West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: Matty on May 31, 2013, 12:51:59 PM
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
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i was in Scotland not too long ago and I picked up the Velvet Rope for £1 (#coolstorybro) and I was like god damn Go Deep really sounds like a Quik produced track, and my friend was like "there's no way it ain't produced by Quik" but it says produced by Jimmy Jam & Terry Lewis which are Janet's all-time producers and among my favorite producers as well. they're very versatile considering what they've produced over their careers so I'm guessing they emulated what was trending at the time but at the same time I wouldn't be surprised if Quik had a hand in creating it.
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Quik talks about working with Whitney here: http://www.vibe.com/photo-gallery/full-clip-dj-quik-breaks-down-his-catalogue-feat-jay-z-2pac-snoop-dogg-dr-dre-rakim?page=11
Based on that seems like they didn't do all that much together.
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yea "go deep" sounds like an imitation quik beat
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jimmy jam and terry lewis are HIGHLY respected producers in my book
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
why are you digging deep? if quik says he produced it then so be it. did you know quik produced In Da Club and mixed by Dre. who got all the credit?
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
why are you digging deep? if quik says he produced it then so be it. did you know quik produced In Da Club and mixed by Dre. who got all the credit?
produced what? the way he mentions doing stuff for whitney/janet makes it sound like a bit more than mixing and a remix. i'm interested if there's anything else for those artists, besdies what's credited.
as far as 'in da club', i know he spoke on how they were his sounds (and general aftermath ghost production), whether he 'produced' that track on the other hand...
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this is the Whitney Houston song, Quik mixed it produced by Rapheal Saddiq & Q-Tip:
https://www.youtube.com/v/8ZpvsFY3S8A (http://www.youtube.com/watch?v=8ZpvsFY3S8A)
and as far i know he only did a remix for Janet:
https://www.youtube.com/v/G2sQ7rRWqXE (http://www.youtube.com/watch?v=G2sQ7rRWqXE)
correct me if i'm wrong...
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Quik did not produce "In Da Club", Dr. Dre did. Contributing sounds, instrumentation, or even the outline for the instrumental does not a producer make.
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
why are you digging deep? if quik says he produced it then so be it. did you know quik produced In Da Club and mixed by Dre. who got all the credit?
Lol wtf kinda bs is this ?
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But of an earlier studio session which Dre was in attendance that did yield a hit record, Quik reveals, “I had all these drums sounds that I knew were hot but wasn’t nobody checking for me at the time. I gave [Dre] those sounds. It’s not even the sounds, it’s about hot you use them and Dr Dre just had a crazy technique that day when he did that In Da Club” sh!t” [3:50] And of his unaccredited production work on the 50 Cent hit record which launched the now diamond selling status album Get Rich or Die Trying, Quik laughs, “I think my unaccredited production has furthered hip hop more so than my credited production.” [39:15]
The untold additive DJ Quik influence for numerous records extends well beyond just the In Da Club record. “Sometimes I’m humble to a fault to where I like to give other people credit for things that I did,” offers Quik while realizing, “I’ve always been a team player but the reality is that I have to accept that I took a lot of roads that nobody else took and blazed some trails that made a lot of sense. In looking at it that way, I think that my voice actually was heard and did make a difference.”
http://www.fastlifeshow.com/2012/02/quiks-breaks-down-the-responsibility-in-music-production/ (http://www.fastlifeshow.com/2012/02/quiks-breaks-down-the-responsibility-in-music-production/)
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But of an earlier studio session which Dre was in attendance that did yield a hit record, Quik reveals, “I had all these drums sounds that I knew were hot but wasn’t nobody checking for me at the time. I gave [Dre] those sounds. It’s not even the sounds, it’s about hot you use them and Dr Dre just had a crazy technique that day when he did that In Da Club” sh!t” [3:50] And of his unaccredited production work on the 50 Cent hit record which launched the now diamond selling status album Get Rich or Die Trying, Quik laughs, “I think my unaccredited production has furthered hip hop more so than my credited production.” [39:15]
The untold additive DJ Quik influence for numerous records extends well beyond just the In Da Club record. “Sometimes I’m humble to a fault to where I like to give other people credit for things that I did,” offers Quik while realizing, “I’ve always been a team player but the reality is that I have to accept that I took a lot of roads that nobody else took and blazed some trails that made a lot of sense. In looking at it that way, I think that my voice actually was heard and did make a difference.”
http://www.fastlifeshow.com/2012/02/quiks-breaks-down-the-responsibility-in-music-production/ (http://www.fastlifeshow.com/2012/02/quiks-breaks-down-the-responsibility-in-music-production/)
it says he gave him drum sounds for it, not that he produced the song LOL
shit even says
"Dr Dre just had a crazy technique that day when he did that In Da Club” sh!t”
come on, now
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niggas is gettin their jimmies rustled in this thread.
