Author Topic: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)  (Read 2733 times)

Sccit

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #15 on: April 02, 2020, 07:39:19 AM »
Sounds a little like X,  wonder if these leaks mean anything.


was guna say the same thing .. it’s got that X sound, guess we now know tim n bob was the inspiration behind that

leaks don’t mean shit cuz it was found pretty much by accident in some random flea market

That’s wild, a flea market in PA? They talking about this anywhere else (reddit etc)


AS FAR AS I CAN TELL ITS GOING UNDER THE RADAR.........DUDE WHO LEAKED IT JUST PUT IT ON YOUTUBE
 

Suga Foot

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #16 on: April 02, 2020, 09:06:13 AM »
This one is dope.  :o
 

Infinite Trapped in 1996

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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #17 on: April 02, 2020, 09:07:45 AM »
MP3:

CLICK HERE


BUMPIN ON REPEAT!!!

This is the hottest shit I've heard in a long time.  (These recent 2001 leaks) 

Just thinking out loud... I think these were recorded around April-May, late spring-early summer of 99.... but could even be as a old as a year previous... April-May of 98' just before Eminem entered the building!!! When Hittman and Mel-Man really started getting busy!!!!!!!


OFF TOP.....THIS HEY YOU JOINT NEEDS TO LEAK IN CDQ


DID THE MP3 WORK FOR U? LINK NOT WORKIN RN

Didn’t try it cuz I just did YouTube to MP3


...check it, it all makes sense now—around the time Top Dogg was gonna drop with “Bitch Please” it was suddenly reported kind of out of nowhere that Dre would executive produce Xzibits next album—cause at that time Xzibit was kind of just an underground cat and not even signed to Aftermath... now it’s clear what happened...

Xzibit in a stroke of genius was in studio wit Mel and Dre and fuccin zoned out for a fuccin week and...

Elevated Whats the Difference” o.g to retail version
Did “Bitch Please”
Elevated “Hey You” to “X”

Em does his thing on “What’s The Difference” and “Forgot About Dre” (as a side note snoop gets jealous of Em and leaves studio for a bit) suddenly Dre is seeing his long awaited Chronic 2 project really come together right before his eyes.  (Royce is probably doing “Throne is Mine”, “Way I Be Pimpin”, and the joint he penned for Tyree, before Royce’s manager goes and says stupid shit in a magazine that ruins his chance to sign with Aftermath)

So Xzibits already signed to Loud but considering X’s performance and that they already got the lead single “X” in canon, Dre owes it to Xzibit to go ahead and sign on to oversee what would become the Restless LP...

It’s all making sense now
*******

"I will make records as big or bigger than Death Row".   -Dre, Source 1996

"I didn't do nothing but make people money and I didn't leave nobody high and dry.  Any album (on death row) people are going to check for.  But it's time for Dre to worry about Dre.  I'm focused on the new Snoop Doggs, not like that but you know what I mean."

Dre -  Source 1996 cover

"Ain't trying to stick around for Illuminati (One World Government Takeover) / Got to buy my own island by the year 2-G

******
 

Jamal Ginsberg

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #18 on: April 02, 2020, 09:18:57 AM »
Infinite IRL:



 ;) Your theory makes a lot of sense though because Dre throws it all in a pot and cooks it like gumbo, sometimes you need that special sauce to make it all happen and X bought that to the table. We've seen it in loads of the studio sessions with other producers plus these leaks are proving it again and again, Dre works on a song until its what he wants - hence taking his time to perfect a beat - so it keeps on evolving, even if it means he's got to make an artist do 20 takes of the same hook to get it right.

Thats Dres workflow. NWA albums were made with everyone vibing, early DR albums were like that and Aftermath Presents was him in the wilderness with Mel Man which bricked. Compton tried to resurrect the style but the chemistry was off/forced and thats why it went treadmill.

Dope idea.
 

