Author Topic: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*  (Read 11228 times)

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #25 on: November 04, 2007, 02:03:33 PM »
thanks for the interview scans  :)
never knew dre recorded 30-35 songs for the chronic (too bad we will never be able to listen to the leftovers).

He even say some of them is really good,but too uptempo to fit on the album.
Probably some NWA type of shit,Ren said in his interview with thaformula (the interview is posted here,so just search the forum)
that there was a gang og leftovers from Niggaz4Life too.

anyway, about the D.O.C. interview from "Yo!"; the D.O.C. says that he still continues to write for N.W.A. so i guess the interview is originally from 91, but it was published later?
He's talking about working on Dre's first solo album though,
so i guess it was supposed to be released through Ruthless at first or am i wrong?
Dre obviously wanted his own label, but before he left Ruthless, his label was going to be distributed by Ruthless records
(that was the plan) if i remember correctly

I donīt know if you remember YO! magazine?
Itīs a bullshit magazine,so when it says June 92 it could be February 92 ha,ha  :laugh:
(or it could have been published later as you said)
The only reason I bougth them was because of those interviews,the rest is filled with posters and bullshit.
Yep,I think the original plan was to release it trough Ruthless or to be distributed by them.
In a interview with MTV news while theyīre filming the Appetite for destruction video,Dre spoke on this and on some other spots they had playing on YO MTV Raps,Dre had a Death Row Records cap on him while he promoted NWA and the Niggaz4Life album with Yella.
I got all this on video and will upload all this in due time,I canīt do it all at once.  :D
Right now I will go trough my magazines,I have done about 1/4 of them so it will take some time before Iīm done.
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #26 on: November 04, 2007, 02:11:27 PM »
Dre spoke on this and on some other spots they had playing on YO MTV Raps,Dre had a Death Row Records cap on him while he promoted NWA and the Niggaz4Life album with Yella.

that would be dope see  8)
 

Dre-Day

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #27 on: November 04, 2007, 02:35:49 PM »
He even say some of them is really good,but too uptempo to fit on the album.
Probably some NWA type of shit,Ren said in his interview with thaformula (the interview is posted here,so just search the forum)
that there was a gang og leftovers from Niggaz4Life too.
yeah probably, but even a few tracks on the chronic aren't slow jams ( though dre says that all tracks on that album are slow jams); apparently he still thought that they would fit on the album(which doesn't bother me; slow jams or not, as long as they're good g-funk tracks, it's all good).
those uptempo songs would sound great. a person named "mellowman" said on this forum that, Mr.Officer was played in the background on a documentary called rebirth of a nation ( which was about the LA riots), so Mr.Officer might not be unreleased at all  8)

Yep,I think the original plan was to release it trough Ruthless or to be distributed by them.
In a interview with MTV news while theyīre filming the Appetite for destruction video,Dre spoke on this and on some other spots they had playing on YO MTV Raps,Dre had a Death Row Records cap on him while he promoted NWA and the Niggaz4Life album with Yella.
I got all this on video and will upload all this in due time,I canīt do it all at once.  :D
Right now I will go trough my magazines,I have done about 1/4 of them so it will take some time before Iīm done.
cool  8)  sure take your time  :D
« Last Edit: February 15, 2008, 10:31:33 AM by Dre-Day - Sniper of the Kill Jimmy Iovine Movement »
 

Dre-Day

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #28 on: November 06, 2007, 09:53:48 AM »
thanks for the scans. whatever happened to mike elizondo by the way? he didn't blow up like scott storch did, but i'm not even sure if mike elizondo has become a solo producer.

he's not part of dre's production team anymore, well at least not for the "regular" aftermath projects.

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #29 on: November 06, 2007, 10:08:58 AM »
thanks for the scans.
whatever happened to mike elizondo by the way?
he didn't blow up like scott storch did, but i'm not even sure if mike elizondo has become a solo producer.

he's not part of dre's production team anymore, well at least not for the "regular" aftermath projects.

Many on this board believed that Mellowman was Mike Elizondo,not sure what happend to him.
Who has Dre been using for bass lately?
I know he used Robert bacon on the Young Buck joint,but assume that was a one time only collabo.
Maybe those aftermathmusic guys can fill us in? Rebel and adrinodogg?
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #30 on: November 06, 2007, 02:02:24 PM »
Lately, Dre has been using more bass keyboards and less bass guitar on his beats. Mark Batson and Dawaun Parker played on the majority of his recent tracks, and I know Mike Elizondo played guitar on Buck's single.
 

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #31 on: November 06, 2007, 02:27:38 PM »
Lately,Dre has been using more bass keyboards and less bass guitar on his beats.
Mark Batson and Dawaun Parker played on the majority of his recent tracks,and I know Mike Elizondo played guitar on Buck's single.

True,he should bring the bass guitar back.
Dawaun Parker is cool,heīs the one that did G.R.I.T.S right? What tracks has Mark Batson worked on?
I donīt have the Young Buck (I got a burned copy),so I donīt have the booklet to read the credits.
But I read in Robert Bacon interview that was posted here that he played bass guitar on one of the tracks Dre produced.
I think the track was called "Hold on",but Iīm pretty sure Timbo can straight this one out.
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #32 on: November 07, 2007, 12:15:49 PM »
that was a long read but a good one!! props  8)
 

Tanjential

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #33 on: November 11, 2007, 02:01:35 PM »
thanks for the interview scans  :) never knew dre recorded 30-35 songs for the chronic (too bad we will never be able to listen to the leftovers).
anyway, about the D.O.C. interview from "Yo!"; the D.O.C. says that he still continues to write for N.W.A. so i guess the interview is originally from 91, but it was published later?

he's talking about working on dre's first solo album though, so i guess it was supposed to be released through ruthless at first or am i wrong?
dre obviously wanted his own label, but before he left ruthless, his label was going to be distributed by ruthless records(that was the plan) if i remember correctly


if hoe hopper is any indication, we're good with the songs we got

then again the OG rat tat tat tat was dope

then again, if the og rat tat tat tat was any indication then we have heard alot of the chronic leftovers in one form or another since

-T

 
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Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #34 on: November 11, 2007, 02:15:30 PM »
thanks for the interview scans  :) never knew dre recorded 30-35 songs for the chronic (too bad we will never be able to listen to the leftovers).
anyway, about the D.O.C. interview from "Yo!"; the D.O.C. says that he still continues to write for N.W.A. so i guess the interview is originally from 91, but it was published later?

he's talking about working on dre's first solo album though,
so i guess it was supposed to be released through ruthless at first or am i wrong?
dre obviously wanted his own label, but before he left ruthless, his label was going to be distributed by ruthless records(that was the plan) if i remember correctly

if hoe hopper is any indication, we're good with the songs we got
then again the OG rat tat tat tat was dope
then again, if the og rat tat tat tat was any indication then we have heard alot of the chronic leftovers in one form or another since
-T

I donīt feel neither of the tracks you mentioned,
but in one of the interviews Dre mention some uptempo tracks that didnīt fit the laidback Chronic "sound".
So I assume these tracks was more of a NWA style production,Serial Killa might have been one of them.
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #35 on: November 11, 2007, 02:46:47 PM »
i don't like hoe hopper really but rat tat tat tat og is sick

-T

 
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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #36 on: November 11, 2007, 11:05:54 PM »
I don't like hoe hopper really but rat tat tat tat og is sick
-T

Trentman hooked this track up a couple of months ago,canīt find the OG thread.
Wonder whatīs the deal with this track since it got the same hook........
...and "Att Will" thanx Dre and Snoop in the booklet.
Trent scanned the booklet in the OG thread,whatīs the link Trent?
Att Will;
08 hoe hopper.wma
http://www.mediafire.com/?dn0n1yxhocv

The beat to the the Rat tat tat tat OG donīt fit the violent lyrics....

i felt that juxtaposition was what made that version brilliant

-T

 
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Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #37 on: November 11, 2007, 11:13:34 PM »
I don't like hoe hopper really but rat tat tat tat og is sick
-T

Trentman hooked this track up a couple of months ago,canīt find the OG thread.
Wonder whatīs the deal with this track since it got the same hook........
...and "Att Will" thanx Dre and Snoop in the booklet.
Trent scanned the booklet in the OG thread,whatīs the link Trent?
Att Will;
08 hoe hopper.wma
http://www.mediafire.com/?dn0n1yxhocv

The beat to the the Rat tat tat tat OG donīt fit the violent lyrics....

i felt that juxtaposition was what made that version brilliant

-T

 :laugh: as experiment maybe,super violent lyrics on some smooth shit.....
The lyrics ainīt exactly same is it?
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #38 on: November 12, 2007, 04:15:55 AM »
they're slightly different yeah

but anyway, the juxtaposition of that track illustrated how lightly the 'gangsta' takes life.

whereas the version on the album seems kind of melodramatic, though still very dope

-T

 
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Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #39 on: November 12, 2007, 05:28:57 AM »
the juxtaposition of that track illustrated how lightly the 'gangsta' takes life.
whereas the version on the album seems kind of melodramatic,though still very dope
-T

I see what you mean,never really tought of it that way before you brought it up.
The album version got a "cinematic" sound that fit perfect to the gangster fairytale lyrics.
« Last Edit: November 12, 2007, 01:42:52 PM by Chadrick »
 

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #40 on: November 12, 2007, 01:40:24 PM »
the juxtaposition of that track illustrated how lightly the 'gangsta' takes life.
whereas the version on the album seems kind of melodramatic,though still very dope
-T

I see what you mean,never really tought of it that way before you brought it up.
The album version got a "cinematic" sound that fit perect to the gangster fairytale lyrics.


agreed

I wonder how many other beats on regulate were dre leftovers. we know that runnin' wit no breaks and and ya don't stop were.



-T

 
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Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #41 on: November 12, 2007, 01:50:18 PM »
the juxtaposition of that track illustrated how lightly the 'gangsta' takes life.
whereas the version on the album seems kind of melodramatic,though still very dope
-T

I see what you mean,never really tought of it that way before you brought it up.
The album version got a "cinematic" sound that fit perect to the gangster fairytale lyrics.


agreed

I wonder how many other beats on regulate were dre leftovers.
We know that runnin' wit no breaks and and ya don't stop were.
-T

I didnīt know that  :),where did that info come from?
Another thing,I was going trough Tha Westside DVD to find interesting things to post.
Thereīs a clip of Nate Dogg in Dreīs studio singing over a beat that I donīt reconize,,,,, (the clip is from around 92-93)
 

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #42 on: November 14, 2007, 09:32:43 AM »
A pissed MC Ren talks about a N.W.A session that didn't go down;
Quote
MC Ren interview in Rap Pages August 1998
Rap Pages: After failing to cross paths with Cube for several years after the group’s dissolution, the two were reunited by producer Bobcat, who was working on tracks for each artist’s upcoming album. Ren and Cube discussed a reunion but where tripped up by a flat tire in the creative wheel.
         “Dre, he ain’t fuckin’ with nobody out here,” Ren says with a obvious disappointment. “He only want to fuck with New York motherfuckers right now. We all got on the phone and we talked about it. Dre was like,’yeah,yeah, we’re going to do it. We’re going to go to the studio I be fucking with’. But then, when it was time, he didn’t want to fuck with it. We were supposed to do an N.W.A track for The Players Club. We where supposed to meet at Dre’s crib. The day came,and Dre flaked on us.
          “Cube was kinda hot for a minute, like he was going to take it personal,” he continues. “We where talking like we should just do some shit ourselves. We ain’t finna beg no nigga to do no shit. I don’t know what that nigga’s trippin off of. He didn’t want to do that Players Club shit with niggas that put him out. Because if it wasn’t for niggas like us—me, Cube and niggas back in the day—he wouldn’t be where he at. Cube asked him a favor, and he couldn’t do it for that nigga, but he can turn around and do some shit with LL. It ain’t like LL made you Dr.Dre or helped get to be where you’re at. When he flaked like that, we where like, ’Fuck it, the reunion thing ain’t gonna happen.’”
         Still, Ren says he hopes it could happen one day. Snoop, who appears on Ruthless For Life’s “So Watcha Want,” was slated to occupy Eazy-E’s place in the group, though unreleased Eazy material was to be included on a number of tracks.
 