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niggas is gettin their jimmies rustled in this thread.
I know right? ;D
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niggas is gettin their jimmies rustled in this thread.
naah, peeps just tryna get shit right, then u always got the cats who offer nothin to the forum like 187 skillz comin in threads to spread lies. it aint upsetting, it's just dumb.
if u think "in da club" sounds like a quik beat then u dont deserve to post here.
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You can call what you want but I still find it annoying when people think the producer is just the guy who made the beat.
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the lines between producing/mixing/engineering a record can get quite grey
i dont think any one here is really qualified to say who did what.
(https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcS99BAyBF7shl8cJ3NSwkmXv1pb9AKAG5mRHR2otercSqucgDV2wQ)
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I've heard few stories of producers who wind up in a studio and don't know whether they are there to be the producer or the engineer. It's usually some guy on the production team who had a good idea or sound that the producer went with who suddenly thinks that means he's entitled to a larger credit. In the case of this scenario, Quik isn't even trying to claim credit for producing it. He's saying he had some sounds and Dre incorporated them into the record. If it's grey, it's because people are reading it that way. If the head chef incorporates some of his apprentice's flavors into the ingredients, it's still his recipe.
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I've heard few stories of producers who wind up in a studio and don't know whether they are there to be the producer or the engineer. It's usually some guy on the production team who had a good idea or sound that the producer went with who suddenly thinks that means he's entitled to a larger credit. In the case of this scenario, Quik isn't even trying to claim credit for producing it. He's saying he had some sounds and Dre incorporated them into the record. If it's grey, it's because people are reading it that way. If the head chef incorporates some of his apprentice's flavors into the ingredients, it's still his recipe.
lets say if my dude that raps is in the lab with me and he has an idea like, damn you should loop "such and such" and throw some hard drums on it and i do it and it sounds good im gonna give my dude co production credit.
to not give that man some kind of recognition is unprofessional. off topic but semi related niggas be actually submitting there beats to other producers which is imo the dumbest thing in the world...theres stories of dumb ass white kids from the netherlands who sent just blaze a beat loop and he turned it into a hit and that kids hopes and dreams are shit on by his hero lol
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niggas is gettin their jimmies rustled in this thread.
lol
sometimes when i read shit on this board i think of the character C-Czar from the Kroll Show
he on some enyce/white classic material sheit
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C'mon these are drum sounds we are taking about here. Just because Dre used Quik's drum sounds (which probably originated from old samples anyway) doesn't in no way mean he produced or co-produced in the club. Produces trade drum sounds all the time. Hell most of Under the Influence was probably Dre drum sounds, like Quik said its what you do with them. Quilk even said on Flow for Sale that it was a old Dre drum track. Dre gave Eminiem a bunch of drums he didn't use anymore when Em started producing. Em and Kanye traded Drums when Kanye produced for D-12. The drum sounds on Kanye West's Stronger are Timbaland's. Producers do this with each other all the time folks.
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lets say if my dude that raps is in the lab with me and he has an idea like, damn you should loop "such and such" and throw some hard drums on it and i do it and it sounds good im gonna give my dude co production credit.
to not give that man some kind of recognition is unprofessional. off topic but semi related niggas be actually submitting there beats to other producers which is imo the dumbest thing in the world...theres stories of dumb ass white kids from the netherlands who sent just blaze a beat loop and he turned it into a hit and that kids hopes and dreams are shit on by his hero lol
Well, that's your prerogative but given the collaborative nature that goes into this kind of process, I probably wouldn't. Contributing ideas is not producing. You're talking about giving a pretty sizeable credit for a contribution that doesn't equal up to a large percentage of the finished record. In the end, this might be someone else's idea but the producer is responsible for making this guy's idea work. The people in the studio are supposed to be contributing ideas. The guy on the drum machine isn't just paid to play the drum patterns how they are orchestrated, he's also expected to draw on his own experiences to try and make the best record possible. However, that doesn't make him a "co-producer". The producer is ultimately the one who carries the weight of the decision-making process on his shoulders. This extends way beyond just being the one who conceptualizes or creates the instrumental for the track.