Cey_Cey

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #19 on: April 02, 2020, 10:20:25 AM »
it sounds more "firm family" of the firm. i mean the piano riff.

chorus is damn catchy!

...niggaz like you, don't know what to do when we come after you!!!

it keeps playing in my head all day long "hey you, don't make me come back with tha..."
 

Infinite Trapped in 1996

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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #20 on: April 02, 2020, 04:05:46 PM »
Infinite IRL:



 ;) Your theory makes a lot of sense though because Dre throws it all in a pot and cooks it like gumbo, sometimes you need that special sauce to make it all happen and X bought that to the table. We've seen it in loads of the studio sessions with other producers plus these leaks are proving it again and again, Dre works on a song until its what he wants - hence taking his time to perfect a beat - so it keeps on evolving, even if it means he's got to make an artist do 20 takes of the same hook to get it right.

Thats Dres workflow. NWA albums were made with everyone vibing, early DR albums were like that and Aftermath Presents was him in the wilderness with Mel Man which bricked. Compton tried to resurrect the style but the chemistry was off/forced and thats why it went treadmill.

Dope idea.

Word... I'm working out a whole theory... it goes something like this but I know I am missing something.... cause I have two separate timelines

TIMELINE THEORY ON WHEN 2001 REALLY STARTED TO TAKE SHAPE

THEORY 1:  (The June 1998 Theory)

The June 1998 theory goes like this.  Dre and Mel-Man are working together to figure out what The Chronic 2 is going to sound like sonically.  First they have the sound from the Bullworth soundtrack, "Zoom" and "Eve of Destruction" but that shit doesn't really hit.  So they keep tweaking the sound.  Now here are the 5 key tracks that they cook up in the lab June 1998 that become the foundation for the Chronic 2.

"Welcome 2 L.A."
"Bitch Please"
"What's The Difference"
"Hey You"
"X"
"Forgot About Dre"
"The Throne Is Mine"
"Way I Be Pimpin"
"Tyree Dedication Song"

So.. in June 1998 they have the Mel-Man has laid the ground work for all these songs.  They bought the Tim and Bob tracks outright for like $15,000 and told them to have a nice day and gained exclusive rights.  XZIBIT ENTERS AND EVERYTHING TAKES SHAPE.  Dre asks Xzibit to spit something over 3 tracks he already has different versions laid, Xzibit knocks out "Welcome to L.A.", ,"Bitch Please", "What's the Difference", and "Hey You" becomes "X".   This is huge.  He probably did that shit even before Snoop.  Then Snoop comes in after and is pretty much gifted the track.  That's why Snoop owed X and appeared on the track "X".  "X" is also a favor from Dre for Xzibit lacing "What's the Difference".  "Welcome to L.A." ends up on 40 Dayz and 40 Nightz but now that they already have the hit single in canon Dre agrees to Executive Produce Xzibit's next album.  At some point they also record "Year 2,000".

Eminem had already entered the building with Royce, cause he was on "What's the Difference" before X when Hittman was on the track  (Which actually means this whole timeline probably takes place in Dec 98' but then again it can't because "Welcome to L.A." came out summer 98.  He is there at the same time as Snoop.  He pens "Forgot About Dre" for Dre and Snoop.  Snoop gets jealous cause Dre likes the Em version so much he just props up Em for the track, Snoop catches feelings, gets jealous and leaves the studio (Snoop has alluded to this in interviews).  So next, Royce laces the "Throne Is Mine" beat, and does the Tyree dedication track.  Royce manager brags to Vibe mag or whatever about them sittin Dre down and taking him step by step through track and loses his chance to sign to Aftermath.

Fuck my dates are all mixed up.

Shit had to go down December 98'.

..Still working on this theory... fucc
« Last Edit: April 03, 2020, 01:31:00 PM by Infinite Trapped in 1996 »
*******

"I will make records as big or bigger than Death Row".   -Dre, Source 1996

"I didn't do nothing but make people money and I didn't leave nobody high and dry.  Any album (on death row) people are going to check for.  But it's time for Dre to worry about Dre.  I'm focused on the new Snoop Doggs, not like that but you know what I mean."