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #43 on: November 14, 2007, 09:55:10 AM »
An old Lady Of Rage interview,talks about tracks that didn't get released;
       Here’s a little Rage interview I found, she talks about a couple of tracks that’s unreleased and not leaked as far as I know (correct me if I’m wrong). The originally slated title for the album ‘Eargasms’ was pretty dope too. She goes in detail about the tracks in the interview.
       Tracks that she’s talks about:
-‘Introducing The Eargasm’
-‘Ride On The Eargasm’
-‘Rollin’ On The River’
-‘Late In The Midnight Hour’

Quote
Lady Of Rage interview in Hip Hop Connection 1994.
    While Rage rightfullyclaims full credit her own eyecathing hairdo, it is actually Dre 100 per cent responsible for the equally clever title to her forthcoming debut album, ‘Eargasms’.
      “When he first came up with that title I didn’t like it at all. I was like ‘Ugh, what does that mean?’,” she laughs. “But when it grew on me, after he explained how the concept fitted into the ‘Introducing The Eargasm’ and ‘Ride On The Eargasm’ tracks. It suddenly all became clear and generally the album will consist of what you’ve hears thus far – things that people can relate to. There’ll be a lotta sexual stuff because that’s a part of life I know about…. And I just look at like if more people made love while listening to music then everybody’d be a lit more relaxed. So `Eargasms` is really just a getaway. Something that’s good to the ear. When you hear it you’ll release your tensions and get it all outta your system.”
        One of the tracks that reveals a different side to Rage’s talent and personality bears the unusual title of ‘Rollin’ On The River’.
        It’s just a song I particularly like – a sexual song, but not explicit or nothing like that,” she enthuses. “It’s real discreet, real classy, and dealing with me seeing the guy from afar. I’m admiring him and thinking in my mind ‘Oh, what would I do with him?’. The ‘River’ actually signifies the bed. I think that’s a catchy title and something that people can relate to. I mean, it’s different from the Rage that everybody’s heard before. But then I am a lady and I do have the that side in me that desires a man. I’m not some rough, unaffectionate-type person.”
       One of the album’s more controversial moments will defiantly prove to be *Late In The Midnight Hour’, a song dealing openly with the ‘hush-hush’ topic of mastrubation. Rage pauses to stifle an embarrassed giggle . “Well the fact is people do it! There’s nothing wrong with it – and I fell that if somebody brings it out to the light to the light then people might deal with it more! You know, it’s like the forbidden subject, even in Hip hop which has covered all kinds of other taboos. The first coupla verses are making fun of it and are discreet towards the guys. Then  for the third verse – which isn’t even completed yet – I was gonna get into the girls and say, you know, ‘It’s alright if you do, it’s actually the safest thing right now’. So it’s like at first I’m making fun in order to break the ice, and then in the end just telling everyone, ‘If that’s what you do then that’s fine’.”


Quote

http://www.allhiphop.com/features/?ID=1161

Any man who has ever played the wall at a club can tell you there’s nothing more refreshing than an assertive woman. In the world of Rap, it’s an understatement to say it requires assertion to come of age around Suge Knight, Dr. Dre, Snoop, and Tha Dogg Pound. The Lady of Rage’s pounding lyricism on “Stranded on Death Row” only foreshadowed her praises on “Afro Puffs” two years later.

The Lady of Rage’s time came at last, in 1997, with Necessary Roughness. Though critics praised the album, the headless record company didn’t support the project – allowing the album to break a flawless label history of Gold and Platinum. In the year following, added to the murders in Rap, Rage retreated to her native, Virginia.

With acting roles in Next Friday plus other appearances, Rage stayed busy – but removed from her past. With a few guest verses, compilation work, and several AllHipHop Rumor updates, a return to Rap had been long projected. Last week, a mixtape, “VA to L.A.” was released, and AllHipHop.com quickly delivered Lady of Rage to our masses – touching on the past and the future.

AllHipHop.com: “Unfucwithable” on Doggystyle All-Stars was the last big piece of work I remember of yours. What have you been up to the last two or three years?
Lady of Rage: I’ve been up to: working on album; trying to get a deal. I’ve been working on myself – my spirit and my outlook on life.
AllHipHop.com: On your outro, you mention that industry people are not always returning your calls. How has the search for the deal been going?
Lady of Rage: With Boss Lady Entertainment [the company behind the mixtape], we really haven’t gone full steam ahead as far as actually pounding the pavement for a deal. [As far as the phone calls], I’d see certain artists or producers out and say, “Is there anything I can do for your?” and [we’d exchange numbers]. When I’d call or follow-up, it’s phony. I hate it. I hate it with a passion. I hate the runaround. After I call a person four or five times, I don’t call ‘em anymore. I hold grudges. I shouldn’t, but I take all of that stuff personally.
AllHipHop.com: Mixtapes mean different things for different artists. For you, what is the best case scenario as a result of this mixtape?
Lady of Rage: The best case scenario is that Jay-Z would hear it and want to sign me. The next best case scenario is that people will know that I’m still doin’ this, my skills haven’t dulled or anything, and I’m free agent. Whoever comes with the best offer to me will definitely not regret it.
AllHipHop.com: I think the average Hip-Hopper would see you wanting to get signed, and say “Why not Snoop? Why not Dre?” Why not?
Lady of Rage: As far as Snoop, yes – we were supposed to do business together, but things didn’t work that way. I think the distributor wasn’t sure if I was or wasn’t still signed to Death Row, and didn’t want the hassle. As far as Snoop, it’s not anything personal. As far as Dre, I would love to work with Dre – but I don’t have any contact to him. He’s a hard guy to get in touch with. I don’t think I have any burnt bridges at all. Even with Suge, I saw Suge a while ago when I was at Death Row [offices], and he knows I’m venturing on and stuff. Even if he offered me a deal, if it was right, I might go that route. I’m just trying to get the best thing. This is my second time around. My first time, I came out in the midst of turmoil as far as Suge going to jail, Dre leaving, ‘Pac getting killed – and in the midst of that, [Necessary Roughness] was released with no type of marketing or promotion.
AllHipHop.com: I’ve always been intrigued by your album. In 1997, Death Row released more albums in one year, than they have in the last seven or eight. I had heard specifically, that your project was salvaged by DJ Premier because it was old material on the cutting room floor…
Lady of Rage: That’s news to me. I didn’t know all that. I don’t know if Premier saved the project. But I know Premier, was definitely one of the artists I wanted to work with. I wasn’t allowed to work with many of the producers I wanted to. I had to work with what I had.
AllHipHop.com: How does Necessary Roughness sit with you today?
Lady of Rage: I wish it could have gotten more exposure. Those lyrics on there…I feel if that whole album was remixed, and put out right now, it’d [do well]. I feel that I’m still a dope lyricist, and as far as females are concerned, if I’m not in the Top Three, there’s something wrong, and as far as males, if I’m not in the Top Twenty, lyrically [something’s wrong]. That’s how much I believe in my music. I could be under false pretense, but I don’t think so. If everybody could’ve heard Necessary Roughness, then they’d know, “Wow, she really is a dope MC.”
AllHipHop.com: This was 1997. “Afro Puffs” was three years prior. Why was the “strike while the iron’s hot” motto not used?
Lady of Rage: When I first came to Death Row, they told me my album was going to be the next album put out after The Chronic. Then they said Snoop’s, but after Snoop’s mine. Then came Above The Rim. So, I kept getting pushed back. I don’t know if it was a male thing or not. “Afro Puffs” I believe, could’ve gone platinum as a single. Also, when I write, I don’t write like Snoop and Daz and everybody like that. I don’t feel like writing in the studio ‘cause I don’t like a lot of people around me. I like to be at home, in my room. I was slower than the rest. I really don’t know.
AllHipHop.com: The chemistry with you and Dre was so right, but so minimal. Is there unreleased material from those days?
Lady of Rage: Oh no! Like I said, when I write – I don’t do anything extra. I do what I have to do, that’s it. If I die tonight, you wouldn’t get another album from Rage.
AllHipHop.com: One of the little known moments was the b-side to “Dre Day,” called “Puffin’ on Blunts and Drankin’ Tanqueray.” This freestyle with you, Tha Dogg Pound, and Dre was classic. Tell me about that moment…
Lady of Rage: Those days were just…I don’t know if magic is the word. There was just a vibe. Dre used to make beats, and I would always walk in and say, “I don’t like that beat” – from the gate. I was always the one complainin’. But when I walked in that day, and I heard that track, I was like, “I like that!” Blunts and Tanqueray were circulating, and we just did it. I’m at a loss for words. I think I got [The Quotable] in The Source that month for that. I’ve gotten that twice. The other was, “Microphone Pon Cok.”
AllHipHop.com: A lot of artists do crazy things to get kicked off labels. It’s rumored that you did a number on Death Row’s lobby. Is there any merit to that?
Lady of Rage: [laughs] Well… I don’t know if I did a number on it. I went up there one day to pick something up. I’d been going up there all the time. Suge was locked up at the time, things were run differently. When I got to the lobby, the guy there told me I needed an appointment to go upstairs. I was like, “I need an appointment? For what?” All I got was, “Things are different now.” I was insulted by that. I’m one of the artists, one of the reasons this office is here, I feel. I didn’t sell millions of records, but I was on those things. This is mine’s like Dre’s, Snoop’s, Suge’s, whatever. I said, “Can you go get the package for me?” When he went upstairs, I picked up something and I broke some things up, and really give them a reason for not lettin’ me in here. I never went back again until I couple of months ago. I was just mad. I was pregnant, I was mad, that was slap in the face.
AllHipHop.com: What was it like on the recent visit? And why would you go back to Death Row?
Lady of Rage: I went back because my daughter’s father works up there. I didn’t go back there for business or anything. I went up there for that. Suge was in the parking lot at the time. I hadn’t seen him since he got released. We spoke to each other like, “You look nice,” and that was it. No, “What the Hell you doin’ here?” None of that. That [lobby] incident, I don’t believe Suge had anything to do with it. I told him about it. I wrote him a couple letters – told him how I was upset about different things, and I didn’t wanna be on Death Row anymore. That was it. He said that whatever I wanted to do, he was with me.   

Be sure to check her;
www.myspace.com/officialladyofrage
Robin Yvette Allen, the Lady of Rage is a rapper best known for collaborations with several Death Row Records artists, including Snoop Doggy Dogg on the seminal album Doggystyle. Chubb Rock discovered Lady of Rage when she was working and living at Chung King Studios in New York. She subsequently had an uncredited appearance as Rockin' Robin on Chubb Rock's 1991 album The One. After she appeared on They Come in All Colors (The L.A. Posse, 1991, 1991 in music), Dr. Dre heard her on the album, and Suge Knight called her and convinced her to come to Los Angeles. She then appeared on several tracks from Dr. Dre's 1992 classic The Chronic album, and on Snoop Doggy Dogg's Doggystyle in 1993. In 1994, she had a hit single with "Afro Puffs" (from the soundtrack to Above the Rim). Her debut solo album, Necessary Roughness, was released in June of 1997 (see 1997 in music). She has been a hairdresser to members of Tha Dogg Pound. After the release of her album and a guest-appearance with Gang Starr alongside Kurupt ("You Know My Steez (Three Men and a Lady Remix)") in 1998, Rage left Death Row Records and the music industry generally to focus on acting, appearing in an episode of The Kenan & Kel Show. The Lady of Rage also went on to be featured in several television sitcoms. Most notably as Coretta Cox on the WB's "Steve Harvey Show" from 1996 to 2002. She also had a small part in Next Friday as Baby D, little big sister of Day Day's ex girlfriend. In 2000, she made another rapping appearance on Snoop Dogg's "Set It Off" on his album Tha Last Meal. In the coming years, Rage would once again disappear from the public eye. Her limited recording activity consisted of 2002 with a solo track "Unfucwitable" on Snoop Dogg Presents...Doggy Style Allstars Vol. 1 and the comical "Batman & Robin", which appeared on Snoop Dogg's Paid tha Cost to Be da Bo$$-album. Rage truly returned in 2005 when she started her own label, Boss Lady Entertainment, and creating a mixtape called From VA to L.A. She has also made appearances on Welcome to tha Chuuch - Da Album and Cali Iz Active.


Blu Lacez posted some tracks from ‘Rage’ here;
http://www.dubcnn.com/connect/index.php?topic=134111.125
You can order her mix-tape here;
http://www.amazon.com/exec/obidos/tg/detail/-/B000AE8FOO/qid=1126447152/sr=8-2/ref=pd_bbs_2/102-6669130-2020914?v=glance&s=music&n=507846
« Last Edit: November 14, 2007, 11:15:26 AM by Chadrick »
 

Chad Vader

  • Guest
Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #44 on: November 14, 2007, 10:08:54 AM »
Suge Knight talks shit Part.1; N.W.A reunion. (HHC September 2000)
Here’s a part of a interview in Hip Hop Connection, where he talks shit as always. I took out the most interesting part’s.
Here’s part 1; N.W.A
Quote
Hip Hop Connection. September. 2000. Suge knight Cover;
HHC;
What happened to the Dre and Cube album?
Suge Knight;
“Basically egos, and when you get two guys who are not from the ghetto what can they actually talk about? Their house in the hills?
That’s why you  won’t see the N.W.A album come out any time soon. Everyone’s talking about the N.W.A reunion album coming out, but I own the name N.W.A, so before they put that out I’d have to give clearance for it. They did ‘Chin Check’ on Cube’s album which didn’t help sell the album because the kids want somebody young. What really sold Dre’s album is Eminem, that’s what sold that record”
HHC;
How come you own N.W.A’s name?
Suge Knight;
“The N.W.A thing, that’s a Compton thing. With me really being from Compton and those other guys not really being from Compton, it was more rightfully mine to own than theirs. I wasn’t part of the group but I was part of the real ghetto which those guys weren’t.”
HHC;
Are you saying N.W.A where all fakers?
Suge Knight;
Eazy lived in Compton, that’s the only one, everybody else didn’t.


