West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: D-Nice on February 26, 2011, 03:00:32 PM
-
http://illuminati2g.com/site/2011/02/26/chris-the-glove-taylor-interview/
I2G has a special treat for everyone out there. Chris The Glove Taylor stopped by for a exclusive interview. If you don’t know who that is ya might want to do your homework. The legendary DJ/producer talks about his work with Ice T, Ruthless Records, Death Row, working with Eazy E and Dr. Dre, Po Broke N Lonely and so much more, check it out. Let us show you how the west coast rocks.
Illuminati 2G is here with Chris The Glove Taylor. How’s it going?
Going great, how about you?
Good. With those unfamiliar with your start, tell me a little bit about how you got your start in music and who are some of your musical influences out there coming up.
Oh wow, I got my start in music 1983, I became a DJ and basically taught myself how to DJ. I had one person, Tony Joesph, that showed me the ends and outs and he was the only person I knew from the east coast that had any understanding of DJing.
He taught me a few things and everything else I learned how to do on my own. I taught myself how to scratch, mix, blend and all those good old things. After that I moved along and kind of conquered Los Angeles by doing alot of house parties and moving on to the bigger clubs.
I ended up at this one club called Club Radio, where I pretty much got my nickname The Glove and it got me in the movie Breakin and Breakin 2, hooked up with Ice T and a whole lot of big things branched off from that.
That actually leads right into my next question. What was it like working with Ice T back at that time and being in the Radio Crew and being one of the founding pioneers on the west coast as far as DJing is concerned?
Well to answer the first part of that question, working with Ice T was great, that guy is a fun guy (laughs). Everytime we got together it was a blast and as far as being a founding member of the Radio Crew and a west coast DJ, you know you really don’t know you are doing all that when you are doing it.
But as I look back on it, it was really a great learning experience and I am proud to be a part of that.
After that, you then started to work with Ruthless Records with the group Po Broke N Lonely. At that time for that R&B group, that was a pretty groundbreaking group and style that you had. Tell me a little bit about your time in being with the group and being with Ruthless.
Oh wow, yeah the whole thing with Ruthless was also a great learning experience. Me coming from a DJing background, I wanted my music to be in the club all the time. I wanted it in the clubs with BBD and all those other groups that were out at the time.
But I wanted our sound to have more of a edge lyrically as well as musically. A friend of mine introduced me to Dr. Dre, I would say around 1989, and its funny because we never met even though we were coming up at the same time in LA, he was over in the Compton area and I was on the west side.
Actually I was the first one to get a platinum record out here for Breakin. Me and Ice T, Breakin sold 4 million so we were the first to go platinum before everybody else. Me and Dre met, and I told him about my concept of the group and I let him hear a few things. Him and Eazy jumped right on it because Ruthless did not have a R&B group at the time.
RC, myself and Mike Lynn we just had another party making those songs man and we did alot of things that people are not aware of. We have alot of stuff that I like to call the Lost Sessions, I probably have…., shoot, 40, 50 songs that no one has ever heard that would still be relevant today if you heard them.
Moving along though, when we were just trying to break loose with Ruthless through Epic, there became a problem. We discovered a issue financially that Eazy and Dre were gonna fall into. A friend of mine was looking over the contracts and told Dre that Eazy was screwing him on his contract and not playing him what he was owed.
Dre and Eazy fell out and that left us in limbo. Without a unified front to push our music, we was just kind of stuck there swinging in the wind. We decided to leave Ruthless along with Dre, and I worked with Dre on the Chronic in the meantime and we also worked on a song called The Sex Is On, which was on the Deep Cover soundtrack.
Deep Cover was the first release from Death Row actually. From there, we finally got our release from Ruthless after Eazy E passed and then he went on and signed with Atlantic Records. That is where we did our biggest work, Twisted and all those other songs, those were on Atlantic.
Like you said earlier, Dre then leaves Ruthless and goes to Death Row. Tell me a little bit of the differences working on Death Row as oppossed to working with Dre at Aftermath.
Well I will tell you the thing that was definitely different on Aftermath then Death Row was you was not seeing the beatings (laughs). There was alot of beatings going on at Death Row and none of that was happening at Aftermath. At Aftermath it was strictly business and at first I was not interested in joining up but the lead singer of Po Broke N Lonely, RC, convinced me to come on along and jump on the train.
I agreed and started out as a staff producer and co collaborator with Dre as I always was. It was good, interesting times in my life and I believe that the first album, Aftermath Presents, it sold like a million copies, that album was unheralded.
Musically there was alot of good stuff on there and we reached out and did some different things too. The most that I can say about that time period was that it was another instrumental learning period leading up to Chronic 2001 and everything after that.
Dre at that time did not work on alot of albums outside of the label, even when he was on Death Row. The one album that he did do was The Firm, which from the outside looking in had crazy expectations that almost seemed unattainable. What are your thoughts and opinions working on that album and memories that you have in working with The Firm?
I will tell you this, Nas and AZ, those are some great dudes man. Nature too, but I’ll tell you the thing that did The Firm wrong was that their first release was the wrong release. When they came out with Firm Biz, that was not what people were checking out for. When Phone Tap came out, it resurrected that whole project and if they would have released Phone Tap first, all the expectations would have been achieved.
People would have been like woah this is what they sound like, I can’t wait to get the album. That record was dead in the water before Phone Tap and that single pushed it to platinum on the strength of just that one single. It was a real heavy political thing and the releases were chosen by Steve Stoute. He was trying to push his crew, The Trackmasters, and they wanted a more traditional east coast sound and the first single to not be a Dr. Dre one with a more west coast song.
We totally redesigned what we was doing before that project. Our music was all mob music, we was not trying to be east coast or west coast, it was just about the mob. Firm was a family and we was coming with mafia music and that is where my mind was, being the creator of Phone Tap and all that mafia music on there, that came from my mind and Dre’s mind.