Dre -  Source 1996 cover

"Ain't trying to stick around for Illuminati (One World Government Takeover) / Got to buy my own island by the year 2-G

******
 
The following users thanked this post: Jamal Ginsberg

Sccit

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #21 on: April 02, 2020, 05:10:42 PM »
Infinite IRL:



 ;) Your theory makes a lot of sense though because Dre throws it all in a pot and cooks it like gumbo, sometimes you need that special sauce to make it all happen and X bought that to the table. We've seen it in loads of the studio sessions with other producers plus these leaks are proving it again and again, Dre works on a song until its what he wants - hence taking his time to perfect a beat - so it keeps on evolving, even if it means he's got to make an artist do 20 takes of the same hook to get it right.

Thats Dres workflow. NWA albums were made with everyone vibing, early DR albums were like that and Aftermath Presents was him in the wilderness with Mel Man which bricked. Compton tried to resurrect the style but the chemistry was off/forced and thats why it went treadmill.

Dope idea.

Word... I'm working out a whole theory... it goes something like this but I know I am missing something.... cause I have two separate timelines

TIMELINE THEORY ON WHEN 2001 REALLY STARTED TO TAKE SHAPE

THEORY 1:  (The June 1998 Theory)

The June 1998 theory goes like this.  Dre and Mel-Man are working together to figure out what The Chronic 2 is going to sound like sonically.  First they have the sound from the Bullworth soundtrack, "Zoom" and "Eve of Destruction" but that shit doesn't really hit.  So they keep tweaking the sound.  Now here are the 5 key tracks that they cook up in the lab June 1998 that become the foundation for the Chronic 2.

"Welcome 2 L.A."
"Bitch Please"
"What's The Difference"
"Hey You"
"X"
"Forgot About Dre"
"The Throne Is Mine"
"Way I Be Pimpin"
"Tyree Dedication Song"

So.. in June 1998 they have the Mel-Man has laid the ground work for all these songs.  They bought the Tim and Bob tracks outright for like $15,000 and told them to have a nice day and gained exclusive rights.  THE XZIBIT ENTERS AND EVERYTHING TAKES SHAPE.  Dre asks Xzibit to spit something over 3 tracks he already has different versions laid, Xzibit knocks out "Welcome to L.A.", ,"Bitch Please", "What's the Difference", and "Hey You" becomes "X".   This is huge.  He probably did that shit even before Snoop.  Then Snoop comes in after and is pretty much gifted the track.  That's why Snoop owed X and appeared on the track "X".  "X" is also a favor from Dre for Xzibit lacing "What's the Difference".  "Welcome to L.A." ends up on 40 Dayz and 40 Nightz but now that they already have the hit single in canon Dre agrees to Executive Produce Xzibit's next album.  At some point they also record "Year 2,000".

Eminem had already entered the building with Royce, cause he was on "What's the Difference" before X when Hittman was on the track  (Which actually means this whole timeline probably takes place in Winter 2,000 but then again it can't because "Welcome to L.A." came out summer 98.  He is there at the same time as Snoop.  He pens "Forgot About Dre" for Dre and Snoop.  Snoop gets jealous cause Dre likes the Em version so much he just props up Em for the track, Snoop catches feelings, gets jealous and leaves the studio (Snoop has alluded to this in interviews).  So next, Royce laces the "Throne Is Mine" beat, and does the Tyree dedication track.  Royce manager brags to Vibe mag or whatever about them sittin Dre down and taking him step by step through track and loses his chance to sign to Aftermath.

Fuck my dates are all mixed up.

Shit had to go down December 98'.