Here’s a link to another thread where he talks some shit about Snoop and more.
http://www.dubcnn.com/connect/index.php?topic=132282.0
Here’s a link to another thread where he talks some shit about Ronin Ro;
http://www.dubcnn.com/connect/index.php?topic=132284.0
 

Chad Vader

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #45 on: November 14, 2007, 11:36:38 AM »
THE D.O.C. (December 2006) | Interview By: Nima

       Dubcnn had the honor of speaking with a true pioneer and a legend in Hip-Hop this month. The D.O.C. [sat in the room next door to Dr. Dre who was going over Detox material] talked exclusively to dubcnn about what he has been up to in recent years, the eagerly anticipated Detox record and his role in the project and writing once again with Snoop Dogg. We gauged The D.O.C.'s opinion on trying to please the mainstream as well as core fans, find out what is happening with his artists including Six-Two, movie plans and even discuss...another D.O.C. record executive produced by Dr. Dre once again? All in this exclusive dubcnn interview. No one can do it better!

http://www.dubcnn.com/interviews/thedoc/
Quote

Dubcnn: Dubcnn has the fantastic opportunity to connect with a true legend of Hip-Hop, a man who helped create a lot of classic records, The D.O.C. himself. How you doing Doc?

Hey hey man! I'm cool, just kicking it, you know?


Dubcnn: It's great to hear from you man, you know that to a lot of West Coast fans, you're like the magic fairy who is needed to sprinkle its magic on to records for them to become classics. How do you feel about that?

*laughs* Haaa, aw shit, that's cool man! It's a blessing, absolutely. I tell them all the time, it's not a D.O.C. thang, it's a G.O.D. thang!


Dubcnn: You have discussed your past many many times, so before we get to that, let's start it off by talking about the present time. You told me you've been in the studio with Dr. Dre?

Yeah, Dre is in the other room right now, making some beats.


Dubcnn: So ya'll working on Detox?

Yes sir! I'm trying to get this muthafucka done by the summertime. I need it to be out in the summertime, I need that badly in my life.


Dubcnn: So what is "Detox" really?

I can't tell you that. That's classified. *laughs*


Dubcnn: People are expecting a mind-blowing record,do you think the pressure makes it hard to put out a record, fearing a flop?


Nah man, if you love the shit, you're gonna make great shit. And I love the shit. I love great sounding rap records. I love great rap songs. So that's what I try to make.


Dubcnn: How much has been recorded already?

Can't tell you!


Dubcnn: Ya'll ain't letting nothing out the bag, huh?

Nope!


Dubcnn: People were expecting it to drop this year, cause he waited seven years to drop 2001, but I guess not...

The key is 007! It's always a 7 in it. You got part of it! But it's about 007.


Dubcnn: Do you think it's going to be comparable to the first two Chronics, as far as having West Coast guests on it and everything?

I can't tell you!!! All I can tell you is that it ain't what you expect, so don't expect nothing. But, it's some crazy shit, and I love it.


Dubcnn: How is it working with Dre in the studio, compared to back in the day?

It really hasn't changed. As a matter of fact, right now it's more like it was in the beginning. He's really able to concentrate on making these drums work, and I sit in there and try to concentrate on making these words work.


Dubcnn: What do you think of Bishop Lamont? Have you worked with him yet?

I haven't had a chance to work with him, but Lamont is something else. He's bananas. He's one of the young gorillas around here.


Dubcnn: Do you think he has it in him, to become the new star of Dr. Dre, similar to Snoop and Game blowing up?

I think Dre could make you a star. If that's what he wanted to do. All that is Dr. Dre. It all starts with that cat. If you are half way alright, if he's touching you, you're going to be great. And if you're great, and he touches you, then you're supposed to be super-human. But that's only if you can listen. Cause the guy is something else.


Dubcnn: Dre has been criticized a lot, producers talking about he stole work from them, or put his name on stuff. You're right there in the studio with him, so maybe you can clear that up!

Yeah! It's just drama. That's all it is. I see what this guy does with those buttons. Anybody should be happy to be affiliated with this dude, because it's something really different about his ear and shit. The truth is... Uh nah I'm not even allowed to tell you that. It's something else though. The guy is crazy.


Dubcnn: Sounds like ya'll have been going in a piano direction, judging from the tracks on Jay-Z and Snoop's record.

He makes beats all day long, and whatever song comes up, came up. We just try to make great songs. When it comes to the people and stuff, ain't really no masterplan to it, just trying to fit them to good music.


Dubcnn: Snoop told me he worked with you for his Blue Carpet Treatment, on "That's That Shit". Tell us about that.

"That's That Shit", "Round Here", "Boss Life" and "Imagine". Those are my pieces on Snoopy's record.


Dubcnn: Tell us about working with Snoop on his new album.

It's just love! It's me, Snoop and Dre getting back in the studio having fun. I'm just trying to put some love on my nigga's record because that's the love that we had back in the day. It's easier for me to write for Snoop than it is for anybody else, because that was some shit that we developed
together when he was a kid! I know him in and out!


Dubcnn: We know you used to coach Snoop Dogg write songs back in the day, how is it sitting next to Snoop in 2006, compared to back then?

Come on man, Snoop! I love Snoop exactly the same as I did back then. He was a star then. Before anybody else knew it, I knew it. I love him the same way now, he's a star now. It's all love on mine when it comes to him. We are the same, me and him.


Dubcnn: What about you, how different is D.O.C. now?

Not a whole lot different. Maybe a whole lot wiser. Maybe a lot more humble and appreciative of the opportunities that a muthafucka gets to have. It's a cold game, and it's easy to get swallowed up in bullshit, shit you could never make it out of. But your boy made it through and I'm right back in the
same spot I was 20 years ago, but with a whole lot more sense, and my skill sense is still bananas! *laughs*


Dubcnn: How do you think the game has changed? It's hard to please everybody, you have all the old school fans, and at the same time you have to please the young crowd and the mainstream crowd. How hard is that?

Aw man, it's all good songs. None of that shit really matters. It takes a great song. You know a great song when you hear one, everybody does. So if that's what you thrive to make, then you really can't miss! I don't give a fuck if it's a 20 year old or a 40 year old! It's all the same shit to me anyway! I thrive to be the best, that way I can't loose. A lot of the shit is so ughhh, but it is, what it is. And if you're young and you're black, and this music is affording you the opportunity to make money, I say make your money! But not that I listen to a lot of the stuff out here man.


Dubcnn: The way you're saying it, it sounds like when you hear a good song, you hear a good song. But, I don't believe that skill is all that matters no more. You have all these artists that make good songs, good music, that can't get no radio play, no play whatsoever.

Yeah, well you know, that's a part of the game too, kid! It always has been! It didn't just show up. It has always been like that, that shit goes all the way back to fuckin' Gladys Knight and the Pits probably. It is what it is. You have to work with that in this system, and try to accomplish whatever goal it is, that you set for yourself. You can't expect to change this system from the outside, unless you are the coldest muthafucka that ever rapped. And I ain't heard him yet! I probably am him, and they took my voice so I couldn't talk shit! I understand exactly what you're saying, but I don't believe you can fight that war from outside. It's gonna have to be a cold ass rapper to say that shit and muthafuckas got to play it anyway. He doesn't exist anymore, cause they took my vocal chords, kid! But if they give it back, I got you!


Dubcnn: You still managed to make your mark in the game, even without your voice! You used your talent in another way.

Man, it's all God's gift. It's what he allowed me to do. If this is what I'm supposed to be doing right now, that's why that happened.


Dubcnn: Do you still sometimes think back, like "What if that didn't happen? Now I would be sitting right there next Snoop and Dre on TV doing all the shit?"

No, no. It's probably more likely that if I wouldn't have lost my voice, I
probably would be dead by now, kid!


Dubcnn: You were too wild?

Yeah yeah, it was too much. We was too young.


Dubcnn: Doing too much?

Tooooo much! I think we're going to do a movie about this shit in a minute. So you'll get to see it, it's gonna be bananas. We're talking about it.


Dubcnn: What's up with your artist, Six-Two? Is he still around? You were pushing him hard for a while.

Six-Two is in Texas. I had to take a break from Silverback for a minute to concentrate on my ties to the West Coast. I had to build my shit back up, so I can do what I do back at the crib. But I came through for Silverback. But right now, I gotta be in L.A. where it's kinda popping. But I can't be up
here with all them niggas! I ain't got it like that yet!


Dubcnn: What about Up-Tight?

Both of them guys are around man, and both of those guys are solid!


Dubcnn: Six-Two had some good story telling tracks on the Deuce album!

Come on man! He is the truth! He is the truth!


Dubcnn: Didn't he have a solo record out there?

Who, Sixty-Double? Just featured on a lot of other shit, he ain't have a solo record yet.


Dubcnn: I think there was an album out, something called "Mac-A-Roni & G'z?"

That's like a mixtape. "Mac-A-Roni & G'z". *laughs* Yep man!


Dubcnn: How do you feel about your album "Deuce", looking back to it a few years later?

You know what, that's the first record I ever did myself, without nobody. I was trying to prove a point so bad, that I went one way when I maybe should have went another way. Today I might do it a lot differently, but it is what it is. I appreciate the opportunity.


Dubcnn: Your debut "No One Can Do It Better" is still praised as one of the classics in Hip-Hop, when is the last time you listened to that record?

Aw man, it's been a minute.


Dubcnn: You should pop it back in!

*laughs* I'm trying to build this new shit. I don't wanna get stuck trying to get off into that old shit, cause at one point in the game, I tried to go back to some of those flows that I used before, and it just don't work with this voice. You gotta be able to push that shit out.


Dubcnn: Do you wish you would have gotten more credit for the work and helping you did in the early Death Row days?

You know what? Of course. A man wants to be acknowledged for the work he does. But I don't know if everybody is supposed to get it all the time. When it's my turn to get it, you can believe I'ma get it. But that always fucked me up back then, not so much now, but it did back then.


Dubcnn: Do you still maintain a relationship to Suge Knight?

Naw, naw. It ain't really no reason to. But I don't not acknowledge the cat. He's gotta make ends too, so god bless him and that's what that is, but I really can't deal with him.


Dubcnn: Have you ever thought about writing a book about your whole life?

That's where this movie thang came from.


Dubcnn: Cause I know there was this book by Ronin Ro called "Have Gun, Will Travel", but I heard a lot of the shit in there was false and everything, so..

Oh, oh! *laughs* There was some crazy shit going on, I remember all that shit! But I'ma get them, you can believe that. But I wanna do it right, none of this is ever about money, for me. It's always about the art. So when I tell this story, I'ma move mountains with this muthafucka. It's not just to
be doing something.


Dubcnn: Aftermath artist G.A.G.E. said in an interview, that you were working on a solo album called "Voice Threw Hot Vessels". Is that true?

*silence* Uhhh... yeah.


Dubcnn: You ain't trying to tell me?

You know what, I don't wanna get too deep off into it, because it's so early. Right now Dr. Dre's "Detox" is the most important on my mind. But there is an idea in the back, and that was the title so far.


Dubcnn: That's all we're getting right now, huh.

Yeah. But don't count me out, kid! He might have one more classic in him!


Dubcnn: Shit, why not? You already have one under your belt.

*laughs* Thank you, pimpin'.


Dubcnn: You have a strong ear for talent, who are D.O.C.'s favorite up and coming artists in the rap game right now? Who are you routing for?

Six-Two and Up-Tight. Who else... Pretty Black from Dallas, Cadillac Seville... You know, we don't listen to anybody new, when we're in the field. It's not good. My daughter loves them all though, my daughter loves Lil Wayne, and Bow Wow, she loves them all. But D.O.C., he don't know.


Dubcnn: So what's D.O.C. listening to? Just your own shit?

D.O.C. is listening to these beats that Dre is making in here, trying to build some Detox shit.


Dubcnn: You should sneak some of those beats out and let us hear them!

Can't do it!


Dubcnn: I heard that Dre got this machine in the studio, where he just be shredding all the CD's he don't like!

Absolutely, right there.


Dubcnn: Why do that, though? I'm sure he's got beats that he's not happy with that he could easily slang to up and coming artists who would appreciate them.

I know, dogg! I be thinking the same thing! Cause he just makes them all day, he spits them out! But it's his art, I can't tell him what to do with his shit. I don't even try, cause it won't work!


Dubcnn: Do you think that a problem with well known artists is that they're often surrounded by yes-men, and rarely get an honest opinion about their music?

That may be. But sometimes, a person can get so good, that they forget that they're not always good. They might be getting the right information, but not hear it. It's all kinds of shit, and it's all subjective. It's really all opinion. Nobody can say for certain, one way or the other. That's why I
say if you're black, and you're making some money, I'm glad you're doing it.


Dubcnn: In Hip-Hop, it seems like we got that first album curse, to where the first album is your best one, most of the time.

Yeah. Because it's hard to love it. It's easy to love the money, but it's hard to love the shit that we do, because sometimes it's thankless, and trust me when I tell you that. I do it because I love it, and muthafuckas ain't been thanking me the whole time. But I do it because this is what I do, nigga.


Dubcnn: So for 2007, D.O.C.'s plans are Detox and then after that we might get the solo?

Yeah, as soon as we get through "Detox", I'm gonna do it. Dr. Dre executive producing the album, D.O.C... Oh my god! He named it! Which is why the name is out! But it's all good, you can call the muthafucka whatever you want! I just wanna do one over your drums.


Dubcnn: Okay man, I think we've cornered pretty much all aspects, do you have any last words for the fans?

Nah man, I'm just here, and I ain't going no where. If you love the shit, love the shit. For real. And I love the fact that the Cowboys will be in Miami this year, kickin' the shit out of somebody from the AFC's ass in the Superbowl. I love that.

 

Tha Psycho Hustla

  • Guest
Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #46 on: November 14, 2007, 12:36:35 PM »
dope ass thread.
 

