There’s nothing overly surprising production wise and most of the raps are about girls, money, guns or skills. But the shuffling funk of every track, liberally flavored with some soul hooks, can sit next to any classic from the period. In comparisons, perhaps these emcees aren’t as allusive or overtly literate as some of their contemporaries, but those have never been the main draws to hip hop.

The consistency of Real Brothas points to what Rhythum D should have been. And that’s probably, at least, partially why Snoop taped the unheralded producer for a bit of work on his 2006 Tha Blue Carpet Treatment.

Maybe, we’ll see D’s name somewhere else soon enough – because the longer we wait, the more funk we’re missing out on.