West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: 123imagee on January 07, 2016, 11:03:24 PM
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You Know That Are Rumors That Dre Didn´t Produce Those 2 Masterpieces Himself
Suge Said "Ain´t No Fun" Beat Was Done By Some Leuders Park Piru
Warren G, Daz & Emmanuel "Porkchop" Dean Did Some Work On Those Albums Too...
So If You Sum It Up, Who Did What On Those Albums?
Happy New Year
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All lies
Others helped but it was dre
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All lies
Others helped but it was dre
pac,j-flexx,suge knight,daz
all of them said that dre is stealin credit i don´t think they ALL lied.
remember the story when "got my mind made up" beat was playin, pac asked who did the beat and dr.gay said it was his beat?
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
who said he helped daz on WWUD?
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
who said he helped daz on WWUD?
Snoop Dogg
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Apparently Dre is doing something right, because when his name is attached it comes out fire, and then when he leaves the building guys like Daz, Mel-Man, Yella, Sam Sneed, J-Flexx and whoever else suddenly just ain't making shit bang like it did before.
Look no further than Daz's career since leaving Death Row compared to Dre's career since leaving Death Row. Who is honestly going to believe it was Daz that was the true genius? I mean, I love Daz and consider him a legend, but Daz owes a lot to Dre.
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
Dre is credited for producing the version of "What Would You Do" that is on the Natural Born Killers soundtrack.
To my knowledge, Emmanuel Dean was not a producer on Doggystyle but he played the instruments on several tracks and Death Row didn't give him publishing credit for it. He talks about it on the DPG Eulogy documentary.
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Apparently Dre is doing something right, because when his name is attached it comes out fire, and then when he leaves the building guys like Daz, Mel-Man, Yella, Sam Sneed, J-Flexx and whoever else suddenly just ain't making shit bang like it did before.
Look no further than Daz's career since leaving Death Row compared to Dre's career since leaving Death Row. Who is honestly going to believe it was Daz that was the true genius? I mean, I love Daz and consider him a legend, but Daz owes a lot to Dre.
I think its like this...Daz and the others will make a melody or a beat then Dre will come in and arrange it better add bits, take away bits etc.
Then the other producers get bent later on because they actually wrote the main parts of the beats but Dre seems to get whole credit when he just
mixed up the original beat to make it sound better.
I think producers like Daz fell off because they did not have Dre as a filter to tell them whats good and whats bad and what needs doing to make good
beats even better...you can still hear some of that old stuff in Daz's later stuff but its easy to tell that there was nobody guiding him.
Dre wil surround himself with the best producers of the time then re-arrange their beats, add shit and remove shit and mix shit up to make those beats
even better.
Just just my theory after hearing what everybody says about how Dre works
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The music industries idea of a producer and the fans are two different things. Fans think that the person who made the beat is a producer but in the music industry it has more to do with who helped create the entire song, beat and lyrics combined. They have demoted the people who actually make the music as just 'beat makers' and have crowned themselves as 'producers'. Who do you think gets the bulk share of the money? Someone told me years ago that The Alchemist aired out Em+Dre by saying that they were getting other people beats, making some changes here and there and then they would take production credit. The fans see the credits and think that they made the beats when really they didn't.
Suge said that they would take artist demos that they would submit and make it their own and said that he got the idea from Eazy-E. Warren G got the samples for the chronic for Dre. Dre has people playing live instruments and what not as well. How much of the much do you think these super producers actually make themselves? Dre has a unique sound especially back then. You should be able to tell which beats are his and know that he may have help produce (using the industries definition) but didn't make the actual music or at the very least just helped to make the music.
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We really doing this again?
I think Doggystyle definitely had some ghost producers because the sound is so far advanced from that of The Chronic which dropped less than a year prior. But not to the extent that Dre stole entire beats. Probably took other demos and remixed them and received full production credit (but that would be Suge's call).
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All lies
Others helped but it was dre
/THREAD
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
OH, YOU MEAN THE ENTIRE DOGG FOOD ALBUM?
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The music industries idea of a producer and the fans are two different things. Fans think that the person who made the beat is a producer but in the music industry it has more to do with who helped create the entire song, beat and lyrics combined. They have demoted the people who actually make the music as just 'beat makers' and have crowned themselves as 'producers'. Who do you think gets the bulk share of the money? Someone told me years ago that The Alchemist aired out Em+Dre by saying that they were getting other people beats, making some changes here and there and then they would take production credit. The fans see the credits and think that they made the beats when really they didn't.
Suge said that they would take artist demos that they would submit and make it their own and said that he got the idea from Eazy-E. Warren G got the samples for the chronic for Dre. Dre has people playing live instruments and what not as well. How much of the much do you think these super producers actually make themselves? Dre has a unique sound especially back then. You should be able to tell which beats are his and know that he may have help produce (using the industries definition) but didn't make the actual music or at the very least just helped to make the music.
DRE IS THE MASTERMIND BEHIND IT ALL...WITHOUT DRE, THE PRODUCT WOULDNT BE A TENTH AS GOOD. DRE IS THE EPITOME OF A TRUE PRODUCER. HE SITS WIT THE ARTISTS FROM INCEPTION TO COMPLETION, AND PAYS VERY CLOSE ATTENTION TO DETAIL, GUIDING THEM THROUGH THE ENTIRE PROCESS. THAT IS WHAT A PRODUCER SHOULD BE, AND SADLY, MOST PRODUCERS IN HIP-HOP NOWADAYS DONT HAVE THIS SKILL...THE ONLY SKILL THEY HAVE IS PRESSING BUTTONS ON FRUITY LOOPS.
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^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
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^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
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I've had a similar issue myself when session musicians confuse themselves for producers. As stated above Dre can't have continued his success if he was a hack. Daz's career status speaks volumes about who did what
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DRE IS THE MASTERMIND BEHIND IT ALL...WITHOUT DRE, THE PRODUCT WOULDNT BE A TENTH AS GOOD. DRE IS THE EPITOME OF A TRUE PRODUCER. HE SITS WIT THE ARTISTS FROM INCEPTION TO COMPLETION, AND PAYS VERY CLOSE ATTENTION TO DETAIL, GUIDING THEM THROUGH THE ENTIRE PROCESS. THAT IS WHAT A PRODUCER SHOULD BE, AND SADLY, MOST PRODUCERS IN HIP-HOP NOWADAYS DONT HAVE THIS SKILL...THE ONLY SKILL THEY HAVE IS PRESSING BUTTONS ON FRUITY LOOPS
Nice How You Repeat What Snoop Said About Dre As He Went To Be All Up In Dre´s Ass Brownnosing Like A Fuckin Bitch, After He Dissed Him And Cut His Ties With Him (Between "Tha Doggfather" & "No Limit Top Dogg")
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Gone from Compton is probably a good example of what Dre did/does to tracks.
https://www.youtube.com/v/YrDGchRR33o
https://www.youtube.com/v/xNXz_jId42Q?t=1m36s
D.R.U.G.S Beats gets equal billing for the production in the album credits, but it's really easy to hear the difference after Dre got his hands on D.R.U.G.S.' idea (i.e. the Wings sample).
I often read/hear that Dre only makes some minor tweaks here and there or added a hat and then steals all of the credit. Coming up with the primary melody/tune is very important, but the more important thing is how the final product is delivered. Chopping up vegetables and boiling some noodles doesn't make you a chef if you need someone else to season it to make it kick.
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not these
niggaz threads again... :(
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Gone from Compton is probably a good example of what Dre did/does to tracks.
https://www.youtube.com/v/YrDGchRR33o
https://www.youtube.com/v/xNXz_jId42Q?t=1m36s
D.R.U.G.S Beats gets equal billing for the production in the album credits, but it's really easy to hear the difference after Dre got his hands on D.R.U.G.S.' idea (i.e. the Wings sample).
I often read/hear that Dre only makes some minor tweaks here and there or added a hat and then steals all of the credit. Coming up with the primary melody/tune is very important, but the more important thing is how the final product is delivered. Chopping up vegetables and boiling some noodles doesn't make you a chef if you need someone else to season it to make it kick.
every1 who claims dre steals beats needs to hear these
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^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
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Gone from Compton is probably a good example of what Dre did/does to tracks.
https://www.youtube.com/v/YrDGchRR33o
https://www.youtube.com/v/xNXz_jId42Q?t=1m36s
D.R.U.G.S Beats gets equal billing for the production in the album credits, but it's really easy to hear the difference after Dre got his hands on D.R.U.G.S.' idea (i.e. the Wings sample).
I often read/hear that Dre only makes some minor tweaks here and there or added a hat and then steals all of the credit. Coming up with the primary melody/tune is very important, but the more important thing is how the final product is delivered. Chopping up vegetables and boiling some noodles doesn't make you a chef if you need someone else to season it to make it kick.
Then maybe there is some truth to it? Also you are getting off topic here just a bit. No one is disputing that Dre changes beats. The question here is what beats did he actually make at DR.
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lol, People need to just let it go, Dre is a Legendary Producer end of!
All these
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not these niggaz threads again... :(
;D Nicely done.
That before and after with the Wings sample just proves the point. Dre is a producers producer, he may not come up with the skeleton all the time but he'll put meat on its bones and dress it finery that others couldn't even envision when it was a bag of bones as he exists in that zone that sees the end product first and then works backwards toward creating his vision, coaxing his artists to perform a certain way and finding the right sounds, arrangement and instrument.
Still think Compton is wack and below his standards though :p
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^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
bruh, i dont think u get what dre does...he doesnt just take a beat and makes a few minor adjustments. he recreates the entire beat to where he's 90% responsible for the final sound, where as the person who came up wit the beat idea is about 10% responsible. see the example above, you can hear it better than i can tell you.
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I honestly believe people are just trying to take Credit for Dres work because everyone back then has forgotten what really happen, trying to rewrite history. I'm not saying Dr. Dre doesn't get additional input, but the final product is what he approves of, regardless of it being a loop, a horn, lyrics, nothing stays on that track without his approval.
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Apparently Dre is doing something right, because when his name is attached it comes out fire, and then when he leaves the building guys like Daz, Mel-Man, Yella, Sam Sneed, J-Flexx and whoever else suddenly just ain't making shit bang like it did before.
Look no further than Daz's career since leaving Death Row compared to Dre's career since leaving Death Row. Who is honestly going to believe it was Daz that was the true genius? I mean, I love Daz and consider him a legend, but Daz owes a lot to Dre.
yella was still a beast after dre left ruthless tbh bro.
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I honestly believe people are just trying to take Credit for Dres work because everyone back then has forgotten what really happen, trying to rewrite history. I'm not saying Dr. Dre doesn't get additional input, but the final product is what he approves of, regardless of it being a loop, a horn, lyrics, nothing stays on that track without his approval.
How so when it's common knowledge that he wasn't do that much work during the period n question, Daz and others have said that they gave Dre credit for their work and Dre has always had help? I look at Dre production as a brand. He make get the creid but chances are it's a team of people helping to craft the sound. Again before I get attacked, that not taking anything away from him. There's nothing wrong with it.
^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
bruh, i dont think u get what dre does...he doesnt just take a beat and makes a few minor adjustments. he recreates the entire beat to where he's 90% responsible for the final sound, where as the person who came up wit the beat idea is about 10% responsible. see the example above, you can hear it better than i can tell you.
That doesn't mean that he puts that much work into every track he gets.
https://www.youtube.com/v/MCsKiDtsEAQ
11:25 mark on
and then
14:20 mark on
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I honestly believe people are just trying to take Credit for Dres work because everyone back then has forgotten what really happen, trying to rewrite history. I'm not saying Dr. Dre doesn't get additional input, but the final product is what he approves of, regardless of it being a loop, a horn, lyrics, nothing stays on that track without his approval.
How so when it's common knowledge that he wasn't do that much work during the period n question, Daz and others have said that they gave Dre credit for their work and Dre has always had help? I look at Dre production as a brand. He make get the creid but chances are it's a team of people helping to craft the sound. Again before I get attacked, that not taking anything away from him. There's nothing wrong with it.
^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
bruh, i dont think u get what dre does...he doesnt just take a beat and makes a few minor adjustments. he recreates the entire beat to where he's 90% responsible for the final sound, where as the person who came up wit the beat idea is about 10% responsible. see the example above, you can hear it better than i can tell you.
That doesn't mean that he puts that much work into every track he gets.
https://www.youtube.com/v/MCsKiDtsEAQ
11:25 mark on
and then
14:20 mark on
He played the keys on the track, exactly my point .. Session player, not producer. We know what a Scott storch beat sounds like witout Dre n it's not even close.
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
OH, YOU MEAN THE ENTIRE DOGG FOOD ALBUM?
At the very least, Dre mixed the record I believe.
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What about the tracks Dre helped with but didn't get credit, like co-producing What Would U Do?
Anyone know the rest?
OH, YOU MEAN THE ENTIRE DOGG FOOD ALBUM?
At the very least, Dre mixed the record I believe.
The rumor is he ghost produced that, so it's sorta ironic the Dogg pounds own album were they actually got credit and didn't do as well (In comparison to the previous albums The Chronic/Doggystyle) is suddenly rumored to be ghost produced by Dr. Dre, and the thing is I've never heard dre try and claim that album, but Daz keeps trying to claim partial credit for The Chronic/Doggystlyle. IMO I think he's either remembering it wrong or trying to rewrite history.
Sorta like how Jerry Heller constantly says he knew "Boyz N The Hood" was going to be important amazing record, when in reality, he had no idea it was going to actually blow up, nor how to market it.
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Dre definitely produced at least half of Dogg Food, snoop confirmed it..they were tryna bill daz as the next big producer on death row, so Dre only took mixing credit, although a lot of it is signature Dre to a T.
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I honestly believe people are just trying to take Credit for Dres work because everyone back then has forgotten what really happen, trying to rewrite history. I'm not saying Dr. Dre doesn't get additional input, but the final product is what he approves of, regardless of it being a loop, a horn, lyrics, nothing stays on that track without his approval.
How so when it's common knowledge that he wasn't do that much work during the period n question, Daz and others have said that they gave Dre credit for their work and Dre has always had help? I look at Dre production as a brand. He make get the creid but chances are it's a team of people helping to craft the sound. Again before I get attacked, that not taking anything away from him. There's nothing wrong with it.
^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
bruh, i dont think u get what dre does...he doesnt just take a beat and makes a few minor adjustments. he recreates the entire beat to where he's 90% responsible for the final sound, where as the person who came up wit the beat idea is about 10% responsible. see the example above, you can hear it better than i can tell you.
That doesn't mean that he puts that much work into every track he gets.
https://www.youtube.com/v/MCsKiDtsEAQ
11:25 mark on
and then
14:20 mark on
He played the keys on the track, exactly my point .. Session player, not producer. We know what a Scott storch beat sounds like witout Dre n it's not even close.
He played the keys, who played the bass, who did the drums etc. The question here is who made the beats, not who produced them. Also if you watch the video he says that him and Dre created that sound and then he goes on to say that he backed away from the sound basically giving it to Dre. Obviously if they helped create the sound together you wouldn't know who's sound it was. The same way I and the person who conducted the interview didn't know who's keys that song was. Anytime you hear that sound you just assume it's Dre just like Scott says.
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I honestly believe people are just trying to take Credit for Dres work because everyone back then has forgotten what really happen, trying to rewrite history. I'm not saying Dr. Dre doesn't get additional input, but the final product is what he approves of, regardless of it being a loop, a horn, lyrics, nothing stays on that track without his approval.
How so when it's common knowledge that he wasn't do that much work during the period n question, Daz and others have said that they gave Dre credit for their work and Dre has always had help? I look at Dre production as a brand. He make get the creid but chances are it's a team of people helping to craft the sound. Again before I get attacked, that not taking anything away from him. There's nothing wrong with it.
^You are doing what the industry does, downplays actually making music. So what if they use fruity loops? I do, didn't you want to do business with me? I'm tired of these gatekeepers who starving artist have to go to and give them a piece in order to get on. I'm done playing with them.
i got nothing against fruity loops or your beats, dont take it that way.....ive used fruity loops in my day and came up wit magic. but what im sayin is that, what dre does, takes a whole lot more than what your typical beatmaker does. bottom line.
if dre took one of your beats and produced it, you'd hear the difference and never want to make beats again, because only then will you understand that you never even came close to realizing the potential of your music........thats just what a production genius can do.
You can say that about anyone though. Anyone can take someone's beats and make changes to it and do something that the person who made it wasn't thinking about. That's why people often work in pairs and in groups. If the beat is a hit from the gate then it's a hit. This is the order of importance of a song and anyone in the business with tell you the same. Beat, Hook and then vocals. To say that someone is 'just a beat maker' is a lie of the industry designed to prop up 'super producers' and put them in a place to reign over others.
Also, I don't know if you think I'm trying to take anything away from Dre I'm not. All I'm saying is that most fans think he made the beats to alot of tracks where he actually just did what you said above. I even thought he made the beat to Still Dre until a few months ago when Scott Storch did a interview and took credit for it. People think the same about everything that came out on Death Row, that Dre did all the beats. Even Yella was doing alot to help with the beats back at Ruthless I'm just now finding out because he did promo for the movie.
bruh, i dont think u get what dre does...he doesnt just take a beat and makes a few minor adjustments. he recreates the entire beat to where he's 90% responsible for the final sound, where as the person who came up wit the beat idea is about 10% responsible. see the example above, you can hear it better than i can tell you.
That doesn't mean that he puts that much work into every track he gets.
https://www.youtube.com/v/MCsKiDtsEAQ
11:25 mark on
and then
14:20 mark on
He played the keys on the track, exactly my point .. Session player, not producer. We know what a Scott storch beat sounds like witout Dre n it's not even close.
