Another NEW Dr. Dre interview! Very interesting and a MUST READ!

[Conan]

Okay, I just found this posted on the d12world.com forums. I can't confirm whether it is real or not, but it looks legit to me. Dre speaks on a lot of key issues and some lingering questions. Definately worth a read:


''Lindrose: Can you tell us a bit of why Detox was scrapped and what are your plans for the future?

Dre: I had to really scrap Detox because Scott Storch and myself decided we simply couldn't put the time into the project. I really wanted this album to have not only mass appeal in the U.S. but countries like Japan, India, Russia, and all through Eurasia. I really did believe it was supposed to be "the most musically advanced Hip-Hop album ever " but we really couldn't put the time in.

Lindrose: Was it because of all the new artist with the label?

Dre: Absolutely. I have a responsibility to my artists on the label such as Busta, Game, Eminem, 50, and everyone else with the Aftermath camp. I really want to break new *****s in the game and I get more pleasure out of working with different artists whether it be unestablished or established such as Eminem. I didn't think it was the right time.

Lindrose: You have a reputation for perfection and not putting artists albums out at all including your own with Detox. With what happened with Hitman, Rakim, King T, and others, do you feel that some artists may shy away from working with Aftermath and particularly you?

Dre: Not if their smart. I am the best producer in the hip hop business bar none. Any ***** would tell you that. Fuck J.D. and all the other cats that want to claim they the best. They haven't even came close to seeing me in their life. I strive for perfection and I am a perfectionist. If an artist wants to blow and really come out the hood and got the talent that God has gave them, then they gonna fuck with me. I aint met one ***** that told me that they worried they album aint gonna come out. There were some different circumstances amongst all those cats you mentioned but it wasn't a situation where I didn't want to put them out. Creative differences arise in the studio and hey I did what I could do to help certain *****s but in the end if you got to part ways, then thats what you do. Make no mistake about it, this is the label to be on Aftermath.

Lindrose: Will we ever see a Dr. Dre solo album again?

Dre: No. Never. It won't happen. End of story. Next question.

Lindrose: You know I can't move on then without asking you this then. Will there ever be an NWA reunion? Former members are saying you are the one holding it up.

Dre: (laughs) If I had a dollar for everytime I heard that one. We did some expirementing with the NWA thing back during the Up In Smoke Tour and it was on. I told Ren, and Cube that I have a responsibility to my label but we will work to get it done. This is a different time in all our lives and as time went on, all of us were drawn into our own responsibilites and we couldn't make it happen. I am proud of the fact that we got a couple of tracks even done.

Lindrose: So, would you consider still putting out " Not these *****z again "

Dre: Yes. I would because I know it's what the fans want. I know it's what the West wants and probably fellow rappers, and anyone a fan of hip hop. Cube is so busy these days. Ren is doing his thing. And if we do it, I want Yella on the album. If he aint on, fuck it, it's a no go.

Lindrose: I thought you were the one that wanted Snoop on there and not yella?

Dre: No. I never wanted Calvin on there. That was some underhanded shady shit that went for public relations. We were supposed to feature Snoop on a few songs. Cube thought it was a good idea to have him replace Eazy. How the fuck are you going to replace Eazy? You can't. It aint an NWA album with Snoop as a member. I got with Yella during the Tour and he was down. I told Cube and Ren then that if we do this, its the 4 remaning members with a possibility of Arabian Prince coming back and being 5 but I wasn't having Snoop on there.

Lindrose: Is there any animosity between you and Snoop from that?

Dre: No, because he was asking the same questions the fans were. How the fuck am I gon be a member of NWA or the new NWA when I dissed Eazy on record so many times. The fans wouldn't have accepted it. That would be like featuring Eminem on a few tracks. That wasn't going to happen either. Ren also was complaining that he was being x'd out of chin check. He said that he thinks his role was going to be small. He was complaining privately about Snoop. He thought this was his time to shine so he could rebuild his solo career so already there was some friction and then it aint never went down after that.

Lindrose: Is there any beef with anyone in the group now?

Dre: Naw. It's cool. Cube said in an interview once that we all got ego's and we do. Cube also said he aint lowering his standards. I don't know what he meant by that but to me thats a diss. Have you listened to Cubes last two or three albums compared to his first four?

Lindrose: Yea, I liked War and Peace.