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so many replies yet exactly zero new information pertaining to the OP.
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puff daddys whole career as a producer and him getting the prestigious best hip hop producer of the 90s award frm the source who was the most respected hip hop pub. at that time is a great example of what were discussing here. the man never touched naan drum machine, keyboard or any of that.
yeah you can be a shrill of a prick and sponge everyones ideas which is clearly what dres done for years (he knows there will be another class of young dumb ass beat makers every few years) but im sorry if a guy picked your drums and your loop for you or something of that nature he co produced it fam. you on some record industry rule 4080 type of shit and i cant respect it. it breaks up camps and crews etc.
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puff daddys whole career as a producer and him getting the prestigious best hip hop producer of the 90s award frm the source who was the most respected hip hop pub. at that time is a great example of what were discussing here. the man never touched naan drum machine, keyboard or any of that.
yeah you can be a shrill of a prick and sponge everyones ideas which is clearly what dres done for years (he knows there will be another class of young dumb ass beat makers every few years) but im sorry if a guy picked your drums and your loop for you or something of that nature he co produced it fam. you on some record industry rule 4080 type of shit and i cant respect it. it breaks up camps and crews etc.
To compare Dre and Puff is insane.. What Dre does goes far beyond producing. He crafts tracks to perfection. He's used co-producers like a muthafucka, but he's the composer holdin the stick on everything he touches
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so many replies yet exactly zero new information pertaining to the OP.
We need to start a DJ Quik forum/fan site. Fuck these bitch ass niggas.
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so many replies yet exactly zero new information pertaining to the OP.
We need to start a DJ Quik forum/fan site. Fuck these bitch ass niggas.
there used to be one back in the day. i was on it before here...not sure what happened to it. i think a few of the people might still be about on here.
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yeah you can be a shrill of a prick and sponge everyones ideas which is clearly what dres done for years (he knows there will be another class of young dumb ass beat makers every few years) but im sorry if a guy picked your drums and your loop for you or something of that nature he co produced it fam. you on some record industry rule 4080 type of shit and i cant respect it. it breaks up camps and crews etc.
If the camp/crew doesn't respect the chain of command in the first place, it ain't much of a crew. If the guy who plays the fucking drums on your records is only getting credit for playing drums, why is the guy who throws out an idea about how they should be played suddenly a co-producer? There are too many fucking layers to an instrumental, which is in itself, not the entirety of a record, for anyone who has a contribution like that to be getting that much credit. It's not a record industry thing, it's true of just about any profession, you deal with.
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if your a drummer or a session player then thats your job is to do wtf the producer tells you to do so no i dont think in that situation he would get production credit.
huge difference between giving a guy a high hat or a cymbal and claiming the beat as dre has been said to then giving someone the whole idea of a beat, i know your smart enough to know that shit aint cool. either your a huge dre fan and are trying to justify his every business move or your an aspiring jew music executive or entertainer type of dude cuz that shit aint cool lol, like i got dudes that will hit me up like take _______ and loop it up over the dilla drums from q tips ride or some shit. if i do that i wouldnt claim i produced that solely when all i did is help bring another mans ideas to fruition...that might be acceptable practice in the industry but its a shark move.
im looking at it from an artist stand point your looking at it from a lyor cohen/jimmy iovene type of standpoint
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im looking at it from an artist stand point your looking at it from a lyor cohen/jimmy iovene type of standpoint
No, not at all. If anything, you are looking at beat-making, the crafting of the instrumental, as the be all and end all of producing, and it just plainly is not. And this isn't about suggesting that it's okay to dick people out of their beats but once again, I'm not a fan of the misconception that the producer is simply the guy who makes the beat. If you're not overseeing the creation of the song from start to finish then you aren't producing.
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so then daz has NEVER been a producer correct?
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If you're not overseeing the creation of the song from start to finish then you aren't producing.
this definition is very flexible in the rap industry. a lot of people, especially in the east, get producing credits just for making the beat. and that's where I agree with Petey where he said that there's a blurry line between a producer, a musician, and an engineer. because a lot of rap releases aren't very professional, a lot of them are independent, so they're not very strict and accurate when it comes to credit, and you can have stubborn people that will do anything to get producing credit. in the end we don't really know who did what when it's simply writtent "produced by", if the credits are more detailed then we can get an insight into the production of the song but then again it's written, the information given can be false.