Chad Vader

  • Guest
Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #47 on: November 14, 2007, 12:42:00 PM »
www.thaformula.com interview with the D.O.C


Quote
[Q & A W/ the D.O.C.: from ruthless to death row
feedback: info@thaformula.com
2004


ThaFormula.com - First off, I just wanna say that this is an honor, and that in my opinion if it weren't for your tragic accident, you would have been the greatest MC of all time...

D.O.C. - Now wait a minute, what's up with this would have been shit? Don't count me out like that!

ThaFormula.com - Nah man, I'm sayin' at this point in time I feel you would have been the best and I say that only because you and Dre were one of the greatest combinations of all time...

D.O.C. - Ok, well thank you brother, and you know what I think man? I think you are exactly right, and I don't mean any disrespect to nobody, but I think you are absolutely, exactly right, and when I say don't count me out yet, don't let it be because my voice is gone that that takes that marquee away from my name.  We still working on me being the greatest of all time. It just may take a little while.

ThaFormula.com - I always thought that you wrote a lot of the material from the early Death Row days. Did you have a lot of input when it came to that?

D.O.C. - Well what I did was the same thing I do with these young guys now, which is that I don't persay write the shit, but I don't allow them to write bullshit. I listen with a loving ear, that means I want you to be the shit and everything less just ain't civilized.

ThaFormula.com - I always tell people that I felt the biggest tragedy in hip-hop, was the day you got in that accident and lost your voice. Hip-hop was robbed of what would have been one of, if not the greatest MC of all time?

D.O.C. - Well god works in his own time and he works in mysterious ways, so it must have been meant for me not to say nothing for these ten years, but for some reason I feel like talkin' now.  So I'm ready to talk, and I can rap a little bit. It may not be what it once was but these words still sting pretty heavily.  Although the vocal power ain't what it once was, it's still a lot of power in this raspy voice I got.

ThaFormula.com - I'd like to start from the beginning Doc, let's go back to the early years and let all those that don't know, exactly how it all started?

D.O.C. - Well N.W.A. hadn't really got together yet.  At least the group that the world knows as N.W.A. hadn't really all come together yet. When I got there everybody started finding there places. Everybody had their own individual skills, but Cube belonged to another group called C.I.A. at the time. Eazy was doing his own records at that time. Dre was just a producer, Ren was around and Dre worked with Yella.  There was another dude around called Arabian Prince. All those guys was working with each other. Everybody was doing they own shit, but they all worked together.  By the time I got there, guys really started taking that shit serious and they stopped fucking with Arabian Prince. Cube came from C.I.A. and left his other group alone. That's when we started doing work all together, but N.W.A. hadn't even really started working on it's material. We all spent all our time trying to put Eazy's record together.

ThaFormula.com - What did you do for the Eazy-E album "Eazy Duz It?"

D.O.C.- I wrote about maybe 30 or 40 percent of that record.  I wrote "Still Talkin Shit," I wrote "We Want Eazy," and more.

ThaFormula.com - You came from the South, how did you and Dre hook up?

D.O.C. - Well there was this dude named Dr. Rock who used to DJ with Dre at a club called the "Eve After Dark."  Well, Dre came down to visit this dude Dr. Rock because Dr. Rock had moved from Compton and came down here and got a gig on the radio. Well, when this rap shit started happening, Rock tried to put him a group together.  I was in the group Fila Fresh Crew.  Dre  came down and was visiting with this dude and ended up doing some beats at this dudes crib for us, and once me and Dre started coming together, dude was like "nigga you the shit," "If you come out to the West Coast, I guarantee you we will be rich." Well later on I found out this dude Rock was taking money, so I gave Dre a call.  To me it was all about the music. I've never been a really a street kind of dude.  I'm more of a thinker.

ThaFormula.com - And at that time it was all about the music and nobody was really thinkin' about being rich were they?

D.O.C. - Shit nah.  I think what Dre saw was my ability to help him make great records. Making a hit song for Eazy-E wasn't the easiest thing in the world. Eazy didn't have any rhythm, so it was hard to cross and besides I think Dre wanted to cross over his music so he could get it played on the radio. At that time they wasn't playin that gangsta shit on the radio. They wasn't trying to hear that, but if I could write songs for Eric that were gangsta, but not "gangsta," uh , I could have Eazy talkin' about all the gangsta shit in the world, but use words that don't scare white people. That's really all it was.

ThaFormula.com - Looking back, you had a hell of a vocabulary for coming out of a gangsta rap camp like N.W.A.?

D.O.C. - Sure, but I was a reader. I was always a reader as a young kid. I was never outside in the streets sellin' this doing that. I used to read books, that's what I did. I actually read books so that I could trick my parents into thinkin' that I was going to school and shit. But once I got to the West Coast, it was just such a thrill to be in California.  I had been to L.A. as a kid or young child, but as an adult I had never been to L.A., so my vibe was so great I was putting songs together in fuckin' 5 minutes back then. I can't remember one rap I wrote that Eazy didn't love, and muthafuckas in L.A. from Dre's relatives to Eazy's relatives to Cube's friends didn't love. Muthafuckas were like, "Doc you the shit!"  Once they came in like that it was hard for me to come back to Texas because Texas never showed me that kind of love, but from the time I got off the plane in California, them muthafuckas was like, "nigga you the shit."

ThaFormula.com - What happened after that?

D.O.C. - Well I was just a part of the team at that time.  See, to me there was no difference between Eazy-E, N.W.A. or D.O.C. There was just titles that you put on a record. Like in my heart of hearts, you can't have an N.W.A. record without me, but anytime you see anything about N.W.A. in magazines they will never mention my name, but I was a pivotal part of that scene.

ThaFormula.com - You had the dopest intro on the "Straight Outta Compton" LP, which was for the track "Parental Discretion is Advised." What type of input other than track that did you have on that album?

D.O.C. - Well whenever you heard Eazy rappin', that was me, and then I stuck my own shit in like when Dre was doing the court room shit before "Fuck the Police," I was in there at the end. But to me it was more about making Eazy sound like he the shit. That was my job, and I took that shit serious. After the N.W.A. record it was just my turn.

ThaFormula.com - Was there a problem with that? I always wondered if that wasn't one of the reasons that Cube left, other then money?

D.O.C. - Nah, Cube just had problems with Eazy and the money, and Jerry Heller was really Eazy's downfall in the business world.

ThaFormula.com - Was Jerry Heller really as bad as they made him out to be?

D.O.C. - Well I don't know if he was as bad as muthafuckas claim, but he was just a Jewish guy that was in a position of power as far as Eazy was concerned.  Eazy still had to sign the paper.  He still had to sign the check, but Jerry would convince this guy that this is the best move or that it is the best move, no matter what any of us said, Eazy was gonna do what the fuck Jerry said because he felt that the guy was right. He had taken him from just makin' money on the street doing what he was doing, to being a serious businessman and making great music. I mean he wasn't really controlling shit, but he was in Eazy's ear so tuff and Eazy had so much faith in him that I guess you could really say that to a certain extent, yeah he was. He had a lot of control over Ruthless, a lot more then any of us had. So when you think about when the money started coming and I'm sure it was more money and faster then Eazy had ever made working on the streets, but Eazy chose not to share it with those guys the way they wanted it to be shared. The way they wanted to be compensated for their hard work. So instead of this dude saying "well let me take a step back and try and fix this shit because this is my business," he took the street stance of, "nigga this is my shit, fuck you," "you can beat it if you want to." So that's what the fuck Cube did.

ThaFormula.com - Did this problem start before or after your album was gonna drop?

D.O.C. - Yeah, the problem happened before we even got off into my record.

ThaFormula.com - So when did the decision to do your record come?

D.O.C. - It was just a natural process. We'll do Eazy's then well do N.W.A.'s, then I'm next.

ThaFormula.com - Why wasn't Cube next, because it always seemed like he would be the next one with the solo album?

D.O.C. - Well, N.W.A. had music out. I don't think Cube was really trippin' on a solo album at that time. He wasn't sayin, "I want an Ice Cube record." He wasn't trippin' like that. He was happy in N.W.A. He just wasnt getting paid.

ThaFormula.com - Now I wanna speak on a rumor that has been going around for years. Is it true that you sold your publishing for a...

D.O.C. - for a watch and a gold chain?

ThaFormula.com - Yeah, was that true?

D.O.C. - Sure it was. I mean I didn't know what I was doing. I was a fucking 19-year-old kid. I didn't know shit about no fucking publishing and this and that.

ThaFormula.com - Did you sell it to Eazy or Jerry?

D.O.C. - I sold it to Eazy.  He took advantage.

ThaFormula.com - Do you think that he did that, or do you think that Jerry Heller was behind that?

D.O.C. - Nah, I think Eazy did that.  Eazy was always a money-hungry muthafucka. Eazy was a greedy one, and I was a perfect match for him because I'm a giving person.  Money don't mean nothing to me because I make great music.  Its in my heart and you can't keep that shit down forever.  I kept saying to myself, one day it will be my turn.

ThaFormula.com - So now comes your album. What I want to know is how was it recording "No One Can Do It Better" because that was the only album that I can remember where Dre produced it all by himself, without the help of any other co-producer or whatever. It was just you and Dre. This is the album I always tell people to explain to me when they say Dre can't produce by himself or that he jacks everybody's beats. There was no one to jack for your album right?

D.O.C. - Well, let me explain something to you and you can print this so your people will understand. I went through this shit with Daz and now they're going through this shit with Mel-Man. Let me tell you something. What Dr. Dre gives those young men, they can't give you enough money for, what that guy gives these young producers that are trying to come up. The only reason Dre even has anybody else in there fucking with him is because he's lazy. That's the only reason. When Dre is in the studio, that shit is coming out of his mind and none of these other guys are responsible for it and I was there from day 1, 'till fuckin' '94 or '95 when I had to leave. Then I came back because doing records with Dre is like going to school, because if you sit and you watch, and you look and you learn, the guy is teaching you how to make great records. Now with this new record I made, I'm only doing what Dre would have did, and I used my own judgment.  The one thing that Dr. Dre is missing now is D.O.C. and that's the same way that I would tell those young guys, hey that sucks!  I would tell Dre's big ass the same shit. Hey, I love you, and your the greatest of all time, but that's bullshit!

ThaFormula.com - So at this point in time there is nobody in there to tell him, "Hey Dre, I don't know about that beat right there?"

D.O.C. - That's right. Number one, there is nobody there that I think, and this is just my own personal humble opinion, there's nobody there that I think knows the difference between a hit record, or not, and even if they knew, they're going to get paid so they're not gonna tell him. Me, I never gave a fuck. You muthafuckas ain't payin' me anyway, so I might as well tell you your shit stinks.

ThaFormula.com - Now let's get back to your first album Doc, what was it like recording that album?

D.O.C. - Just fun man. That's the only word I got for that. The shit was so much fun because at that time when I moved to California, I moved at Dr. Dre's urging. Once I got there I had to stay with this dudes brother by Centenial High School for like a month or 2, and then Dre got his own apartment. Him and Yella got an apartment, so I spent all day everyday with Dre for those first 3 or 4 years, I was with this guy all day everyday. We slept in the same house, we ate at the same time.  We drove to work together in the same beat up little Toyota Corrolla.  It was the closest thing that you could have to a brother because we fought and argued like family. That's the kind of person I am. I'm a real southern kind of person, so if I have love for you and if something's in my heart, then I'm gonna express myself. There ain't no gangsta shit. I don't wanna beat yo ass, I don't wanna shoot you in your ass, or none of that shit. I just want you to think about what I'm sayin' and try to do right. At the same time, show business was around us and everybody was just blowin' up in they're own way, and you know how show business can really get muthafuckas' heads fucked up.

ThaFormula.com - Did every song recorded for "No One Can Do It Better" make that album?

D.O.C. - Yep, every song, and the "No One Can Do It Better" album was just me being me, and Dre being Dre. We had no plans. We just had fun and did the shit, and when we felt like we had enough, we quit. "How many is that?," "17?," "Yeah that's enough, fuck it, let's move on." He was ready to get back into N.W.A. mode.

ThaFormula.com - What made you do the track, "Beautiful But Deadly" and go down that avenue?

D.O.C. - Oh, that was Dr. Dre's idea. Traditionally I'm a East Coast rapper, so he felt what Run and them was doing back then, uh, well we felt that I could do that kind of thing. Crossover into a Rock n' Roll kind of  theme and not reaqlly skip a beat or lose any of my hardcore audience doing it. Because of the type of rapper that I was.  But it really wasn't straight Rock n' Roll because that's a old parliament song, and Dre is a  Parliament freak.

ThaFormula.com - What was your favorite song off that album?

D.O.C. - As a young man, my favorite song was "Doc and the Doctor," because I used to love to be able to holla and do my Run DMC imitation. My favorite song now is "Tha Formula."

ThaFormula.com - Likewise, which is why we named the site "thaformula.com," because what you were spittin' on that track was the truth, and pretty much summed up the formula to making real hip-hop?