Dre: I liked it to. I was on it! But he has slipped dramatically himself. Not just lyrical content because thats growth but his style, and his delivery and his passion. It's not there. I love Cube but to me, he won't come off on this record. He won't at all. Ren is Ren but Ren worked well with Eric. I think Ren would be ok. But yea, its ego's and if we ever could put that aside and do the damn record then I would be down.

Lindrose: Who are you feeling in the game right now?

Dre: I love Game. Thats my *****. He from Compton. He is right out the hood. Game got skill and so much raw talent for a young emcee. I also have to give it to 50 and the whole G Unit. I really am not feeling much of anyone else right now. I like the aftermath camp and just a few outside of it.

Lindrose: Is there still any beef with Death Row or Murder Inc?

Dre: Well, none of us will be having dinner anytime soon (laughs). I am impressed Suge hasn't gone back to jail by now. I am over him though. That shit is old. Murder Inc to me is really riding the coat tails of a skirt. Ashanti is the only person on that label that has any chance of success. Like I said I moved on. The Suge Knight questions no longer exist because he isn't relevant to me anymore.

Lindrose: Do you sometimes feel bad that the label you worked so hard to get going with Suge hasn't done anything in so long?

Dre: Well they like many others are living off 2pac. They made some money after the original roster was gone. I will give them that. But yea, it's really sad. I even extended an olive branch back in 2000 to 2001 that I would be willing to make peace and work with some of the artists then but my contacts said Suge didn't want any of the peace. So I said fuck it. I chalked it off as a sad story. It's a sad label actually. I wish it wasn't called Death Row, it charred so many great memories of the early days.

Lindrose: Is there any artist you feel they can push out there that can bring them back?

Dre: They had one in Crooked I and let him go. Typical shit of way things and done over there. Kurupt has skill. No one can deny his ability. He is there one and only chance. Fuck the rest of them corny ass *****s. Eastwood dissed me on some mixtape but he won't accomplish 1/10 of what I did in my first few years in the game.

Lindrose: Are you feeling anyone out West? Snoop made a comment that you don't care about the west and there needs to be a westside coalition without Suge Knight.

Dre: I agree that we need to leave Marion out. I say we because I am just as loyal as he is. I fuck with *****s that come at me hungry and really wanting to feed they family and be on the positive tip. I get so much backlash from guys like Snoop because they think you should give a handout to each and every muthafucka out there. I aint about converting bangers into hip hop stars. I look and seek talent and that can uplift the label and themselves. At this stage in my career, why do I wanna fuck wit some bullshit *****. Thats Suge Knights thing. He tried to sign all these cats after Snoop, Tha Dogg Pound, and myself left. He failed. No one wants a carbon copy. No one wants someone who just wants to feed negative energy. I laughed at all the disses thrown my way from that camp. Those cats are unknown now. You couldn't find them in they were standing in front of you. I am about loyalty to the game. I aint about a coast if my coast aint showing me love and what I need right back.

Lindrose: Surely, you can't tell me outside of Game, the whole west coast is wack?

Dre: It is very close to that analysis. I like Snoop, Cube, and some of the vets. Yukmouth is tight and at some point I want to work with some west coast *****s. I aint feelin anyone right now.

Lindrose: What about young cats like Bad Azz, Soopafly, Crooked I, Jayo Felony, Spider Loc, and..

Dre: Listen, a few of those rappers aint young. Bad Azz I have already worked with. I am opening to working with Crooked I in the future and thats a possibility. Daz is gonna put Soopafly out and I may have imput on that album. Spider to me is wack as fuck. Again, I aint about fuckin with some bullshit ***** that gets put on complilations by Suge just to diss. I aint with that.

Lindrose: Where do you see yourself in 10 years?

Dre: I still hope to be putting out dope music and new artists. I love what I am doing. If I didn't, I could have left a long time ago. Game is going to drop this fall and Busta has an album coming out soon. Eminem is working on his album. I have many projects I am doing right now. Life is good. I want it to continue on for the next 10, 20, 30 years.

Lindrose: Thanks for stopping by Dre. Any message to any of your fans out there?

Dre: Aftermath appreciates all the support from fans all over the world.''

---------------

So much for that BULLSHIT kronik posted about the beef between JD & Dre being squashed, lol! Seriously though, Dre needs to get over that. JD said he had his own unique style of production that was unlike Dre's. BIG DEAL! I like Dre, but he blew that so far out of proportion IMO.