Death Row especially were not very reliable with their credits. We have learned over the years that Dre was involved somehow in the creation of Big Pimpin', and 21 Jump Streets, on the former the booklet says "produced & mixed by Daz" and on the latter Dre gets mixing credit. Snoop said in interviews that Dre is the reason why What Would You Do sounds so good, and he's only credited as the one who mixed the record. Same goes for All Eyez On Me, the credits aren't very detailed, and we have learned that Quik had a big hand in the creation of Skandalouz because he played fender rhodes on it and had a bass player redo Daz's beat.
I know we've had this type of discussions time and time again but the definition of producing a song is very blurry. Let's say the listed producer oversaw the creation of the song, did the beat, but then had the musicians do their things and the engineer record and mix the song, then sure the listed producer deserves his credits, but maybe the musicians added their expertise to the song by modifying elements to the song (like chord progression / bridge / etc.) because they have a better knowledge of music than the producer, and the engineer maybe has more experience and a better ear than the producer and downplayed some elements of the instrumental and insisted on others, shouldn't they get producing credits too ?
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bottom line, if something says "produced by dre", then dre poured a whole lot more of his heart and soul into the record than the cat who came to him with a simple beat loop. any muthafucka with fruity loops can just sit there and think up a dope lil rift, but how many cats can actually produced a track? like jimmy said, producing is a whole lot more work than just comin up with an idea for a beat....thats why tracks like "kush", "topless" etc. should have a "produced by dr dre" credit, but since the definition of production has become so skewed and because mufuckaz nowadays think like petey, then khalil gets the production....in 1992, it woulda said "produced by dr dre", and rightfully so, because he did the bulk of the work in crafting the beat to perfection and making it hit as it should....
lemme use one of ur beats as an example...imagine if u sent dre that "g shit" beat u sent me the other day. what if dre got his hands on it, completely re-did it with live instruments, got the drums hitting to perfection, re-worked the bassline to a t, added signature dre build-ups, structured it to perfection with new melodies comin in and out + alla that shit. it would end up havin the dre signature sound, comin from ur idea. in that sense, if dre's doin all the work in bringin that muthafucka to life, he's producing the track. it should say produced by dr. dre and king petey.....just like "2001" the whole album said "produced by dr. dre and mel-man". best believe, dre was doin all the magic, though
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bottom line, if something says "produced by dre", then dre poured a whole lot more of his heart and soul into the record than the cat who came to him with a simple beat loop. any muthafucka with fruity loops can just sit there and think up a dope lil rift, but how many cats can actually produced a track? like jimmy said, producing is a whole lot more work than just comin up with an idea for a beat....thats why tracks like "kush", "topless" etc. should have a "produced by dr dre" credit, but since the definition of production has become so skewed and because mufuckaz nowadays think like petey, then khalil gets the production....in 1992, it woulda said "produced by dr dre", and rightfully so, because he did the bulk of the work in crafting the beat to perfection and making it hit as it should....
lemme use one of ur beats as an example...imagine if u sent dre that "g shit" beat u sent me the other day. what if dre got his hands on it, completely re-did it with live instruments, got the drums hitting to perfection, re-worked the bassline to a t, added signature dre build-ups, structured it to perfection with new melodies comin in and out + alla that shit. it would end up havin the dre signature sound, comin from ur idea. in that sense, if dre's doin all the work in bringin that muthafucka to life, he's producing the track. it should say produced by dr. dre and king petey.....just like "2001" the whole album said "produced by dr. dre and mel-man". best believe, dre was doin all the magic, though
because hes good with music form a technical standpoint? if thats the case brian big bass gsrdner and bernie grundman produced 90 percent of the music we grew up on.
dre picks and chooses who he does this kind of shit with...i heard a story about him totally replaying havocs start from scratch beat and didnt take one iota of the production credit then ive heard daz stories how dre put a cymbal on a beat and then it came out PRODUCED BE DR DRE.
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then ive heard daz stories how dre put a cymbal on a beat and then it came out PRODUCED BE DR DRE.