He played the keys, who played the bass, who did the drums etc. The question here is who made the beats, not who produced them. Also if you watch the video he says that him and Dre created that sound and then he goes on to say that he backed away from the sound basically giving it to Dre. Obviously if they helped create the sound together you wouldn't know who's sound it was. The same way I and the person who conducted the interview didn't know who's keys that song was. Anytime you hear that sound you just assume it's Dre just like Scott says.
it's like a coach who has assistant coaches.....at the end of the day, it all falls on the head coach. thats the man in charge and the man mainly responsible for the final outcome. you can bet your bottom dollar that dre's genius goes far beyond mr. storch's
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Dre is a "enhancer"...the end.
People are going to worship Dre no matter what...if it came out that his only involvement
was making the drinks in the studio then people are going to say that is the most important part of producing.
This topic is one that will go on forever..
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Dre is a "enhancer"...the end.
People are going to worship Dre no matter what...if it came out that his only involvement
was making the drinks in the studio then people are going to say that is the most important part of producing.
This topic is one that will go on forever..
The engineer is an "enhancer" .. To put that kinda label on Dre is completely disrespectful, undermines his body of work, and is just flat out retarded.
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Dre is a "enhancer"...the end.
People are going to worship Dre no matter what...if it came out that his only involvement
was making the drinks in the studio then people are going to say that is the most important part of producing.
This topic is one that will go on forever..
The engineer is an "enhancer" .. To put that kinda label on Dre is completely disrespectful, undermines his body of work, and is just flat out retarded.
No it is not at all...Dre enhances beats, people make the basis of the beats and Dre enhances it beat to make it better...whats retarded about that?
Thats exactly what he does.
An engineer will enhance the sounds...not the beat itself. Standard engineers dont have any writing or producing credits.
But again i go back to my comment about Dre being god to some people and anything said against him that is not agreed with warrents crucifixion lol
An just for the record...i am not dissing Dre at all here. I really like Dre
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because he doesnt "enhance" beats...and to think of it like that is pretty ignorant. dre selects, arranges, directs, and is the main man in charge of the entire process of creating a track, from inception to completion......for example, check the videos jaytee posted. dre completely recreated the beat and made it his own....is the basis the same? sure.. but it's a completely different finished product. it's not an "enhancement"........to say that completely undermines what he does n is frankly inaccurate fam.
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Those who criticise Dre have obviously never produced a beat themselves, if they had they would know first hand exactly how hard it is to have a vision of the end product in the first place then select the right elements, place them correctly and mix them together to that level of crispness and polish that Dre has honed to a T.
The boy can do it in his sleep.
Of course he has had collaborators, he's like the hip hop Quincy Jones, a producers producer, but none of those that have worked with him have ever managed to create anything even half as good without him and thats where Dres genius lies. He can take a diamond in the rough and make the mfer shine and as any jeweller will tell you that is a talent that very few have.
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because he doesnt "enhance" beats...and to think of it like that is pretty ignorant. dre selects, arranges, directs, and is the main man in charge of the entire process of creating a track, from inception to completion......for example, check the videos jaytee posted. dre completely recreated the beat and made it his own....is the basis the same? sure.. but it's a completely different finished product. it's not an "enhancement"........to say that completely undermines what he does n is frankly inaccurate fam.
I never said he doesnt make beats or anything like that....we are talking about the claim that other producers have made the basis of the beats.
Like the producers he worked with...one may bring the samples, the other may write the melody..then Dre enhances it by turning it into a dope beat.
Enhancement doesnt just mean one thing, it can mean lots of things...to increase something, improve something, strengthen something, build up something the list goes on.
An thats what he does...i dont see the problem here
Enhancement doesnt just mean to make a track sound better "sound wise"
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because he doesnt "enhance" beats...and to think of it like that is pretty ignorant. dre selects, arranges, directs, and is the main man in charge of the entire process of creating a track, from inception to completion......for example, check the videos jaytee posted. dre completely recreated the beat and made it his own....is the basis the same? sure.. but it's a completely different finished product. it's not an "enhancement"........to say that completely undermines what he does n is frankly inaccurate fam.
I never said he doesnt make beats or anything like that....we are talking about the claim that other producers have made the basis of the beats.
Like the producers he worked with...one may bring the samples, the other may write the melody..then Dre enhances it by turning it into a dope beat.
Enhancement doesnt just mean one thing, it can mean lots of things...to increase something, improve something, strengthen something, build up something the list goes on.
An thats what he does...i dont see the problem here
Enhancement doesnt just mean to make a track sound better "sound wise"
But enhancement signifies that he just polishes what's already complete, when that's just not the case .. For instance, Khalil said "Kush" was a completely different beat before Dre got his hands on it. His work is far more extensive than simply just enhancing.
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Those who criticise Dre have obviously never produced a beat themselves, if they had they would know first hand exactly how hard it is to have a vision of the end product in the first place then select the right elements, place them correctly and mix them together to that level of crispness and polish that Dre has honed to a T.
The boy can do it in his sleep.
Of course he has had collaborators, he's like the hip hop Quincy Jones, a producers producer, but none of those that have worked with him have ever managed to create anything even half as good without him and thats where Dres genius lies. He can take a diamond in the rough and make the mfer shine and as any jeweller will tell you that is a talent that very few have.
If you go and read the person who made this thread's first two post he is clearly talking about Dre getting credit for beats he didn't make. For some reason you guys want to ignore the very premise of this thread and start talking about overall song production. If Dre or anyone else in the industry is taking credit for beats they didn't do there is nothing wrong with discussing that. Whether it was done legally or illegally. If you want to discuss the broader issue of song production versus beat production then at least put it in its proper context of this discussion. It has been said that Daz had signed off on some tracks and Dre got the credit for it, why is it wrong to point that out or question what other beats he may not have created that was attributed to him? What I'm seeing here is the same thing I see in Train of Thought, some of you guys don't want to know the truth.
So no, I don't know what beats Dre has done on his own and despite the back and forth none of us do. To say that a beat sounds like Dre doesn't really mean anything. You can go to youtube now and see a million types of beats that beat producers make that sound just like some other beat producer. The fact that Dre has always had someone with him from the Straight Outta Compton days, the drastic change in sound from the first to the second NWA album and other examples I listed in my previous post makes me wonder exactly what his role is in creating beats.
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Those who criticise Dre have obviously never produced a beat themselves, if they had they would know first hand exactly how hard it is to have a vision of the end product in the first place then select the right elements, place them correctly and mix them together to that level of crispness and polish that Dre has honed to a T.
The boy can do it in his sleep.
Of course he has had collaborators, he's like the hip hop Quincy Jones, a producers producer, but none of those that have worked with him have ever managed to create anything even half as good without him and thats where Dres genius lies. He can take a diamond in the rough and make the mfer shine and as any jeweller will tell you that is a talent that very few have.
,
If you go and read the person who made this thread's first two post he is clearly talking about Dre getting credit for beats he didn't make. For some reason you guys want to ignore the very premise of this thread and start talking about overall song production. If Dre or anyone else in the industry is taking credit for beats they didn't do there is nothing wrong with discussing that. Whether it was done legally or illegally. If you want to discuss the broader issue of song production versus beat production then at least put it in its proper context of this discussion. It has been said that Daz had signed off on some tracks and Dre got the credit for it, why is it wrong to point that out or question what other beats he may not have created that was attributed to him? What I'm seeing here is the same thing I see in Train of Thought, some of you guys don't want to know the truth.
So no, I don't know what beats Dre has done on his own and despite the back and forth none of us do. To say that a beat sounds like Dre doesn't really mean anything. You can go to youtube now and see a million types of beats that beat producers make that sound just like some other beat producer. The fact that Dre has always had someone with him from the Straight Outta Compton days, the drastic change in sound from the first to the second NWA album and other examples I listed in my previous post makes me wonder exactly what his role is in creating beats.
There was never a drastic change in dre's sound, but rather a natural evolution and progression in style.. But it all connects, if u listen to each album one after the other, you can hear the growth
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Those who criticise Dre have obviously never produced a beat themselves, if they had they would know first hand exactly how hard it is to have a vision of the end product in the first place then select the right elements, place them correctly and mix them together to that level of crispness and polish that Dre has honed to a T.
The boy can do it in his sleep.
Of course he has had collaborators, he's like the hip hop Quincy Jones, a producers producer, but none of those that have worked with him have ever managed to create anything even half as good without him and thats where Dres genius lies. He can take a diamond in the rough and make the mfer shine and as any jeweller will tell you that is a talent that very few have.
,
If you go and read the person who made this thread's first two post he is clearly talking about Dre getting credit for beats he didn't make. For some reason you guys want to ignore the very premise of this thread and start talking about overall song production. If Dre or anyone else in the industry is taking credit for beats they didn't do there is nothing wrong with discussing that. Whether it was done legally or illegally. If you want to discuss the broader issue of song production versus beat production then at least put it in its proper context of this discussion. It has been said that Daz had signed off on some tracks and Dre got the credit for it, why is it wrong to point that out or question what other beats he may not have created that was attributed to him? What I'm seeing here is the same thing I see in Train of Thought, some of you guys don't want to know the truth.
So no, I don't know what beats Dre has done on his own and despite the back and forth none of us do. To say that a beat sounds like Dre doesn't really mean anything. You can go to youtube now and see a million types of beats that beat producers make that sound just like some other beat producer. The fact that Dre has always had someone with him from the Straight Outta Compton days, the drastic change in sound from the first to the second NWA album and other examples I listed in my previous post makes me wonder exactly what his role is in creating beats.
There was never a drastic change in dre's sound, but rather a natural evolution and progression in style.. But it all connects, if u listen to each album one after the other, you can hear the growth
There is a huge difference between Straight/100 and NFL. NFL has the g-funk sound, which Big Hutch is credited with creating. To say that there is a nature progression is to give Dre credit for creating the sound he didn't. As if somehow he would have naturally created that sound anyway.
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the sound of NFL which would later be polished and improved on The Chronic & Doggystyle is also due to the fact that it's when Dre started working extensively with Colin Wolfe, who was a seasoned musician. Wolfe's interview which surfaced a few years ago is very insightful about it.
I think the main problem was that at the end of the day, when the song said produced by Dre, with nothing else on it left a lot of the contributors pissed and like Dre was taking full credit for their work. Some were cool with it and thought it was part of a learning experience, some were pissed cause they thought they were the producer because they had worked on the song, and some were just disappointed to see them not credited and not compensated for it.
The money aspect comes into play as well, because Death Row (and many other labels for that matter) were very shady when it comes to publishing rights and producing credits, and it wasn't so much Dre's responsibility as it was Suge's. Like for Who Got Some Gangsta Shit, Suge only wanted to credit Snoop for producing the song, and Snoop intervened and got Soopafly to be credited. Soopafly also co-produced every Daz produced song on AEOM but wasn't credited for it and was only paid by Daz, not the label. In an interview, one producer (can't seem to remember who, maybe Chris "The Glove" Taylor) said that he went to Dre to say that he hadn't been paid and credited and Dre told him he wasn't responsible for him, that Suge was taking care of it.
In my opinion, the controversy stems from 1) some of these people's ego : they think they produced a song without realizing and at first understanding the concept (Daz, Warren G) 2) Dre's lack of communication with his collaborators which made it all seem shady for them (see the Glove's interview about his on and off working relationship with Dre on Ruthless, Death Row and Aftermath) 3) the lack of a just system of financial compensation
Throughout the years, you heard Daz, Warren G and Big Hutch venting their frustration and other people like The Glove and Colin Wolfe going into detail how Dre worked with him.
It seems to me the main problem was the lack of details in the credits, even though The Chronic's booklet is somehow detailed, they needed a song by song breakdown of who did what exactly and precisely ala RR&GB where they mentioned the keyboards by Daz & Soopafly, the percussion by Carl Butch Smalls and the guitar by Ricky Rouse or Shorty B or whoever... If Death Row had done that consistently (they did, at times, like when they said Afro Puffs was produced by Dre & Daz), I doubt such controversy would have arisen. But then again, it wasn't necessarily in their interest to do that.
at the end of the day, I think the people that brag the least about being involved on The Chronic and Doggystyle and getting shit done, namely Chris The Glove and Colin Wolfe (Colin Wolfe wasn't involved in the making of Doggystyle) are the ones who were really responsible for most of the magic along with Dre, I love Daz & Warren G, but between rookie beat makers and seasoned producers and session musicians I think the latter are more likely to produce greatness. The Glove is still criminally underrated despite having his hands on a lot of classic records and lesser known genuinely good music over the years, while Daz has a lot of conspiracy theorists thinking he was the mastermind behind The Chronic & Doggystyle, lol.
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Those who criticise Dre have obviously never produced a beat themselves, if they had they would know first hand exactly how hard it is to have a vision of the end product in the first place then select the right elements, place them correctly and mix them together to that level of crispness and polish that Dre has honed to a T.
The boy can do it in his sleep.
Of course he has had collaborators, he's like the hip hop Quincy Jones, a producers producer, but none of those that have worked with him have ever managed to create anything even half as good without him and thats where Dres genius lies. He can take a diamond in the rough and make the mfer shine and as any jeweller will tell you that is a talent that very few have.
,
If you go and read the person who made this thread's first two post he is clearly talking about Dre getting credit for beats he didn't make. For some reason you guys want to ignore the very premise of this thread and start talking about overall song production. If Dre or anyone else in the industry is taking credit for beats they didn't do there is nothing wrong with discussing that. Whether it was done legally or illegally. If you want to discuss the broader issue of song production versus beat production then at least put it in its proper context of this discussion. It has been said that Daz had signed off on some tracks and Dre got the credit for it, why is it wrong to point that out or question what other beats he may not have created that was attributed to him? What I'm seeing here is the same thing I see in Train of Thought, some of you guys don't want to know the truth.
So no, I don't know what beats Dre has done on his own and despite the back and forth none of us do. To say that a beat sounds like Dre doesn't really mean anything. You can go to youtube now and see a million types of beats that beat producers make that sound just like some other beat producer. The fact that Dre has always had someone with him from the Straight Outta Compton days, the drastic change in sound from the first to the second NWA album and other examples I listed in my previous post makes me wonder exactly what his role is in creating beats.
There was never a drastic change in dre's sound, but rather a natural evolution and progression in style.. But it all connects, if u listen to each album one after the other, you can hear the growth
There is a huge difference between Straight/100 and NFL. NFL has the g-funk sound, which Big Hutch is credited with creating. To say that there is a nature progression is to give Dre credit for creating the sound he didn't. As if somehow he would have naturally created that sound anyway.
a lot of the drum patterns and sounds on SOC are the same on Efil4Zaggin, just with a slight funk twist on them. ie appetite for destruction sounds like it coulda very well been on SOC...then that funk got even funkier on the chronic, and peaked in funkiness on doggystyle. thats what i mean by natural progression. he didnt go from straight raw shit to straight funk shit in one shot, it was gradual. simple science.
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the sound of NFL which would later be polished and improved on The Chronic & Doggystyle is also due to the fact that it's when Dre started working extensively with Colin Wolfe, who was a seasoned musician. Wolfe's interview which surfaced a few years ago is very insightful about it.
I think the main problem was that at the end of the day, when the song said produced by Dre, with nothing else on it left a lot of the contributors pissed and like Dre was taking full credit for their work. Some were cool with it and thought it was part of a learning experience, some were pissed cause they thought they were the producer because they had worked on the song, and some were just disappointed to see them not credited and not compensated for it.
The money aspect comes into play as well, because Death Row (and many other labels for that matter) were very shady when it comes to publishing rights and producing credits, and it wasn't so much Dre's responsibility as it was Suge's. Like for Who Got Some Gangsta Shit, Suge only wanted to credit Snoop for producing the song, and Snoop intervened and got Soopafly to be credited. Soopafly also co-produced every Daz produced song on AEOM but wasn't credited for it and was only paid by Daz, not the label. In an interview, one producer (can't seem to remember who, maybe Chris "The Glove" Taylor) said that he went to Dre to say that he hadn't been paid and credited and Dre told him he wasn't responsible for him, that Suge was taking care of it.
In my opinion, the controversy stems from 1) some of these people's ego : they think they produced a song without realizing and at first understanding the concept (Daz, Warren G) 2) Dre's lack of communication with his collaborators which made it all seem shady for them (see the Glove's interview about his on and off working relationship with Dre on Ruthless, Death Row and Aftermath) 3) the lack of a just system of financial compensation
Throughout the years, you heard Daz, Warren G and Big Hutch venting their frustration and other people like The Glove and Colin Wolfe going into detail how Dre worked with him.
It seems to me the main problem was the lack of details in the credits, even though The Chronic's booklet is somehow detailed, they needed a song by song breakdown of who did what exactly and precisely ala RR&GB where they mentioned the keyboards by Daz & Soopafly, the percussion by Carl Butch Smalls and the guitar by Ricky Rouse or Shorty B or whoever... If Death Row had done that consistently (they did, at times, like when they said Afro Puffs was produced by Dre & Daz), I doubt such controversy would have arisen. But then again, it wasn't necessarily in their interest to do that.
at the end of the day, I think the people that brag the least about being involved on The Chronic and Doggystyle and getting shit done, namely Chris The Glove and Colin Wolfe (Colin Wolfe wasn't involved in the making of Doggystyle) are the ones who were really responsible for most of the magic along with Dre, I love Daz & Warren G, but between rookie beat makers and seasoned producers and session musicians I think the latter are more likely to produce greatness. The Glove is still criminally underrated despite having his hands on a lot of classic records and lesser known genuinely good music over the years, while Daz has a lot of conspiracy theorists thinking he was the mastermind behind The Chronic & Doggystyle, lol.
Great post.
Here is an article about Suge speaking on that:
Suge Knight reflects on Snoop Dogg's "Doggystyle," revealing that Dr. Dre may not have been responsible for as much of the production as it appears.
It's no secret that Dr. Dre has had some help with his production in the past. Scott Storch, Mel-Man, and Colin Wolfe are a few of those at least partially responsible for some of the rapper/producer's biggest tracks. Another name who has appeared in the writing credits of Dre's albums is Dat Nigga Daz aka Daz Dillinger.
It's documented that Daz played a pretty large role in the production on Doggystyle, with writing credits on 6 tracks, but according to a new interview with Suge Knight, he may have not been given the credit he deserved.