We sat there and brainstormed on a ton of stuff. Bud’da was there and Mel-Man was there as well, on the other side they had Trackmasters and L.E.S. as well. If you really listen to the records you can almost hear the difference in production styles and values throughout. It does not have a cohesive sound from beginning to end the way it should have been.
Even if you look on the back of the album, there was like a thousand logos on it. You had every record label in the world on there (laughs).
Right.
You had all these strange deals, Foxy had to have her label and logo on there, so on and so forth, Cormega was not on the record because him and Nas fell out so we ended up going with Nature. Nature is a beast on his own, but that album really was not a fair place for him to catapult from because people were expecting Cormega. We had fun making it and we did the album all in Miami, because back then they were not coming to the west coast and we was not going to New York so we did it in a neutral site. Kind of like how they do the Super Bowl (laughs).
It was great times man. I had nothing but good times doing all of that stuff.
So basically now after that album, you transition into Dre’s sequel, Chronic 2001, which I consider the best sequel to a debut album in hip hop history. What was it like linking back up with the artists that you worked with at Death Row and then linking up with the fresh, new talent, Timebomb, Knocturnal, Hittman?
Hittman was great and he did a majority of Dre’s lyrics on that album. He was a writer in A LOT of those raps and that is why Hittman did not come out. He was supposed to be released as a solo artist but people would have said that he sounded like Dre. Dre kind of swallowed him up because he needed him for that album and after he got through with him, you hardly ever heard anything from him.
On each album, I have a signature song on there that I produced or did work on. For instance, on the Chronic, I did Stranded On Death Row, on Chronic 2000, I did XXXPlosive, on The Firm I did Phone Tap. On Snoop’s album, I produced Doggy Dogg World and all of those were pretty serious singles.
At the time I was not getting the…, I mean people always knew what I did, I would get phone calls from different celebrities or people that were in hip hop or in the business that knew. But the credits were not in print like it should have been, but I never had a problem with it. I always compare it to a college education, you learn and then you go out and do your thing.
In between that though, I produced Hello for NWA on Cube’s album. That was a comeback for them at the time. It was a big record out here on the west coast but working with all those guys, I got to say man, it’s like when people play the Lakers, they bring their best game. All these cats ALWAYS came with it, even guys like Hittman that you never heard of.
I don’t know what is taking Dre so long to come with this next album though. This is a great sequel, but if you have 9 years to create your sequel…, you got to remember the first Chronic came out in 1992, 2001 came out in 2000 and Detox is still not out and we are nearing 20 years since the first one came out.
Dre has only done 2 albums but I expect that this next one…, some kind of way his albums meet expectations.
Absolutely. So what caused you then to leave Aftermath and what have you been up to since then?
I wanted to strike out on my own and I wanted to show that I am a great producer without Dre. People would always say oh you are great when you are with Dre, and that’s cool, I mean Shaq & Kobe, when you are part of a team, you use teamwork. But I wanted to get out on my own and get out of the whole umbrella.
Eminem came out and his lyrics…, I used to have to listen to my music in my car and study it. I had a young daugther at the time who would repeat everything that she heard and I wanted to get away from the words and gangsta rap can be very sick and sinister. I felt like at that time, that is not the direction I wanted my music to go.
So I decided to step away, and I also had a medical situation and I had to have brain surgery, so that also made me step back for a bit, and I also got involved in television. I started composing for different shows, but alot for the UPN Network back then. I did all the shows on there, I did Girlfriends, The Parkers, The Game, not to mention network shows, Medium, NCIS, you know all over the place.
It was better for me because I got away and I was able to put together a different, but more stable type of life. I ended up meeting my future wife and having another child and ready got core family values and that is what happened to me and got me to step away from that.
You are currently working with a artist named Young Pistol. What makes Young Pistol different from the artists that you have worked with in the past?
Aww Pistol! I am actually working with another cat, Pimpin Ten aka John Wayne. Young Pistol is actually my prodigy and I will be honest with you, he reminds me of Kurupt. I think he has a million lyrics and he will freestyle anybody and go in a circle until everyone is done with lyrics and just keep going.
That is what I like about him and cats are not doing that anymore. You meet artists and they are about one thing, they players, partying, banging, and he is not about all of that. Even though he grew up in the jungle, the hood, he is a good kid. Almost seems misplaced and he should have been born on the east coast.
Being that you have worked with so many west coast artists, what are your feelings on this supposed new west vs old west rivalry that is going on?
I love the new west, I don’t know where the term came from but I like it. New, young talent infused into west coast hip hop, but I don’t know the whole old west, new west seems to me that there is some bitterness coming from the older guys that are trying to not let go or something, I don’t know man.
When you are coming from the perspective of a producer, you can produce old west and new west. If you are a rapper and you have what people consider a old west sound, that is what it is. I can see Ice Cube’s point also and I know he felt disrespected but also these kids grew up listening to us and I think they have respect now.
They may not always say it but alot of them know they would not be rapping if they daddy was not listening to Ice Cube, NWA or Ice T, King T. They would not even know how to make these records and in LA there is a studio on every street because we showed people how to put a studio in their house.
When I was coming up there was no studios accessible like it is now. I had to go the valley to work in a studio, so yeah I believe in the new west and I want to see someone come out and shine. Like how Drake blew up and now he is everywhere, I want someone from LA to come up and be that.
I mean this is LA, this is not some small market, we need someone that will stand up and represent us. New west, old west, it does not matter to me, they just need to be tight.
Do you see any new artists out there now that can step in and take that role?
I will be honest with you, I think Young Pistol could be something serious, but there is so much politics out here. Especially when your trying to direct artists in the right direction they need to be going, and that is causing alot of good artists to fall by the wayside. I remember when Glasses Malone first came out and he is tight to me. Guerrilla Black was cool, and he could have been something, but we don’t tend to work cohesively with one another here on the west coast.
We don’t get together and band behind something out here. We are like the 5 burroughs but all separate. We are not trying to come together like say a New York does, we don’t do that. You have Los Angeles, Compton, South Central, Watts, you know that is really just one city. I mean Compton has their own mayor but it is really LA County, but yeah it is really alot of separatism here where it should be more unity.