LOL if u believe this
it's a lot more than bein good with music from a technical standpoint, my dude.....it actually has a lot to do with having a musical ear and bein the perfectionist that dre is, he knows what goes where and why, what sounds best, what drops where, the perfect build-ups for a chorus, what drums sound hits the hardest for that certain style of beat, etc. etc.....basically, he's a musical genius, and those who actually understand music and have worked with him will all attest to that.
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i wouldnt claim i produced that solely when all i did is help bring another mans ideas to fruition...
Hate to burst your bubble but bringing ideas to fruition, be it your own, an artist's, or a label executive's, is the definition of "producing".
I know we've had this type of discussions time and time again but the definition of producing a song is very blurry. Let's say the listed producer oversaw the creation of the song, did the beat, but then had the musicians do their things and the engineer record and mix the song, then sure the listed producer deserves his credits, but maybe the musicians added their expertise to the song by modifying elements to the song (like chord progression / bridge / etc.) because they have a better knowledge of music than the producer, and the engineer maybe has more experience and a better ear than the producer and downplayed some elements of the instrumental and insisted on others, shouldn't they get producing credits too ?
I would say whether or not, they get credit is entirely up to the guy who is being paid to "produce". The producer is not accidentally surrounding himself with talented people. They are there for a reason and it's not just do what he tells them to do like puppets. This is true at any level. The producer's job is to screen all these ideas in a room full of brains and egos and see which work best for the overall, end product. This isn't grimey, industry practice. This is how being the captain of the ship works. This is true of great lawyers, sports coaches, film directors, military generals, world leaders. All have brilliant and creative minds doing the foot work and research, bringing them strong ideas, and it becomes their job to fine-tune it and make the very best of it. If they don't, they take the heat because their name is behind it.
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^precisely
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http://www.youtube.com/v/vSzkWw1tJ7A
[chorus]
who been there, who done that
you got snapped, becuz you still rap
a million mc'z on this planet earth
better watch your back and peep the game
or you will get jerked [x2]
[verse I]
no question the real about d-r-e
that he's been there had me written ryhme for free
ain't trying to give a nigga no roy-yal-tee
make a mil off my shit and give me a few g'z
since way back when he was with eazy
stealing credits from snoop and the d.o.c.
can't forget barney rubbles and the d-a-z
ain't deshing on his own since 73'
worldwide
can't deinied that the fact you lie
got niggas steady working while you steady jerking
on the side it's not your style see you know what's really fowl
these niggas wonder how you do it with a smile
it's the real not out of the spike
if it wasn't for suge knight you'll be working for tamica wright
do your math before the aftermath
or feel the warth
i'm kicking for real for the niggas who don't know the half
[chorus]
[verse II]
young black ebenezer scrooge betray us like caeser
pocket sqeezer gas my head like some good refer
cuz' a fool gets his dope all slit
i guess i played the fool and he got what he could get
but i'm a little wiser now
so i guess he got to find another pimp-pal
and jack they style and live off they flows
he wanted me to fire my manager (what)
she was asking about my pesos
doing shit like that, you'll never be the quincey jones of rap
it only gets you wipe off the map
you out to screw
you got my loot i'm gonna sue but if you were true
you wouldn't do what you do
but instead you take other niggas ryhmes and beats
and say you did them becuz you twisted and twick
j-flex with the real
comeing from eastside of the crew
letting the whole fucking world know who
[chorus]
[verse III]
i should be a millionair with mad loot to spear
but when the chopper told me that the loot wasn't there
somebody wasn't playing fair
off my ends dre was bubbleing
ain't nuthin' goin' on but the fuckin' publishing
never thought flex could read between the lies
and when i figure out your plot you act surprise
you diguise your grieves with a grin
and yet you got to pay me one day or hit the courtroom once again
"boolayall"
pay me my ends or take the fall you dying and indicining but i come raw
give me the cash and take a foot up yo azz
and bounce on through
cuz i'm a let the world know who
-
http://www.youtube.com/v/vSzkWw1tJ7A
[chorus]
who been there, who done that
you got snapped, becuz you still rap
a million mc'z on this planet earth
better watch your back and peep the game
or you will get jerked [x2]
[verse I]
no question the real about d-r-e
that he's been there had me written ryhme for free
ain't trying to give a nigga no roy-yal-tee
make a mil off my shit and give me a few g'z
since way back when he was with eazy
stealing credits from snoop and the d.o.c.