The Death Row mogul spoke with Rolling Stone about Snoop's classic debut on it's 20th anniversary, speaking on the rapper's trouble with the law, the impact the album had on the label itself, and of course, the production process behind the record.
Read some excerpts from the interview below, and read the full thing hizere: http://www.rollingstone.com/music/news/suge-knight-reflects-on-doggystyle-20-years-later-20131125
What do you remember about Doggystyle's production?
[It] was was pretty much luck. Everybody thought [Dr. Dre] would be doing the records, but Daz pretty much did the whole album. And at the end of the day, once Daz finished it, everybody wanted Andre to get the credit. Next thing I know Daz is having a meeting with Andre and them and came back and said, "It's okay, give me a few bucks and I'll sign anything over that says produced by Andre instead of me."
"Ain't No Fun"… one of the homies from The Swans [ed note: the Mad Swan Bloods, or MSB, are a Los Angeles subset of The Bloods street gang] named Pooh, all them dudes already had a record done. And they came and played it for us in the studio. They played us the demo. Everybody looked at it like it was alright. And then after they left, shit, everybody was chopping that same beat.
What do you remember most about what went into making Doggystyle?
We were able to make sure [Snoop] didn't go to prison to make the album. We only had one song done, and then after that it was the [Philip Woldemariam] murder case and the trial. When we got ready to start the trial, $5 million had to be paid to a legal team. And at the time Snoop never sold no records. Jimmy [Iovine], Interscope, those guys were saying they're not going to participate in trying to help keep him out of prison, because they didn't think they were capable of doing it. Because of the simple fact that it was a murder case. If he would have got found guilty, he'd have died in prison. He'd have been there the rest of his life.
Did Snoop think he was going to go to jail?
Everybody thought he was going to go. A few times in court they asked him to stand up, and Snoop would actually get weak in the knees and fall back down. It was a lot of pressure. But it was still good to be able to come through and pull that off for him because it opened it up a bunch of doors and showed the world a different side of rap music.
Do you think Doggystyle solidified Death Row as a label?
When we put out The Chronic people felt there's no way in the world somebody can ever do an album and it come out that well. When The Chronic was out, even Snoop will tell you, if he came on the Interscope side, he didn't see Jimmy [Iovine] any of those guys call Snoop in the office, chop it up with him… because he wasn't the one. And then when Doggystyle came out, shit, he couldn't walk in there without them trying to give him some weed. People thought it couldn't get no better. But the Dogg Pound came in and done well. And then came Tupac. It wasn't Tupac because he was a new artist. Tupac was on Interscope the whole time. They couldn't break a record on him. They couldn't make him a superstar. But the minute I got Pac out of prison…
Any last thoughts on Doggystyle?
Snoop is an artist that is a great artist. So it's good to give him his props about how great Doggystyle was. What made Doggystyle historic is the work on it. If you look at the album cover, everybody sued us and said it was degrading women. But even the guys who did the artwork, who wrote songs, who participated in videos, they were guys who were either wearing red or wearing blue. . . and it was a situation where they all got along. We'd go places and you might see twenty blue rags and twenty red rags. And that was never before seen.
http://www.hotnewhiphop.com/suge-knight-says-daz-ghost-produced-most-of-doggystyle-for-dr-dre-news.8318.html
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
Haha yeah
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::)
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
Well if he signed everything over to Dre then why would he? It's same as when people ghostwrite for others, they don't speak on it. I'm not sure how this works exactly but I assume there is like a confidentially agreement in place as well. Suge could be lying but just because he doesn't like Dre doesn't mean he is. Hell, he don't like Daz either. I assume that article is part of the reason why this thread was made.
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
Well if he signed everything over to Dre then why would he? It's same as when people ghostwrite for others, they don't speak on it. I'm not sure how this works exactly but I assume there is like a confidentially agreement in place as well. Suge could be lying but just because he doesn't like Dre doesn't mean he is. Hell, he don't like Daz either. I assume that article is part of the reason why this thread was made.
What we tryin to say is that somethin is wrong wit u if u seriously believe that
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
Well if he signed everything over to Dre then why would he? It's same as when people ghostwrite for others, they don't speak on it. I'm not sure how this works exactly but I assume there is like a confidentially agreement in place as well. Suge could be lying but just because he doesn't like Dre doesn't mean he is. Hell, he don't like Daz either. I assume that article is part of the reason why this thread was made.
What we tryin to say is that somethin is wrong wit u if u seriously believe that
Don't start with the person attacks. If you disagree then you just disagree. I'm not here to go back and forth with calling names and ish.
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Lmfao@taking anything suge says as credible
And roflmao when it's pertaining to dre
No shit. Not even Daz says he produced the whole Doggystyle.
Well if he signed everything over to Dre then why would he? It's same as when people ghostwrite for others, they don't speak on it. I'm not sure how this works exactly but I assume there is like a confidentially agreement in place as well. Suge could be lying but just because he doesn't like Dre doesn't mean he is. Hell, he don't like Daz either. I assume that article is part of the reason why this thread was made.
What we tryin to say is that somethin is wrong wit u if u seriously believe that
Don't start with the person attacks. If you disagree then you just disagree. I'm not here to go back and forth with calling names and ish.
I wasn't callin u any names and that's not a personal attack, jus simply what I believe bruh
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Anyone who think other people produced Doggystyle, go and listen to those Tony Green interviews.
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
blablabla "beatmakin ain´t producin´" ... dre is jus bossn around while others work hard.. don´t get me started listing buncha people who worked wit dre n never got what they deserved (credit on paper or the money).
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Anyone who think other people produced Doggystyle, go and listen to those Tony Green interviews.
Thanks for bringing this up, interesting interview that had slipped past a couple of years ago:
https://www.youtube.com/watch?v=RxLS58TOLdU
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
blablabla "beatmakin ain´t producin´" ... dre is jus bossn around while others work hard.. don´t get me started listing buncha people who worked wit dre n never got what they deserved (credit on paper or the money).
If some cat from the Swan made a beat then he produced the beat. If Dre got the beat and did his thing with it along with adding the artist to it, then Dre produced the song. What's so hard to understand about that? If you have a list then post it, that's what this thread is about. ::)
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
blablabla "beatmakin ain´t producin´" ... dre is jus bossn around while others work hard.. don´t get me started listing buncha people who worked wit dre n never got what they deserved (credit on paper or the money).
If some cat from the Swan made a beat then he produced the beat. If Dre got the beat and did his thing with it along with adding the artist to it, then Dre produced the song. What's so hard to understand about that? If you have a list then post it, that's what this thread is about. ::)
If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .. For instance, I can fuck a random girl and 9 months later a baby will pop out. Now, the real job is in raising the kid and molding him into who he will become. Bottom line, Dre exerts a majority of the energy into any production he's involved with. The perks of being a perfectionist producer.
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
blablabla "beatmakin ain´t producin´" ... dre is jus bossn around while others work hard.. don´t get me started listing buncha people who worked wit dre n never got what they deserved (credit on paper or the money).
If some cat from the Swan made a beat then he produced the beat. If Dre got the beat and did his thing with it along with adding the artist to it, then Dre produced the song. What's so hard to understand about that? If you have a list then post it, that's what this thread is about. ::)
If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .. For instance, I can fuck a random girl and 9 months later a baby will pop out. Now, the real job is in raising the kid and molding him into who he will become. Bottom line, Dre exerts a majority of the energy into any production he's involved with. The perks of being a perfectionist producer.
You just want Dre to have all of the production credit. The irony. ;D
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^I think what Suge was talking about was making the beats that would be used for the songs, not producing the songs.
blablabla "beatmakin ain´t producin´" ... dre is jus bossn around while others work hard.. don´t get me started listing buncha people who worked wit dre n never got what they deserved (credit on paper or the money).
If some cat from the Swan made a beat then he produced the beat. If Dre got the beat and did his thing with it along with adding the artist to it, then Dre produced the song. What's so hard to understand about that? If you have a list then post it, that's what this thread is about. ::)
If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .. For instance, I can fuck a random girl and 9 months later a baby will pop out. Now, the real job is in raising the kid and molding him into who he will become. Bottom line, Dre exerts a majority of the energy into any production he's involved with. The perks of being a perfectionist producer.
You just want Dre to have all of the production credit. The irony. ;D
I don't get it?
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I know bro. Hence three pages of back and forths. ;)
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I know bro. Hence three pages of back and forths. ;)
Werent u just cryin about personal insults?? I mean I don't get what you're tryin to say wit that last post. Elaborate.
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I know bro. Hence three pages of back and forths. ;)
Werent u just cryin about personal insults?? I mean I don't get what you're tryin to say wit that last post. Elaborate.
*sigh*
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Scary ficcaz
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Scared to type text? lol Nah, you already invalidated your own points. Maybe someone will explain it to you since you don't get it but I'm done with you and this thread.
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I invalidated my own points? Now you jus sound bitter over the FACTS I've presented. Nothin more nothin less.
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Because you said that someone who makes a beat and gives it to Dre doesn't deserve production credit while at the same time arguing that Dre doesn't take production credit from people. But if someone gives Dre a beat and he doesn't give you production credit, not matter how much the track is altered, then that's exactly what he's doing. /Thread
lol You're so busy arguing trying to defend your idol that you obviously didn't realize that you're talking out of both sides of your mouth at the same damn time. Matter of fact I don't think you even fully comprehend what's being discussed here. Anyway, no, nothing's wrong with me, I'm not scary or biter. You're just wrong! ;D Remember that when you go back and forth with me it's always chess not checkers and it's never personal. ;)
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Because you said that someone who makes a beat and gives it to Dre doesn't deserve production credit while at the same time arguing that Dre doesn't take production credit from people. But if someone gives Dre a beat and he doesn't give you production credit, not matter how much the track is altered, then that's exactly what he's doing. /Thread
lol You're so busy arguing trying to defend your idol that you obviously didn't realize that you're talking out of both sides of your mouth at the same damn time. Matter of fact I don't think you even fully comprehend what's being discussed here. Anyway, no, nothing's wrong with me, I'm not scary or biter. You're just wrong! ;D Remember that when you go back and forth with me it's always chess not checkers and it's never personal. ;)
I never said they don't deserve credit, they deserve partial credit .. What I said is that Dre deserves a majority of the credit. Like for 2001, Mel-Man got co-production credit on the entire album, and I felt like that was fair .. If u guna sit here n debate, at leas debate what I'm actually arguin and not some made up shit..my position hasn't changed once, while u over here goin in circles, quoting suge knight interviews and all that to support your side..smfh. Come correct or fall back bro.
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Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
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You can easily tell the difference between something that was Dre + Storch compared to just Storch alone as the man only knows how to play keys and his tracks only have that lead melody with none of the other sprinkles that Dre provides plus they have nowhere near the fidelity and fatness/polish that you associate with the good doctor.
Case in point, when Storch was capitalizing off the heat generated by 2001 he dropped a gang of tunes and now all these years later not one of them (or, dare I say, all of them combined) have anywhere near the replay value of his work on Still D.R.E.
As I've mentioned earlier, Dre seems to stumble with inspiration sometimes but when someone brings him a half baked joint he sure knows exactly what was missing and has a complete vision of how to turn that scrap into the best possible version of itself as that Compton joint linked earlier proves.
Show me one track by any one of Dres collaborators that they made solo that is on par with a production where he's at the helm - it also must have that unique freshness that Dre brings to the table and no tired rehashing.
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Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
The fundamental flaw in your argument is where u claim that because storch played the keys that he automatically deserves majority production credit. This is a common misconception that you and many Dre doubters consistently make. That's where my argument is at, because what Dre does goes far beyond that, and it's not a secret at all, because through producing music, I've come to find out just how important the final say in what bumps how and how it goes where is. But nothing I say will bring you to an understanding of dre's genius, so we can jus leave it at that or keep goin in circles.
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You can easily tell the difference between something that was Dre + Storch compared to just Storch alone as the man only knows how to play keys and his tracks only have that lead melody with none of the other sprinkles that Dre provides plus they have nowhere near the fidelity and fatness/polish that you associate with the good doctor.
Case in point, when Storch was capitalizing off the heat generated by 2001 he dropped a gang of tunes and now all these years later not one of them (or, dare I say, all of them combined) have anywhere near the replay value of his work on Still D.R.E.
As I've mentioned earlier, Dre seems to stumble with inspiration sometimes but when someone brings him a half baked joint he sure knows exactly what was missing and has a complete vision of how to turn that scrap into the best possible version of itself as that Compton joint linked earlier proves.
Show me one track by any one of Dres collaborators that they made solo that is on par with a production where he's at the helm - it also must have that unique freshness that Dre brings to the table and no tired rehashing.
Cool story bro! This thread is about production credits though. Nothing more or less.
============================================
Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
The fundamental flaw in your argument is where u claim that because storch played the keys that he automatically deserves majority production credit. This is a common misconception that you and many Dre doubters consistently make. That's where my argument is at, because what Dre does goes far beyond that, and it's not a secret at all, because through producing music, I've come to find out just how important the final say in what bumps how and how it goes where is. But nothing I say will bring you to an understanding of dre's genius, so we can jus leave it at that or keep goin in circles.
You put your Freddy mask on trying to save face. My argument is that Scott played the keys so he should get credit for that. Not one time in this thread have I stated anything about majority of the production credit. That partial/majority argument is something you came up with. You FINALLY said that people should get credit which is what I have been saying from the get go. We are only going in circles because you refuse to let it go.
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You can easily tell the difference between something that was Dre + Storch compared to just Storch alone as the man only knows how to play keys and his tracks only have that lead melody with none of the other sprinkles that Dre provides plus they have nowhere near the fidelity and fatness/polish that you associate with the good doctor.
Case in point, when Storch was capitalizing off the heat generated by 2001 he dropped a gang of tunes and now all these years later not one of them (or, dare I say, all of them combined) have anywhere near the replay value of his work on Still D.R.E.
As I've mentioned earlier, Dre seems to stumble with inspiration sometimes but when someone brings him a half baked joint he sure knows exactly what was missing and has a complete vision of how to turn that scrap into the best possible version of itself as that Compton joint linked earlier proves.
Show me one track by any one of Dres collaborators that they made solo that is on par with a production where he's at the helm - it also must have that unique freshness that Dre brings to the table and no tired rehashing.
Cool story bro! This thread is about production credits though. Nothing more or less.
============================================
Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
The fundamental flaw in your argument is where u claim that because storch played the keys that he automatically deserves majority production credit. This is a common misconception that you and many Dre doubters consistently make. That's where my argument is at, because what Dre does goes far beyond that, and it's not a secret at all, because through producing music, I've come to find out just how important the final say in what bumps how and how it goes where is. But nothing I say will bring you to an understanding of dre's genius, so we can jus leave it at that or keep goin in circles.
You put your Freddy mask on trying to save face. My argument is that Scott played the keys so he should get credit for that. Not one time in this thread have I stated anything about majority of the production credit. That partial/majority argument is something you came up with. You FINALLY said that people should get credit which is what I have been saying from the get go. We are only going in circles because you refuse to let it go.
lol funny how u were cryin about "personal insults", and u musta made like 10 since then...u mad? be honest now. no one "savin face". my stance on dre has remained the same for the past decade..if u dont believe me, check the files son. you are overrating what storch does. u said "storch playing the keys is a major part of the production", which is where we disgree...to me, that's a minimal part of the production. storch can be replaced by any session player, and the production will come out just as good, give or take. but u take dre away, and it's a whole nother story...at this point, you just arguin to come out on top, because u even feel like u agree wit me (we don't), but still talkin out the side of your mouth. i see u.
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You can easily tell the difference between something that was Dre + Storch compared to just Storch alone as the man only knows how to play keys and his tracks only have that lead melody with none of the other sprinkles that Dre provides plus they have nowhere near the fidelity and fatness/polish that you associate with the good doctor.
Case in point, when Storch was capitalizing off the heat generated by 2001 he dropped a gang of tunes and now all these years later not one of them (or, dare I say, all of them combined) have anywhere near the replay value of his work on Still D.R.E.
As I've mentioned earlier, Dre seems to stumble with inspiration sometimes but when someone brings him a half baked joint he sure knows exactly what was missing and has a complete vision of how to turn that scrap into the best possible version of itself as that Compton joint linked earlier proves.
Show me one track by any one of Dres collaborators that they made solo that is on par with a production where he's at the helm - it also must have that unique freshness that Dre brings to the table and no tired rehashing.
Cool story bro! This thread is about production credits though. Nothing more or less.
============================================
Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
The fundamental flaw in your argument is where u claim that because storch played the keys that he automatically deserves majority production credit. This is a common misconception that you and many Dre doubters consistently make. That's where my argument is at, because what Dre does goes far beyond that, and it's not a secret at all, because through producing music, I've come to find out just how important the final say in what bumps how and how it goes where is. But nothing I say will bring you to an understanding of dre's genius, so we can jus leave it at that or keep goin in circles.
You put your Freddy mask on trying to save face. My argument is that Scott played the keys so he should get credit for that. Not one time in this thread have I stated anything about majority of the production credit. That partial/majority argument is something you came up with. You FINALLY said that people should get credit which is what I have been saying from the get go. We are only going in circles because you refuse to let it go.
lol funny how u were cryin about "personal insults", and u musta made like 10 since then...u mad? be honest now. no one "savin face". my stance on dre has remained the same for the past decade..if u dont believe me, check the files son. you are overrating what storch does. u said "storch playing the keys is a major part of the production", which is where we disgree...to me, that's a minimal part of the production. storch can be replaced by any session player, and the production will come out just as good, give or take. but u take dre away, and it's a whole nother story...at this point, you just arguin to come out on top, because u even feel like u agree wit me (we don't), but still talkin out the side of your mouth. i see u.
I thought the saving face thing was clever. Didn't really see it as an insult.
You keep talking about crying. Why would anyone cry over this especially the one who's right? Scott's role is a major part of the song. When you think of the song you think of the keys.