I don’t think that it is ever going to change and I think it is because of the diverse backgrounds and where our parents were all from different parts of the country, nobody is really 2,3,4 generations of grew up in Los Angeles. They are 1 or 2 generations removed from being somewhere else, like I was born and raised here but both my parents were from somewhere else.
Once you have some generations that grow up and go to school together, then we will have more unity. But until we get unity, we will have division, we will have old west vs new west, how stupid is that?
In being that you are a producer, besides the obvious changes in technology, what do you feel about the production game that has changed the most now as opposed to 10, 20 years ago and who are you feeling as far as new producers?
Well to answer your first question, my first records, I had to go to these lavish studios, do all this work, spend all this money, hire a engineer until I learned how to do it myself. Now everything that I have is on my laptop, including my pro tools, which I can use without hardware. I carry around 10 studios in one bag and I really love that.
If this had been out when I was young, we would have changed the game 10, 20 times over. It would be something completely different right now. When I started producing, they did not even really have MIDI, it was just instruments being connected together. Then MIDI came out and I grew up during that whole development, it might seem like a long time ago but we are only talking about the 80′s.
As far as producers, I really have not kept up with alot of producers that is new that stands out to me. It seems like it is the same people still out there doing it. My favorite producer is Timbaland.
Yeah he is up there for me also. He is incredible.
He is something else and he is the same way, his studio is in his bag as well (laughs).
Last question for you, if you had any advice to give to people wanting to get into the music industry, rappers or producers, what would you tell them?
I would say before you get into the music industry, you have to have a certain type of mentality. You have to be dedicated because people will hate on you and no one will believe in you. Could be your girl or someone else giving you a hard time. Definitely stay in school and finish school. With the technology out now, you can work on your music in your house and put it up on I-Tunes for sale (laughs).
I have songs for sale on Facebook, but yeah it is so easy for people to get their music out there and for people to buy it. If we could have went from the roota to the toota like that and sold records 10 years ago like that, record companies would have BEEN out of business. We were selling cds literally out the trunk of cars, now you can sell them out of your bag or your laptop?
But the problem is, people do not have enough cash to promote and really develop their art and their craft the way that they should. It is just a whole bunch of junk that is out there, there is good stuff out there, but you have to shift through all the other stuff to find it. When I used to go a dig in the crates for records when I was a DJ, I would go through 70 records to find 1 dope one.
The main thing I can say is be tenancious with doing your craft.
That is words of wisdom right there. Alright well that is all the questions I have for you, appreciate you getting down for the interview. Is there any last words or shoutouts you want to get out there to the people?
Yeah I just want to say what’s up to anyone that I have ever worked with. They know who they are and I also want to say sorry it took so long for us to link up for this interview but I have been working but I am glad we linked up. Everyone out there in the music world, just keep working and hopefully things will change and we will be getting rich again like we was before.
All good, well worth the wait. I appreciate your time.
Thank you.
-
Damn,what a great read for a hip-hop nerd like myself. gave me something to do while my old lady watched sex and the city...good shit homie, props
-
Damn,what a great read for a hip-hop nerd like myself. gave me something to do while my old lady watched sex and the city...good shit homie, props
lol, no problem
-
Very interesting interview. Thanks for Posting!
-
Thanks. Great interview.
-
good read.
-
Great interview as usual but one minor complaint with these. They should maybe use bold text or interviewer/artist markers so it's easier to differentiate between who's who.
-
Great interview.
-
thanks for the interview.
On each album, I have a signature song on there that I produced or did work on. For instance, on the Chronic, I did Stranded On Death Row, on Chronic 2000, I did XXXPlosive, on The Firm I did Phone Tap. On Snoop’s album, I produced Doggy Dogg World and all of those were pretty serious singles.
At the time I was not getting the…, I mean people always knew what I did, I would get phone calls from different celebrities or people that were in hip hop or in the business that knew. But the credits were not in print like it should have been, but I never had a problem with it. I always compare it to a college education, you learn and then you go out and do your thing.
In between that though, I produced Hello for NWA on Cube’s album. That was a comeback for them at the time. It was a big record out here on the west coast but working with all those guys, I got to say man, it’s like when people play the Lakers, they bring their best game. All these cats ALWAYS came with it, even guys like Hittman that you never heard of.
lol at the credit claims.
dre wasn't even working with him in 1999 if i'm not mistaken
-
thanks for the interview.
On each album, I have a signature song on there that I produced or did work on. For instance, on the Chronic, I did Stranded On Death Row, on Chronic 2000, I did XXXPlosive, on The Firm I did Phone Tap. On Snoop’s album, I produced Doggy Dogg World and all of those were pretty serious singles.
At the time I was not getting the…, I mean people always knew what I did, I would get phone calls from different celebrities or people that were in hip hop or in the business that knew. But the credits were not in print like it should have been, but I never had a problem with it. I always compare it to a college education, you learn and then you go out and do your thing.
In between that though, I produced Hello for NWA on Cube’s album. That was a comeback for them at the time. It was a big record out here on the west coast but working with all those guys, I got to say man, it’s like when people play the Lakers, they bring their best game. All these cats ALWAYS came with it, even guys like Hittman that you never heard of.
lol at the credit claims.
dre wasn't even working with him in 1999 if i'm not mistaken
Yeah, he left in feb 98
-
thanks for the interview.
On each album, I have a signature song on there that I produced or did work on. For instance, on the Chronic, I did Stranded On Death Row, on Chronic 2000, I did XXXPlosive, on The Firm I did Phone Tap. On Snoop’s album, I produced Doggy Dogg World and all of those were pretty serious singles.
At the time I was not getting the…, I mean people always knew what I did, I would get phone calls from different celebrities or people that were in hip hop or in the business that knew. But the credits were not in print like it should have been, but I never had a problem with it. I always compare it to a college education, you learn and then you go out and do your thing.