..Still working on this theory... fucc


YOU SHOULD TEACH A CLASS ON THIS BRODIE

DR. DRE THEORY 101
 

Avalanche

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #22 on: April 05, 2020, 01:04:05 PM »
where's octo at for the inside scoop!
 

JonnyTanna

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #23 on: April 05, 2020, 06:18:09 PM »
it sounds more "firm family" of the firm. i mean the piano riff.

chorus is damn catchy!

...niggaz like you, don't know what to do when we come after you!!!

it keeps playing in my head all day long "hey you, don't make me come back with tha..."

Yea I agree, his flow is very similar to the flow he had on Ghetto Fabulous with Rass Kass. I suspect this is from 1997/1998, as it’s also that early aftermath style production which still had a death row flavour to it

Actual mp3’s Here
https://we.tl/t-id5mo43L6w
« Last Edit: April 05, 2020, 06:20:11 PM by JonnyTanna »
 

Aftermath213

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #24 on: April 05, 2020, 07:14:04 PM »
where's octo at for the inside scoop!

I remember him from back in the day. Does anybody know who he is?
 

Infinite Trapped in 1996

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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #25 on: April 05, 2020, 07:25:19 PM »
where's octo at for the inside scoop!

I remember him from back in the day. Does anybody know who he is?

LOL.. anybody remember "Mellowman" at the forum.  Who used to post here a lot of long-worded rubbish and everyone actually believed he was Mel-Man or a high level executive at Aftermath?  I was one of the only ones who called bullshit on that.  Eventually he got exposed.
*******

"I will make records as big or bigger than Death Row".   -Dre, Source 1996

"I didn't do nothing but make people money and I didn't leave nobody high and dry.  Any album (on death row) people are going to check for.  But it's time for Dre to worry about Dre.  I'm focused on the new Snoop Doggs, not like that but you know what I mean."

Dre -  Source 1996 cover

"Ain't trying to stick around for Illuminati (One World Government Takeover) / Got to buy my own island by the year 2-G

******
 

Sccit

Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #26 on: April 05, 2020, 08:35:35 PM »
where's octo at for the inside scoop!

I remember him from back in the day. Does anybody know who he is?

LOL.. anybody remember "Mellowman" at the forum.  Who used to post here a lot of long-worded rubbish and everyone actually believed he was Mel-Man or a high level executive at Aftermath?  I was one of the only ones who called bullshit on that.  Eventually he got exposed.

fun fact: there was actually a book about aftermath published in the mid 2000s that used his quotes from this forum in it lmao.
 

Infinite Trapped in 1996

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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #27 on: April 05, 2020, 09:25:23 PM »
Preview of a series of articles and short stories I'm writing to promote Dubcnn's 20th Anniversary of the West Coast Resurgence

The Day the West Was Won  -  20 Year Anniversary of the West Coast Resurgence Era A historical fiction written by Infinite (Trapped in 96') of dubcnn.com

The Day the West Was Won: West Coast Resurgence 20th Anniversary Compilation

Tracklist - Uploading Soon...

1.  "East/West Killaz" Group Therapy
2.  "Papparazi" Xzibit
3.  "Zoom" Dr. Dre and Snoop
4.  "Eve of Destruction" Eve
5.  "Got it Locked" King T
6.  "What U See Is What U Get" Xzibit
7.  "Welcome to L.A." Xzibit
8.  "Questions" Kurupt and Dre
9.  "Forgot About Dre" o.g. version
10.  "Way I Be Pimpin" Royce 5'9"
11. "The Throne is Mine" Royce vocals
12. "The Throne is Mine" Dre vocals
13.  "Hey You" Dr. Dre
14.  "What's the Difference" o.g. Hittman and Phish
15.  "X" Xzibit
16. "Bitch Please" Xzibit, Snoop, Nate Dogg
17.  "Year 2,000" Xzibit




                                      The Day the West Was Won  -  20 Year Anniversary of the West Coast Resurgence Era

         It was January 1999 and it would be another 20 years before Dre would become known as the first billionaire in hip-hop.  In a couple of weeks—his new artist—a Detroit underground emcee of a Caucasian persuasion—named Eminem—would gain heavy rotation on MTV with a song titled “My Name Is.”  The third wave of Dre’s career would officially begin.  But today, Dre was not eyeing the 3rd coming of his career (N.W.A., Death Row, and now this)—Dre was sitting stationary trying to bring back the West.