D.O.C. - Now I will tell you how that song came about.  It's a funny story. Dr. Dre and Michel'Le went somewhere and they didn't make it back home till about 1:30 or maybe 2 o'clock in the morning. Now me I'm straight outta Texas.  I ain't got a pot to piss in, or a window to throw it out of, so when they go out I'm just at the house on the floor. Well I was sleepin' when he came back in, and he said, "nigga, I was on my way home and I got caught up in a day dream, it was me and you was bustin' a song called "Tha Formula" to a Marvin Gaye beat!" He went in there and he got a tape and he played me the Marvin Gaye song and he went in there and went to sleep. Well me, I stayed up from about 2 o'clock till about 5:30 maybe finishing that song and we did that song the next day. That's what I mean, me and Dre were really in sync. Like I go good with his ear. Not just his beats, I can hear the kind of shit that he hears, but still I'm able to hear my own shit in it.

ThaFormula.com - Well, I never heard anyone flow over a Dre beat the way you did on "Tha Formula" and I really don't think anyone ever will.

D.O.C. - Well I remember Mel-Man telling me one time that he asked Dre who was the best  to rap on top of his beats and Mel-Man told me that Dre said it was me, and I can pretty much believe that because I am one of  the few muthafckas' that loved, and I don't mean I like it as in when I hear it I wanna dance, but I loved Dr. Dre's  production. So that means when it stinks we need to fix it, because I love it. Not in the terms where it's something that I like, but it's something that I want to be great and I wanted him to be great. I always wanted Dre to be Quincy Jones. At least in this hip-hop thing, I wanted him to be Russell Simmons. I didn't want him to just be satisfied with being Dr. Dre, hit maker or beat maker. The guy has the potential to be huge in this world. I mean he's a smart guy with a good heart, and I think he's got the best ears in the business today.

ThaFormula.com - How about "It's Funky Enough?" That was a different type track at that time. No one had really done anything like that in hip-hop at that time?

D.O.C. - Well that was me sittin' at the turntable listening to a song called "Misdemeanor" by The Silvers, and I loved it. It was a funky little thing. It was the shit, but Dr. Dre said there is nothing I can sample. I'm not fucking with it. A couple of days later I'm back in the studio and I pull that muthafucka back out and I'm listening to it, and I ask him again. He said, there is not enough space or some shit, and that he can't sample the record so he can't use it. I let it go again. Well we came back in there, and I think it was like a week later, and I got the record and I was playing with it, and I had to beg this guy to make the fuckin' beat. He says "okay fuck it, I'll make it." He put the shit down and I was gonna write another rap to it, but the way he was clowning me behind it I said, "fuck it, Ill just put this rap that I got on it, then we can work it out if it ain't right." I had been drinkin' some beer, and smokin' some weed with Laylaw on the other side of the studio. So that when I got back inside the studio I was feelin' kind of good and the beat sounded like some Jamaican shit to me after Dre finished fucking with it. That was the reason why I rapped it the way that I rapped it, because it wasn't designed to be like that. I did that muthafuckin' song one time through, thinkin' that we were gonna go back and do it over again, and Dre was like "fuck that, that was a one take willy."

ThaFormula.com - Why do you think that doesn't happen any more man?

D.O.C. - I don't know man, but I seen it with Snoop. Snoop's was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busitin'.

ThaFormula.com - Wait a minute...what track are you talkin' about?

D.O.C. - The song was "The Shiznit".

ThaFormula.com - That was all freestyle?

D.O.C. - Yep. The guy came in and he started bustin' and then when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then.

ThaFormula.com - What happened to that Snoop?

D.O.C. - Show business man. Once you make it to the top, it's very hard unless you got people around you like me who are gonna tell you when you suck. That's the key. I don't want this to sound fucked up man, but nigga I'm the key. I am the key. I don't make beats and I don't really write raps for muthafuckas' no more, but I can tell you this. When it comes to making classic records, I was the key to that shit there.

ThaFormula.com - It was nice to see you, Dre, and Snoop together in the "Still Dre" video and at The Up In Smoke tour, because it just brought back a lot of memories?

D.O.C. - Well when you get this new album, "Deuce" there is a little piece by Snoop Dogg where he basically says the same thing you said. He says, if it wasn't for me, there wouldn't have been no Snoop. He said he got as good as he got because we wrote together and I criticized his shit and made him change this and change that. So really the shit that you feel, there is a lot of truth in it, and in a minute everybody is gonna know it, but my concern now is Six-Too, El Dorado, and Uptite. Those are my young soldiers down here, and Snoop Dogg is one of the great ones of all time. He used to hold the spot that Six-Too is coming for.

ThaFormula.com - No doubt, Six-Too has an incredible amount of talent. How do you look back at the Ruthless and Death Row days, because to a lot of people think those were the some of the greatest times in hip-hop?

D.O.C. - Those were seven of the most violent years of my life. I ain't lying to you either nigga. I seen and did cause I told you when I was a younger guy I was kind of church kid you know. I had never really been involved in that shit, and those, uh, man! I could remember one time in Hollywood at Snoop's apartment. Daz and Nate Dogg are downstairs about to get into it with some niggaz, and Daz yells upstairs for me to come down and to bring my shit. Because at that time I was packin' a gun, knowin' I'm not fittin' to shoot nobody, but I'm still packin' it because Suge gave it to me, we was close back then. So he told me to come downstairs with my girlfriend. I came down there and you have to picture this because it's the funniest shit you will ever wanna see. I'm downstairs with a gun in my waist trying to break up a fight? Whew! That was some backward shit man! But that's life and I wouldn't change none of that shit.

ThaFormula.com - Did you see everything coming as far as the break up of N.W.A. and everyone heading their separate ways after your album dropped?

D.O.C. - Hell nah! Back in those days, uh, see I was in L.A. because of Dre. Now they never reported this and nobody ever says this, but Dre didn't leave Ruthless because Suge went and found him and showed him some funny shit in his contract, he left Ruthless because I asked him to. He left Ruthless because I wanted us to go and make our own label. Mine and his because we were the ones putting in all the work.

ThaFormula.com - And at that time Suge was your bodyguard right?

D.O.C. - Well at that time Suge was a friend of mine and they said the guy was my bodyguard because I got a 300 pound plus muthafucka following me around. But I never paid this guy to fuckin' watch over me. He probably just smelled money like everybody else and was kickin' it.

ThaFormula.com - So you asked him to leave and you guys were supposed to start your own label right?

D.O.C. - That's what it was all about and Suge had a lot to do with it because I was trying to start a label with Suge Knight. I had an office in Beverly Hills, but I was going through issues after that car wreck. I was trying to find myself and we felt like we needed Dre in order to make that shit work.

ThaFormula.com - How bad did it get for you after that accident when you found out your voice was damaged like that?

D.O.C. - Well you know what's funny dog? I probably really couldn't answer that question because it took ten years for me to even be able to admit that that shit caused me pain. I wouldn't have admitted it to anybody. I was like "ahh we'll just keep it going. That's what I was saying in my mind, but my heart must have been going through some shit.

ThaFormula.com - I still remember the day I heard about your accident. I remember hoping it was just a rumor and then I remember sittin' at home and watching your new video for "Mind Blowin" and thinking to myself saying, "I know it's just a rumor." Because in that video you looked good and it didn't look like anything had happened to you. Plus the fact that you made that video after your accident and that it was a remix.

D.O.C.- But that was the tripped out part though, because in the "Mind Blowin" video I was trying to show muthafuckas that that's what happened. In that particular video I was supposed to have had a crash and they had me on a gurney, then my spirit came out and then it went back in and said, "Nah you can kick it." In laymen's terms to me, that's what happened. I was close to death and I made it. So after the accident Jerry Heller, Eazy and them all thought I should keep going. "Whatever you do, don't stop making records." They thought I should make another one. Well I asked Dre what he thought, and he said that if it was him, he wouldn't make another record. He said they think your the king right now and that's how I would go out. I had so much faith in Dre, that when Dre said that then that was it. There was no more rappin' for me. Now I'm gonna use my writing ability to help us be the shit because that's really what I always wanted. It wasn't about no money to me. I just wanted to be the greatest. I wasn't trying to get rich out there with these guys, even though I did. I mean I wanted the fame and the fortune and all that, but I wanted when muthafuckas said my name, I wanted it to be unequivocal that this guy D.O.C. is the greatest. Now I'm a lot more humble and ill be happy with "he may be the greatest of all time." (Laughs)

ThaFormula.com - Sometimes we sit around and think about what you and Dre would have come out with after "No One Can Do It Better" if it weren't for that damn accident...

D.O.C. - Ahh man, that would have been the shit! It would have been the shit, but I would have had to probably fight with Dre a lot because I don't think he was really interested in the direction that I wanted to go in. He was only interested in making party songs that muthafuckas wanna get drunk and dance to.

ThaFormula.com - What were you trying to get into?

D.O.C. - Well like I said, I used to be a church kid. Like when you get this record, you will feel it. It's god in my record and its a gang of nigga shit. It's a gang of old N.W.A. shit. When muthafuckas hear this record, their first comment is that they knew I was where all of the old N.W.A. shit came from. That's everybody's first word. So it's dirty in that sense, but there are bits and pieces where I'm rappin' myself for like little soliloquies and it's a trip. It will make you cry, it will make you laugh, it will make you mad, it will make you wanna drive fast and then it will make you wanna get drunk. This album is a trip.

ThaFormula.com - When you guys recorded the "Straight Outta Compton" LP, did you guys record any more tracks then what was laid down?

D.O.C. - Nah, there were other tracks of N.W.A. There was actually one more D.O.C. song called "Bridget" that i think came out a little later. There were more N.W.A. songs, but they sucked.

ThaFormula.com - Do you think those songs would still sound bad today?

D.O.C. - Sure they would. They sucked then, they would suck now. Either the song is good or it's not. There is really no two ways about it. I'll tell you the mistake that a lot of these people in the rap business make today. They think because they got Snoop, DJ Quik, Ice Cube, and Mack 10 on a song that that song is the shit. Well guess what. If one of those guys raps sounds like shit and the idea of the song sucks, then your gonna have a wack ass song. I wouldn't give a fuck who was on it. Now that was my job and I held my nuts and I stuck them to the plate because I knew that these muthafuckas had so much respect for me that when I said it they wouldn't say shit to me.

ThaFormula.com - Well if anybody could say it, it was you.

D.O.C. - I was one of the muthafuckas that set the blueprint. That's what it was, and if you work with one of the muthafuckas that built the mouse trap then you can't come in there trying to build some shit tellin' me it's right when I'm tellin' you it's wrong.

ThaFormula.com - So did you know Snoop would be the next big thing after N.W.A. and you?

D.O.C. - Shit, it took me about 5 minutes. When Snoop came in, he was great. He had all the tools in him to be what he is right now, but he didn't have the desire and nobody was there to push him. That was my job. You have to be able to communicate with everybody, not just muthafuckas in Long Beach, and not just muthafuckas in L.A. So that means your subject matter may have to switch, your wordplay may have to change a little bit. You know just give us all something that we can love on.

ThaFormula.com - So how did it happen Doc, to where you had no involvement in Death Row business wise?

D.O.C. - Shortly after I had that accident, I started fucking with drugs. That's when I first started doing ecstasy. That was way back in '89. I started trying other things and it got to be a way for me to escape that pain. The white people at the top in the big offices, the ones with all the money, they were really only interested in Dre and Snoop. That shit got to be sort of painful even though they needed me to come and sign papers to get things done. It just started to feel like I was slippin', so I started getting more fucked up. I still seemed to make it to the muthafuckin' studio everyday and put my work in, but the more I fell, the more I slipped into that hole. These other guys, the more they started to rise up, nobody reached down to pick me up you know.

ThaFormula.com - The way you would have reached down and picked them up?

D.O.C. - Sure and it's funny because that's the way me and Six-Too ended up hookin' up. He was out there in the world fuckin' up. I'm not gonna speak on what the fuck he was doing, but I was fuckin' up and I saw in him the world. This guy could have the world if he wanted it.

ThaFormula.com - I feel you on that, I really wish he would of had a bigger part in the Chronic 2001 album?

D.O.C. - Well, and there in you will come up with another one of Hollywood's or the music businesses big downfall. They knew what you knew. What you know about this guy Six-Too, they knew it too. So to have him too much is to take the shine away from other muthafuckas who needed it. Which was any of the muthafuckas on that record god dammit! I wouldn't give a fuck who it was.

ThaFormula.com - Personally I would have loved to have heard more Six-Too. In fact, I think Six-Too and Devin are the most impressive MC's I have heard come out of the South in years.

D.O.C. - You god damn right and I'll tell you why. Because you're going through almost 13 years of what we been doing. That shit is old soup. You can't come tell me you gonna kill a muthafucka no more and shock me! Let me say that 99.9% of these guys even though they think the shit that they saying is coming from them personally and is different from anybody else, it's not true. It all sounds the same. It all sounds like I smoke a gang of weed, I fuck hoes, I'm the shit, and I'll bust you in yo ass. Now Six-Too man, it's hard to put a thumb on this dude man because he's unorthodox with his delivery. I guess if you had to put BB King and Snoop Dogg together and mash out a little kid, it would sound like Six-Too. Anyway, after we all came together and started this Death Row shit, I started sinkin' and they started rising. I started losing control, and they started going to meetings without me. I got to give these guys credit to say that they had enough respect for me to where they thought that I was in complete control and knew what I was doing. I fucked up a lot of Dr. Dre's parties and business meetings that I would go to fucked up and nobody still wouldn't say shit to me. They wouldn't say, "Hey Doc, you can't do this or take this muthafucka home. None of that shit. I'd be the only muthafucka in there drunk, "walkin' around with a sawed off shot gun and no shirt on." Threatening everybody and would nobody say shit to me man. So I'm just out there and I can understand to a certain extent why they would be like, "man we gotta handle our business." I ain't fittin' to let this muthafucka fuck mine off. But when I first started making this attempt to come back, none of those guys reached out to really help me and they had their own issues at the time, and I don't look for no nigga to help me because I could make it happen. But none of those guys really felt bad about none of my situations, except for Nate Dogg, let me take that lie back. Nate Dogg was the one person who continually through those seven years, always had great empathy for my situation and always told me that.