In between that though, I produced Hello for NWA on Cube’s album. That was a comeback for them at the time. It was a big record out here on the west coast but working with all those guys, I got to say man, it’s like when people play the Lakers, they bring their best game. All these cats ALWAYS came with it, even guys like Hittman that you never heard of.
lol at the credit claims.
dre wasn't even working with him in 1999 if i'm not mistaken
Xxplosive's beat got passed around before it became Xxplosive. As far as I know the original is a King T song. Then it became Way I Be Pimpin, then Xxplosive. He very easily could have played a part in the production of that song. To what extent I don't know. I don't see a reason to not believe him though.
-
thanks for the interview.
On each album, I have a signature song on there that I produced or did work on. For instance, on the Chronic, I did Stranded On Death Row, on Chronic 2000, I did XXXPlosive, on The Firm I did Phone Tap. On Snoop’s album, I produced Doggy Dogg World and all of those were pretty serious singles.
At the time I was not getting the…, I mean people always knew what I did, I would get phone calls from different celebrities or people that were in hip hop or in the business that knew. But the credits were not in print like it should have been, but I never had a problem with it. I always compare it to a college education, you learn and then you go out and do your thing.
In between that though, I produced Hello for NWA on Cube’s album. That was a comeback for them at the time. It was a big record out here on the west coast but working with all those guys, I got to say man, it’s like when people play the Lakers, they bring their best game. All these cats ALWAYS came with it, even guys like Hittman that you never heard of.
lol at the credit claims.
dre wasn't even working with him in 1999 if i'm not mistaken
Xxplosive's beat got passed around before it became Xxplosive. As far as I know the original is a King T song. Then it became Way I Be Pimpin, then Xxplosive. He very easily could have played a part in the production of that song. To what extent I don't know. I don't see a reason to not believe him though.
well i'm not bothered to check the booklet right now, but he's not listed as a co-producer as far as i remember. so i don't see the point of his bickering about credits.
especially with Hello, he did not produce that. Dr.Dre & Mel Man did.
-
Yeah, "Xxplosive" was originally a King T song called "The Future". Hittman said that in one of his old interviews.
-
Yeah, "Xxplosive" was originally a King T song called "The Future". Hittman said that in one of his old interviews.
yeah i heard about that, i think it's also mentioned in dre's biography by ronin ro(perhaps the interview was quoted there, i can't remember)
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
-
Yeah, "Xxplosive" was originally a King T song called "The Future". Hittman said that in one of his old interviews.
yeah i heard about that, i think it's also mentioned in dre's biography by ronin ro(perhaps the interview was quoted there, i can't remember)
Hittman interview mentions The Future:
http://www.thaformula.com/the_last_dayz_-_h_i_t_t_m_a_n__-_part_i.htm
+ Bonus:
http://www.thaformula.com/hittman_the_last_days_thaformula_music.html
(http://cdn.ifandco.com/wp-content/uploads/2010/08/HITTMAN-THE-SHINING.jpg) <--- Did Ben Baller ever leak this?
King T Interview:
http://www.thaformula.com/the_likwit_committee_-_day_5_-_king_tee.htm
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
-
But the DJ named Glove has reigned supreme
As the turntable wizard of the Hip Hop scene
So listen to him, check him out
But remember this, when The Glove's on the wheels of steel he's Recklesssss
+ 1 D-Nice! 8)
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
My understanding is that the producer is the one who dictates and oversees the sound of the song. The keyboard player is someone that plays keyboards under the direction of the producer.
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
My understanding is that the producer is the one who dictates and oversees the sound of the song. The keyboard player is someone that plays keyboards under the direction of the producer.
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
-
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Yes, but if you're working for a major label or studio, everyone has input. The producer (or in the case of a movie, director) is the one who has the final say. It's gonna be a collaborative effort or it won't work at all. A producer is very rarely (especially on a major level) going to come up with the concept from scratch and then create every little detail. The idea that Dr. Dre or any producer/movie director/sports coach/etc. are these people who come up with every idea on their own is just not acurrate. They make for great stories but like D.O.C. said in that interview he did recently, "every succesful person has at least five or six people helping them get there". Producers are ultimately decision-makers.
-
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Yes, but if you're working for a major label or studio, everyone has input. The producer (or in the case of a movie, director) is the one who has the final say. It's gonna be a collaborative effort or it won't work at all. A producer is very rarely (especially on a major level) going to come up with the concept from scratch and then create every little detail. The idea that Dr. Dre or any producer/movie director/sports coach/etc. are these people who come up with every idea on their own is just not acurrate. They make for great stories but like D.O.C. said in that interview he did recently, "every succesful person has at least five or six people helping them get there". Producers are ultimately decision-makers.
This applies only to hip hop, I assume, because it's a lot different in other genres of music to my knowledge.
-
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Yes, but if you're working for a major label or studio, everyone has input. The producer (or in the case of a movie, director) is the one who has the final say. It's gonna be a collaborative effort or it won't work at all. A producer is very rarely (especially on a major level) going to come up with the concept from scratch and then create every little detail. The idea that Dr. Dre or any producer/movie director/sports coach/etc. are these people who come up with every idea on their own is just not acurrate. They make for great stories but like D.O.C. said in that interview he did recently, "every succesful person has at least five or six people helping them get there". Producers are ultimately decision-makers.
This applies only to hip hop, I assume, because it's a lot different in other genres of music to my knowledge.
Actually, let me correct that, to high paid "producers" like Dre. 2Pac got co-production credits on songs where he just hummed a melody when Johnny J or Hurt M Badd did all the work. 2Pac couldn't actually do a beat himself. So, I think everyone has a different definition of production.
-
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Yes, but if you're working for a major label or studio, everyone has input. The producer (or in the case of a movie, director) is the one who has the final say. It's gonna be a collaborative effort or it won't work at all. A producer is very rarely (especially on a major level) going to come up with the concept from scratch and then create every little detail. The idea that Dr. Dre or any producer/movie director/sports coach/etc. are these people who come up with every idea on their own is just not acurrate. They make for great stories but like D.O.C. said in that interview he did recently, "every succesful person has at least five or six people helping them get there". Producers are ultimately decision-makers.