   But what of the stationary object?  Physicist’s theorize:

   “Even a stationary object is in motion, it’s only gravity that makes it appear to the human eye that the object is in stillness…”

   Dre tried to reset his own gravity as he swiveled in his studio chair to get a better view of the television screen in the background.  His all too human eyes set in stillness upon his newest video “Questions” as he was seeing it play on BET for the first time—albeit at 3:00am in the morning—well after most the buying public had fallen asleep.  Dre’s eyes showed disappointment.  He turned to his friend and in house studio producer Mel-Man and commented only by a shrug.  Mel-Man continued to work sounds out of the studio drum machine.

   “That’s bangin’ Dre!”  He meant the words he was saying, "Questions" was indeed bangin’, but the words were also meant to encourage.

   Matter of fact—Dre had an appointment to go to that day to finish editing for Kurupt’s “Questions” a long form video, similar to what he’d done during the first West Coast renaissance when he long-formed Snoop’s “Murder Was The Case” video.

   The look on Dre’s face upon seeing the video now on the television set—signaled to Mel-Man that Dre was no longer feeling the project.  The weak reception of the music video meant that it would be yet another one of Dre’s recent projects that would ultimately go unrealized.  Like when fellow Compton native King Tee had his They Kingdom Come album scrapped on account of the lead single and video “Locked Down” not receiving any daytime rotation on video channels MTV and BET.

   Kurupt had just recently bragged to the press “Dre’s doing my whole next album”.

   Truth was, Dre could barely get the energy to finish his own album—much less—produce all of Kurupt’s next album.

   The good news for that day was Mel-Man now knew that if Dre wasn’t leaving out that day to link with Kurupt for video editing; he would still be in the studio when Mel-Man’s homie Xzibit came by the studio later that day.

   Dre was familiar with Xzibit and a fan of his work.  He knew Xzibit loosely through his cousin and fellow producer; Jinx, who had, along with Mel-Man—done work on Xzibit’s 2nd album the 1998 summer release 40 Dayz and 40 Nights.  Mel-Man had contributed the banger “Welcome to L.A.” for the album, but as with but as with Dre and Mel-Man offerings to the Bullworth soundtrack "Zoom" and "Eve of Destruction"—respectively—these songs were all failing to gain Dre (and his new label Aftermath) any new fans—and instead it was still just the same loyal fans from his N.W.A. and Death Row days steady showing love.  This was not enough for Dre.

   “What I try to do is make records that’s better than anything that’s out.  Then people follow me.  So I’m gonna set trends,” he’d once told Source magazine upon the news he’d broke from the Death Row Records Empire to set off yet again on his own with his Aftermath Entertainment imprint.
WE DON’T SET TRIP WE SET TRENDS



--This had been the mantra Dre had inscribed on his first Aftermath Presents Compilation project from October 1996. 

   Yet so far—he’d not set any trends.  And a visit from an artist—largely unknown—outside the realm of only the most serious of West Coast rap headz—Xzibit—hardly seemed like a precursor to the seminal moment that would set the third wave of Dre’s career into motion.  Xzibit was an artist who had already had two critically acclaimed major label releases on Loud/Sony, had a #1 video on BET “What U See Is What U Get”—and yet only managed a combined sales total of a few hundred thousand.  Xzibit did—however—have one defining quality—and it was palpable. 