You took that statement and said that I said he deserves a majority of the production credit. That's not what I said or meant. You lost bro just give it up. You agree that artist working with Dre should receive credit, me too. That's all I wanted from you. I tell you what. If you want the last word so bad, go ahead it's yours.
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You can easily tell the difference between something that was Dre + Storch compared to just Storch alone as the man only knows how to play keys and his tracks only have that lead melody with none of the other sprinkles that Dre provides plus they have nowhere near the fidelity and fatness/polish that you associate with the good doctor.
Case in point, when Storch was capitalizing off the heat generated by 2001 he dropped a gang of tunes and now all these years later not one of them (or, dare I say, all of them combined) have anywhere near the replay value of his work on Still D.R.E.
As I've mentioned earlier, Dre seems to stumble with inspiration sometimes but when someone brings him a half baked joint he sure knows exactly what was missing and has a complete vision of how to turn that scrap into the best possible version of itself as that Compton joint linked earlier proves.
Show me one track by any one of Dres collaborators that they made solo that is on par with a production where he's at the helm - it also must have that unique freshness that Dre brings to the table and no tired rehashing.
Cool story bro! This thread is about production credits though. Nothing more or less.
============================================
Up until this point all you have said is that Dre is the producer they just made the beat, this person is lying, laying a foundation is the easy part, Dre is the mastermind, he comes up with magic, we don't get what dre does, he's the session player not the producer etc. Now after three pages you are saying what I have been saying all along, something you never once said until now and that's they deserve credit. 'I never said they don't deserve credit' That's basically what you've been arguing for the past three pages in various ways. Scott Storch doesn't deserve production credit because he just played the keys? Even though the keys not only go into the production but is a major part of the production? Don't act like I moved the goal post here, you did. My arguments have been consistent throughout this thread. Quoting Suge, posting the Storch video giving examples etc. is better than romantic notions of Dre sitting in the studio waving a magic wand turning rocks into gold.
https://www.youtube.com/v/HlSgWRJAAlg
https://www.youtube.com/v/43xMOLjskK0
The fundamental flaw in your argument is where u claim that because storch played the keys that he automatically deserves majority production credit. This is a common misconception that you and many Dre doubters consistently make. That's where my argument is at, because what Dre does goes far beyond that, and it's not a secret at all, because through producing music, I've come to find out just how important the final say in what bumps how and how it goes where is. But nothing I say will bring you to an understanding of dre's genius, so we can jus leave it at that or keep goin in circles.
You put your Freddy mask on trying to save face. My argument is that Scott played the keys so he should get credit for that. Not one time in this thread have I stated anything about majority of the production credit. That partial/majority argument is something you came up with. You FINALLY said that people should get credit which is what I have been saying from the get go. We are only going in circles because you refuse to let it go.
lol funny how u were cryin about "personal insults", and u musta made like 10 since then...u mad? be honest now. no one "savin face". my stance on dre has remained the same for the past decade..if u dont believe me, check the files son. you are overrating what storch does. u said "storch playing the keys is a major part of the production", which is where we disgree...to me, that's a minimal part of the production. storch can be replaced by any session player, and the production will come out just as good, give or take. but u take dre away, and it's a whole nother story...at this point, you just arguin to come out on top, because u even feel like u agree wit me (we don't), but still talkin out the side of your mouth. i see u.
I thought the saving face thing was clever. Didn't really see it as an insult.
You keep talking about crying. Why would anyone cry over this especially the one who's right? Scott's role is a major part of the song. When you think of the song you think of the keys.
You took that statement and said that I said he deserves a majority of the production credit. That's not what I said or meant. You lost bro just give it up. You agree that artist working with Dre should receive credit, me too. That's all I wanted from you. I tell you what. If you want the last word so bad, go ahead it's yours.
no, not any and every artist who works with him should get production credit. for instance, storch on still dre would get credit as a session player, not co-producer. but once again, you've exposed the fact that this is nothin more than a "who gets the last word" contest for you.
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The music industries idea of a producer and the fans are two different things. Fans think that the person who made the beat is a producer but in the music industry it has more to do with who helped create the entire song, beat and lyrics combined. They have demoted the people who actually make the music as just 'beat makers' and have crowned themselves as 'producers'. Who do you think gets the bulk share of the money? Someone told me years ago that The Alchemist aired out Em+Dre by saying that they were getting other people beats, making some changes here and there and then they would take production credit. The fans see the credits and think that they made the beats when really they didn't.
Suge said that they would take artist demos that they would submit and make it their own and said that he got the idea from Eazy-E. Warren G got the samples for the chronic for Dre. Dre has people playing live instruments and what not as well. How much of the much do you think these super producers actually make themselves? Dre has a unique sound especially back then. You should be able to tell which beats are his and know that he may have help produce (using the industries definition) but didn't make the actual music or at the very least just helped to make the music.
DRE IS THE MASTERMIND BEHIND IT ALL...WITHOUT DRE, THE PRODUCT WOULDNT BE A TENTH AS GOOD. DRE IS THE EPITOME OF A TRUE PRODUCER. HE SITS WIT THE ARTISTS FROM INCEPTION TO COMPLETION, AND PAYS VERY CLOSE ATTENTION TO DETAIL, GUIDING THEM THROUGH THE ENTIRE PROCESS. THAT IS WHAT A PRODUCER SHOULD BE, AND SADLY, MOST PRODUCERS IN HIP-HOP NOWADAYS DONT HAVE THIS SKILL...THE ONLY SKILL THEY HAVE IS PRESSING BUTTONS ON FRUITY LOOPS.
https://www.youtube.com/watch?v=F21g7YQzCUU&feature=youtu.be&t=92
I know you aint think I forgot! ;D
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The music industries idea of a producer and the fans are two different things. Fans think that the person who made the beat is a producer but in the music industry it has more to do with who helped create the entire song, beat and lyrics combined. They have demoted the people who actually make the music as just 'beat makers' and have crowned themselves as 'producers'. Who do you think gets the bulk share of the money? Someone told me years ago that The Alchemist aired out Em+Dre by saying that they were getting other people beats, making some changes here and there and then they would take production credit. The fans see the credits and think that they made the beats when really they didn't.
Suge said that they would take artist demos that they would submit and make it their own and said that he got the idea from Eazy-E. Warren G got the samples for the chronic for Dre. Dre has people playing live instruments and what not as well. How much of the much do you think these super producers actually make themselves? Dre has a unique sound especially back then. You should be able to tell which beats are his and know that he may have help produce (using the industries definition) but didn't make the actual music or at the very least just helped to make the music.
DRE IS THE MASTERMIND BEHIND IT ALL...WITHOUT DRE, THE PRODUCT WOULDNT BE A TENTH AS GOOD. DRE IS THE EPITOME OF A TRUE PRODUCER. HE SITS WIT THE ARTISTS FROM INCEPTION TO COMPLETION, AND PAYS VERY CLOSE ATTENTION TO DETAIL, GUIDING THEM THROUGH THE ENTIRE PROCESS. THAT IS WHAT A PRODUCER SHOULD BE, AND SADLY, MOST PRODUCERS IN HIP-HOP NOWADAYS DONT HAVE THIS SKILL...THE ONLY SKILL THEY HAVE IS PRESSING BUTTONS ON FRUITY LOOPS.
https://www.youtube.com/watch?v=F21g7YQzCUU&feature=youtu.be&t=92
I know you aint think I forgot! ;D
That's cuz dre prolly was guna produce the joint like he did the premo joint
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https://www.youtube.com/watch?v=G1Rb6HE3ywQ
Props @Abusive
Emmanuel "Porkchop" Dean Produced "Gin & Juice"
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https://www.youtube.com/watch?v=G1Rb6HE3ywQ
Props @Abusive
Emmanuel "Porkchop" Dean Produced "Gin & Juice"
he even says dre made the beat, dude jus played the music.....point proven
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Dre a.k.a the best hustler in H-H history aha
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
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https://www.youtube.com/watch?v=G1Rb6HE3ywQ
Props @Abusive
Emmanuel "Porkchop" Dean Produced "Gin & Juice"
he even says dre made the beat, dude jus played the music.....point proven
I don't get your point because when the tables are tuned Dre is the producer but when someone else does the beat they are just a beatmaker.
Sccit -
"If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .."
In the other interview I posted the guy said that Dre doesn't even play any instruments, so again, are the people who do play the producers or not?
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
not trying to be rude, but are you retarded? thats two COMPLETELY different beats. no engineer in the world woulda turned that demo into the current "doggy doggy world" lmao, stop that.
-
https://www.youtube.com/watch?v=G1Rb6HE3ywQ
Props @Abusive
Emmanuel "Porkchop" Dean Produced "Gin & Juice"
he even says dre made the beat, dude jus played the music.....point proven
I don't get your point because when the tables are tuned Dre is the producer but when someone else does the beat they are just a beatmaker.
Sccit -
"If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .."
In the other interview I posted the guy said that Dre doesn't even play any instruments, so again, are the people who do play the producers or not?
i dont get why its so hard for you to understand....the person responsible for the final outcome of the overall sound is the producer. the people who play the instruments are called SESSION PLAYERS.
-
https://www.youtube.com/watch?v=G1Rb6HE3ywQ
Props @Abusive
Emmanuel "Porkchop" Dean Produced "Gin & Juice"
he even says dre made the beat, dude jus played the music.....point proven
I don't get your point because when the tables are tuned Dre is the producer but when someone else does the beat they are just a beatmaker.
Sccit -
"If you made a beat and it was reconstructed to the point where it barely sounds anything like it originally did, then you didn't really produce the beat, u just provided a foundation to work with. Laying a foundation is the easy part .."
In the other interview I posted the guy said that Dre doesn't even play any instruments, so again, are the people who do play the producers or not?
i dont get why its so hard for you to understand....the person responsible for the final outcome of the overall sound is the producer. the people who play the instruments are called SESSION PLAYERS.
I'm asking you about the people who make the beat, what are they?
-
https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
not trying to be rude, but are you retarded? thats two COMPLETELY different beats. no engineer in the world woulda turned that demo into the current "doggy doggy world" lmao, stop that.
Wasn't this one if the records Daz said he signed off on to give dre the credit? If so, I don;t see your point. It's obvious that Daz made the beat so what's your argument? I never said that Dre doesn't clean up other people's beats. In fact, that's exactly what I said.
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
not trying to be rude, but are you retarded? thats two COMPLETELY different beats. no engineer in the world woulda turned that demo into the current "doggy doggy world" lmao, stop that.
Wasn't this one if the records Daz said he signed off on to give dre the credit? If so, I don;t see your point. It's obvious that Daz made the beat so what's your argument? I never said that Dre doesn't clean up other people's beats. In fact, that's exactly what I said.
Lmao that's not a "clean up", it's two completely different sounds .. It's like if Dre had no money and daz gave dre 15 bux.. If Dre took that 15 bux and hustled it up to 4 gz a week later .. U guna give Daz credit for making that 4 gz? Stop that
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
not trying to be rude, but are you retarded? thats two COMPLETELY different beats. no engineer in the world woulda turned that demo into the current "doggy doggy world" lmao, stop that.
Wasn't this one if the records Daz said he signed off on to give dre the credit? If so, I don;t see your point. It's obvious that Daz made the beat so what's your argument? I never said that Dre doesn't clean up other people's beats. In fact, that's exactly what I said.
Lmao that's not a "clean up", it's two completely different sounds .. It's like if Dre had no money and daz gave dre 15 bux.. If Dre took that 15 bux and hustled it up to 4 gz a week later .. U guna give Daz credit for making that 4 gz? Stop that
Just listened again some sounds were added but again what's your point? Dre didn't play the sounds so he wasn't the session player and he didn't make the beat. What exactly is your argument here?
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
not trying to be rude, but are you retarded? thats two COMPLETELY different beats. no engineer in the world woulda turned that demo into the current "doggy doggy world" lmao, stop that.
Wasn't this one if the records Daz said he signed off on to give dre the credit? If so, I don;t see your point. It's obvious that Daz made the beat so what's your argument? I never said that Dre doesn't clean up other people's beats. In fact, that's exactly what I said.
Lmao that's not a "clean up", it's two completely different sounds .. It's like if Dre had no money and daz gave dre 15 bux.. If Dre took that 15 bux and hustled it up to 4 gz a week later .. U guna give Daz credit for making that 4 gz? Stop that
Just listened again some sounds were added but again what's your point? Dre didn't play the sounds so he wasn't the session player and he didn't make the beat. What exactly is your argument here?
At this point, if u really think those two beats are the same, id have to say you trollin
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
either you deaf, or you simply don't know what your talking about. It ain't THE SAME beat - Daz provided a good skeleton for a beat, but Dre took it to another level. Daz demo had potential, but it was Dre who took that muthafucka to another level - point blank.
As far as credits are concerned - I personally think Daz should be included as a co-producer on that one, but that dosen't change the fact, that it was Dre who made "Doggy Dogg World" what it was music-wise. If Daz version ended up as the retail one, I'll bet it would be one of the worst and most skipped tracks on "Doggystyle", and even dope lyrics couldn't save it - straight up.
If you want to hear a difference between unmixed/unmastered version of a final product - bump "NY87" or "Every Single Day" from recently leaked reels and compare it to mixed versions made by Effrain. That's what mixing/mastering does - Dre goes waaay beyond that most of the times when it comes the beats, that was separates him from YouTube beatmakers.
Do I think Death Row fucked up many credits in booklet? Yes, they did. Is Dre partly responsible for it? Yes he is, because he was a part-owner of that company. But to sit here and talk like people were giving him finished products and he just put his name on it instead of giving credit is just insane.
And you can see he learn his lesson on Aftermath - now you can see in booklets who provided bass, guitar, piano keys, etc. They all included - but if someone says with a straight face that for example Scott Storch produced "Still Dre", he must be out of his mind.
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I doubt Daz was involved in the making of Doggy Dogg World. At least, that's not what Chris "The Glove" Taylor said in an interview (who's far more reliable than Daz who often talks out of his ass).Here's what he said :
Chris “The Glove” Taylor: I produced a song called “Doggy Dogg World.” Dr. Dre did the beat as far as the drums; kick, snare and hi-hat. The bass player wasn’t playing it to Dre’s satisfaction, so I took over and played it on the Moog. Then Dre asked me to put the keys down on it, so I did all of the keyboard parts. He told me to record the beat and then he left – so I laid it all down. I also recorded Snoop’s vocals. I recorded everybody but The Dramatics although I sat next to Dre when that happened.
When that record was finished, Suge was standing on my right side and Jimmy Iovine was standing on my left. They were waiting for me to finish editing it so they could put it on the album and fly it on an airplane to the pressing plant. They told me that it would cost them $42,000 for every hour that it went over. They had trucks lined up, and they were waiting to ship it – Snoop’s first album was a monster. The main thing back then was making sure that the order of the songs was right – because the album has to flow right. We put as much work in to that as anything else on the album.
https://www.gearslutz.com/board/rap-hip-hop-engineering-production/846964-another-guy-made-dr-dre-chris-oethe-glovea-taylor.html
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https://youtu.be/wG0HdZLfW-w
props to the coli.
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https://youtu.be/wG0HdZLfW-w
props to the coli.
Dre didn't do love is blind .. Side note, did hutch end up winnin that suit?
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https://youtu.be/wG0HdZLfW-w
props to the coli.
Dre didn't do love is blind .. Side note, did hutch end up winnin that suit?
Keep up bro. Dre's the founder and owner of the label that's accused of passing off someone else's work to someone else who then took credit for it. See the pattern here?
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https://youtu.be/wG0HdZLfW-w
props to the coli.
Dre didn't do love is blind .. Side note, did hutch end up winnin that suit?
Keep up bro. Dre's the founder and owner of the label that's accused of passing off someone else's work to someone else who then took credit for it. See the pattern here?
i refuse to keep up with retardation......dre is not responsible for what eve did wit the song when she went to ruff ryders, for all we know, she took those ideas on her own and later remade the song wit swizz beats. its not like dre was gettin paid for that joint, so quit reachin, because at this point, u seem to be in desperation mode in your quest to shit on dre......if dre was really a piece of shit thief like u out here tryna prove, u think hutch would be workin wit him again? and even praisin him as a musical genius in recent interviews. simple science, young man.
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Quit whining already! If I could hear your post you would probably sound like a cat in heat.
Go away bro and leave this discussion to people who genuinely want to know the truth.
You only want to defend Dre at all cost despite of the evidence. You're a Stan. It's cool bro I've been there too. But sooner or later you have to grow up. If you really wanted to know about this situation you would do more than just watch the short video I posted. Some of the excuses you made up to explain away this situation have already been answered by other outlets that reported on this subject. So you look like a fool throwing that hail mary. It's actually embarrassing reading it. You're asking me if he won the lawsuit, I should be asking you the way you have exonerated Aftermath/Dre. You're a mod here? SMH The point of a message board is to have discussion. Who cares if YOU like the discussion or not? Because I damn sure don't. This thread wont just magically go away because you want it to. ;D
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https://www.youtube.com/watch?v=Gd4dHAsgAHE - Doggy Dogg World demo made by Daz.
Now go and play the finished product put by Dre and hear the difference.
Not trying to be funny but I don't really see your point. The beat just sounds unmixed and mastered. Still the same beat. You can get a beat mixed and mastered for a few dollars a million places and the person doing it isn't entitled to a lifetime of royalties.
either you deaf, or you simply don't know what your talking about. It ain't THE SAME beat - Daz provided a good skeleton for a beat, but Dre took it to another level. Daz demo had potential, but it was Dre who took that muthafucka to another level - point blank.
As far as credits are concerned - I personally think Daz should be included as a co-producer on that one, but that dosen't change the fact, that it was Dre who made "Doggy Dogg World" what it was music-wise. If Daz version ended up as the retail one, I'll bet it would be one of the worst and most skipped tracks on "Doggystyle", and even dope lyrics couldn't save it - straight up.