I also viewed production as similar to directing. My understanding is that the producer like the director decides how the scene is shot and what stays in or out, a music producer decides the overall direction of how the song is going to sound. He decides what sound goes with another sound as opposed to someone who is just brought in to play a melody on a keyboard or guitar. The person that creates a melody usually gets writing credit but not production credit because they don't supervise the song.
-
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Yes, but if you're working for a major label or studio, everyone has input. The producer (or in the case of a movie, director) is the one who has the final say. It's gonna be a collaborative effort or it won't work at all. A producer is very rarely (especially on a major level) going to come up with the concept from scratch and then create every little detail. The idea that Dr. Dre or any producer/movie director/sports coach/etc. are these people who come up with every idea on their own is just not acurrate. They make for great stories but like D.O.C. said in that interview he did recently, "every succesful person has at least five or six people helping them get there". Producers are ultimately decision-makers.
I also viewed production as similar to directing. My understanding is that the producer like the director decides how the scene is shot and what stays in or out, a music producer decides the overall direction of how the song is going to sound. He decides what sound goes with another sound as opposed to someone who is just brought in to play a melody on a keyboard or guitar. The person that creates a melody usually gets writing credit but not production credit because they don't supervise the song.
Tell that to 2Pac, Johnny J (R.I.P.), Hurt M Badd, and Death Row Records. Check your All Eyez On Me album, look at songs like All About You. Not to take away from Dre's amazing talent, but the assignment of credit for certain things is very...iffy.
-
I also viewed production as similar to directing. My understanding is that the producer like the director decides how the scene is shot and what stays in or out, a music producer decides the overall direction of how the song is going to sound. He decides what sound goes with another sound as opposed to someone who is just brought in to play a melody on a keyboard or guitar. The person that creates a melody usually gets writing credit but not production credit because they don't supervise the song.
Well, I think film directing and music producing are similar in that neither role is clear cut in terms of what is right or wrong. The same way you might have a director who comes out of film school and has a more technical understanding or someone who just picked it up on their own and is more an "actor's director", they are both sharing that same title. I like to use directing as an example because I've had some experience in that field and it's interesting how much a line can get blurred when you collaborate with creative people. It's funny how on even on the lowest of low-budget operations, someone will literally come up with an idea and if you decide to use it, suddenly, they think they are entitled to a bigger credit. I think from the outside, people who've never actually collaborated with multiple people on a creative level think it's just like writing where you come up with a creative idea and it's as easy as telling someone else to do it. Everybody on a set or in a recording studio wants to CREATE. Nobody is trying to be the hired technician who just stood there and was dictated to. And you're supposed to encourage that creativity. Your job isn't to create the whole fucking thing from start to end. It's to maintain an enviroment where everything works. Using your technical skills to create something in your head is one thing. Trying to verbalize to another person how a specific vocal tone or cadence needs to be performed is quite another. A lot is made of the creative proccess but I don't think enough is made of the people skills that that kind of job requires.
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
Not sure to be honest, I'd say because they were stupid and signed some paperwork forfeiting their right to do so due to compensation.
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
My understanding is that the producer is the one who dictates and oversees the sound of the song. The keyboard player is someone that plays keyboards under the direction of the producer.
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Not strictly true. A lot of Singers will have a voice coach running through how to hit all the notes on a song. A music producer doesn't necessarily sing or rap. In fact they can't possibly do everything unless they're on some Prince or Stevie Wonder level. Just like actors have a dialogue coach for accents etc. which in-turn doesn't mean the dialogue coach Directed the scene.
Like another poster said, even the best artists will be surrounded by 5 or 6 guys. Even more so when we're talking Dr. Dre label $$$ at stake.
If you look at all of Dre's stuff leading upto the 2001 album, he was happy to give others writing/production/co-production/musician credits. Look how often Richard Vick turns up as a writer for Dre from 96 - pre-2001. On the album however Dre/The label didn't want Dre to look like he wasn't his own man. People got paid off for their work, Dre got mostly sole credit. Only the big guns like Storch were getting musician credits and as far as the world was concerned Dre wrote his own raps.
-
bullshit, Dre even openly admitted that he wasn't a lyricist.
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
Not sure to be honest, I'd say because they were stupid and signed some paperwork forfeiting their right to do so due to compensation.
as far as Chris is concerned, i don't believe it.
maybe for death row, but for aftermath?
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
i don't smell bitterness in The Glove's interview. Nor does he say "Dre stole my credits". He tells us what he believes he did, which is producing a bunch of tracks for Dre. Now he must have a different understanding of the word "producing" but ultimately it informs us that The Glove was involved in Doggystyle, like he was in The Chronic. It adds another co-producer/collaborator to the table, so it's a newsworthy piece of information to me.
Anyway good interview, but I like The Glove for his stuff with Po Broke N Lonely, not his possible co-productions for Dre. Too bad he didn't shed more light on the PBN era. No Money No Honeys and Forbidden Vibe are classics in my book. The former is a New Jack swing type of R&B while the latter boasts G-Funk sounds with fine ass Battlecat productions.
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
My understanding is that the producer is the one who dictates and oversees the sound of the song. The keyboard player is someone that plays keyboards under the direction of the producer.
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Not strictly true. A lot of Singers will have a voice coach running through how to hit all the notes on a song. A music producer doesn't necessarily sing or rap. In fact they can't possibly do everything unless they're on some Prince or Stevie Wonder level. Just like actors have a dialogue coach for accents etc. which in-turn doesn't mean the dialogue coach Directed the scene.
Like another poster said, even the best artists will be surrounded by 5 or 6 guys. Even more so when we're talking Dr. Dre label $$$ at stake.