ThaFormula.com - Wasn't Nate Dogg in the military or something coming up?

D.O.C. - Shit, we were all in churches as kids. Hell Snoop used to sing in the church quire. And even to this point all of those guys are great guys, even Suge Knight. You know Suge didn't have to come to my hospital bed everyday. I wasn't paying him. He didn't know at that time we were gonna go make Death Row.

ThaFormula.com - Now what about that D.O.C.? I got to speak to Suge once before he went to jail. He seemed like a great guy and showed a lot of love. So I have always wondered, was he as bad as he was made out to be?

D.O.C. - Sure he was. He was a ding a long, that's for damn sure. Suge is the kind of dude to piss on your leg and laugh because he's 350 pounds and he knows you ain't really fittin' to do shit. He got sort of a kick out of that kind of shit. So the more power he got, the more outrageous he got. I believe that he's at a point now where he can't turn around and go back because he put himself out there as this huge Mafioso figure, which these dudes will do because they don't know how to express themselves any other way. But he's put himself out there as such a mafioso type figure that if he turns around then there will be somebody in his own camp waiting to do something to him. As far as I can see it that's the way that game works.

ThaFormula.com - So basically you feel that even if he wanted to turn back and make peace, there is just no turning back for him anymore?

D.O.C. - He really can't. Take into consideration Al Capone, he was at the height of "gangsterism." If he could have had a change of heart, they would have put a bullet in his ass so quick, you couldn't have smelt it and that's probably the same position old boy's in. He really can't play any other role but the one that he has created for himself.

ThaFormula.com - The stories told about Death Row with all the Gangstas in the studio, and how Ruthless it was, was it all true?

D.O.C. - Most of it. It could be kind of cheesy for me to say that my view is the right one, but the only reason that I stand up for mine is that I can stand up to you face to face and man to man and tell you I was Fucked up.

ThaFormula.com - Well you were one of the only ones that were never really caught up in any of the major beefs.

D.O.C. - For what? What they gonna fuck with me for. I'm not talkin bad about nobody.

ThaFormula.com - Well you were there since day one and I believe that if anyone was tellin' the truth, it would be the one that was there since day one and was never really caught up in any beefs.

D.O.C. - Well I got a movie thing happening right now and it's gonna bug muthafuckas out because number one, I don't fear none of these guys you know, so I'm not worried about it. When I get ready to do this movie thing and you can believe what I will tell you is a hundred percent truth. I mean all the shit that they did and all the shit that I did. Oh it's gonna be some shit dawg. It's gonna be some shit! I'm gonna tell you what the name is, but maybe if I'm lucky late 2003 or 2004 I'm gonna be puttin' this movie out and it's gonna be based around my experiences from when I met Dr. Dre in Dallas Ft. Worth Texas, until today. Were actually doing the end right now. It's a great movie because coming from Dallas, being sort of a church kid and getting caught up in a world of gang bangon and I dun saw shit that I knew nothin of.

ThaFormula.com - What are you looking at doing with the movie as far as distribution?

D.O.C. - Well actually, were talkin' to a couple of different people to see how viable it is to get it to a big screen, but I really just wanna get this monkey off my back. To get the truth off my chest.

ThaFormula.com - I always wondered how a real N.W.A. movie would have done?

D.O.C. - Oh, we gone see, and you know what's funny? I'm not gonna have any problems getting any of those guys to be involved in it. Any of them! That's the cool part about the position I'm in now. If I call Dr. Dre and ask him for some help, he's gonna say yes.

ThaFormula.com - Why is it that you get this respect from these guys that's very rare to get?

D.O.C. - Well, they know me. Those guys know me like nobody ever will ever know me. They knew me when I was in the front. We could have all took pictures and I would have been the nigga standing in the front, but I was comfortable standing in the back because in my mind, when they won, I won. Now Cube is one of the realest muthafuckas I'll ever meet, I already know that to be the truth because he told me when we were on this "Up In Smoke" shit. "When you need me, call me," so that's what I did and the nigga came right away. I mean he didn't take 5 minutes. He had to leave his movie shoot to come to the studio and give me 30 minutes and got back to work. Now you tell another muthafucka, "Oh 'I'ma call Cube and he'll be over here in 30 minutes, bust his lyrics and go back to work. He wil say, "Nigga what!!" That's Ice Cube man!

ThaFormula.com - That's love and loyalty man.

D.O.C. - That's what I'm talkin' about, and that's what it's really all about. See I never got a chance to finish the lessons. It's not really all about shoot em' bang bang, kill a muthafucka. We do need soldiers. Soldiers are very necessary, but we have to think. We can't be dumb. Sellin' see that's what got everybody geeked up. Eazy-E sold dope. That made everything lovely because that's all that really niggas could do, so they got off into making records about sellin' dope. Now everybody is a dope seller. Now what we never got a chance to tell these kids is that sellin' dope ain't cool. Sellin' dope ain't the shit, don't get it twisted. Just because niggas is rappin' about this shit and it may even sound great, but that's a record. It's like going to the movies and you see Arnold Shwartzenegger bustin' somebody in the ass may have looked pretty good, but that will get you put in jail. Nobody gave these kids that lesson. See when I lost my voice, that was my next lesson dawg. Well now after ten years, I finally got enough air back in my balls where I feel like talkin' and trust me when you hear this record, your gonna be like man! Matter of fact there is shit on this record that is so dirty, I know these muthafuckas are gonna be comin at me like, "Nigga how you gonna say some shit like that, hell naw get that off the shelf. You're ruining our kids. When they come at me with that conversation, watch how cool, calm, and collective as I sit back and converse with these folks. Oh, I got they ass. They fucked up( Laughs).

ThaFormula.com - Now let's get into the Chronic. You were in the "Nuthin' but a G Thang" video and everything seemed great at Death Row. Was it?

D.O.C. - Yeah, everything was great at that time.  I still didn't have anything of my own but I was staying at Dre's house and I had no money of my own, but I could ask Dre for 5 grand at any time and get it.  Matter of fact, I used to ask Dre for 5 grand every 3 or 4 days for about 2 years and would get it and then go spend it up on dope.  I don't know if Dre knew, but how could you not know?

ThaFormula.com - So how was it recording the first Chronic during that time?

D.O.C. - Man, "The Chronic" was the most fun that I have ever had on a record.  Snoop brought a vibe to the music that wasn't there before.  If there was levels to the game, let's say NWA stayed intact and I never had the accident.  The next level would be Snoop.  That was the only way you could come and totally fuck everybody up because when you the youngest you always gonna fuck it up, and he was the young one at the time.  Now let me get this point straight first.  I would have forever been Marvin Gaye god dammit.  When I opened up my mouth, it would have been nothing but jewelry, but when Snoop came, me being the type of person that I am I would have had so much love for him and put so much energy into his shit the same way I did that he would have had no choice but to be the shit. The same thing with this guy 6'-2".  6'-2" really has no choice but to be the shit because I'm right behind him and I'm not allowing anything else.  Any song 6'-2" does, I'm producing it.  All of the shit that you have heard.  I went here and grabbed a beat from this person and that person, then I brought the beat back home and I got in the studio with this dude and we started punching out songs.  6'-2" is not allowed to be fucked up right now. I'll give him a good 5 or 6 years and then when he gets ready to make his own records.  If he hasn't learned how to make great songs by then, then you will start hearing some shit where it ain't as good.  Same thing with these other guys. I mean I'm not gonna say nobody's names and put them out there like that, but you know who I'm talkin' about and what I'm talkin' about.  There is a difference between what you were doing at this time and what you doing at this time and it ain't just skill level.  Your skill ain't went no where.

ThaFormula.com - Well as a fan, I do have to admit that I miss the old Dre and the old Snoop.

D.O.C. - That's right, I miss the old Snoop too, but in Snoop's defense, your music is a reflection of what's going on in your world.  So if your congested and there is a lot of shit around you and it's hard for you to get together and really make that magic then it's gonna be hard to do, and Snoop when he made magic, he had me and Dre.  So it's gonna be hard for Snoop to go and make that magic without me and Dre and it's really gonna be hard for Snoop to make that magic even if he had Dre without me there because there is always gonna be a piece missing.

ThaFormula.com - During the making of the first Chronic, who all was in the studio at that time?

D.O.C. - Oh, we all were man.  We were there everyday and there is no better place to be than the studio.  That's where all the weed at.  That's where the drinks is at, and niggaz is doing they thang.  Besides, I took it very personal that these guys wouldn't make bullshit around me.  I remember when Dre first started making the beat to "Dre Day."  He had a lot of shit missing and it was certain things that he was doing and I was like, "that sounds like a load of shit."  He says "OK we'll wait till' tomorrow." By the time I got to the studio the next day that muthafucka was bangin.'

ThaFormula.com - Alright I got a good one for you.  Explain the reasons behind the Jimmy Z album, and the Tairrie B album?

D.O.C. - Ahhaha!!  That was Jerry Heller's great idea along with Eazy -E's futuristic sort of vision I guess.  But really that was probably Jerry's attempt at getting Eazy to put his money behind crossover acts that could make him money.  Knowing Jerry Heller, he probably had a piece of each of those acts.

ThaFormula.com - Did Dre want to do those projects?

D.O.C. - Hell Nah, man.  Dr. Dre didn't wanna do any of that.  Well, let me take Jimmy Z back.  Dre is a musician so he may have wanted do get in there, but I couldn't see so I spent very little time around him when he was doing that stuff.  Tairrie B? Nah! She was sorta a primadona in the rap world but Dre is not into working with muthafuckaz that ain't good. If you will notice, Dre has done 2 albums on very few people.  I think he did 2 on Eminem, I think he did 2 Chronics and 2 NWA records.  Everybody else only got one.

ThaFormula.com - Is that by choice?

D.O.C. - Sure it is, and this is Dre talkin' when I talk.  He said to me the hardest thing to do in the world is to make a second album on a muthafucka because once you make a platinum album on somebody then they get full of they own oats.  Then it's all about they wanna do this and they wanna do that.  But like I said before, when you're in the studio with Dre, that shit that's on tape is what's in his mind, and that shit used to piss me off. I'm talking about ferociously when these guys would come and tell me Dre's stealing beats. As a matter of fact, I remember when I went to do this Shyne video in New York for "That's Gangsta."  Puffy was having a meeting with all his people, which is something that Dre didn't do, which I thought was the shit on Puffy's part lending an ear to people around him and giving them a forum to speak to see what they thought.  Anyway, it was they're understanding that Mel-Man was behind a lot of the shit going on over there.

ThaFormula.com - Yeah, that's what a lot of people seem to think.

D.O.C.- Well, me being me, and me having a couple of little drinks in me at the time Ha Ha!  I felt it necessary for me to break up there little meeting and tell them no that's not the truth.  If you wanna know what's popping, ask me I was there.  Dr. Dre does that.  Anything you hear over there is Dr. Dre.  Even if Dr. Dre left the studio and allowed those guys to make their own records, part of that shit would still be Dr. Dre and believe me that's only the good part.  These guys know nothing about making great beats and have very little idea about making a great song and wouldn't know a hit if you took "Thriller" before it came out and smacked them with it.

ThaFormula.com - So tell me what exactly did Yella do for NWA?

D.O.C. - Yella was sorta the technical kind of dude.  He understood the machines that these guys worked on.  He knew them backwards and forwards. He was great with the tape machines, drum machines, and boards.  I'll put it to you like this. I considered myself to be another pair of ears in the studio when Dre was working.  Well, if I was another pair of ears, then Yella was another pair of hands. It's hard to make a great record by yourself man.  There will always be at least 5 great musicians together to make a classic record. That's what we had with NWA's records, that's what we had with the first Chronic record.

ThaFormula.com - Then what about the first D.O.C. album?

D.O.C. - Well, me and Dr. Dre, were an anomaly.  Like Dre could have made a whole beat record with no guitars, no bass, and I could have made raps for all those beats and still would have made a great record. What Dre does is make shit that you could see in your head when it's playing.  He knows how to bring drama.  He knows how to take it away and leave it all up to the artist.  He knows how to sometimes just make it quiet.  I mean that dudes pretty god damn good.

ThaFormula.com - After the first Chronic dropped, did you see things starting to come to an end or not?

D.O.C. - Oh sure I did.  See the shit that they were doing was unnecessary and sooner or later that shit is gonna catch up.  The drug shit had started to get kind of old.  In '94, I asked Dre what's up with me rappin'. I had written a song and he said you should let me put that on this next record and it really pissed me off because nobody was really givin' a fuck about me.  I told him what about me muthafucka, I wanna rap to.  I wanted to do something, but they had regulated me to comic relief.  I'm a damn fool anyway.  I'm a natural comedian so that's what I had been regulated to.  I was the comic relief on the album. 