If you want to hear a difference between unmixed/unmastered version of a final product - bump "NY87" or "Every Single Day" from recently leaked reels and compare it to mixed versions made by Effrain. That's what mixing/mastering does - Dre goes waaay beyond that most of the times when it comes the beats, that was separates him from YouTube beatmakers.
Do I think Death Row fucked up many credits in booklet? Yes, they did. Is Dre partly responsible for it? Yes he is, because he was a part-owner of that company. But to sit here and talk like people were giving him finished products and he just put his name on it instead of giving credit is just insane.
And you can see he learn his lesson on Aftermath - now you can see in booklets who provided bass, guitar, piano keys, etc. They all included - but if someone says with a straight face that for example Scott Storch produced "Still Dre", he must be out of his mind.
I agree that Daz provided a good skeleton and that Dre took it to a new level. What's the problem here? I can still here the skeleton though and a good mix can make a bland beat sound better even to the point where it sound like a different beat.
The problem with most of you is that you want to give one person the credit and not the other. I don't disagree that Dre produced on this. But I also don't disagree that session players and the person who made the skeleton produced on it as well.
I have already acknowledged I can here some changes so I'll ask you the same thing I asked the other guy, what is your argument? It just seems you and him want to defend Dre at all cost when I'm not even accusing him of anything.
As far people giving him the finished product and him putting his name on it, that very well may be true. You can say that's not the case and keep going by Doggy Dogg World as the example as to why it's not true. It's not good enough. The other interview I posted the other day leads me to believe that that does take place. Not everyone who comes along is where Daz was back in the day. I'm sure they get music regularly that don't need anything done and if they can spend a few dollars to help build the Dre brand then I'm sure that happens as well. Sorry you guys don't know how the music industry really works.
Back to the Scott Storch thing. I think I have explained it but I'll go back. Scott did produce on the song simply because he played the keys. I'm still fascinated in how anyone could argue that the people making the music (the people making the beat and session players) aren't part of the production process but the person who didn't make any music at all is. That's some grimy old school mafia music industry talk that needs to be done away with in 2016. I don't care what anyone says artist need to stand up for their rights. I'm not saying he produced the song because the song is a marriage between the music and the vocals. What I'm saying is that his input went into the production of the song so he should get production credits, which I'm sure he did.
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Quit whining already! If I could hear your post you would probably sound like a cat in heat.
Go away bro and leave this discussion to people who genuinely want to know the truth.
You only want to defend Dre at all cost despite of the evidence. You're a Stan. It's cool bro I've been there too. But sooner or later you have to grow up. If you really wanted to know about this situation you would do more than just watch the short video I posted. Some of the excuses you made up to explain away this situation have already been answered by other outlets that reported on this subject. So you look like a fool throwing that hail mary. It's actually embarrassing reading it. You're asking me if he won the lawsuit, I should be asking you the way you have exonerated Aftermath/Dre. You're a mod here? SMH The point of a message board is to have discussion. Who cares if YOU like the discussion or not? Because I damn sure don't. This thread wont just magically go away because you want it to. ;D
Aside from how sensitive you comin off right now, you also sound like a teenage female "go away!" lmao.. If u wana debate me, do it like a man. I'm not even reading past that
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Debate you? ;D You don't remember being destroyed over the Jew question? lol I didn't even have to get into my archaeological bag because you were no match for me and honestly there was no need to take it there. You're not on my level kiddo. I get it in. You probably just want to go back and forth because you like the manner in which I speak? If you want to do a text battle in the studio section though we can. I'll smack that Freddy mask and yamaka off you at the same damn time.
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Debate you? ;D You don't remember being destroyed over the Jew question? lol I didn't even have to get into my archaeological bag because you were no match for me and honestly there was no need to take it there. You're not on my level kiddo. I get it in. You probably just want to go back and forth because you like the manner in which I speak? If you want to do a text battle in the studio section though we can. I'll smack that Freddy mask and yamaka off you at the same damn time.
You try way too hard bro
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You don't try hard enough.
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You don't try hard enough.
i dont need to try, i just do it like nike brodie.......trying leaves room for failure. and thats why u steady failin in your quest to gain ground wit your desperation attempts at shittin on the goat producer in hip-hop. only reason u turned this into a me vs. you thing is because your insecurity was stronger than your points. i see u.
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^allah gon' whoop you if you don't shut up and go away.
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^allah gon' whoop you if you don't shut up and go away.
"Shut up and go away" more female talk masked by a corny joke. get out your feelins n back on topic dawgy. Topic is about Dre not how I make u feel.
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Let's play a game called silence of the lamb.
Rules: you shut up.
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not guna tell u again...stop playin them gayass games n stay on topic.
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I agree that Daz provided a good skeleton and that Dre took it to a new level. What's the problem here? I can still here the skeleton though and a good mix can make a bland beat sound better even to the point where it sound like a different beat.
The problem with most of you is that you want to give one person the credit and not the other. I don't disagree that Dre produced on this. But I also don't disagree that session players and the person who made the skeleton produced on it as well.
I have already acknowledged I can here some changes so I'll ask you the same thing I asked the other guy, what is your argument? It just seems you and him want to defend Dre at all cost when I'm not even accusing him of anything.
As far people giving him the finished product and him putting his name on it, that very well may be true. You can say that's not the case and keep going by Doggy Dogg World as the example as to why it's not true. It's not good enough. The other interview I posted the other day leads me to believe that that does take place. Not everyone who comes along is where Daz was back in the day. I'm sure they get music regularly that don't need anything done and if they can spend a few dollars to help build the Dre brand then I'm sure that happens as well. Sorry you guys don't know how the music industry really works.
Back to the Scott Storch thing. I think I have explained it but I'll go back. Scott did produce on the song simply because he played the keys. I'm still fascinated in how anyone could argue that the people making the music (the people making the beat and session players) aren't part of the production process but the person who didn't make any music at all is. That's some grimy old school mafia music industry talk that needs to be done away with in 2016. I don't care what anyone says artist need to stand up for their rights. I'm not saying he produced the song because the song is a marriage between the music and the vocals. What I'm saying is that his input went into the production of the song so he should get production credits, which I'm sure he did.
It ain't about a "good mix" - Dre changed completely what Daz brought him and made it what it was, and by the time he finished it was a whole different beat that sounded nothing like before. You seriously don't recognize the difference, or you just act a fool? I'm really confused here.
I'm putting credit when credit is due - yes, the session players did contribute but Dre's the reason for the sound of a finished product and that's why he's cheered louder than the others. That's why it says "Produced by Dr. Dre - keys by Scott Storch, bass by Mike Elizondo" etc. instead "Produced by Dr. Dre, Scott Storch & Mike Elizondo", because it was Dre who actually produced the record. Who told session players how the keys should play, what type of bass he wants, and so on. They contribute, but they didn't produce - they brought pieces of puzzle to the table, but he was the one, who got it all together and he's the main reason for the quality of finished product. Bottom line.
Plus, don't forget that all those people like Daz need Dre more than opposite, because Dre's work without them sounds as good as usual, while the quality of their music suffers without a filter like Dre, who can help them perfect their stuff.
I know exactly how the music industry works, because I'm a part of the rap music industry here @ home and I've seen it all. Yes, there are tons of fishy guys in it, that will fucked you over, and yes what you see in that music video def ain't a full picture, etc. BUT - if your really thinks that all Dre's doing is buying finished product from unknown producers and put his name on it, your out of your mind. And if that was the case, people who did contribute back in the days like Daz, Mel-Man, Storch, Sneed, Flexx, etc. would be as big if not better than Dre - and their not, great talents in their own rights, but they not on Dre's level.
Yes, those Death Row credits miss plenty of guys who did contribute, but @ the end of the day - it was Dre, who did take all those samples and put them all together in a way only he can, so he was mainly responsible for the finished product. That's the job on a main producer, point blank.
I'm working with producers on a daily basics and I can give them an idea or two for the beat, or give them a fly melody, or a dope main sample, or some drums/keys/snare's that I think will work on whatever we're working on @ the moment, but it's up to them to put it all together, cause THEY ARE PRODUCERS and THEY ARE MAKING THE FINAL PRODUCT. So I can't go brag about "I produced the record" with I straight face, because I didn't - I brought something to the table and they made it what it was. Simple as that.
Just like Dre - people give him some cool little melody, he took it, mastered it and gave the world a finished product. That's what being a producer is all about - take an idea and make it transform to a dope ass record.
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I agree that Daz provided a good skeleton and that Dre took it to a new level. What's the problem here? I can still here the skeleton though and a good mix can make a bland beat sound better even to the point where it sound like a different beat.
The problem with most of you is that you want to give one person the credit and not the other. I don't disagree that Dre produced on this. But I also don't disagree that session players and the person who made the skeleton produced on it as well.
I have already acknowledged I can here some changes so I'll ask you the same thing I asked the other guy, what is your argument? It just seems you and him want to defend Dre at all cost when I'm not even accusing him of anything.
As far people giving him the finished product and him putting his name on it, that very well may be true. You can say that's not the case and keep going by Doggy Dogg World as the example as to why it's not true. It's not good enough. The other interview I posted the other day leads me to believe that that does take place. Not everyone who comes along is where Daz was back in the day. I'm sure they get music regularly that don't need anything done and if they can spend a few dollars to help build the Dre brand then I'm sure that happens as well. Sorry you guys don't know how the music industry really works.
Back to the Scott Storch thing. I think I have explained it but I'll go back. Scott did produce on the song simply because he played the keys. I'm still fascinated in how anyone could argue that the people making the music (the people making the beat and session players) aren't part of the production process but the person who didn't make any music at all is. That's some grimy old school mafia music industry talk that needs to be done away with in 2016. I don't care what anyone says artist need to stand up for their rights. I'm not saying he produced the song because the song is a marriage between the music and the vocals. What I'm saying is that his input went into the production of the song so he should get production credits, which I'm sure he did.
It ain't about a "good mix" - Dre changed completely what Daz brought him and made it what it was, and by the time he finished it was a whole different beat that sounded nothing like before. You seriously don't recognize the difference, or you just act a fool? I'm really confused here.
I'm putting credit when credit is due - yes, the session players did contribute but Dre's the reason for the sound of a finished product and that's why he's cheered louder than the others. That's why it says "Produced by Dr. Dre - keys by Scott Storch, bass by Mike Elizondo" etc. instead "Produced by Dr. Dre, Scott Storch & Mike Elizondo", because it was Dre who actually produced the record. Who told session players how the keys should play, what type of bass he wants, and so on. They contribute, but they didn't produce - they brought pieces of puzzle to the table, but he was the one, who got it all together and he's the main reason for the quality of finished product. Bottom line.
Plus, don't forget that all those people like Daz need Dre more than opposite, because Dre's work without them sounds as good as usual, while the quality of their music suffers without a filter like Dre, who can help them perfect their stuff.
I know exactly how the music industry works, because I'm a part of the rap music industry here @ home and I've seen it all. Yes, there are tons of fishy guys in it, that will fucked you over, and yes what you see in that music video def ain't a full picture, etc. BUT - if your really thinks that all Dre's doing is buying finished product from unknown producers and put his name on it, your out of your mind. And if that was the case, people who did contribute back in the days like Daz, Mel-Man, Storch, Sneed, Flexx, etc. would be as big if not better than Dre - and their not, great talents in their own rights, but they not on Dre's level.
Yes, those Death Row credits miss plenty of guys who did contribute, but @ the end of the day - it was Dre, who did take all those samples and put them all together in a way only he can, so he was mainly responsible for the finished product. That's the job on a main producer, point blank.
I'm working with producers on a daily basics and I can give them an idea or two for the beat, or give them a fly melody, or a dope main sample, or some drums/keys/snare's that I think will work on whatever we're working on @ the moment, but it's up to them to put it all together, cause THEY ARE PRODUCERS and THEY ARE MAKING THE FINAL PRODUCT. So I can't go brag about "I produced the record" with I straight face, because I didn't - I brought something to the table and they made it what it was. Simple as that.
Just like Dre - people give him some cool little melody, he took it, mastered it and gave the world a finished product. That's what being a producer is all about - take an idea and make it transform to a dope ass record.
I don't hear a completely different beat. If you do then that's cool, I don't. You're lying to yourself if you think a fan of that album wouldn't be able to listen to the original beat and be able to tell what track it is on the album. Furthermore your argument is just silly. If it's completely different beat then why use the skeleton at all? You guys are saying I'm discrediting Dre why you discredit Daz and anyone Dre has worked with.
Never said that Dre wasn't the reason the song was finished or anything of that nature.
I disagree that the people who make the music aren't producers.
Daz may have needed Dre back in '93 but not now. Sorry you think that it's some magnificent feat to get a beat, bring in people who can play the instruments live play, try and find ways to improve and have the finished product professionally mixed and mastered.
Never said that all Dre was doing was buying the finished product and putting his name on it. I have said that Alchemist has said that Dre and Em have gotten beats and made minor changes for the production credit.
This notion that artist who produce on the level of Dre should be on his level but aren't so they must not be as good is silly. If you are in the biz like you say then you should know that talent is only apart of the game. It doesn't get you everywhere.
You mention the DR credits but ignore the Aftermath suit that Hutch had.
Go and watch the Vladtv DOC interview where he speaks about giving input in the studio and then goes on to say technically it's called producing. You shouldn't go around bragging saying that you produced the record, you should tell the main producer that you want partial production credit for your input into the song.
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Here are some quotes from the guy that posted the Hutch video at the other site:
"nikka u don't think the nikka who fukkin created the beat from scratch deserves credit? The nikka Dre was a fukkin Engineer fam. ALL signs point in that direction. Im a producer and engineer. I know the job. Daz and any other hip hop producer would say they would do a record and send it to Dre to mix the shyt. Then it's a damn Dre beat all of a sudden. nikka would even go as far as try to take credit for beats and songs he didn't touch at all.. snoop is a bytch ass nikka anyway so fukk what he gotta say about the situation. Snoop said Daz deserved ZERO credit for making the beat. Cause all he did was make the beat. Dre brought the life into it. That's some bullshyt. Even the interviewer was like damn "u don't think he deserves ANY credit for his contributions?" Snoop was like nope."
"Fam I know people in the industry who worked wit Dre. Legends bruh. Lol. I'm not speaking out my ass. U see how I gave Dre credit earlier in the thread so I'm not just bashing him for no reason. Hip hop is funny. It's not like other genre's because the term producer can be misconstrued considering the "beatmaker" can do everything himself. He IS a composer as well cause he composed. And made the beat himself from his brain. So for Dre to come in. Mix the beat. And engineer the session. He deserves ALL production credit? Nah. Now if Dre is in the studio. The beat comes from his head and he wants certain parts layed with real instruments even tho he can't play them. And he hires musicians n shit like that to work on it. Yes. He produced the beat. And early in Dre's career. Alotta people didn't get credit for Dre's work. He tries to blame Suge but Dre was right there wit him. Gassed. Nigga took credit for alotta production he didn't have his hands on. California Love remix was already done. Dre took credit for it. It's things like that I don't respect. Anyone who knows Dre knows it's hard to even get the nigga to wanna be in the studio. Especially these days. And yes. Snoop said Daz deserves ZERO credit. Take some shit like "Ain't No Fun". Song already done. Dre adds a few bells n whistles? Now it's a Dre beat? How's is that right? The whole SONG was done before Dre touched it. And Snoop is a flip flopper and grimey individual anyway."
http://www.thecoli.com/threads/dr-dres-ghost-producer-chris-the-glove-taylor-interview.422329/page-3
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Here are some quotes from the guy that posted the Hutch video at the other site:
"nikka u don't think the nikka who fukkin created the beat from scratch deserves credit? The nikka Dre was a fukkin Engineer fam. ALL signs point in that direction. Im a producer and engineer. I know the job. Daz and any other hip hop producer would say they would do a record and send it to Dre to mix the shyt. Then it's a damn Dre beat all of a sudden. nikka would even go as far as try to take credit for beats and songs he didn't touch at all.. snoop is a bytch ass nikka anyway so fukk what he gotta say about the situation. Snoop said Daz deserved ZERO credit for making the beat. Cause all he did was make the beat. Dre brought the life into it. That's some bullshyt. Even the interviewer was like damn "u don't think he deserves ANY credit for his contributions?" Snoop was like nope."
"Fam I know people in the industry who worked wit Dre. Legends bruh. Lol. I'm not speaking out my ass. U see how I gave Dre credit earlier in the thread so I'm not just bashing him for no reason. Hip hop is funny. It's not like other genre's because the term producer can be misconstrued considering the "beatmaker" can do everything himself. He IS a composer as well cause he composed. And made the beat himself from his brain. So for Dre to come in. Mix the beat. And engineer the session. He deserves ALL production credit? Nah. Now if Dre is in the studio. The beat comes from his head and he wants certain parts layed with real instruments even tho he can't play them. And he hires musicians n shit like that to work on it. Yes. He produced the beat. And early in Dre's career. Alotta people didn't get credit for Dre's work. He tries to blame Suge but Dre was right there wit him. Gassed. Nigga took credit for alotta production he didn't have his hands on. California Love remix was already done. Dre took credit for it. It's things like that I don't respect. Anyone who knows Dre knows it's hard to even get the nigga to wanna be in the studio. Especially these days. And yes. Snoop said Daz deserves ZERO credit. Take some shit like "Ain't No Fun". Song already done. Dre adds a few bells n whistles? Now it's a Dre beat? How's is that right? The whole SONG was done before Dre touched it. And Snoop is a flip flopper and grimey individual anyway."
http://www.thecoli.com/threads/dr-dres-ghost-producer-chris-the-glove-taylor-interview.422329/page-3
Lol the fuck is this supposed to prove?