can't forget barney rubbles and the d-a-z
ain't deshing on his own since 73'
worldwide
can't deinied that the fact you lie
got niggas steady working while you steady jerking
on the side it's not your style see you know what's really fowl
these niggas wonder how you do it with a smile
it's the real not out of the spike
if it wasn't for suge knight you'll be working for tamica wright
do your math before the aftermath
or feel the warth
i'm kicking for real for the niggas who don't know the half
[chorus]
[verse II]
young black ebenezer scrooge betray us like caeser
pocket sqeezer gas my head like some good refer
cuz' a fool gets his dope all slit
i guess i played the fool and he got what he could get
but i'm a little wiser now
so i guess he got to find another pimp-pal
and jack they style and live off they flows
he wanted me to fire my manager (what)
she was asking about my pesos
doing shit like that, you'll never be the quincey jones of rap
it only gets you wipe off the map
you out to screw
you got my loot i'm gonna sue but if you were true
you wouldn't do what you do
but instead you take other niggas ryhmes and beats
and say you did them becuz you twisted and twick
j-flex with the real
comeing from eastside of the crew
letting the whole fucking world know who
[chorus]
[verse III]
i should be a millionair with mad loot to spear
but when the chopper told me that the loot wasn't there
somebody wasn't playing fair
off my ends dre was bubbleing
ain't nuthin' goin' on but the fuckin' publishing
never thought flex could read between the lies
and when i figure out your plot you act surprise
you diguise your grieves with a grin
and yet you got to pay me one day or hit the courtroom once again
"boolayall"
pay me my ends or take the fall you dying and indicining but i come raw
give me the cash and take a foot up yo azz
and bounce on through
cuz i'm a let the world know who
it's a diss about dre, of course he's gunna say that ol' played out BS...it comes from people who share the same logic petey displayed. he steals beats in the same sense that a head coach steals ideas from his assistant coaches LOL
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Watch @ 0:54 mark
http://www.youtube.com/v/SPrB0R0skWA
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I would say whether or not, they get credit is entirely up to the guy who is being paid to "produce". The producer is not accidentally surrounding himself with talented people. They are there for a reason and it's not just do what he tells them to do like puppets. This is true at any level. The producer's job is to screen all these ideas in a room full of brains and egos and see which work best for the overall, end product. This isn't grimey, industry practice. This is how being the captain of the ship works. This is true of great lawyers, sports coaches, film directors, military generals, world leaders. All have brilliant and creative minds doing the foot work and research, bringing them strong ideas, and it becomes their job to fine-tune it and make the very best of it. If they don't, they take the heat because their name is behind it.
the thing is you obviously talk about producers ala Dre which in the rap game are clearly the exception. you have a host of superproducers like Dre who capitalize on the concentration of talent that surrounds them and who are the creative force. that's one way of producing tracks. apart from these superproducers, I don't see this happening for your regular rap game producer, who's a beatmaker that might be playing keyboard a little bit but not that well but who might use a few musicians (Warren G for example). and in that case we might wonder who gets producing credit ?
My point is that in rap, the word "producer" has been debased like never before. When you read a Beatles song "produced by Phil Spector", you know damn well Phil Spector didn't compose the song and didn't play instruments but gave his input and musical direction. whereas in rap a producer is often associated with the "composer" of the track, the man responsible for either the instrumental or the entire track, from the chorus to the way the rapper punches. so the producer can either B : the artist (if he chose the musical direction, said what sample should be used, told the producer/musician to play this way and not that way), the beatmaker (most of the time that's the case), the musicians (composer is almost synonymous with producer in rap, the engineers, the A&R (who's gonna tell you to give this or that direction to a particular song).
If you read booklets, usually there's only "produced by", "co-produced by". But sometimes you have "composed by" with "music by" and finally "produced by", but that is the exception and that usually concerns big budget album. that's much more accurate, but the problem with rap music is that it's more amateur than professional, there are more home-made, underground and independent albums being released than anything, and therefore they can use the word producer for whatever seems correct to them, not to a standardized norm.
as far as Quik for In Da Club, I don't believe he was anywhere near the creation of the song and can't claim a producer credit. just because Dre used his drum sounds doesn't mean shit, it must feel nice for Quik to know that's his sound on one of the most popular tracks of its days but realistically he wasn't involved in the production of the song in that case.