ThaFormula.com - So Dre said no about you rappin then?

D.O.C. - He didn't think that you could make a good record with this voice.  So that's when I left out of there.  See me and Dre is like a big brother, little brother thing and when the big brother piss his little brother off, then his little brother is gonna number one, take his shit and run with it, which I did.  "Heltah Skeltah" was really a Dr. Dre record that he was starting to plan on working on that I had actually already started writing lyrics for, and one of the songs that he was trying to takeaway from me was a song that he wanted to put on "Heltah Skeltah."  So I was like "fuck this shit," went to Atlanta and recorded the album.

ThaFormula.com - When you look back at that album now, what are your thoughts on it?

D.O.C. - I think that the album was as far as hip-hop records are concerned not a great record.  There is merit to the record because of who it is and because of the shit the dude done went through trying to get his shit done, but I didn't go buy it.  I'll put it to you like that and if I wouldn't go buy it then it ain't really happening.

ThaFormula.com - Do you think it was a mistake when you look back at it now?

D.O.C. - Hell nah, I needed money.  I had no money.

ThaFormula.com - So did the album end up doing alright?

D.O.C. - I think it ended up selling 290,000 copies.  I had some real strong D.O.C. fans out there that I hated to bug and jack them out of their 16 dollars like that.

ThaFormula.com - You know what Doc, even if you were to do a show and you were lip synching, I would pay for that shit.

D.O.C. - Well I'll put it to you like this.  I haven't tried it yet.

ThaFormula.com - Man I would pay just to see you on stage perform the songs I never got to see you do as a kid?

D.O.C. - No shit!  You know what that really fucks me up, but I am gonna trip you out.  You just gave me one of the dopest ideas I ever had.  I gotta do it man.  I know it would be the shit.  That's great, thanks a lot man.

ThaFormula.com - Now back to the first Chronic LP.  How do rate that album?

D.O.C. - The dopest hip-hop record of all time.  "Straight Outta Compton" could have been the greatest, but it was so raw and hard that it didn't give you no time to fuckin' party and shit.  With "The Chronic" that's all you did and you never knew what was coming next.  With all the NWA records, after a while you kind of got an idea of what was gonna happen next.   
ThaFormula.com - What was your involvement in the Niggaz4Life LP?

D.O.C. - The same as always. I wrote the songs that made those niggaz sing. That's what I did. Also Kokane had started coming around then. Above the Law was real deep into everything at that point and I started writing more for Dre and Ren, but I wrote everybody's shit by then.

ThaFormula.com - What album do you think was more enjoyable to record, "Straight Outta Compton" or "Niggaz4Life?"

D.O.C. – “Sraight Outta Compton.” “Niggaz4Life” wasn't as much fun because they was to busy trying to prove that they were just as good without Cube and that took a lot of the fun out of the shit and the money was all fucked up. Some people had money, some didn't. Once Cube left really the energy was gone.

ThaFormula.com - Do you remember a few years ago when you were on Eazy-E's radio show with the Dogg Pound?

D.O.C. - Yep, I remember that. They was on the radio talkin’ shit and Eazy said something that was a lie and I was sitting right there listening to the shit so they handed me the phone and I let him have it which is what I do, but it was just really fun to me. It was no big deal, I wasn't really trippin’ with the muthafucka, I was just jokin’ and laughin’.

ThaFormula.com - How serious was the beef between Death Row and Ruthless?

D.O.C. - Wasn't very serious to me. It was pretty funny if you ask me. But just like any other saga, these guys they started believin’ the hype. They wanna gangbang on records and all that old kind of dumb shit and at that time I couldn't really say nothin’ cause I was probably doing the same shit.

ThaFormula.com - How many songs did you guys record for the first “Chronic” that didn't make the album?

D.O.C. - Shit, maybe 2 or 3. Sometimes niggaz would record a whole bunch of songs and record the best ones. It used to be like that early in the days, but if you were gonna do 19 songs on a record and by the time we get to 21 we pretty much done figured it out.

ThaFormula.com - When exactly did the drama start to kick in?

D.O.C.- Well there was always drama around our house, but the bigger that people started to get the more the money started coming into the picture that's when shit started getting fucked up. None of those guys really knew what they were doing. They didn't know how to accept the money. They didn't know what to do with it when they got it. Suge's wife was Snoop's manager. She was probably taking the guys money and it was just all kinds of crazy shit going on. The bigger Snoop got and when muthafuckaz started losin’ control of Snoop, then you could see it wasn't gonna last that long. After so long Snoop would be like “man fuck this shit and I'm not havin’ this shit,” cause he's the star and he was tired of being told what to do, where to go and shit like that. It's hard to have a company run by a bunch of young cats who don't know shit about business. You will have a lot of muthafuckaz just trying to grab they balls. You can't have a great business if all of your business practices are gangbang oriented because there is no loyalty among street niggaz like that. I wouldn't give a damn what they told you.

ThaFormula.com - So during all this what were you and Dre doing?

D.O.C. - Well Dre was living good. Dre was the shit. He was bringing all the shit to the table so he's getting all the pussy, he's getting all the money and he's getting the 5 mics. Me, I'm with Dre. Wherever he was at, that's probably where I was at.

ThaFormula.com - Were you still fucked up on drugs at that time?

D.O.C. - Pretty much and that lasted from about 1990 to 1997…

ThaFormula.com - Wow! 7 years man?

D.O.C. - Yep, and I'm not your classic dope fiend muthafucka. It's like drinkin’ man. I don't have an off switch. Like some muthafuckas can drink and they get a buzz and they cool. Me, Im gonna drink until the bar is closed. There is no good way to put it. I’ma be in that muthafucka drinkin ’ till either I pass out, there's no more liquor or I ran out of money or some kind of goofy ass reason like that, and that went for anything else. It wasn't that I was addicted to it. It was just shit that I did to get away from feelin’ fucked up and I didn't have a stop switch. So it was off and on for about 7 years. Playin’ games here, playin’ games there, and I met 6’-2” in 97 and that's when I started making sort of a turnaround.

ThaFormula.com - When exactly did you leave to do “Heltah Skeltah?”

D.O.C. - I left L.A. at the end of ‘94 because I wanted to rap and Dre didn't see it.

ThaFormula.com - Do you agree with Dre now when you look back at how things turned out with that project?

D.O.C. - Well that's a yes and a no answer, because if you’re Dr. Dre you can take “twiddle dee” and make a hit record. You’re Dr. Dre god dammit! There’s nothing that you can't do in a studio, so if it was in your heart to make a hit record on me, you would have done it. You would have found some kind of way to do it. When you think of the old D.O.C., it's probably best to leave it like that, but you know when you think about D.O.C. the person, the man that's still breathin’ right now, still has music in his soul that he has to get up out of him, then you want him to get that shit out.

ThaFormula.com - So you made the move in ‘94 and went where?

D.O.C. - I went to Atlanta Georgia. I started staying in the house of my homeboy MC Breed and I started helping him work on a record. The record was called “The New Breed.”

ThaFormula.com - It's funny how that album turned out to be the best album he ever recorded and had a sound similar to the Chronic.

D.O.C. - Yep. I mean the formula goes where I go. You took 2 of the major components from the Chronic days with me and Colin Wolfe, and moved them over here and that's really what it was. Colin was a musician so Dre would say play, and Colin would play. Sooner or later he would come up on a couple of chords that we all liked so, uh, I'll give you a perfect example. “Deep Cover,” the guy was just playin’ the 4 notes and Dre said “wait a minute keep playin’ that.” That baseline was Colin Wolfe's shit. Dre added the drum the piano hit and that was it, that was the song.

ThaFormula.com - You know I remember that "Gotta Get Mine" video with 2pac. That was a classic Breed track right there?

D.O.C. - Yeah that was a good song. I was in that video too. That was at Andre Rison's house before it got burnt up. The dude had a good record man. Now MC Breed who was a good friend of mine, has the ability to make classic rap records, but chooses not to.

ThaFormula.com - Why is that?

D.O.C. - Breed is just one of those dudes man that no matter what you tell him, he is gonna do whatever the fuck he wants to do and it's hard to make a classic record when what's going on in your head is the only thing that's coming out on record. You have to be able to be flexible and know that the hardest thing for an artist to ever do is to listen to his own shit objectively because it's his shit and he's gonna love it no matter what. He's gonna want it to be good, no matter what, when in actuality it could sound like a load of shit. Breed is probably the closest thing I got outside of Dre to a brother with me, where me and this guy will argue and I mean argue even to the point where he thought Pac was the coldest and I thought Biggie was the coldest.

ThaFormula.com - How do you feel about the hip-hop being done by artists nowadays?

D.O.C. - Most of the hip-hop I hear now sounds like it's been dipped in shit. It used to be that there was some dope rappers, a good amount of cool rappers, and a little bit of garbage. Now all there is, is a bunch of cool rappers and a shit load of garbage.

ThaFormula.com - When do you feel this change came about?

D.O.C. - When Death Row exploded it was dead. When Dr. Dre left Death Row it died. It may have died even before that. It may have died shortly after Snoop Dogg's first record came out. In all fairness I have to say after the “Above the Rim” record, that was probably the last little bit of last “G-Funk” shit. When you got to the Dogg Pound record, it had started changing again. He started leaving the streets even more then.

ThaFormula.com - Did Dre have any input on the Dogg Pound album?

D.O.C. - Sure, you could hear it in the music. You have to make a record on them. There not gonna come to the table with songs that you could use, so you have to manufacture records with these guys, and Dre was probably tired of dealin’ with all them muthafuckas and tired of coming to work with 50,000 gang bangers in the studio. He was probably sick and tired of that shit, so you can tell the music stopped being hard and started being softer. He started having pretty singin’ in every piece of the shit. Even though niggaz was talkin’ about murderin’ muthafuckas, the music sort of made you wanna go to sleep.

ThaFormula.com - What are your thoughts on someone like Devin the Dude, ‘cause he reminds me a lot of 6’-2”?

D.O.C. - Devin is a 6’-2” guy, which means his talent is so genuine it would be hard for you not to like Devin. I cannot wait until I can get this “Deuce” project up & runnin’ so that I could get back to finishing 6’-2”'s album so I could put him and Devin on a song together. I can't wait for that shit, and I just wanna talk on that record shit! Like when Snoop was writing “G Thang,” I asked him “wh
 

Chad Vader

  • Guest
Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #48 on: November 14, 2007, 12:44:32 PM »
DJ Yella interview;
http://www.aftermathmusic.com/_interviews/djyella_october_2003.html

Aftermathmusic.com:
We all know you as a former member, producer of the NWA. But please introduce yourself for the young fans and give them some short information about you.

DJ Yella:
Woow. Oh ok. Me and Dr. Dre produced all the NWA and Eazy E, all the Ruthless stuff back in the days. We sold 10 million records probably. I produced over 150 adult movies. I?m doin everything (laughs)


Aftermathmusic.com:
Why the name DJ Yella?

DJ Yella:
Actually it came from a record. They say Yella at the beginning of the song. A DJ friend of mine, gave me the name and I started with it.


Aftermathmusic.com:
Who are the biggest influences for you?

DJ Yella:
Really? There were no influences for us, because when we started back then, the rap was kinda new. So, we had nobody to look up. But maybe Run DMC. Run DMC was like the heavyweights there. So there was nobody. We had to learn everything on our own.


Aftermathmusic.com:
When did you start to notice a big chance in HipHop. And what made you try to live from music?

DJ Yella:
I guess, at the Eazy E.'s death I was kinda bored with it. Once he died, I was just like 'Ok, I?m just done, I?m, just finished.'


Aftermathmusic.com:
Tell us a little bit about the World Class Wreckin Cru, please!

DJ Yella:
Well, me and Dre was in it. Before that Dre and I were DJ's in a club. We were DJ's in a club for a year or 2 and then we called the Wreckin crew as a DJ crew. We started making records. We made 2 albums but we never got paided. Thats why we left the Wreckin crew. After that, we started NWA.


Aftermathmusic.com:
You are always seen as NWA's quietest member ...

DJ Yella:
Oh yes. I was the quietest person.


Aftermathmusic.com:
You said "I don't think NWA started West Coast" ... Who started the Westcoast for you?

DJ Yella:
Uuumm. I think the Wreckin crew started the Westcoast before NWA. But NWA actually ... uuum, we started the whole Gangsta Rap, when it was called back then. But actually the Wreckin crew started the Westcoast sound.


Aftermathmusic.com:
Looking back at the start of NWA ... Whats's your most important impressions from the start till the end of the NWA?

DJ Yella:
I guess, the most important thang was we made music how we like it, you know and not trying to make some for somebody else or tryin' to make a hit. We never tryin' to make a hit. We made music. So that's what it really was.


Aftermathmusic.com:
Everyone compares you to Dre and says, in NWA Dre was the musicial brains and you was just the extra pair of hands on the technical side. Is that true?

DJ Yella:
Yeah, I mean, you know ... oh yeah. I recorded everything. Me and Dre was all the time in the studio. More than other members.



Aftermathmusic.com:
If you look at the situation with the police in the states today. Would you like to record a song like "@#%$ the Police" again?

DJ Yella:
Naaw. I don't think I would make a song like that. (laughs). The society is totally changed. And when we made the song we wanted to start no controversy. It just the way we felt, growing up in th ghetto.