Hmm, Dre seemed unusually quiet on Snoop once again. I'm sure there's some kind of beef between those two, but who really knows. Check this quote from Dre though:''No. I never wanted Calvin on there''. Now check this quote from Snoop circa 2000 (off of ''Lay Low''): ''Snoop and Dre give a fuck about what y'all say. From the world's most dangerous group, N.W.A-A-A...''. That seemed quite weird to me. He also had very little to say when the interviewer brought up what Snoop said to AllHipHop about Dre not really caring about the West. For the most part this interview seemed to suggest that, but hopefully that shit about him working with Soopafly turns out true. Now if only he'd hook up a track for Daz's ''So So Gangsta''. Guess that's unlikely with the continuing JD drama.

Finally, it was shocking to me to see Dre take a few digs at Death Row and ''Marion''. Maybe hearing Snoop diss them so many times now gave him the confidence to speak out?

Damn, if Dre ain't feeling what he's hearing from the West Coast right now, he sure as hell isn't listening hard enough! Cough *IV Life* Cough. Good to see him refer to Yuk as ''tight' though. I'd LOVE to hear a Dre/Yuk collabo. That would be veeery dope.

A lot of things to discuss!

 

[M Dogg™]

Am I to believe what I'm reading. It doesn't sound like a Dre interview... Dre doesn't allow certain questions... but if someone made that up... they did a good ass job of knowing what Dre would say. I'm confused.

[Sikotic™]

No solo? Yeah right 

[Denial! Is Actively Joinin The Revolution]

YEah i thought there woz somethin fishy bout dat interview but sum things i thought did sounds legit where woz it from anyway DPG2k?

[Denial! Is Actively Joinin The Revolution]

Sorry read the top of your post my bad

[Que (signing off)]

Fake.

[mrtonguetwista]

DR. DRE INTERVIEW FROM SCRATCH MAGAZINE

Dr. Dre doesn’t even listen to his old music, so don’t think he’s going to tell you what the bass line for ”Deep Cover” is. It shall remain a mystery, as Dre prefers to keep much of his process. He also doesn’t like to talk much. Why should he? The music speaks for itself. Dre is the measuring stick for how far hip-hop’s come and where it’s going. You can’t deny the gift the man has for putting together some hot shit. Truth be told, he makes anyone sound good.

A few years ago, he said, “Fuck rap, you can have it back.” But it’s been three years, and he still hasn’t let go; he’s got this rap shit in a chokehold. This is a man at the top of his game, but after speaking with him, you get the sense that this is just the beginning. Unlike some who feel constricted by the hip-hop format, Dre feels the music has no limitations. He’s about to take this hip-hop thing to another level. Picture him with a 40-piece orchestra at his fingertips, and you begin to realize how serious it is.

We managed to chop it up with him for a minute about beats, his process, and the life of the super producer. He’s sold over 50 million records and influenced the sound of music more than anyone in the game, but he just wants to keep making beats that snap necks. Dr. Dre is a man with vision. He’s trying to help you see it too.



So you’ve decided not to release your new album Detox?

I decided not to do it because I didn’t think it would be fair to all the artists that I want to work with. I’m really hard on myself when it comes to my own record, so it would have taken nine or ten months of my time. I could get two or three artists’ albums done in that amount of time, so I decided just to back off of it. I cut a couple of songs, and I was digging the way I was sounding on the mic. There’s always something to write about. I mean if I didn’t have a label to run, and a lot of artists to put out, it would be a different story, then I could just totally concentrate on self. Building my company and getting these artists out is my main priority right now. I spread out the tracks that I did for the record to the other artists I’m working with. I don’t think anybody’s going to be mad about it after they hear what I’m doing.


Are inspired by anything that’s going on out there?

I don’t think I’m really inspired by anything that’s going on out there right now. I’m not really mad at it, but there’s nothing that’s really motivating me right now except for the artists I’m working with. I’m not just saying that because they’re with my label. These artists are coming in with some hot new ideas so it’s just the stuff that I’m working with that’s inspiring. There’s nothing out there that’s really different. There’s nobody doing or saying anything that I haven’t heard before.


You have a very strong work ethic, spending days in the studio at a time, working on things over and over until you get it right. How do you know when something’s done?

It’s a feeling I get when it’s right, so I just keep going until I get that feeling. It’s like a butterfly type feeling. When I hit it, and it’s right, and the mix is right, that’s when it’s time to come out. Nothing leaves this studio until I get that feeling.