If you look at all of Dre's stuff leading upto the 2001 album, he was happy to give others writing/production/co-production/musician credits. Look how often Richard Vick turns up as a writer for Dre from 96 - pre-2001. On the album however Dre/The label didn't want Dre to look like he wasn't his own man. People got paid off for their work, Dre got mostly sole credit. Only the big guns like Storch were getting musician credits and as far as the world was concerned Dre wrote his own raps.
Dre never claimed to write his own raps and never pretended to be a rapper. If you look at the credits for all his albums you will see writing creditis givin to others
-
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
Yeah, true that. A lot of people are sayin' they produced songs that were produced by Dr. Dre & Mel-Man ("Hello" for example, the booklet of "War & Peace" II says that Chris "The Glove" Taylor played the keys on the song with Tommy Costner Jr.) Also Neff-U and them dudes said they produced some songs that were produced by Eminem (according to the booklet credits)
In other music genres people who play keys get credited as playing keys, but in hip hop people that play keyboards want to take credit as producer.
Soopafly played "Keys" for Daz, how do Daz's productions sound without Soopafly? It's kind of like a way to get away without giving proper credit.
My understanding is that the producer is the one who dictates and oversees the sound of the song. The keyboard player is someone that plays keyboards under the direction of the producer.
Correct, but a lot of these dudes who are credited as producers aren't the producers just by themselves. Like a lot of credit gets misplaced, like when D.O.C. told Snoop how to rap the songs on The Chronic - that's production. That's like telling a singer how to sing, and that's production, but D.O.C. was credited as a writer on that or just not credited at all or you'll have a beat/production that's basically already done then someone like Dre will add a few elements and make it his beat. Diddy's guilty of stuff like that, so I wouldn't doubt Dre is too.
Not strictly true. A lot of Singers will have a voice coach running through how to hit all the notes on a song. A music producer doesn't necessarily sing or rap. In fact they can't possibly do everything unless they're on some Prince or Stevie Wonder level. Just like actors have a dialogue coach for accents etc. which in-turn doesn't mean the dialogue coach Directed the scene.
Like another poster said, even the best artists will be surrounded by 5 or 6 guys. Even more so when we're talking Dr. Dre label $$$ at stake.
If you look at all of Dre's stuff leading upto the 2001 album, he was happy to give others writing/production/co-production/musician credits. Look how often Richard Vick turns up as a writer for Dre from 96 - pre-2001. On the album however Dre/The label didn't want Dre to look like he wasn't his own man. People got paid off for their work, Dre got mostly sole credit. Only the big guns like Storch were getting musician credits and as far as the world was concerned Dre wrote his own raps.
Dre never claimed to write his own raps and never pretended to be a rapper. If you look at the credits for all his albums you will see writing creditis givin to others
Yeah I know playboy. 8)
I'm just saying on 2001 there were fewer credits and more writers, compared those earlier releases (when Dre was quite transparent about who did what). But I ain't trippin. Dre's sure not the first artist to do this, and those people all got their fee. It's only because the 2001 album is so LOVED that people still talk about it. This collaborative process happens on just about every major artists release year in year out. Just no one actually cares about what goes on behind the scenes for 99% of those other artists & their albums.
-
good read, and a decent 8) interview.
http://www.reallionnaire.blogspot.com
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
i don't smell bitterness in The Glove's interview. Nor does he say "Dre stole my credits". He tells us what he believes he did, which is producing a bunch of tracks for Dre. Now he must have a different understanding of the word "producing" but ultimately it informs us that The Glove was involved in Doggystyle, like he was in The Chronic. It adds another co-producer/collaborator to the table, so it's a newsworthy piece of information to me.
Anyway good interview, but I like The Glove for his stuff with Po Broke N Lonely, not his possible co-productions for Dre. Too bad he didn't shed more light on the PBN era. No Money No Honeys and Forbidden Vibe are classics in my book. The former is a New Jack swing type of R&B while the latter boasts G-Funk sounds with fine ass Battlecat productions.
you're right he didn't point a direct finger, but he did say that he felt that he wasn't getting (enough) credit.
-
And he's probably telling the truth
-
And he's probably telling the truth
so you believe that he produced Hello, in stead of Dr.Dre & Mel-Man?
-
I don't really care, I wasn't there, none of us were. Our words hold no weight and are pure speculation, the only people that know are dre , Mel man and glove. And even if you asked them they could be lying so what's the point of speaking onit
-
I don't really care, I wasn't there, none of us were. Our words hold no weight and are pure speculation, the only people that know are dre , Mel man and glove. And even if you asked them they could be lying so what's the point of speaking onit
The whole point of a forum is to discuss things, even if we don't no what the fuck we are talking about.
-
I don't really care, I wasn't there, none of us were. Our words hold no weight and are pure speculation, the only people that know are dre , Mel man and glove. And even if you asked them they could be lying so what's the point of speaking onit
The whole point of a forum is to discuss things, even if we don't no what the fuck we are talking about.
(http://tiger3.netfirms.com/lol.gif)
-
I don't know what he allegedly produced but I do know the stuff he did with Chico and Coolwadda is classic to me
-
dope and insightful interview. didn't know he had a hand in those tracks he said he produced but i believe him. it's not the first time we've heard this about dre.
that's what happens when you're a big name
In regards to Hello and the other song, anything is possible. Credits have been stolen before, then again it seems a lot of dudes at Aftermath take credit for shit they didn't do.
but why do these former collaborators keep talking, but don't file a lawsuit?
it makes them look like jealous ex girlfriends
i don't smell bitterness in The Glove's interview. Nor does he say "Dre stole my credits". He tells us what he believes he did, which is producing a bunch of tracks for Dre. Now he must have a different understanding of the word "producing" but ultimately it informs us that The Glove was involved in Doggystyle, like he was in The Chronic. It adds another co-producer/collaborator to the table, so it's a newsworthy piece of information to me.
Anyway good interview, but I like The Glove for his stuff with Po Broke N Lonely, not his possible co-productions for Dre. Too bad he didn't shed more light on the PBN era. No Money No Honeys and Forbidden Vibe are classics in my book. The former is a New Jack swing type of R&B while the latter boasts G-Funk sounds with fine ass Battlecat productions.
you're right he didn't point a direct finger, but he did say that he felt that he wasn't getting (enough) credit.