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
well, i think you sort of captured the extent of his work with them in your own question. it seems tip and sadeeq produced "fine" for whitney and you said quik mixed it. it also apparently features the south central chamber orchestra. i could see quik helping with the arrangement and engineering of the orchestra considering he has performed live with string sections. it's also woth noting that this song was featured on arista records. it's probably no coincidence that quik's long time label perhaps recruited him for some work on the record. the overall production has somewhat of a quik feel to it, in comparison to the remixes he did around this time for other artists.
and in regrards to janet, it does seem that the remix for "all for you" is just that - a remix. so, in a way he worked with these artists, whether directly in the studio or whether he was just requested by whitney and janet to do some work without them physically being there - we probably won't know. but either way, he did "work" with both these artists in some fashion.
and as for the old quik forum....i remember it, but didn't really find out about it until after it kind of tapered off. i think i found the forum when i found an episode of "weakest link" with a bunch of rappers on there. it was fucking hilarious. quik said something like "the 1980s called and want their hairstyle back" to the host and nate dogg replied to host's question "why are you hands in you pockets" with, "because i'm trying not to steal anything." shit was classic. i used to have a poor quality video of it on my old computer but can't find it. anybody have this???!!!
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wtf? there was a weakest link with nate dogg and quik? lmao some1 up that shit .
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i remember watching that shit ist was funny
and props to bouli for breaking shit down...you cant really say shit else. (even though im sure some windbag will come thru and try lol "NO dre is a magical artist and he can blah blah...."
thread killa.
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
well, i think you sort of captured the extent of his work with them in your own question. it seems tip and sadeeq produced "fine" for whitney and you said quik mixed it. it also apparently features the south central chamber orchestra. i could see quik helping with the arrangement and engineering of the orchestra considering he has performed live with string sections. it's also woth noting that this song was featured on arista records. it's probably no coincidence that quik's long time label perhaps recruited him for some work on the record. the overall production has somewhat of a quik feel to it, in comparison to the remixes he did around this time for other artists.
and in regrards to janet, it does seem that the remix for "all for you" is just that - a remix. so, in a way he worked with these artists, whether directly in the studio or whether he was just requested by whitney and janet to do some work without them physically being there - we probably won't know. but either way, he did "work" with both these artists in some fashion.
and as for the old quik forum....i remember it, but didn't really find out about it until after it kind of tapered off. i think i found the forum when i found an episode of "weakest link" with a bunch of rappers on there. it was fucking hilarious. quik said something like "the 1980s called and want their hairstyle back" to the host and nate dogg replied to host's question "why are you hands in you pockets" with, "because i'm trying not to steal anything." shit was classic. i used to have a poor quality video of it on my old computer but can't find it. anybody have this???!!!
well thanks for the reply. i thought as much, but you never know when somebody with inside knowledge is gonna pop up and enlighten us with info on quik's many ghost productions.
as for the weakest link episode, enjoy 8) http://www30.zippyshare.com/v/64448953/file.html
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matty got whatever you need when it comes to this hip hop nostalgia shit boy, game on LOCK.
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i remember watching that shit ist was funny
and props to bouli for breaking shit down...you cant really say shit else. (even though im sure some windbag will come thru and try lol "NO dre is a magical artist and he can blah blah...."
thread killa.
YEA, BUT WHAT BOULI SAID SUPPORTS THE FACT THAT DRE IS THE PRIMARY PRODUCER ON HIS TRACKS, WHICH GOES AGAINST WHAT U WERE ORIGINALLY CLAIMING.
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i remember watching that shit ist was funny
and props to bouli for breaking shit down...you cant really say shit else. (even though im sure some windbag will come thru and try lol "NO dre is a magical artist and he can blah blah...."
thread killa.
YEA, BUT WHAT BOULI SAID SUPPORTS THE FACT THAT DRE IS THE PRIMARY PRODUCER ON HIS TRACKS, WHICH GOES AGAINST WHAT U WERE ORIGINALLY CLAIMING.
