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Quote from: GhostBuster on February 28, 2012, 11:42:31 AMi shot the sheriff, what's love got to do , i want it all, i don't think he's a one hit wonder nope. Certain media tend to reduce him to regulate but i'm sure people don't forget"mac and devin" who is that ? Never heard that song (hook up?)The song is called "I Get Lifted" from the Mac & Devin Soundtrack (Snoop and Wiz Khalifia)
i shot the sheriff, what's love got to do , i want it all, i don't think he's a one hit wonder nope. Certain media tend to reduce him to regulate but i'm sure people don't forget"mac and devin" who is that ? Never heard that song (hook up?)
Warren G had hits in Europe"regulate", "prince igor" and "all night, all right" wit Peter Andre
I think if Warren would have stuck with his signature G-Funk sound, he would have fared better. Early on, none of the DPG affiliated used his production because Suge had beef with him. Later on, Warren was getting frustrated and after "Return of the Regulator" he pretty much abandoned G-Funk and tried to make mainstream beats, which he wasn't the best at. If Snoop needs a mainstream beat, he's gonna get it from one of the heavy hitters in the game right now. If he needs a g-funk beat, he had no one to go to.
I agree with thread starter. Not a single beat on any snoop album or dpg album(except mix tapes and left overs), he did one beat on "Kuruption", not a single beat on the 213 album(that alone says it all), only one dre beat on a Warren album and Warren not on Dres albums, Only albums on doggystyle records Warren did any production was the bones sound track(if memory serves), dope tracks like "after dark" and "dogg house soul food" and that Kurupt track when he re joined DPG all unreleased, ETC. Funny how Warren makes lots of commercial soundin music and cant get a single out or a hit also. I must admit though i went off of warren when "whats love got to do with it" and "i shot the sheriff" came out but apart from that all of his albums are dope as fuck. But a dope album like "return of the regulator" flopped really badly and i think that was the end for him as far as being in teh mainstream or having any "hits".
I think if Warren would have stuck with his signature G-Funk sound, he would have fared better. Early on, none of the DPG affiliated used his production because Suge had beef with him. Later on, Warren was getting frustrated and after "Return of the Regulator" he pretty much abandoned G-Funk and tried to make mainstream beats, which he wasn't the best at. If Snoop needs a mainstream beat, he's gonna get it from one of the heavy hitters in the game right now. If he needs a g-funk beat, he had no one to go to. Now Warren's starting to embrace G-Funk again and he's starting to get more work.
Quote from: KrazySumwhat on March 01, 2012, 09:31:11 AM I agree with thread starter. Not a single beat on any snoop album or dpg album(except mix tapes and left overs), he did one beat on "Kuruption", not a single beat on the 213 album(that alone says it all), only one dre beat on a Warren album and Warren not on Dres albums, Only albums on doggystyle records Warren did any production was the bones sound track(if memory serves), dope tracks like "after dark" and "dogg house soul food" and that Kurupt track when he re joined DPG all unreleased, ETC. Funny how Warren makes lots of commercial soundin music and cant get a single out or a hit also. I must admit though i went off of warren when "whats love got to do with it" and "i shot the sheriff" came out but apart from that all of his albums are dope as fuck. But a dope album like "return of the regulator" flopped really badly and i think that was the end for him as far as being in teh mainstream or having any "hits". he also produced big bang theory on the first eastsidaz album. i agree wit what u said about return of the regulator warren's last dope album.
interesting piece I stumbled acrossAs Suge Knight built Death Row into a West Coast juggernaut, Knight’s fearsome reputation grew. Knight wanted more than hit records. He wanted to dominate the industry, making moves to open a Death Row office in New York in conjunction with hip-hop heavyweight Eric B., and talking of forming a Black-owned national distribution company. So when Def Jam A&R chief Chris Lighty scooped up a stray artist left to languish on Death Row’s back bench—Dr. Dre’s step-brother ,Warren G—Suge Knight made his displeasure known. Def Jam had infringed on his territory, and Knight wanted to teach Def Jam CEO, Lyor Cohen, a lesson. The confrontation came to a head one night at a De La Soul concert in Los Angeles, when Knight made his way to have a “discussion” with Cohen. Lighty—himself no stranger to thuggery as an alumnus of a group of young troublemakers called the Violators—placed himself between Knight and Cohen and stood his ground. In the tense faceoff, Lighty’s accomplice brandished a weapon, and Lighty warned Eric B., “You need to tell him about us, because you’ve got to come home.” Knight backed off. And when Knight took revenge by withholding Death Row artist Nate Dogg from a Warren G video shoot, Lighty strode right into Knight’s inner sanctum (Death Row’s offices) and politely made a case for Knight to change his mind. Lighty did more that day than win Knight’s respect. He set the stage for the triumph of business over bullets. It would, alas, take several more years and the death of two beloved hip-hop icons before the change manifested. But the future of the hip-hop business would ultimately belong to businessmen like Chris Lighty and Lyor Cohen, not to Knight and his ilk.