What’s a typical session like for you?

I don’t go out to clubs and party like I used to. I just get up, go to the gym, come to the studio. Usually I get to the studio around 3 PM, and my hours can vary anywhere from two hours to, I mean, my record is 79 hours non stop. As long as the ideas are flowing, I’m in here. I feel when I come to the studio, I have the same energy today as I did 20 years ago when I started. I still feel it, I love music.


Can you tell me a little bit about the collaborative process in the studio?

I use the same engineer every day. I work with the same player or players every day. Once I find something that’s working for me, and I dig it, that’s it. I work with a player named Mike Elizondo, it’s usually just me and him. He’s a bassist, and he’s learning keys and guitar right now. So it’s pretty much just me, him, and my engineer Veto (Mauricio Iragorri) in the studio every day just grinding out the tracks; we just go. Every day I come in the studio I try to lay at least two or three tracks down, at least that, before we start working on vocals.


How important is the engineer in your process?

The engineer is very important. Working with me, the engineer’s almost got to have ESP to know what I’m thinking, and he has that. It’s like body language, he can almost feel what I’m getting ready to ask him for. It’s a building process, and it took us a while to get to that point. We’ve been working together for years, probably since ’98 or ’99.


What is that makes a good MC to you?

Again, it’s just a feeling that I get. It’s a look that I look for, it’s the way that they carry themselves. Of course, the talent has to be there. I look for somebody that when you hear their voice, you know it’s them right off the top, it’s no question. And we have to be able to get along. The talent gets you in the door, the personality keeps you there. I have to feel like I can work with somebody that I wouldn’t mind leaving the studio and going to have dinner with and just chopping it up. That has nothing less than that. I want somebody that’s gonna come in and work, and be ready to fucking really do they thing. Because I’m the first one here, and I’m the last one to leave, I tell ‘em, “You can’t work hared than me, but try to keep up.”


What inspires you?

Just music in general, man. I love making music. This is what I was put here to do, to make music. I love doing this, man, it’s almost like a high for me. If I’m out of the studio too long, it feels funny. I got this feeling like, “Damn, this could have been the day I came up with fucking ‘Billie Jean’ or some shit.” If I’m not in the studio, it always crosses my mind.


Do you know when you have ‘Billie Jean’ or a big hit?

Yeah, right off. Like I said, it’s a feeling. Most of the time that record comes fast. It’s not one of those things where you’re working on the same record for two weeks, usually that record comes in a couple of hours.


Can you talk a bit about some of the equipment you use?

I love using the MPC3000. I like setting up like four or five different MPC3000’s, so I don’t have to keep changing disks. So I have them all lined up, and I have different drum sounds in each one, and then we use one for sequencing the keyboard.


Can tell me a bit about your process of recording drums?

We really take a lot of time on getting the right drum sounds. We EQ the drums before we sample them into the MPC, and then once we come up with the track, we spend a lot of time EQing the drums before we record them into Pro Tools. We take quite a bit of time to get that right, because I know it’s one of the things that people like about my music. I’ve used the same drum sounds on a couple of different songs on one album before but you’d never be able to tell the difference because of the EQ.


You mentioned Pro Tools.

I had Pro Tools right when it came out, but I wasn’t a fan of it because I lost a little bit of my low end before they perfected it. So, I used to just use Pro Tools for sequencing the albums. But now I think they’ve perfected it enough for me to roll with it, so I’ve been using it quite a bit.


But you’re still using a lot of analog keyboards, I saw a Wurlitzer in the studio, a Fender Rhodes?

Yeah, I love the old school sounds. ARP String Ensemble, Rhodes, old school Clavinet, the whole shit. I’m a big keyboard fan. I don’t really dig working with samples because you’re so limited when you sample.


But you came from a sampling background?

Actually, most of my music has been played. Back when we started with the N.W.A. thing, it was a lot of drum loops, drum samples, and what have you. But if we were going to sample something, we would try to at least replay it, get musicians in and replay it. If it was something we couldn’t replay, we would use the sample. I’ve tried to stay away from it as much as possible throughout my career from day one.


Any surprising musical influences?