NO DOGG, I DIDNT...I JUST STATED THERES SOME FUCKED UP PAPERWORK OUT THERE WITH DRES NAME ON IT. WHO KNOWS MAYBE ITS ITS SUGE AND JIMMY? WHO WOULD YOU RATHER SEE PRODUCE SNOOPS FIRST SINGLES EMMANUEL DEAN OR DR. DRE AT THE PEAK OF HIS CAREER? ITS BUSINESS BEFORE ART IN THIS INDUSTRY. I HOLD A GREAT DEAL OF RESPECT FOR DRE MAYBE NOT AS MUCH AS YALL BUT I THINK HES THE DEFINITIVE POP PRODUCER OF OUR GENERATION. BEHIND EVERY SUCCESS STORY YOU WILL FIND A TRAIL OF PPLS BROKEN DREAMS SOMEONE STEPPED ON TO GET THERE. /capslock off
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Except that Emmanuel Dean didn't claim he produced any songs on Doggystyle. In the interview from "DPG Eulogy", he's not accusing Dre of taking credit for his work. He's basically saying he was a musician who played the instruments on the track and Death Row never gave him his credit on the publishing. His beef with Dre is that he stood back and let his own people get fucked out of the deal. We can argue about the shady politics that go on there all day but that's another conversation. The discussion was about Dre not producing and taking all the credit.
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
why are you digging deep? if quik says he produced it then so be it. did you know quik produced In Da Club and mixed by Dre. who got all the credit?
You a lie. Quick said out of his mouth he provided the drums sounds only. that's not producing the song. Mike Elizondo is also credited on the song. SMH.
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so then daz has NEVER been a producer correct?
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What's the implication with the Daz question? That he just makes beats?
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daz produced.. soopafly, mike dean, etc were the ones providing what mel-man, storch, etc. were providing for dre.
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and i don't doubt it, but what exactly did he do for them? i'm sure it must be some ghost production or something, cause as far as i can gather he mixed a record for whitney (fine) which is prod. raphael saadiq? maybe produced more by quik in reality, or both of them. janet though, there's a remix of 'all for you' and that's it? just a remix for a single, no new vocals. not something you'd normally be in the studio for. i always thought 'go deep' sounded like a heavily quik influenced track, but there must be something else he did.
anyone got any credits or insight into this?
well, i think you sort of captured the extent of his work with them in your own question. it seems tip and sadeeq produced "fine" for whitney and you said quik mixed it. it also apparently features the south central chamber orchestra. i could see quik helping with the arrangement and engineering of the orchestra considering he has performed live with string sections. it's also woth noting that this song was featured on arista records. it's probably no coincidence that quik's long time label perhaps recruited him for some work on the record. the overall production has somewhat of a quik feel to it, in comparison to the remixes he did around this time for other artists.
and in regrards to janet, it does seem that the remix for "all for you" is just that - a remix. so, in a way he worked with these artists, whether directly in the studio or whether he was just requested by whitney and janet to do some work without them physically being there - we probably won't know. but either way, he did "work" with both these artists in some fashion.
and as for the old quik forum....i remember it, but didn't really find out about it until after it kind of tapered off. i think i found the forum when i found an episode of "weakest link" with a bunch of rappers on there. it was fucking hilarious. quik said something like "the 1980s called and want their hairstyle back" to the host and nate dogg replied to host's question "why are you hands in you pockets" with, "because i'm trying not to steal anything." shit was classic. i used to have a poor quality video of it on my old computer but can't find it. anybody have this???!!!
well thanks for the reply. i thought as much, but you never know when somebody with inside knowledge is gonna pop up and enlighten us with info on quik's many ghost productions.
as for the weakest link episode, enjoy 8) http://www30.zippyshare.com/v/64448953/file.html
no doubt matty. that's just my two cents. you're right, you never know the gems some members might be able to drop until you ask. and you know, as articulate and open as quik usually is in interviews, the one's where he's been asked about his work with whitney and janet,the interviewer usually just states his production credits with them and quik really hasn't discussed the extent of his work with them in great detail. he just says they are some of his favorite artists, was a pleasure working with them, etc. and thanks for the weakest link dowload!!! i'll watch this shit when i get home!!!!
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daz produced.. soopafly, mike dean, etc were the ones providing what mel-man, storch, etc. were providing for dre.
motherfucker please daz couldnt mix a record if his life depended on it.
at one point he was tracking his drumbeats using a microphone w a table because he couldnt work the drum machine.
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daz produced.. soopafly, mike dean, etc were the ones providing what mel-man, storch, etc. were providing for dre.
motherfucker please daz couldnt mix a record if his life depended on it.
at one point he was tracking his drumbeats using a microphone w a table because he couldnt work the drum machine.
lol u still missin the point, tho. a producer doesnt need to mix anything. it's all in the ear.
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lol