   Xzibit possessed a hunger in his energy that day as he entered Dre and Mel’s Chronic 2 studio session that day in January of 1999.  At the time, Dre had been recycling a who’ who of West Coast rap acts, an endless revolving door of named artist coming to write for and record reference vocals for Dre on his planned Chronic 2 album.  And yet—nothing on the West Coast side of things had yet satisfied Dre’s refined taste nor quenched his elevated thirst.

   “I’m happy he finally found someone he thinks is worth fuckin with”—Snoop had being quoted as saying in recent interviews.  “I’m happy he finally found someone he thinks is worth fuckin with”—Snoop had been quoted as saying in recent interviews when asked what he thought of Dre working with an underground emcee of a caucasion persuasion from Detroit. 

   Truth is, even Snoop had abruptly departed from Dre’s studio in envy at the sight of Eminem.  It was after Eminem had tried to help revive Snoop and Dre’s union, penning for them a resurrection track (with the hopes this one would be more potent than the failed “Zoom”) titled “Forgot About Dre”.  Dre for the verses and Snoop for the hook.  Dre was excited and ready for Snoop to record.  Maybe it was because Snoop was envious, after all the lyrics were much more innovative than anything he’d done on “Zoom” or any other half-baked ideas they’d come up with for an unrealized “Breakups to Makeups” album.  Most likely, it was because Snoop just couldn’t envision Dre taking on this degree of imput from somebody other than him.  After all, he’d been Dre’s main man in the first wave of West Coast dominance.  Likely, he wanted Dre to re-establish his West Coast sounds and roots—and left Em and Dre in the studio that day.

             With Em in studio over those months was also his fellow Detroit counterpart—Royce da 5’9”.  Royce had also earned Dre’s ear.  Like Eminem he’d also penned 3 tracks slated for the Chronic 2 release.  “Way I Be Pimpin” a slow moving rap-meets-soul track that Dre was looking get Nate Dogg’s imput on—and “Throne Is Mine”—a track Dre was still tweaking—and “The Message” an R.I.P. track dedicated to Dre’s little brother Tyree—this one Dre was sure of.

   Eminem’s 3 tracks slated for Dre’s Chronic 2 were “The Watcher” which he’d penned and supplied background vocals for, “Forgot About Dre” which had now become an Em and Dre (no longer Snoop) duo track, and “What’s the Difference”—a track Dre had originally done with Hittman and Phish and was still looking to lay the Midas Touch on.

   Yet, where was the West Coast sound?  Chronic 2 could not be released just on the strength and input of 2 upstart Detroit emcees. 

   It was on this day of January 1998—that Xzibit would provide the lift that Dre had been looking for.  The lift that Dre had been close but unable to realize since the summer of 1996 when he’d left the Death Row dynasty and struck out on his own.  Since Death Row and the West Coast had collapsed and withdrawn from center stage in hip-hop—here—on this day in January 1998—Xzibit would provide the assist that would lift the coast!

   Dre and Mel-Man sent Xzibit to the booth to rap over 4 demo tracks they’d been tinkering with over the past days, weeks, months!  The first was a track Dre had bought outright from R&B producers Tim and Bomb—and tentatively recorded the catchy “Hey You” vocals over.

   Xzibit heard the spread out and infectious guitar licks thump and the vocal chant “Hey You” followed by Dre…



   “Hey You—CHANT
   Don’t make me come back with my—
   Whole crew—CHANT
   And hit you with the
   One, Two—CHANT
   Niggaz like you
   Don’t know what to do
   When we come after you”
   It reminded Xzibit of the first song he’d heard from Dre’s Aftermath Imprint.
   “East Coast
   Killaz!—CHANT
   West Coast
   Killaz!—CHANT


   That song came at the height of the East Coast/West Coast beef of 1996.  Like Xzibit’s “Papparazi”—it was supposed to end East/West beef for good.  It was supposed to…
We Don’t Set Trip, We Set Trends

   Though “set-tripping” and bi-coastal wars had began to die out in hip-hop.   The West Coast had yet to set any new trends. 