And here's my post shittin on his point:
"RIGHT THATS WHY DAZ, MEL-MAN, MIKE ELIZANDO, FOCUS ETC HAVE MADE PRODUCTIONS ON THEIR OWN THAT RIVAL DRE'S WORK .. OR NOT"
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Having good session musicians is an important part of the process. They have a role to play, but they're not producing. It's not their project and they don't really have any attachment to the project. They have no say. They come in and do as they are instructed to do. It doesn't matter if they improvise or come up with something during a jam session. For example, if I'm a basketball player and happen to diagram a play, that doesn't mean I'm now the coach or assistant coach. I just happened to draw up that one particular play during a time-out.
https://www.youtube.com/v/ugVyMxdVG3s
If you're a producer and you want to give a studio musician co-producer credit because he came up with a nice tune in a session, feel free to do so. That's your prerogative, but it's definitely not the industry standard regardless of genre of music.
Hutch states in the video that his beat was not used on the album. It was replaced by one done by Swizz Beats and P. Killer. Elements of what he contributed (concepts, directions, melodies, etc.) during the initial sessions were still present in the song. You're going to have to focus on more than just who played what on the instrumental if you're going to use his situation as stealing production credit. He's basically saying that it doesn't matter if Swizz Beats came in with a new instrumental, it's still his song because of everything else that he did with that track that made it what it was. Swizz Beats just brought in the beat....
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Having good session musicians is an important part of the process. They have a role to play, but they're not producing. It's not their project and they don't really have any attachment to the project. They have no say. They come in and do as they are instructed to do. It doesn't matter if they improvise or come up with something during a jam session.
Precise.
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Having good session musicians is an important part of the process. They have a role to play, but they're not producing. It's not their project and they don't really have any attachment to the project. They have no say. They come in and do as they are instructed to do. It doesn't matter if they improvise or come up with something during a jam session. For example, if I'm a basketball player and happen to diagram a play, that doesn't mean I'm now the coach or assistant coach. I just happened to draw up that one particular play during a time-out.
https://www.youtube.com/v/ugVyMxdVG3s
If you're a producer and you want to give a studio musician co-producer credit because he came up with a nice tune in a session, feel free to do so. That's your prerogative, but it's definitely not the industry standard regardless of genre of music.
Hutch states in the video that his beat was not used on the album. It was replaced by one done by Swizz Beats and P. Killer. Elements of what he contributed (concepts, directions, melodies, etc.) during the initial sessions were still present in the song. You're going to have to focus on more than just who played what on the instrumental if you're going to use his situation as stealing production credit. He's basically saying that it doesn't matter if Swizz Beats came in with a new instrumental, it's still his song because of everything else that he did with that track that made it what it was. Swizz Beats just brought in the beat....
I obviously disagree with industry standard. Shout out to Suge and others who wanted to form the music industry union and challenge age old traditions.
Not in every situation are musicians told what to play. Regardless of whether they are or not, the point is that they played.
I don't see the difference from someone sampling to make a beat. The people who's music is used gets paid. Not once but every time the sampled song makes revenue. Most of the sampled material came from live instrumentation.
The Hutch situation was only posted to show that from DR to even Aftermath producers have been making the same allegations. If you want to go back even further you can say Ruthless because Suge has stated in his TMZ interview that they got the practice of taking artist ideas and using it from Ruthless which they applied to DR. Obviously if Dre was the primary music guy in the beginning at Ruthless and DR then this would implicate him as well. People like to blame Suge for the DR credit situation but then question the validity of me posting a situation that happened at Aftermath. My point in posting that has nothing to do with instrumentation either. I can't say that I'm building a case but if something along the lines of this discussion presents itself I will post it regards of the outcry from obsessed fans.
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I don't hear a completely different beat. If you do then that's cool, I don't. You're lying to yourself if you think a fan of that album wouldn't be able to listen to the original beat and be able to tell what track it is on the album. Furthermore your argument is just silly. If it's completely different beat then why use the skeleton at all? You guys are saying I'm discrediting Dre why you discredit Daz and anyone Dre has worked with.
Never said that Dre wasn't the reason the song was finished or anything of that nature.
I don't discredit Daz - I'd said he's a great producer in his own right. But he ain't Dr. Dre and his body of work don't compare to that of Dre's - we ain't gonna argue about that one, do we?
I disagree that the people who make the music aren't producers.
That's your point of view, but the truth is - dude who plays bass ain't a producer, he's a session player. Dude, who play keys ain't a producer either - he contribute in one element and that's playing keys. So you can't say he did more to make a finished product sound the way it is that a main producer like Dre, who's puuting all pieces together and usually tells a keyboard player what kind of melody he should play, so you can't put a "=" mark between Dre and let's say a Mark Batson, because they didn't contribute the same effort when it comes to making a finished product.
Daz may have needed Dre back in '93 but not now. Sorry you think that it's some magnificent feat to get a beat, bring in people who can play the instruments live play, try and find ways to improve and have the finished product professionally mixed and mastered.
In some case - yes, it's a magnificent feat because records like "Doggystyle", or "The Chronic" don't come very often. Plus, if it was so easy every top producer in the game would provide hit after hit, and like you can see - almost none of them are capable of doing it and be consistent about it. Same goes with rappers - there's a selected few that can match their best record and Dre's one of them, when it comes to "The Chronic" and "2001". He succeded when most of them failed - Snoop couldn't do it, 50 couldn't do it, even Em had major problems of coming close to MMLP, and all these dudes had access to every top producer, musician, keyboard player in the world. So it ain't as easy, as you think it is bro.
This notion that artist who produce on the level of Dre should be on his level but aren't so they must not be as good is silly. If you are in the biz like you say then you should know that talent is only apart of the game. It doesn't get you everywhere.
Your right - hard work beats talent, when talent dosen't work hard. That's what separates Dre from others - his work ethic. That's the main reason other talented producers like Mel-Man, Sam Sneed, J-Flexx and others didn't get to that level. They had talent, but they didn't push themselves as hard as Dre did, bottom line. It ain't about being blackballed, or being an "illuminati puppet" - it's about hard work and dedication.
You mention the DR credits but ignore the Aftermath suit that Hutch had.
I disagree - Dre learned his lesson on Death Row, that's why most Aftermath releases have booklets giving credit to everybody involved. Check out "The Documentary" for example:
https://www.discogs.com/The-Game-The-Documentary/release/5830753
It says loud and clear who made what - same goes for 50 or Eminem records.
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I obviously disagree with industry standard. Shout out to Suge and others who wanted to form the music industry union and challenge age old traditions.
Not in every situation are musicians told what to play. Regardless of whether they are or not, the point is that they played.
I don't see the difference from someone sampling to make a beat. The people who's music is used gets paid. Not once but every time the sampled song makes revenue. Most of the sampled material came from live instrumentation.
The Hutch situation was only posted to show that from DR to even Aftermath producers have been making the same allegations. If you want to go back even further you can say Ruthless because Suge has stated in his TMZ interview that they got the practice of taking artist ideas and using it from Ruthless which they applied to DR. Obviously if Dre was the primary music guy in the beginning at Ruthless and DR then this would implicate him as well. People like to blame Suge for the DR credit situation but then question the validity of me posting a situation that happened at Aftermath. My point in posting that has nothing to do with instrumentation either. I can't say that I'm building a case but if something along the lines of this discussion presents itself I will post it regards of the outcry from obsessed fans.
Suge is the last credible person, when it comes to every Dr.Dre-related topic bro - c'mon now ::)
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I obviously disagree with industry standard. Shout out to Suge and others who wanted to form the music industry union and challenge age old traditions.
Not in every situation are musicians told what to play. Regardless of whether they are or not, the point is that they played.
I don't see the difference from someone sampling to make a beat. The people who's music is used gets paid. Not once but every time the sampled song makes revenue. Most of the sampled material came from live instrumentation.
The Hutch situation was only posted to show that from DR to even Aftermath producers have been making the same allegations. If you want to go back even further you can say Ruthless because Suge has stated in his TMZ interview that they got the practice of taking artist ideas and using it from Ruthless which they applied to DR. Obviously if Dre was the primary music guy in the beginning at Ruthless and DR then this would implicate him as well. People like to blame Suge for the DR credit situation but then question the validity of me posting a situation that happened at Aftermath. My point in posting that has nothing to do with instrumentation either. I can't say that I'm building a case but if something along the lines of this discussion presents itself I will post it regards of the outcry from obsessed fans.
Suge is the last credible person, when it comes to every Dr.Dre-related topic bro - c'mon now ::)
In the context in which he mentioned it technically it had nothing to do with Dre.
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I don't hear a completely different beat. If you do then that's cool, I don't. You're lying to yourself if you think a fan of that album wouldn't be able to listen to the original beat and be able to tell what track it is on the album. Furthermore your argument is just silly. If it's completely different beat then why use the skeleton at all? You guys are saying I'm discrediting Dre why you discredit Daz and anyone Dre has worked with.
Never said that Dre wasn't the reason the song was finished or anything of that nature.
I don't discredit Daz - I'd said he's a great producer in his own right. But he ain't Dr. Dre and his body of work don't compare to that of Dre's - we ain't gonna argue about that one, do we?
I disagree that the people who make the music aren't producers.
That's your point of view, but the truth is - dude who plays bass ain't a producer, he's a session player. Dude, who play keys ain't a producer either - he contribute in one element and that's playing keys. So you can't say he did more to make a finished product sound the way it is that a main producer like Dre, who's puuting all pieces together and usually tells a keyboard player what kind of melody he should play, so you can't put a "=" mark between Dre and let's say a Mark Batson, because they didn't contribute the same effort when it comes to making a finished product.
Daz may have needed Dre back in '93 but not now. Sorry you think that it's some magnificent feat to get a beat, bring in people who can play the instruments live play, try and find ways to improve and have the finished product professionally mixed and mastered.
In some case - yes, it's a magnificent feat because records like "Doggystyle", or "The Chronic" don't come very often. Plus, if it was so easy every top producer in the game would provide hit after hit, and like you can see - almost none of them are capable of doing it and be consistent about it. Same goes with rappers - there's a selected few that can match their best record and Dre's one of them, when it comes to "The Chronic" and "2001". He succeded when most of them failed - Snoop couldn't do it, 50 couldn't do it, even Em had major problems of coming close to MMLP, and all these dudes had access to every top producer, musician, keyboard player in the world. So it ain't as easy, as you think it is bro.
This notion that artist who produce on the level of Dre should be on his level but aren't so they must not be as good is silly. If you are in the biz like you say then you should know that talent is only apart of the game. It doesn't get you everywhere.
Your right - hard work beats talent, when talent dosen't work hard. That's what separates Dre from others - his work ethic. That's the main reason other talented producers like Mel-Man, Sam Sneed, J-Flexx and others didn't get to that level. They had talent, but they didn't push themselves as hard as Dre did, bottom line. It ain't about being blackballed, or being an "illuminati puppet" - it's about hard work and dedication.
You mention the DR credits but ignore the Aftermath suit that Hutch had.
I disagree - Dre learned his lesson on Death Row, that's why most Aftermath releases have booklets giving credit to everybody involved. Check out "The Documentary" for example:
https://www.discogs.com/The-Game-The-Documentary/release/5830753
It says loud and clear who made what - same goes for 50 or Eminem records.
You're discrediting him by acting like Dre could have came up with the finished product without Daz when it was Daz who inspired Dre.
It is easy to get someone in and tell them what to play. Just because someone has had success in doing so doesn't make that task hard.
Tell the last part to Hutch.
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Dre didn't need Daz, Daz coulda been replaced by any session player .. But Dre is irreplaceable. Not that hard to figure out the importance of roles.
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Chris “The Glove” Taylor
When Chris “The Glove” Taylor first appeared with Ice-T in the break-dance classic movie, Breakin’, he was already one of the most respected DJs on the West Coast.
Spinning at the legendary Los Angeles club The Radio a.k.a. The Radio Tron, The Glove was known for his lightning speed scratches. Like a lot of DJs in the Hip-Hop game, The Glove turned to producing and soon became the right-hand man for Andre “Dr. Dre” Young and found himself working side by side with the iconic producer on classics like The Chronic, Doggystyle, All Eyez On Me, and later, The Chronic 2001.
Interviewer: You were in the 1984 movie Breakin’ DJ’ing for Ice-T. How did you get that part?
Chris “The Glove” Taylor: It all started with a club called Radio. The spot was a phenomenon because we used to have lines going around the block and it was open to any age over 13. The L.A. Times put us on the cover of their Calendar section and the producers of the movie came to check it out. Back then, people like Sting from The Police and Malcolm Mclaren would come out to the club.
So they began shooting the movie at the club and one day, I overheard the producers talking about how they needed music to capture the feel of a certain scene. I walked over to them and told them that I could do it. I was just a DJ at the time and had never produced anything up until then. They agreed to it and originally it was supposed to be just a music score for the scene. They had already hired Ice-T as the rapper for the movie, so I approached him about rapping over the beat. We recorded “Reckless” in the middle of the night and finished at 2 am.
Ice-T -Reckless
Interviewer: That was your first track? It must have been a quick learning experience.
Chris “The Glove” Taylor: I played all of those party tracks like “Planet Rock.” I got my hands on a drum machine after the producers agreed with my request. I learned how to program the beats on it. It’s hard to remember all of the details, but I believe The Egyptian Lover showed me the ropes on how to do it.
AllHipHop.com: How did you end up working alongside Dr. Dre?
Chris “The Glove” Taylor: I did the “Reckless” song and it sold 4 million copies by being on the Breakin’ soundtrack. I decided that I didn’t want to do rap after that and that’s why there is a huge gap between that song and my work with Dre. I felt like R & B music paid more at the time. I had an organ and piano background from church and high school, so I was writing songs.
I was a part of a group called Po, Broke and Lonely. We were making hot songs and a mutual friend told Dre about our group. Dre had already heard of me through the DJ scene. We met him out at a party in Palm Springs and Eazy E signed us as a group because he was looking for something that was self-contained to where he didn’t have to produce everything – and that was because of me. I was also an engineer, which a lot of producers aren’t. They’ll just lay a beat down and leave it at that.
Interviewer: So what did you and Dre start working on?
Chris “The Glove” Taylor: The first thing we started working on was the Po, Broke and Lonely album. We had this song called “Funky Vibe” and he did the remix. We were at a studio in Carson and I was the first person to introduce him to an SSL studio mixer. The way he had been recording was by having all of these different hands pushing the faders up and down on the board. I told him he was working too hard and said, “let me show you this thing called Automation.” It was the reason why I got to mix The Chronic album with him. The credits say, “mixed by Chris Taylor” but I admit that he mixed more of that album than I did. He sat in front of those boards.
Interviewer: Did you have any production or co-production on The Chronic?
Chris “The Glove” Taylor: Yes. I produced a song called, “Stranded On Death Row.” That was me and Dre. There’s been a long standing rumor that I did everything and Dre did nothing. That’s not true. You will never hear me say that. But I also did a hell of a lot that I never received credit for.
Interviewer: Like what?
Chris “The Glove” Taylor: Oh my God [pauses]. The Chronic not so much because I mixed it with him and it was all going good at that point. Although I never got credit for producing “Stranded On Death Row” and that’s where the f*** up’s started. I thought maybe that it was a mistake or an oversight at the time. So we go on to Snoop’s album Doggystyle and I worked with Dre hand-in-hand for about 70 percent of that album. I mixed more of that record than The Chronic.
Interviewer: Did you produce any songs on Snoop Dogg’s Doggystyle album?
Chris “The Glove” Taylor: I produced a song called “Doggy Dogg World.” Dr. Dre did the beat as far as the drums; kick, snare and hi-hat. The bass player wasn’t playing it to Dre’s satisfaction, so I took over and played it on the Moog. Then Dre asked me to put the keys down on it, so I did all of the keyboard parts. He told me to record the beat and then he left – so I laid it all down. I also recorded Snoop’s vocals. I recorded everybody but The Dramatics although I sat next to Dre when that happened.
When that record was finished, Suge was standing on my right side and Jimmy Iovine was standing on my left. They were waiting for me to finish editing it so they could put it on the album and fly it on an airplane to the pressing plant. They told me that it would cost them $42,000 for every hour that it went over. They had trucks lined up, and they were waiting to ship it – Snoop’s first album was a monster. The main thing back then was making sure that the order of the songs was right – because the album has to flow right. We put as much work in to that as anything else on the album.
Interviewer: What other songs were you not credited for?
Chris “The Glove” Taylor: I played the keys on 2Pac and Dre’s “California Love” and I never received credit or recognition for that. I had to ask what was going on? Am I just an invisible studio guy? “California Love” was the last song that I worked on before I left Death Row. Then later on there was a song on The Chronic 2001 album for Aftermath called “Xxplosive” – that was my track!
Interviewer: Did you ever ask Dr. Dre why you never received the proper credit on these tracks?
Chris “The Glove” Taylor: Actually I did. I was really upset with what happened on the Snoop album. I didn’t even get my name in the “Thank You” section. My name was erased on that album. Like how some producers receive a co-production credit nowadays, that’s what I should have gotten. And I should have six or seven “mixed by” credits on that album too. It’s not Snoop’s fault. He even tried to put my name in his raps but Suge would be there like, “Change that.”
I was the second producer signed to Death Row Records, counting Dr. Dre when they first started. Suge used to tell me all of the time that I was going to be the next Dr. Dre. But how can I be the next Dr. Dre when you’re leaving my name off of everything? I took issue with all of that and those were times that I took breaks from working with Dre. I would just go focus on something else. As a matter of fact, I didn’t get back with Dre until he left and started Aftermath.
Interviewer: Why did you go work with Aftermath after that bad experience with Death Row Records?
Chris “The Glove” Taylor: I had to be convinced, actually, but honestly I figured all of that happened because of Suge. It was just Dre running his own company now so everything seemed to be all good. I worked on The Firm’s album, and I co-produced the song, “Phone Tap.” I got credit for the song and I got paid. I came up with the concept of having a “phone voice” for the song and did the beat but Dr. Dre really did take that song to the next level – and that’s what he does.
Interviewer: Since you bring up The Firm, what went wrong with that album in your opinion?
Chris “The Glove” Taylor: “Phone Tap” wasn’t the first single. Do you know how many people would have ran out to buy that album if the first thing they heard was that song? They chose “Firm Biz” to be the first single and I was like, “You’ve got to be kidding! That’s not Mob music!” There were problems with that project from the beginning.