Ya you're right he was probably going by a different definition of producer than what it really is. I think he was just saying he did some things and wasn't credited for them, but it didn't come off as bitter at all. This guy has a solid track record so I'm gonna believe that he did at least something on those songs he mentioned. Great interview though. Besides having like 50 unreleased PBNL songs I wonder what else he might have stashed away. If he was keeping shit from before his time producing for Death Row and Aftermath, I can only imagine what else he has.
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
You can add Sam Sneed, J.Flexx, Emannuel Dean, Big Chuck and Cold187Um to that list. Snoop Dogg confirmed that Dre don't make the beats, he produces the records and i think MC Ren said that Dre ain't really did those beats on that old Above The Law record.
-
Here's the article i was talkin' about, it's from The Source Magazine. I found this through google.
Before &
Aftermath
In a shocking revelation,
some of dr. dre’s closest
associates have broken ties
with aftermath records
and are ready to expose
some of the label’s secrets.
Big chuck, mel-man, neff-u and
the legendary eric b. have launched the drama family
and they’re ready to get
the credit they deserve.
t’s time for me to do what I got to do for myself,” states Big Chuck. As Aftermath’s senior director of A&R, Chuck spent seven years helping build the label into the money-making machine it is today. Chuck says he convinced Dr. Dre to sign Eminem, and even arranged for Jay-Z’s contribution to “Still D.R.E.” But with Dre living up 2001’s “Big Egos” a little too often, creative differences soon arose. Big Chuck has now left Aftermath, aligned himself with noted Dre collaborators Mel-Man and Neff-U, and is looking to secure a label deal for his stable of artists, the Drama Family. Also helping out is the legendary Eric B., who is scouting potential talent as a VP for the Drama Family. In this exclusive, Big Chuck and Neff-U catch up with The Source to offer a glimpse into the inner workings of one of hip-hop’s most successful boutique labels. This is the interview Aftermath does not want you to read.
The Source: When were your final days at Aftermath Records?
Big Chuck: I left on July 21 because of creative differences between Dr. Dre and myself. I stayed loyal to the dude but I knew no matter how long I stayed I wouldn’t shine like the real diamond I am. I’m a boss, period. I’m not comfortable sitting there stroking $$$$$s. I ain’t a $$$$-sucker. Dre wants people to praise him all day like his name is in the Bible, and I can’t do that.
When did you first meet Dr. Dre?
I met Dre in the ’80s. I was with [Big Daddy] Kane and he was with N.W.A. It was in Detroit. I came in when the first Aftermath album jumped off and everybody counted him out. I was the Krazy Glue in the situation.
It had to take more than a personal beef for you to leave after seven years. Have you guys spoken since then?
Big Chuck: I haven’t spoken to him. I called him and he said he would call me back and he never did. He had the general manager, who is a dear friend of mine, call me and say he thinks we should part ways. He wasn’t man enough to holla at me. He [told] the GM that I ain’t brought him something hot in three years. This is what he told her. How the $$$$ is he going to say that when I recently brought him Neff-U? I hooked him up with the Training Day script. Me and him listened to the Eminem jump-off in his house and I told him he had to sign him. Even the new single, [the “P.I.M.P. (Remix)], with 50 and Snoop—I told them that this joint is a smash. He fought me for it and we kept it. Now look at it—it’s a smash. My ears are my talent.... A lot of $$$$ is being done over there where mutha$$$$as are being mistreated. People aren’t getting credit for records they’re doing. It’s like, “Take this money and be cool.” That happened to Neff-U a couple of times. Mel-Man might have gotten the [co-producer credit on Dr. Dre’s 2001], but he didn’t get that paper.
Neff-U, you’ve been working with Dre for about two years. What records have you done?
Neff-U: I did the beat on the Coors Light commercial featuring Dr. Dre. On The Eminem Show I did “My Dad’s Gone Crazy,” “Say What You Say,” and “When the Music Stops.” On 50 Cent’s album, I did “Back Down,” “If I Can’t” and I played on “Heat.”
The songs you just mentioned on Get Rich or Die Tryin’ were all credited as being produced by Dr. Dre. How did that happen?
Neff-U: I have no idea. I thought I would get co-producer credit [on “If I Can’t”] but I didn’t, so I told my uncle, [Big Chuck], and he handled it. They are fixing that as we speak. They screwed up the credits really bad, but Dr. Dre is Dr. Dre. I don’t try to focus on the business; I just love staying in the studio and doing the music part. Sometimes the business gives me a headache. I can’t get into the creative vibe so I let my uncle handle that stuff.
Big Chuck: As a producer, [Dre] is aiight, but as a person he’s a piece of $$$$. One minute you good with the mutha$$$$a and then he treating you funny-style. But a lot of people believe Dre’s got the chemistry. I was very surprised when Eve came back. Eve was being her own individual outside of the studio when they dropped her [in 1998]. I thought it was crazy when he got rid of her because she was doing what she wanted to do.
There is a lot of talent on that label; you would think they would release more albums.
Big Chuck: Well, you got one person who wants to be a superstar. He’ll sign these artists and keep them on the label for a year or two. I guess it’s a tax write-off. It’s pretty sad that most of the artists that get signed to Aftermath sit until they lose their adrenaline. They go in the studio and record then [Dre] gasses them up and drops them.
That sounds like a harsh fate; too bad it happened to one of the greats. Everyone was waiting for Oh My God. What happened with Rakim? Did he get dropped? Was the music coming out of the sessions really sub-par?
Big Chuck: I think Rakim got tired with that bull$$$$; he left. The god isn’t going to sit around and be mistreated. You got to look at Rakim as a guy who changed hip-hop entirely. How do you sign him and then stick him in the studio with a whole bunch of C-list producers? That’s disrespectful. Dre would throw him one track and not even sit in with him.