I’m a big P-Funk fan, that was it for me growing up. Curtis Mayfield, Isaac Hayes, I was influences by all of those guys. That’s what really motivated me to use live instruments on my records. Just listening to the way they put their records together. That appreciation came from my mother. There was always music being played in my house when I was growing up, and that’s all I heard was 70’s soul. And then the DJing thing came along.


How did you get into DJing?

What motivated me to want to DJ was Grandmaster Flash. I heard “The Adventures of Grandmaster Flash on the Wheels of Steel” and I was blown away. So, me and a friend of mine at the time decided to tear apart a couple of component sets and make our own little mixer and two turntables. And not too long after that, my mom got me a mixer, and that was it for me. But I would have to give credit to Grandmaster Flash for getting me into the business. We had dinner once in New York, he’s a cool brother.


Do you think your DJing background has made you a better producer?

Definitely. I would definitely not be as good of a producer if I hadn’t started DJing. Because that’s where I really started paying attention to how records are made. I would critique and just listen and say, “I would have done this different.” So that definitely was a stepping stone to what I’m doing now.


When did you realize this is something you were good at? That this is something you wanted to do the rest of your life?

This club I was DJing at at the time had a little demo studio in the back of it. I made a couple of demos, played them in the club, and got a good response. So I just started making it a little bit better here and there, and the next thing you know I had a record out. Everybody was digging it, so I decided that this was the job I was going to take.


Hooking up with Eminem has been a big turning point for you. Did you know he was going to have the effect he did?

I knew it was going to be big. I didn’t know it was going to be this big. I didn’t know it was going to be half this big. I knew people were going to get into him, and love him, and just think he’s a crazy ass white boy. But I had no idea it was Oscar bound. It’s a perfect example of an artist coming in and taking advantage of the situation. That’s what he did, he came in, and he works his ass off. Everybody that came in the studio and really put their thing down, and really put it together has been successful with me. Everybody else that I’ve worked with that’s slacking ends up having to go to somewhere else to do their thing.


So it’s either put up or shut up?

That’s it, you got to come in and go to work, man. I open the door, like I said, you’re not going to work harder than me. The harder you work, the harder I’m going to work. At least I’m going to try to make sure that’s happening.


Do you think it’s hard for some people to push themselves to that level? Do they have different expectations?

I think some people that I’ve worked with expect to come in and for me to wave a magic wand and say, “Ding, hit record!” But it’s not like that. You have to come in and give some energy, and we have to put the same amount of work in on the record. It’s not just going to be me putting my hand in your back and moving you around like a puppet.


Some say hip-hop is a young man’s game, yet you defy that. How?

I don’t think it’s a young man’s game. It’s all in how you’re putting it together, and how you’re carrying yourself. If you feel old, it’s going to turn out like that. I don’t even think about that. I feel like I could turn 50 and still make a hot hip-hop record.


Is there potential for a hip-hop Rolling Stones, still rocking the mic at 70?

I think so. I don’t I want to necessarily see a 50-year old rapper, but being behind the scenes, making tracks, and producing, there’s no age limit on that. It’s all about who’s keeping it hot. You could make a hot hip-hop record if you’re 70, you just gotta know what’s going on in here, and know what the people want. If people are talking about somebody being too old, that means that sound is getting too old. It’s time to start your game over, reinvent yourself or something.


Is that what you do?

That’s exactly what I do; I try to reinvent myself. If you keep doing the same thing, people are going to get tired of it, that’s when it becomes old. So, I gotta keep reinventing myself. Plus, when I put a record out, I think a lot of people are influenced by my music, and I think there’s a lot of shit that comes out that sounds similar to mine. That makes the sound become old a little bit faster, so I definitely have to keep reinventing myself and trying new things.


Have you ever considered producing a non-hip-hop album?

Definitely, I would love to do a rock album. I would love to do a Black rock album. Ghetto Metal. It’s just a matter of the right lead singer coming along. Once that happens I’m off and running. That’s all I need is a singer, we’ll put the band together later. If I get the right front man, I’m going to try that.


Is the music industry ready for a Black rock band?

They’ll be ready for anything that’s hot. If it’s hot and it’s different, and it’s working... Look at Lenny Kravitz. He’s hot as shit.


You seem like a real perfectionist.

I am a perfectionist, but it has a lot to do with the people that are around you. They have to have the same vision, the same motivation. It takes a while to get the right people around you; it takes a long time. But I think I’ve finally done it, I think this is going to be my crew for a while.