We had to replace Cormega with Nature and there was a bunch of label in-fighting. If you look at the back of that CD, you’ll see like 50 logos on there [laughter]. Every label and company involved wanted a piece of that project. Plus the album was rushed because it was done in Miami. Nobody wanted to come to L.A. because Biggie had been murdered and we didn’t want to go out East.
Interviewer: You also worked on the Dr. Dre Presents Aftermath album, which was widely panned. Why did that album fail?
Chris “The Glove” Taylor: People were upset because they wanted a “Dr. Dre” album. They weren’t looking for a compilation album. That’s what messed that up. Plus the single “Been There, Done That” was cool, but it was taking away from the gangster style that people wanted. As you saw with the next album Chronic 2001, he returned to the gangster style. People checked out “Been There, Done That” and when they went to see out what was next, they found that Dre wasn’t on another song.
Interviewer: What did you work on after the Aftermath compilation?
Chris “The Glove” Taylor: I did some stuff for Xzibit, a rapper named Saafir and a group called The Militia. They (The Militia) took out a 4 page ad in a magazine and it mentioned the work we did together – and Dre got pissed about that. What happened was that I had just renegotiated my deal with Dre and I was going to make some cool money. Then he cut my salary in half after 6 weeks so I left to work elsewhere. That ad came out before I could talk to him and tell him that I wasn’t going to be around though – but he knows me. If I’m unhappy then I just disappear. I felt like I was missing a lot of money from the Snoop album and points from “Stranded on Death Row.” Between those 14 million albums sold, I should’ve had at least a million dollars from it. I always had that under my skin.
Interviewer: And of course that leads to the “Xxplosive” song on Chronic 2001.
Chris “The Glove” Taylor: I got burned again too. Let me tell you about that song. We went up to Reno, Nevada to work on King T’s album because that was going to be the next album on Aftermath. I did that “Xxplosive” track for King T. As a matter of fact, that track and the one used by the reunited N.W.A called “Hello,” were done at that same session. Those were both originally for King T. “Hello” was a track that me and Dre both worked on together. He did the drum beat and I put everything else on top of it. “Xxplosive” that was some sh*t that I did.
Mobb Deep had an Issac Hayes sample for a song and I wanted to flip that – and I turned that in to “Xxplosive.” We would generally take the sample off and play the instruments slightly different so that it’s not an interpolation or a sample at that point. I had to get my lawyer involved because I didn’t even get paid the bare minimum that I should have been paid for my initial work.
Interviewer: You got your lawyer after him?
Chris “The Glove” Taylor: I had to! He tried to tell me that he was still recouping from The Firm or some kind of bullsh*t. He had all of that money and he didn’t want to pay the basic $1500 fee for the track. I had to fight just for that and I still didn’t get credit on the album.
One good thing that came out of that though, is that if I didn’t stand up like that, Mel-Man would have never received his co-production credits for the tracks that he worked on.
Mel-Man
Interviewer: I feel bad for you. I’ve interviewed other artists from that era and it seems like everybody got ripped off by someone.
Chris “The Glove” Taylor: We all got screwed. Nate Dogg, Jewel, Rage and The Dogg Pound signed their contracts on the same day. We were getting ready to go on The Chronic tour. Dre and I were putting the tour music together at Trax Studios and Suge had them all sign their contracts. They got $5,000 each. When I signed my deal I got way more than that. I was like, “Damn. Y’all got $5,000? That’s f***ed up.”
The Death Row Inmates... most were paid $5000 to sign contracts.
Interviewer: And you guys haven’t spoken since the “Xxplosive” situation?
Chris “The Glove” Taylor: Not since 1998. I went on to work with a group called Chico & Coolwadda and we had some heat on that album. However, MCA was just stupid and they blew it on that project. I then became the DJ for Tha Pharcyde on one of their tours, and we did a show out in the East Coast.
I don’t have any regrets. I think I’ve made some miss-steps but everybody makes those. After that, I moved on to television music and made a career out of that. At one point every Monday on the UPN Network, my music was played on every show that came on from the evening until the news came on. I’m talking “Girlfriends,” “One on One,” “The Parkers” – I scored “The Parkers” for over four years. A lot of that was ghost production too.
AllHipHop.com: You’ve got to be kidding me!
Chris “The Glove” Taylor: Let me ask you, who painted the Sistine Chapel?
Interviewer: Michelangelo.
Chris “The Glove” Taylor: That’s who got the credit but it was a bunch of guys like myself. I found out that throughout history most of these great people didn’t even do the f*cking work. The Sistine Chapel was painted by a bunch of guys. Michelangelo taught them his strokes but they did the work and he would come in and just touch up a few things – the same with Dre. One dude could not have painted all of that! This has always been going on. It’s been like this forever. Michelangelo was the person connected to the Vatican that could get the money. Dre was that guy connected to Jimmy Iovine that could get us all paid.
Dr. Dre and Jimmy Iovine
Interviewer: After all of this, would you be up for reuniting with the Doctor and making some music again? And if so, what’s stopping it?
Chris “The Glove” Taylor: The only thing stopping it is a phone call. If he needs me to come in to the studio and help get it in, then I’m there. This is about the West Coast. I’m sure this time it would all be done the correct way. The past is the past. It’s all about now.
Interviewer: What do you think about some of the recent tracks that he’s put out?
Chris “The Glove” Taylor: I think he needs to call me. He needs to call The D.O.C and everybody else who worked on those first two albums – and let’s get it in on this last one – the last ride.
Chris “The Glove” Taylor
https://www.gearslutz.com/board/rap-hip-hop-engineering-production/846964-another-guy-made-dr-dre-chris-oethe-glovea-taylor.html
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https://youtu.be/apHWozileYM
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Quik talks about what he did to the tracks on All Eyez on Me, and that he mixed or ghost produced stuff on Get Rich or Die Tryin and Encore and doggfood
Sorry if this has been posted already, I searched but didn't see it.
The legendary producer/rapper does the unthinkable for any artist: tells a media outlet the actual truth about radio deejays, Suge Knight, and even himself.
DJ Quik is pissed.
The man born David Blake is considerably more heated than he sounds on “Ghetto Rendezvous,” his melodic-yet-menacing indictment of alleged greed and betrayal on the part of family members heard on Quik’s simultaneously sunny and angry eighth solo effort, The Book of David.
Quik is full of “Fire and Brimstone” because prior to completing his recent interview with HipHopDX he was treated like any no-name new jack would be by Los Angeles-based radio deejays who likely don’t even know that they owe their careers in part to “America’z Most Complete Artist.”
Long before he was getting “the business” in his own backyard, the Compton, California native was leaving home, at just 17 years-old, to embark on a personal mission to make his music dreams come true. By age 19, the triple threat (deejay/producer/rapper) was already armed with his future back-to-back Top 20 singles, “Born and Raised in Compton” and “Tonite.” Quik’s hits helped him score a platinum plaque by the time he was 21 for his full-length debut, 1991’s Quik is the Name. The album’s success ensured his hometown’s musical mark wouldn’t end with that year’s dissolution of N.W.A., and that two decades later there would actually be Hip Hop deejays working at commercial radio stations in the City of Angels.
Before he nearly got it “Poppin’” with his ungrateful offspring in the industry, Quik graciously made time in a hectic schedule the week before his new album’s release to speak to this site, not once, but twice - after his initial interview with DX had to be cut short.
The first part of DX’s Q&A with arguably the greatest Hip Hop producer to ever emerge from the pacific coast was a somewhat standard affair (save for his coy dodging of a question regarding the role he played in the creation of “California Love,” and his more direct acknowledgement of un-credited activities at Aftermath Entertainment).
Post radio incident, the second part of his discussion with DX captures Quik in a candidly raw, “Against All Odds” moment, offering up some of the most brutally honest commentary of his historic 20-year career. Quik does so with the same confident indifference to what anyone thinks that he displayed amid the sweeping strings, triumphant horn blasts and grand piano stabs of “Killer Dope,” the album apex of David Blake’s new audio diary, which is punctuated by the drop he surely wishes now he would’ve done during that radio broadcast: “Shouts goes out … to myself/I love me, DJ Quik/Fuck the world!”
[First part of interview, conducted Monday, April 11, 2011]
HipHopDX: I know you’ve worked with Will Smith before, [on “Block Party”], so I’m not trying to get you to take shots at the Fresh Prince, but just between me and you … and the 50,000 people who are gonna read this, “Summer Breeze” is really the true #1 summertime Hip Hop song of all time, ain’t it?
DJ Quik: That’s big. I love what [Hula & Fingers] did with the Kool & the Gang sample [of “Summer Madness” for DJ Jazzy Jeff & the Fresh Prince’s “Summertime”], and how crazy [they] made it, and how funky. But, “Summer Breeze” was just coming from a real honest place. And, Jermaine Jackson was cool enough to actually give me some correspondence and let me use the sample, [of “You Like Me Don’t You”]. So, in hindsight, that’s a real special record because I was coming from a place too where I was missing some of my homies that had passed away. … I just did it thinking about them, and thinking about how dope the summer was in Compton growing up, in ’86, ’85 and ’84. It was bananas. We had the [1984] Olympics here, you couldn’t tell us nothing. The Olympics was at the L.A. Coliseum, the torch was lit. We seen that shit off the freeway. It was like, L.A. was on fire!
DX: Switching gears here, I love how on the new album, [The Book of David], you’re taking it back to your more musical compositions. This album feels like it coulda dropped in between Rhythm-Al-Ism and -
DJ Quik: Rhythm-Al-Ism and Balance & Options. Say that. It’s funny, when I went into doing this album I went into it as – themed it as Rhythm-Al-Ism 2. Like, where would I continue that thought? And that’s kinda where it’s coming from. As you can see, Jon B stood in for the El DeBarge [guest vocalist role]. … So, this feels like an amalgamation of Hip Hop and R&B, but [blended] in such a way to where it just becomes rhythm-al-ism. … And plus, it’s SSL, [Solid State Logic]. So it’s back to our sound from the “Let’s Get Down” days, Tony! Toni! Tone! It’s that sound again.
DX: Am I hatin’ for sayin’ that in the years between “Pitch In On A Party” [from Balance & Options] and “Do You Know” from the BlaQKout album that it just didn’t feel like the same Quik that we came to know and love in the ‘90s?
DJ Quik: Nah, that ain’t hate at all. That’s actually a correct and very focused observation. So I commend you on knowing. Yeah, at that point, I didn’t really care about the music. I can’t front. I was having just personal stuff going on: fighting with my family, ‘cause they’re trying to rob me for stuff that belongs to me, stealing cars and motorcycles and playing like I owe ‘em that. It’s like, “I paid for this. I could call the police on you. Give me my toys back.” They like, “Nah nigga, we family, you can’t say nothing.” I’m like, “I will sue you muthafuckas.” So I’m fighting with these weirdos. And, it had nothing to do with the music. … I was pretty much going through the motions at that point. I was finding myself, where my place was in the business, where my place was with my mother. Like, just reestablishing relationships that doing music would of taken away from. So I was kinda just a shell of myself, and I had other people helping me. G-One was coming in and helping do some of that shit. I was pretty absent, from my own music. But, that’s reality though. And that’s when I took a real self-imposed break. Like you said, after “Pitch In On A Party,” and all the way up to BlaQKout it was like – Trauma , don’t sleep on Trauma. Trauma has brilliant, brilliant moments. That’s a brilliant record. ‘Cause I did it from a place where … I was in New York. I was really hangin’ out with Wyclef [Jean], and Dave Chappelle, and Nas. I was just trying to learn my way around New York City. And Trauma afforded me the luxury of being able to live in New York …. I took an apartment in Manhattan, and you couldn’t tell me nothing. I’m going to the [Chappelle Show] tapings. … And hangin’ out with T.I. Like, really just on some New York shit.
DX: Now, I love the sleek synths, grown and sexy sound of “Luv Of My Life”
DJ Quik: Man, real grown up, right?
DX: Yeah. But I gotta admit that as someone who loved how you incorporated a live flute into “Jus Lyke Compton,” “Quik’s Groove II” and “III,” and maybe most impressively on the immaculate “Somethin’ 4 Tha Mood,” not hearing any flute on the new album was disappointing.
DJ Quik: Well, it’s funny ‘cause my flute players aren’t around. I can’t access ‘em. And before I do fake flute, I’ll just do none.
DX: Charles “Chaz” Greene, he’s not around anymore?
DJ Quik: Chaz is doing freelance stuff now. He’s a saxophone player too. But he’s got a family now. He hasn’t been touring that much. I still run into real dope other cats though, but no flautist that has really rocked my boat right now; that really impressed me. But, it’ll come. That’ll be on my next record. I’m sorry you disappointed, ‘cause I love this record. This record is really about the drums, and the bass lines. This record is funky. … This album, the sound of it and the feel of it, it’s classic. It’s a classic. And it’s gon’ work. And it’s not pretentious; it’s not like … gimmicky. It’s just solid, emotive Hip Hop and R&B mixed together.
DX: Well, like I said, I want the DJ Quik that’s full of flute. Pause. [Laughs]
DJ Quik: [Laughs]
DX: [Laughs] I also wanna hear you use the talk box. After Roger [Troutman], you really became the definitive user of that for “Safe And Sound,” “I Useta Know Her” -
DJ Quik: Yeah. I [only] use it live, because there were a lot of people that were doing it [after he died in 1999] and I just didn’t like – it just seemed like they were making a mockery of my man Mr. [Roger] Troutman. And [after] working closely with that man, and knowing that man, I didn’t want to bastardize something that he made popular. I didn’t wanna be like I’m using it just because. He showed me that shit from an honest place, and I gotta use my discretion when I use it. … I’m glad that you like one of my classic [sounds], and don’t take this the wrong way, but I’m really trying to – I’m looking for the younger fan base too, so I’m giving them the music they like as well. ‘Cause I’m still a deejay; I still rock parties, and I gotta play what they like: Young Money and Drake and all them, I gotta play those records. And I think the flutes and that stuff … it’s a trickle-down theory. They’re taking music programs out of the schools. And we’re out fighting trying to keep ‘em in the schools. I’m doing philanthropy in that world, just trying to do what I can to help raise money for these schools so they can keep their music programs. Music and math are synonymous.
DX: That’s true. Now, taking it back to Roger real quick, is it true – a little bit of Hip Hop folklore here – that you are the reason there was a “California Love,” because it was you who brought Roger to Dr. Dre?
DJ Quik: [Laughs softly] No comment.
DX: Wow. [Laughs] Is that no comment just because of the current situation, or just you don’t ever wanna reveal anything about that?
DJ Quik: Uh … no comment.
DX: [Laughs] Let me ask you this, did Dre ever tell you if the Safe and Sound sound is what inspired him to make “California Love”?
DJ Quik: Uh … I didn’t hear that. I mean, [Dr.] Dre shows me his appreciation for me like when we hang out. So, I get it. And actually, I don’t even know if Dre knows, [on] Safe and Sound, some of those songs - like “Somethin’ 4 Tha Mood,” that was just me imitating what he did on Snoop [Doggy Dogg’s] album, [Doggystyle], like “Ain’t No Fun.” We throw the G-Funk ball back and forth. And it’s great to play in tandem with sharp thinkers like that. Dr. Dre is a producer who’s … He’s the bomb. And every time I leave the studio I learn something else from him. It’s like, he’s never gonna be the kind of dude that’ll shut down and not show you a secret. He’s nurturing in that way. That’s why Eminem is successful. Like, he nurtured Em. … [Dr. Dre is] always gonna be one of my top three producers in the world.
DX: Just out of curiosity, I’ve always wanted to know this, did you guys work more together than the credits would suggest …?
DJ Quik: Yeah, I did a lot of ghost stuff over there [at Aftermath Entertainmenr]. I helped with [50 Cent’s] Get Rich or Die Tryin’ . I helped with [Eminem’s] Encore . I did little … I stood in on some [songs] – you know, when they needed me. And, when they had it all together I left. … You’ll feel me, I’m in that mix. You can [tell]. Some of the snares and kicks, and little tabs and shit, I had something to do with. But we really showed off on [Truth Hurts’] “Addictive” though. That was the smartest record ever.
DX: What about during your mid-‘90s tenure as basically an in-house producer at Death Row [Records]; were you and Dre [working] in tandem then?
DJ Quik: Well, at Can-Am [Studios] he had Studio A, and I had Studio B. I had the smaller room. He had the Rock & Roll room. So he was doing the big Rock records. But like if there was something that he had left, that he didn’t wanna finish or … if he didn’t wanna mix it, he passed on something, I would try to make it sound – I would take a shot at it and put it in the vault. So there were some things that went in the vault that was like a pass [to me]. But, again, I ain’t got nothing but respect for the man. I can’t do nothing but laud his business. He’s a sharp dude; he’s a sharp cat.
And those [Death Row days] were some of the funner times of my life too. ‘Cause, with them dudes I was – we was actin’ a ass. … Just doin’ whatever we wanted to do! [We were driving] big white Lexus’ on big 18, 19-inch wheels. That was big back then: 18’s. We was doin’ it! [Laughs] … One of the better times in my life, I don’t regret that.
DX: Speaking of that era, I was just listening to all the leaked demo recordings from [2Pac’s] All Eyez on Me. And man, I can’t believe how much you polished up that album.
DJ Quik: Yeah, man! I did it in two days. I put a spit shine on them records. When the tapes went up, I went right to work. I dialed them bitches in like Pop records. And you know what else? In the UAD stuff – I don’t know if you’re into Universal Audio, but if you go on their website they’re mentioning All Eyez on Me as far as the [SSL mixing board]. ‘Cause they just recreated the SSL plug-ins. And they did ‘em with SSL, so they’re licensed to UAD – Universal Audio Digital. And, they talk about a Guns N Roses record, they talk about another big record, and they put All Eyez on Me up there, and said that these were the records that defined the SSL sound. They said some big journalist word about 2Pac’s record that was just crazy. And they gave me a credit. They gave me a credit as David Blake. I was blown away.