Neff-U: It was a shock to me because [the music] was cool. Rakim was Rakim, the Living Legend; the music was good.
Big Chuck: If Dre did the beats and Ra did the rhyme, then what is the problem?
These can’t all be Dr. Dre’s decisions.
Big Chuck: The investors have too much say in the artistic part of the game. These 75-year-old men are telling us how to sound, and they don’t understand the type of music we’re doing. You got these mutha$$$$as A&Ring a record and that’s bull$$$$. Damn the interests of the 75-year-old investors of the company. Damn that because it all falls back on the artist. And a lot of artists are scared to do what they want because they know if you don’t do it their way, sooner or later they will sabotage your career.
You’re going to have to deal with those same 75 year olds trying to get your Drama Family label off the ground.
Big Chuck: I’m trying to get creative control and a fair situation. A couple of real check-writers are hollering at me right now but I don’t want to say whom because I want it set in stone. These labels have been calling me and they’ve seen what I did.
What will be the first album released by the Drama Family and when will it drop?
Big Chuck: We’re working on a secret weapon and we’re going to shock the world with [this album]. The secret missile involves the whole label, and outside artists like Jay-Z and Missy will rock with me. It should be out at the top of the New Year.
As of now, what artists are associated with the Drama Family?
Big Chuck: I got Punch, who wrote Dre’s verses on “What’s the Difference?” and “Big Egos.” Some other artists are Blood Thirsty, Huggy, Goon, Dollar Roc and Stat Quo. Stat Quo’s been writing joints for Dre’s Detox album. Each person we bring along will be able to stand by himself and be superstars. I’m also bringing Freddie Foxxx and Jayo Felony to the label. And Hillstorian [Mel-Man] is going to be a key player in the production. He also has a good ear for talent.
Are you going to try to reach out to other Aftermath associates?
Big Chuck: I went up there [Aftermath Records offices] to get thousands and thousands of demos that get thrown in the garbage. You know how many thousands of demos are sent in and not even listened to in that office? I’ll reach out to all of them. We are going to embrace everyone who is trying to do the right thing.
Neff-U: We are trying to bring originality back into the game, start new trends and give people a chance to have an equal opportunity.
Big Chuck: We’re just going to find raw talent, and let the streets be the judge of the music.
“Dre wants to be a superstar. he’ll sign artists and keep them for a year or two. i guess it’s a tax write-off.” —Big chuck
“How do you sign rakim and put him in the studio with c-list producers? that’s disrespectful.” —Big chuck
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
yeah i think i've read it.
but that's not stealing, they made a deal. hence you won't see Nottz or Hi-Tek complain
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
yeah i think i've read it.
but that's not stealing, they made a deal. hence you won't see Nottz or Hi-Tek complain
Yeah, but it's kind of like if you don't do these deals you aren't really kept around or when you realized you've made a hit (which you're not immediately going to think you did) then the truth kind of sinks in that you obviously fucked yourself and Dre helped you do it. Like when it comes to Timbaland or other producers, they're on some bullshit too but I've never heard horror stories about them doing that to their producers.
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
yeah i think i've read it.
but that's not stealing, they made a deal. hence you won't see Nottz or Hi-Tek complain
Yeah, but it's kind of like if you don't do these deals you aren't really kept around or when you realized you've made a hit (which you're not immediately going to think you did) then the truth kind of sinks in that you obviously fucked yourself and Dre helped you do it. Like when it comes to Timbaland or other producers, they're on some bullshit too but I've never heard horror stories about them doing that to their producers.
but if it's true what you're saying, then i don't believe that Dre is the only big producer doing it(to that extent). who knows what happens behind the scenes though
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
yeah i think i've read it.
but that's not stealing, they made a deal. hence you won't see Nottz or Hi-Tek complain
Yeah, but it's kind of like if you don't do these deals you aren't really kept around or when you realized you've made a hit (which you're not immediately going to think you did) then the truth kind of sinks in that you obviously fucked yourself and Dre helped you do it. Like when it comes to Timbaland or other producers, they're on some bullshit too but I've never heard horror stories about them doing that to their producers.
but if it's true what you're saying, then i don't believe that Dre is the only big producer doing it(to that extent). who knows what happens behind the scenes though
It happens all the time, but Dre's the only one people actually air out.
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
yet no lawsuits, suprising?
It's because they were compensated for their work. Hi-Tek discussed this once in an interview when talking about doing business with Dr. Dre.
yeah i think i've read it.
but that's not stealing, they made a deal. hence you won't see Nottz or Hi-Tek complain
stop making excuses for him, making "deals" with other producers doesnt change the fact that Dre has been getting credit for material he didnt do. Every time another producer exposes Dre, I lose more respect for him. He's a fraud
-
So that makes it
Neff-U
Erotic D
Chris The Glove
Daz
Who have all come out and said the same thing about Dre (and im probably forgetting some other producers too). I dont see why Dre should be regarded as a "legendary" producer, when he has been fucking other producers over his entire career. You cant say it because Dre's a "big name", becuase other "big name" producer havent had as much ghost production accusations as Dre has. You never hear anybody sayong that Premier or the Neptunes stole credit from them
Come now, didn't Snoop break this down years ago. Snoop spoke on this years ago, as far as Daz and Warren G. claiming that Dre stole credits from them back in tha day. Dre still looked out for them because they were doing the work. Back in tha day, they wasn't doing tha work. Dre showed them how to produce. The D.O.C. said that it's just all drama and he was there for alot of that shit as well as Snoop. On tha credits, it says "Produced by", not "Brought In Beat In By" right? Dre is great at bringing beats to life and turning a good idea into a great one. So, that's just some bullshit that put out there and alot of people fed into that bullshit. If a beat or a track sound like it's 30% or even 75%, Dre make that shit sound like 200%. Plus, his mixing is great. Khalil just said in a interview by Complex that the way he had the Kush track originally sounds almost nothing like how Dre finished it and Dre only got credit for the mixing the song. That stealing stuff is bullshit, as far as Dre is concern.