You’ve contributed work to a number of soundtracks. Have you ever considered scoring a film?

Yeah, that’s one of the things I want to get into. I started studying music theory, learning how to read and write music. It’s been over two years, so I’m really getting involved in that. I definitely want to get into scoring movies. I have to have the knowledge, so I think in the next four or five years I’ll have it down, I’ll be ready. I’m not even going to attempt to do something if I don’t think I’m going to be great at it. I know for a fact that’s something that I could be good at, but I have to get the knowledge first. That’s almost like learning a new language. I have to really understand what I’m doing, I have to learn that language. It takes a while, and I want to be the best at it, so I’m going to put the time in.


Has learning music theory influenced what you’re doing in the studio?

A little bit. It’s actually broadened the way I look at music and listen to it, just knowing how the notes are placed. I pay attention to all that a little bit more now. A while back, I thought it would hurt me, I thought I would start paying too close attention, and maybe miss something. But I think it’s helping out. And once I really get that shit, “Look out!” (laughs)


You’ve got more money than these dudes out here that are still talking about cars and jewels, yet you don’t focus on that in your music. What keeps you rooted?

I talked about it a little bit when I was younger, but this is a job, man, that’s all it is. I’m serious about music. It’s a job, and I want to get paid of course, but I don’t need to talk about it. If I was a plumber, I wouldn’t talk about the money I was making, I’d just talk about my job. I’d be talking about pipes and shit. All I want to talk about is the music and how we can better it.


How can we better it?

I think we just need producers who are willing to stick their necks out there and try new and different things. I love Outkast and what they’re doing because they’re trying some new and different things, and it’s working for them. They stick their necks out there, and it works and I love that. That’s what we have to get more of.


Anybody else stand out? We spoke with Nottz for this first issue, and he was very excited about having contributed tracks to Detox.

Yeah, I got a couple of things from him that’ll probably be used for somebody else now. I like Nottz. I love Kanye West. I love the Neptunes of course, they have their thing, they’re trying new things. Who else? Just Blaze. Timbaland. Hi-Tek is hot as shit, I love Hi-Tek. This new guy we’re working with right now, we just signed as a producer, his name’s Focus. He’s a new up-and-coming producer, he’s hot as shit.


I understand you’ve recently sent some beats to Burt Bacharach.

We did a little thing together. My piano teacher introduced us. Burt Bacharach came by the studio, and we chopped it up for a little while. I gave him a couple of skeleton tracks on a CD, and he went home and played some piano over it. The next thing I know they had this jazz trumpet player play on the record, and it sounded hot. I think they’re going to put it out. I would like to really get in, and do something from scratch with him as opposed to me giving him a track, and him going to his studio and doing his thing, and us sending it back and forth.


Where do you see yourself in five years?

Hopefully, I’ll have my music theory down and I can score a movie or two at that time. I’ll definitely be making hip-hop records, looking for new hot artists. I’m really trying to score some movies though, that’s what I’m working on. That’s a big challenge. To conduct a big ass string section doing something that I wrote would be ridiculous. That’s the dream right now.


What’s your legacy? What do you want to be remembered by?

I don’t really think about that. My thing is just coming in here and making records, and hopefully people will go out and buy it and bump it. I’m just trying to come in and better myself when I’m in here. If I had to give an answer to that I’d say that I’d like to be remembered as a person who really cared about his music, and really entertained people with my talent. I just want to be remembered as being the shit.

[GangstaBoogy]

fake as fuck

[The Predator]

Fools writing fake interviews, so sad.

[mrtonguetwista]

The one from Scratch magazine is real. It's on newsstands now.  He's on cover.

[Lil Jay]

1st one is fake as fuck

[Don Seer]

1st one is fake

2nd one is old

[T-Dogg]

1st one is fake

2nd one is old

Yeah. 1st one is off somehow, it's fake. And I typed up the 2nd one from the magazine scans and posted it here.

[Bomb-A®]

Dre: I really wanted this album to have not only mass appeal in the U.S. but countries like Japan, India, Russia, and all through Eurasia.

i love dre's music but no1 buys his shit here. they dont even sell the chronic here. even the chronic 2001 is an edited version.




peace

[Que (signing off)]

Dre would never say "Fuck Suge". He doesnt have the same beef as Snoop. Dre was actually took care of on that label, he just left cause of the beef. Sure they are biter, but I know for a fact Dre would speak to Suge again.