DX: I just know “Skandalouz” wouldn’t be the classic it is without the talk box [you added to it].
DJ Quik: Yeah, I touched [that record]. I had my boy, Cornelius Mims, play bass on it. That was Daz [Dillinger]’s beat. Daz shot it to me and I really made it a record that they wouldn’t have to clear a sample with. I played Rhodes [electric piano] on there too. I was coming.
DX: How did it happen that you even came to be adding those extra synths to “Heaven Ain’t Hard 2 Find,” and basically remaking “Thug Passion” into the fully funked out track it became?
DJ Quik: It was because they gave me freedom in there. Suge [Knight] was like, “Do you.” I was like, “Okay. Put the tapes up. Get me an engineer that’ll run for me, patch wires for me, go back to the wall. Get me coffee and I’m good.” That’s what the engineers back then did for me. Some of ‘em really worked their asses off. But, some of ‘em were … subservient. It is what it is. He gave me a little power and let me rock out.
[Second part of interview, conducted Friday, April 15, 2011]
DX: When we ended on Monday we were discussing the demo recordings for All Eyez on Me. I was just curious if ‘Pac knew it was you who basically made his album sound the way the public heard it?
DJ Quik: He was the one that helped compile the cassette demos so I could take ‘em home and listen to ‘em. I got ‘em maybe four days in advance [of the album deadline]. So, he helped compile it. And I guess there were some songs he even took off of there. So when I got it I took it home, listened to it. And I was warm at that point; I was already done with Safe and Sound, so I was still like – my engine was revving for production. So, I listened to it and then went to the studio and asked for the tapes. The engineers ran in there and got me the tapes out of the vault, and I started rockin’ out wit’ it. I was remixing those records and putting ‘em on tape. Like, mixing ‘em and dropping ‘em down to transfer in less than two hours. That’s the fastest I ever worked. I did 14 songs in like two days.
DX: And I just gotta ask, why was your Donald Byrd-sampling classic creation, “Late Night,” cut from All Eyez on Me?
DJ Quik: It wasn’t cut; we couldn’t clear the sample at that time. But it woulda made it. It’s just Donald Byrd is … let’s just say he’s not too keen on clearing Hip Hop samples. I don’t think he really cares about the genre. And I guess he made enough money to where a 10 million record seller was – I’ma say Donald Byrd might have been a dumb ass … ‘cause he let that slip through his fingers.
DX: “Heartz Of Men” and “Late Night,” were those the only songs you and ‘Pac did?
DJ Quik: No, we did a couple others: “Message 2 My Unborn” and this other one I don’t remember the name of it. But yeah, we were trying to mash it out, but he got really busy at that point. All Eyez on Me came out and soared to the top of the charts and rocked out.
DX: It’s hard to believe in a couple months ‘Pac would’ve been turning 40. He would’ve been like the Governor of California by now or something.
DJ Quik: You think?
DX: I think he was going in that direction, maybe eventually.
DJ Quik: Yeah, I think he woulda been something way more important than a rapper. ‘Cause he was so political. He had so much going on, and sometimes he would be conflicted because he was trying to save the hood and the world as well. That’s too big. That’s too big for people.
DX: I wanna go back to the Death Row era for just one more question -
DJ Quik: That’s cool. You can stay there, I don’t care.
DX: Well you made some amazing music during that time, stuff some people even forget about like “Crack ‘Em” for O.F.T.B., “Come When I Call” for Danny Boy, so many classic joints. But I’ve always been curious to know why David Blake’s name didn’t appear in the credits for [Tha Dogg Pound’s] Dogg Food or [Snoop Dogg’s] Tha Doggfather?
DJ Quik: Um … you know, sometimes Suge could be an asshole. Or maybe some of the engineers, ‘cause everybody thought they were gangsters over there, including the little white engineers.
DX: [Laughs]
DJ Quik: Yeah, it’s funny, isn’t it?
DX: Well, it’s not funny, but …
DJ Quik: Yeah, everybody thought they were gangsters. … But Daz and Kurupt know how much I helped them. But see, payback is a dog. Look how we made it right, me and Kurupt did an album together [BlaQKout] that was considered album of the year.
I’ll share this with you: I think I might be a little too advanced for Hip Hop. I think Hip Hop is such a small, minute genre when it comes to music. And it’s the only genre of music where there’s murder, mayhem, infighting, jealousy and hatred, and all that good stuff. That doesn’t happen in Country music, nor does it happen in R&B as well. [And], that was the normal thing [at Death Row]. You’d have to really be – Like Suge [would] say, “You had to make hits or get hit.” Dig that.
DX: Did you get to really work with Nate Dogg at all during that period?
DJ Quik: Yeah. He had this song called “These Days.” He gave me the tapes. Teddy Riley had did the beat for him. And we sat up in there together and he let me … you know, he let me remix it for him. I mixed it for him. I would do anything for Nate. Nate was just a easy guy [to work with].
DX: You worked with Nate a lot post-Death Row, maybe most notably on “Medley For A ‘V’” from Rhythm-Al-Ism. Was the Marine-turned-crooner always the stoic, serious guy he appeared to be to the public?
DJ Quik: It’s funny, I never even knew he was a Marine. But that might explain his stoicism. [He was] just a calm under pressure kinda dude. But, generally a nice guy. I never seen Nate excited; he wasn’t excitable.
DX: Any story maybe you haven’t told up to this point ….
DJ Quik: I’m gonna space them out, because I don’t wanna run out. I don’t wanna drain the treasure chest of Nate Dogg stories, anecdotes … He was a great dude though. I’m gonna miss just hearing him in the booth singing with the mic off. He had such a big voice. He was like a glee club leader. He was just a big voice. He moved the air around him. And he made people happy. … He made those records mean something. They woulda just been good beats without him. He gave ‘em character, and gave ‘em that gluey sing-song hook that no one could forget – anybody [of] any race, any walk of life.
DX: This may be a bad segue, but I’m glad you and [MC] Eiht got to make peace before either one of you leaves the earth.
DJ Quik: Before we’re dead. Yeah, that’s a reality. Believe me, I think about it everyday. Well not everyday, but I think about it from time to time when I need to be grateful.
DX: “I even smoked with MC Eiht / Yeah, ain’t life great?”
DJ Quik: That’s right! I said that, right?
DX: Yeah, on … Down’s song, [“Certified Boss”]. And I saw that picture of you and Eiht like toasting, with the glasses raised. It’s a dope flick, but it’s still surreal for anybody who remembers -
DJ Quik: Remembers that beef. You know, I been helping those guys. I’m actually getting in the studio with him soon.
DX: It’s been a dozen years now since you first extended that olive branch on [the album version of] “You’z A Ganxta.” Did you get any immediate feedback from [Eiht] …?
DJ Quik: Yeah, we went into the studio immediately thereafter. [Writer’s note: Quik has been in a bank up until this point in the second part of his interview. He then gets into his car and begins speaking in a more natural volume from the somewhat softer tone he was speaking with while in the bank].
DX: Well, I just wanna close out by noting Eiht has an album about to come out with DJ Premier.
DJ Quik: Who better though? Like, if you think about it, MC Eiht could’ve easily been from another coast. When you listen to his records, if it wasn’t for some of just the familiar soulful samples, and his drawl, you wouldn’t know where he was from. And that was the beautiful thing back then; the autonomy [that artists had] was crazy! Like, I didn’t sound like I was from Compton. When I listen back, I sound like I was a country kid that got transplanted to Compton.
DX: I just think Eiht doing an album each with the #1 and #2 Hip Hop producers of all time would be … that’d be a good look.
DJ Quik: Yeah, it would. I don’t think we’d do it for the money anymore, because let’s just be honest about Hip Hop … It’s sad to see what happened with our shit. But, it wasn’t like nobody saw it coming. I think everybody felt like the shit was getting self-destructive when 2Pac started going on his rants, and nobody stopped that shit. Like when he really started to take it to [Notorious B.I.G.], doing video parodies, it was okay but it really divided the nation. It divided the nation, and it had a bad affect on all of us. At that point I wasn’t just DJ Quik from Compton, a great musician, deejay, good producer or whatever; I became DJ Quik from the west coast. Because of that war it was like you had to pick a side. And here I am, I kinda was reluctantly thrust into some shit that I couldn’t separate myself from. It was like … It was just weird. And we all knew it was downhill from there, because certain places we couldn’t go. The media was all over that shit. I remember how the VIBE magazine and The Source and all the Hip Hop monthlies was going so hard on that shit. This is the funny thing: I don’t recall ever seeing anything about those Hip Hop wars in Newsweek or in People magazine …. You never saw any of that shit in The Wall Street Journal until after those guys got killed. And I think honestly, they got killed because of propaganda. All that shit was being put up and posted up so high. Like, we were pitted against each other so bad that ultimately something strange had to happen. It was inevitable. It’s like, you ever pumped too much air into a balloon? And you start getting squeamish after it gets a little too big, you start anticipating the pop. That’s what happened to Hip Hop. And then it got taken over by the suits. So, what does that do to a guy like me? Well, it makes me either go independent or … pretty much retire. Because, at this point I’m a part of – fuck my legendary status, fuck how many records I’ve sold, at this point now I’m a west coast artist. … [And] at that point it was like, “Yeah, we off of west coast Hip Hop.” Everybody, like a school of fish …. And we’re talking about my livelihood. … To me it all seemed like what I learned from selling crack back in 1985: easy come, easy go. But just the fact that you can annihilate somebody’s way of living like that; that you can affect somebody’s quality of life with just opinion, is crazy. It had nothing to do with the music at that point, it was because we were from this coast. I wish that it wouldn’t have happened, I wish everything woulda been cool, and I wish that Hip Hop would’ve went to where we were taking it to: a multibillion dollar industry. Yeah, it made a couple of billion, but at what cost? Look how many bodies is buried underneath the establishment of Hip Hop.
DX: Let’s end on something less heavy. Um … do you still got your Pimpin -
DJ Quik: [Interrupts] Nah, that’s actually very light, believe it or not. Now if you wanna talk about me and my Illuminati affiliation we can talk.
DX: [Laughs] Don’t bring [the Illuminati] up. That’ll be all over the ‘Net for the next month.
DJ Quik: You wanna talk about these niggas I shot in Compton and killed them, and never got busted for it?
DX: Ugh.
DJ Quik: That was heavy, ain’t it?
DX: That’s too heavy.
DJ Quik: That’s a turnoff, ain’t it? That was filibuster. No, I’m just playing. I’m joking. I ain’t killed nobody that didn’t deserve it. Let’s move on.
DX: Do you still got your Pimpin’ Hoes Daily degree from Bitch College? [Laughs]
DJ Quik: Yeah, P.H.D. Well, you know, actually, I got daughters now, so I’m just trying to keep them from being pimped. And, I’m trying to also keep them from being pimps. Life is good when you’re not beating up on people. Life is good when you’re not poisoning people’s minds.
DX: Well this new album is refreshing.
DJ Quik: This album is the shit. I ain’t even gon’ front wit’chu. Honestly, I don’t even know why I did it. People ask me, “So, why did you feel the need to do an album all of the sudden; just woke up one day and said let’s do an album?” No. I thought, I’m sitting up here just sleeping on my record company. I got a record company, [Mad Science], and I can’t sit up and wait for Dr. Dre to put out a record, I can’t sit up and wait for things to get back good. I realized that I had to be proactive. … I’m about to start doing other things too. Like, it’s about to get real. I’m loving this artist direct thing. And being in control, and being stable, and unmovable right now is kinda great. I could really be effective. I’ll have another four years effective, in whatever genre I wanna go into.
DX: Let’s end on that note. I don’t wanna keep you any longer, man. I already took too much of your time.
DJ Quik: It’s alright, man. Honestly, you’re cool. It’s not even you. I went to a radio station this morning, and it was just some funny energy up there. We ended on a high note last night, and we were all singing Donny Hathaway songs, and my piano player playing, and we drinking Grey Goose, everything’s cool. Get up in the morning [today] and go to the radio station, and dudes is up there grumpy, talking about things that don’t have nothing to do with my album. And trying to teach me how to be a radio personality. Like, “Do your drops like this. More character. Put some more enthusiasm in it.” It’s like, “Really?” You guys are so young and so stupid.
DX: I can’t believe radio survived. Like, I really thought 10 years ago [that the Internet would eventually kill it].
DJ Quik: I once cried because our radio in Los Angeles suffered so much. I wanna say it was like 2004, 2005, 2006 when I really realized that we have no radio identity in Los Angeles.
[The whole industry became] Hip Hop under new management. And honestly, it was supposed to happen. Evidently, because it did. Unfortunately, the ones that really love doing music like me and … a couple other people I can name, we suffered the emotional backlash for that shit. ‘Cause, I’m creative, and it takes a lot of emotion to do hot records. You gotta feel the shit. You can’t just be doing shit from no motivation. So, the fact that people like me got hurt …. I saw some of people’s comments about me in the press, and there was this one magazine - I don’t remember [its name]; they went out of business …. They were hot too for a minute. They were talking about gear and artists.
DX: You talking about Scratch?
DJ Quik: Scratch magazine. After I did interviews for ‘em, chopped it up wit’ ‘em, kicked it, brought ‘em to my studio – when I was working at Warner Brothers; when I had a chair at Warner Brothers you might as well say – these dudes went behind my back and put out an article the next week talking about, DJ Quik, he’s a good artist, but he’s never gonna be paid, he’s never gonna have the money that the Dre’s have and all these people have. And I guess they was telling it – you know, calling it as they see it. But it was almost like I’m like a non-factor. I was like, “You know what? They’re entitled to that [opinion].” And whatever I’m doing right now they must be thinking that that’s where I’m coming from and that it’s easy to diss me like that. [But], I took that. And then a couple of years later I read that I got the homosexual Hip Hop quote in Ozone, for telling MC Eiht [on “Dollaz and Sense”] “I never had my dick sucked by a man before / You gonna be the first you little trick-ass whore / You can tell me just how it taste, but before I nut I shoot some piss in your face / You fuckin’ coward.” In other words, I was saying that no man will ever suck my dick. But I think that because Atlanta is now the homosexual capitol of black America, I felt they felt the need to expose that and say that shit and bring it up. And I’ve done no homophobic lyrics after that, but they dropped that shit on me during an interview. And I looked at it and read the shit, and instead of getting emotional – ‘Cause I know you guys are entitled to your opinions. We used to actually put people – we used to not take so kindly to disrespect. But I realized at that point, not only am I not getting my gold and platinum records like I used to for the money and the time that I put into the music, but now I’m getting ridiculed on another level. And I guess that’s the backlash of helping to grow a business that’s so popular. America, they love you for a minute, and then they tear you down. That’s how it works. They build you up to tear you down. That’s why there are no buildings that have stood in America for 300 years. Do you understand what I’m saying to you?
DX: Yeah, I understand completely. I think it’s generational somewhat too – not to make excuses. But, if you were born past a certain point it’s kind of like you have no reference point to even understand why DJ Quik is so important to the history of Hip Hop.
DJ Quik: Right. And, it would be fortunate had Wikipedia really compiled my information and my career correctly. These muthafuckas start my whole little biography by [not printing my correct middle name, Marvin]. They call me “David Martin Blake.” That’s automatically – it’s a wrap there. [And they go on to write], His career started off wonderfully and waned over the years, and he became a non-factor. But, he did these hits with Janet [Jackson] and Jay-Z! It’s like, hey guys, let’s just not say that. Why don’t you just make my shit blank? I’d rather you say nothing about me than to say a whole lot of untruths.
Who wants to filter read anything? Honestly, who wants to take shit with a grain of salt? Who wants to fill in the blanks? Or, who wants to correct the misnomers? This is bullshit. I appreciate where you was coming from though earlier in the week when you brought up the Dr. Dre and the Roger Troutman thing. To be dead honest wit’chu, I did a lot of important things that I didn’t even care to get credit for.
Man, I was such a philanthropist I probably gave away $250,000 to the city of Compton, my guy. And who will ever say that? I got the key to the city of Compton when I was 29-years-old. They didn’t give me that for my music. That music was violent. They gave me that because of how I was going back into them schools and raising money for them schools.
Pardon me for being grumpy. I’m just really disappointed that some people are just so uncouth. You would think that after all of these years, and all of the examples that have been set, that people [wouldn’t] still push your buttons to the point to where you would wanna drag ‘em out in the hallway and stomp their fuckin’ teeth down their throat with your security guard.
Well, all is well, man. I just need to go hit a fat blunt, and stop thinking about the ghost of Hip Hop past. ‘Cause unfortunately, this business right here is not what I signed up for.
http://www.dubcnn.com/connect/index.php?topic=267201.0
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https://youtu.be/uVzgOhLJuZA
In Episode 37 of the LIVE From the Basement show we spoke with hip-hop pioneer and prolific ghost producer Chris "The Glove" Taylor about his career as a DJ for Ice-T as well as his sometimes uncredited productions on some of Dr. Dre's biggest hits like "California Love", "Stranded on Death Row" and much more.
Dr. Dre’s Ghost | Episode 37 Link: http://livefromthebasement.com/episode-37-dr-dres-ghost
Official Website: http://livefromthebasement.com
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Subscribe iTunes: https://itunes.apple.com/us/podcast/live-from-the-basement/id755399888
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I didn't really care about this topic like that after a while but since you won't stop whining and you think it's so cute to delete post and bring my karma down, may the info in this thread be a throne in your side and expose just how wrong you truly are. ;D
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bro no one gives a shit, no matter how much you want other people to side wit u, they not guna....i can see this really bothers u, but seriously, u need to fall back. again, we know what u think....and no one cares.
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bro no one gives a shit, no matter how much you want other people to side wit u, they not guna....i can see this really bothers u, but seriously, u need to fall back. again, we know what u think....and no one cares.
You're dead to me.
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bro no one gives a shit, no matter how much you want other people to side wit u, they not guna....i can see this really bothers u, but seriously, u need to fall back. again, we know what u think....and no one cares.
You're dead to me.
Lmfao