   With the touch of a button Mel-Man cut Dre’s “Hey You” vocals and Xzibit began to rap over the instrumental.

   “Re-arrange the whole game

   With my rugged sound (“X” CHANT)

   Won’t even say your own name

   When I come around (“X” CHANT)

   X to the Z

   And we all in the family”


   Dre turned to Mel-Man and Mel-Man could see Dre’s expression start to enlighten. 

   “I think we got something here.”  Dre said to Mel.  “Cue up the next one.”

   The fresh instrumental began to play and Xzibit heard a faint, “bump..bump” like a Trumpet in the background, possibly a trumpet to signal the rise and resurgence of West Coast rap.

   Currently inebriated off a whole Hennessey fifth, Xzibit drew up an image in his head of Snow White and the Seven Dwarfs.  He adlibbed over the vocals,

   “Hey - O
   Hey -O
   Hey – O
   Hey-O-----
   ----You Don’t Wanna Fuck With Me
   Bitch Please!


   Xzibit’s verse that followed was hard, hungry, and abrasive.  Dre’s excitement only grew.  He envisioned Nate Dogg coming in and doing the adlibs, and envisioned what Snoop’s laid back vocals on the track could do to balance out Xzibit’s aggression. 

   Energized—Dre turned to Mel-Man and said, “Let’s give um’ one more”.  The production duo cued up another track.  This next track was originally put together by unknown studio rappers HIttman and Phish.  Eminem had since came in added to its genesis with an impeccable 3rd verse—but Dre was still looking to lay upon it the last and final touches.  To make it West Coast.  To apply his Midas touch to the track…to make it a Classic!  Xzibit took off where the chorus left off…



   “…What’s the difference between me and you
   About 5 bank accounts
   Two ounces and three vehicles...”


   After completing his verse, the lights went out in the studio booth and Xzibit left it in proverbial flames.  Dre was now fully enlightened.  He knew then that he had the makings of another classic.

   “What you think?” Asked Xzibit.

   “I think we got ourselves a mutherfuckin’ hit!” Dre replied.

   Truth is, he loved what X had done so much with Tim and Bob’s “Hey You” track he was no longer interested in doing his own vocals on it.

   “X—that’s you!  That’s yours!  Lead single for your next album!  Take that demo—and go tell every producer you work with that Dre’s Executive Producing your next album—and that that this track is the standard!  I’m looking to get Snoop back to the studio soon and that “Bitch Please” shit you was doing is just what we need for his next album.  As for that “What’s the Difference” shit you was spittin’—that shit’s gonna be big!  I'm keeping that for my album!

   The wheels were now turning in Dre's head and the Chronic 2 was in full motion.  He had not only solidified the groundwork for the West Coast end of his album—but he’d also laid the groundwork for a West Coast Resurgence which would once again set trends and change the hip-hop landscape.

----written and conceived by Infinite (trapped in 96')----



« Last Edit: April 05, 2020, 10:07:43 PM by Infinite Trapped in 1996 »
*******

"I will make records as big or bigger than Death Row".   -Dre, Source 1996

"I didn't do nothing but make people money and I didn't leave nobody high and dry.  Any album (on death row) people are going to check for.  But it's time for Dre to worry about Dre.  I'm focused on the new Snoop Doggs, not like that but you know what I mean."

Dre -  Source 1996 cover

"Ain't trying to stick around for Illuminati (One World Government Takeover) / Got to buy my own island by the year 2-G

******
 
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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #28 on: April 05, 2020, 11:01:00 PM »
^ good shit nite


is that true that forgot about dre was sposta be snoop an dre?

and kurupt claimed streetz iz a mutha would be produced entirely by dre? or was he talkin bout space boogie? where/when was this??
 

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Re: DR. DRE - HEY YOU (2001 LEFTOVER LEAKS)
« Reply #29 on: April 05, 2020, 11:05:39 PM »
oh i see this is just aftermath THEORY ... got u