Aftermathmusic.com:
How much of NWA's early production was really you and how much did Dre do?

DJ Yella:
Dre definetely did most of it. But we both produced, like in the Wreckin crew. In the Wreckin Dre did half and I did the other half. In the NWA it was more Dre and a group thang, too.


Aftermathmusic.com:
Yeah, you know, a lot of fans said, it's a shame that all NWA's credit goes to Dr. Dre and Ice Cube and you ghost produced all NWA's @#%$ and did some dope @#%$ 4 Eazy on 187(Dr. Dre its on). What's your thoughts about those comments?

DJ Yella:
Really? .. Uuum you know, NWA was a group. It was no one man. Everybody was together. Everybody contribute. Dre did a lot and still. We was a team for almost 10 years.



Aftermathmusic.com:
Was you even asked to be in the new NWA, 'cause you haven't never been mentioned in all the NWA reunion hype.

DJ Yella:
Well, there wasn't no NWA reunion. There was a couple of songs they did on Cube's album. And Ren and Dre was invited to rap on the song, but the media builted up for look like NWA. That's all. If there is a reunion, I`d be in it.


Aftermathmusic.com:
How is your relationship with everybody from the group?

DJ Yella:
I don't talk to everybody as much, but everything is still ok.


Aftermathmusic.com:
You know, the fans wanna a NWA reunion, but with old Eazy verses and not with Snoop. Could this happened?

DJ Yella:
Uuum, if there's one, I have to talk to Dre. We have to sit down and do it. Snoop would NOT be a member, he would just be a guest rapper, you know.


Aftermathmusic.com:
What's the most often asked question N.W.A. gets hit with, that you hate to get hit with?

DJ Yella:
Uuuum, that's a good one (laughs). There were so many ... Uuum, 'How did the group started' is probably one, 'Where we get the name from' and I don't really know where the name came from. Was it from Eazy or Dre or Cube. I don't really know (laughs).


Aftermathmusic.com:
Long before Snoop Dogg released his Doggystyle movie, you was in the porn industry. Since your main focus in porn how did you get into that?

DJ Yella:
I have been shooting porn films for 8 years. I've directed over 250 movies. Snoop came out, when I put my name on it. I was doin porn when Eazy E was alive. A friend of mine, called Big Man, brought me the idea. He originally brought the idea to Eazy E, but he didn't really jump on it. But I jumped on it. I don't know why, but I did.


Aftermathmusic.com:
So, what made you decide to use the name DJ Yella in porn after so many years of not using it?

DJ Yella:
Uum, when we did the movies, I thought 'I can be gettin credit for this'. So I decided to use my name and my face on it. I just wanted to get credits for it. I shot so many without my name on it. That's all.


Aftermathmusic.com:
Your plans are releasing one video a month through Yella Entertainment www.djyella.net/ ? One video per month? Damn?

DJ Yella:
Actually I put out 1-2 movies per month. But the ones with the music I wanna get close to almost one every month. I actually have a soundtrack to it.


Aftermathmusic.com:
You mean the "Bangin? in LA" DVD?

DJ Yella:
Yes. On the CD is the song with me an Ren.


Aftermathmusic.com:
The song is great ...

DJ Yella:
(laughs) ... yeah it is.


Aftermathmusic.com:
Since I buy Yella's porn @#%$ I want to know who are your favorite girls to shoot and who you want to shoot?

DJ Yella:
The favourite girl is Obsession www.urbaneyecandy.net/mod...ot007.jpg. I also like this girl called Ice www.urbaneyecandy.net/mod...not010.jpg which is one the cover of the "Bangin" one. Obsession and Ice - I definetily like them.


Aftermathmusic.com:
What's up with the music productions for the DVD's? Did you all the production?

DJ Yella:
Oh yeah. I did everything.


Aftermathmusic.com:
1st of all, how did you hook up with Eazy E.?

DJ Yella:
Actually Dre knew Eazy, when me and Dre was in the Wreckin crew. Dre knew him from his neighbourhood. And Dre was bringin him around. Because originally, Eazy was no Ruthless. He hang around with 2 guys from New York. They recorded a song together, but they told him, the song wasn't good enough and they didn't wanna do more. So, Dre made Eazy doin. I met Dre I met Eazy during that time.


Aftermathmusic.com:
Please tell us about your friendship with Eazy?

DJ Yella:
Uuumm you know, we were like partners, great partners. That's why I never left him, because he never did anything bad to me. So I jumped on the ship (Ruthless). If the company is good to you, stay with it.


Aftermathmusic.com:
Eazy died on AIDS - what was your reaction when you heard about it?

DJ Yella:
I actually heard it before the world heard it. And I was like '@#%$ the life'. So I was done for music, really! I was really done with it.


Aftermathmusic.com:
Where all of you guys in the hospital?

DJ Yella:
I only got to see him one time. He was already like in a coma. Dre came in later ... I don't know if Cube or Ren came to see Eazy.


Aftermathmusic.com:
Was Eazy's death a reason to leave Ruthless?

DJ Yella:
I don't know. I didn't talk to him so much. I didn't know he was sick. It was like a month he was sick for a while. And I really didn't talk to him within a month. He was sick and he wasn't trying to tell me. But by the time I found out he was sick it was to late. He already was in a coma. So, I couldn't even talk to him.


Aftermathmusic.com:
Is it true that Dresta bought the last remaining (unheard) Eazy tracks off you?

DJ Yella:
No. I got the last Eazy track which is never coming out. I got the last. I made his last 2-3 songs. There's 1 or 2 that Ruthless has, that I don't think it's been out yet. But I got 1 track that nobody has. It was actually a diss.


Aftermathmusic.com:
A Diss?

DJ Yella:
Yeah. It was a diss to Cube. And I'll never release that. So that's a track which nobody will hear.


Aftermathmusic.com:
What happened to those Eazy-E tracks you did with DJ Quik?

DJ Yella:
There were no vocals on it. It was just a couple of tracks. So we did a lot of tracks that never even got the vocals.


Aftermathmusic.com:
Is there anything else you'd like to tell us about Eazy E.?

DJ Yella:
To me he was a good person. Not a good person, a great person. He started a lot of stuff, he helped a lot of charity, he loved his kids. He was one of the pioneers, NWA was the whole pioneers. But if you look at all the groups, they came from us. So that's what music is today. So we started it and other groups came out. Dre still producing groups. So there's a lot of music that came some way through Ruthless.


Aftermathmusic.com:
You haven't seen Dre in years. Is there nothing between you guys?

DJ Yella:
I talked to Dre last year. Everytime I see him, it's like the old times. There's no beef between us. Never real beef. When Eazy made the diss song I was not in the video and nothing. I had no reason to diss Dre.


Aftermathmusic.com:
Please tell something about the production process together with Dre back in the days, who came with the ideas and such.

DJ Yella:
He came out with most of the ideas. He listened to old records or he called me 'I got this in my mind' ... Bumm bumm and we went into the studio. He was in the studio more time than anybody. The other people came around and do there vocals. And Dre was there all the time.



Aftermathmusic.com:
There has been a long history of artists saying that Dre steals beats, from your experience how true is it?

DJ Yella:
What? Oh nawww. Dre don't steal beats. That's bullshit. He listened to a record, get's a idea from .. that's it.


Aftermathmusic.com:
Did you read the Source article about Aftermath and Dr. Dre? Some of Dr. Dre's closest associates, Big Chuck, Mel Man and Neff-U, have broken ties with Aftermath and are ready to expose some of the label?s secrets. They?re ready to get the credit they deserve. What's your thoughts on this the article, that Dre is taking all credits of the beats?

DJ Yella:
Not really. But the thang is, he has a staff around him that make him tracks. The bring him tracks. He can say: 'I like this, I like that.' Whether they keep their publishing and all that that was up to them. If they sold him the tracks, thats their mistakes. While Dre is taking the tracks? He's bringing the success and that's why they upset. Dre is doing business and I?m sure he's paid well for. They should handle the deals like I want publishing, I want this and I want that. Thats the deal. He doesn't steal beats. I know Dre since the early 80' and he's stealing nothing.


Aftermathmusic.com:
That's a very good statement. So, Ice Cube is working with Dr. Dre on his upcomin album? Can we expect some productions from you, too?

DJ Yella:
I doubt it. I haven't talk to Cube in a while. He's doin his own thing and stuff like that. I?m just staying with my music, but we do a reunion album, I?d jump on. Right now, I just wanna do soundtracks for the movies. And the matter of fact, the next movie I do is with Ren again. I wanna do that one more time.


Aftermathmusic.com:
The Aftermath n Shady artists - Your thoughts on Eminem and 50 Cent?

DJ Yella:
I think they are great. Both are heavyweights now. You know, but it all comes from Dre. Without Dre would they heavyweights? I don't know. Dre is one gifted producer. I?m not trying to say 'He's the greatest', but he's really gifted. And I see this since 20 years. And that's what made the Eminem, now 50 Cent ... That's all Dre. They're great rappers. But is a beat better than the rappers? So, is the music better? So it's all a combination. They're great rappers and then they got a great producer behind. Dre makes the heavyweights and they should be heavyweights for a while til the day they messed up himself. And that's stupid. They could be heavyweights for few albums. If you see Eminem, he got few albums out.


Aftermathmusic.com:
Any words to Dr. Dre and Ice Cube or do you have anything to say about them?

DJ Yella:
Dre ... give me a call (laughs loud). We haven't talked in a while. We usually sit there and talked for a while. And don't change your number so much, I can't catch you. And to Cube ... I have nothing against nobody. Matter of fact, I like the interview with Dre on one of my movies, so you should make sure, he gets that message (laughs).


Aftermathmusic.com:
I?m trying to call him or his management soon.

DJ Yella:
Ok thanks!


Aftermathmusic.com:
What can you tell us about Dirty Red aka Shaki?

DJ Yella:
When Eazy died, all that got cut off. He was a good rapper. I liked his style, his voice and everything. He was there on the wrong time.


Aftermathmusic.com:
Who do you think really has the potential to blow up on the Westcoast at the moment? Is it Game, Crooked I or Ren?

DJ Yella:
Ren definetely. But music is coming from everywhere now. It's not East or West. So it's kinda hard who can be dominate. There're so many rappers now. But only few is gonna be heavyweights. But these heavyweights are in all different parts of the country now.


Aftermathmusic.com:
What's your thoughts on DeathRow and Suge Knight right now?

DJ Yella:
I never said anything about it and I definetely not start today.


Aftermathmusic.com:
Is that true that you worked on the upcomin 213 album?

DJ Yella:
No that's not true.


Aftermathmusic.com:
What do you think of all the beefs in rap game right now?

DJ Yella:
It's all bullshit (laughs). Some people started beefs to sell their own records and stuff like that. But if there's a beef with a heavyweight people listen to that beef more.


Aftermathmusic.com:
What are you going to be doing after Rens album is finished?

DJ Yella:
Uuum I should be like hopefully the biggest black director in the porn industry. That's my goal. Cause I have soundtracks on the movies, and that's what I really focus on Hip Hop porn.


Aftermathmusic.com:
Since you last produced, there has been an army of new producers like Kanye West, Just Blaze, Neptunes, Mel Man... and old producers like Dre who be droppin hot @#%$. How are you gonna enter in to producing again and what sound will he be bringing?

DJ Yella:
Well, I?m not trying to bring the songs for the music side. I'm recording songs for the porn industry. So I?m not be in a competition with these other people, because in the porn side is nobody there. People under contracts can't really do soundtracks for the porn.


Aftermathmusic.com:
So if you are gonna bring that NWA sound back or if you are gonna try something new?

DJ Yella:
Uuuumm, I don't know. Music has changed my life. So I can't go back to the old sounds. The old was great, you know, but it's old now.


Aftermathmusic.com:
What todays new rappers would Yella like to create music with?

DJ Yella:
Ooohh ... that's a good question. There're so many good once with different styles. I can't pick it's hard. But definetely 50 Cent and Eminem. Of course Ren. But you know, it's hard, it's really hard to decide.


Aftermathmusic.com:
What's in the future for you? How do you see yourself in the next 5 years?

DJ Yella:
I?m gonna be the #1 black distributor in porn. In 5 years? Oh yeah. Definetely. I've been there in 8 - 9 years. I know this business. So my future is Hip Hop porn.


DJ YELLA Q & A (1 word)
NWA: Great
2Pac: Good
Your album "one mo nigga to go": Ohh ... Damn (Laughs) .. one word? Classic
Ruthless: History
Dr. Dre: Gifted
Westcoast Rap at the moment: Hot



Aftermathmusic.com:
Any last words and any shout outs to Aftermathmusic.com?

DJ Yella:
This is DJ Yella and Aftermathmusic.com is #1. Look out for DJ Yella, you know, the 'Bangin in LA' and hopefully Dre will call me after this interview and me and Timba hook up or something.


Aftermathmusic.com:
Thank you for your time and for the interview!

DJ Yella:
Yeah no problem. Keep in touch!

   
 

Dre-Day

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Re: Dr.Dre Magazine Scans thread. *Interviews,reviews etc.*
« Reply #49 on: November 14, 2007, 12:47:17 PM »
i've read those last 2 interviews before, but they are very interesting, especially the one with thaformula.com, it's very long and detailed!  8)
« Last Edit: November 14, 2007, 12:50:29 PM by Dre-Day »