West Coast Connection Forum
DUBCC - Tha Connection => West Coast Connection => Topic started by: abusive on January 23, 2025, 07:27:25 AM
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Discover the untold story behind the breakup of NWA. From internal conflicts to creative differences, find out how this iconic rap group unraveled before our eyes.
https://www.youtube.com/watch?v=so7Fm5L6PR4
00:00 - 00:44 - Intro
00:45 - 01:06 - Straight Outta Compton
01:07 - 01:43 - Ice Cube Leaves NWA
01:44 - 02:38 - Dr Dre's Production in 1989-1990
02:39 - 03:17 - 100 Miles And Running
03:18 - 04:01 - NWA DISSES Ice Cube #1
04:02 - 05:42 - Dee Barnes Incident
05:43 - 08:23 - EFIL4ZAGGIN
08:24 - 08:45 - NWA Goes #1
08:46 - 09:39 NWA DISS Ice Cube Again
09:40 - 10:34 - No Vaseline
10:35 - 11:47 - Dr Dre's Contract Issues
11:48 - 13:18 - EAZY E vs DR DRE
13:19 - 14:34 - Break-Up Of NWA
14:35 - 15:24 - NWA's Legacy
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(https://i.postimg.cc/9MkfCSQr/NWA-Niggaz4-Life-album-of-the-year-1991-The-Source-Magazine-January-1992-28.png) (https://postimg.cc/7Gg4NK7k)
(https://i.postimg.cc/J7JyRrj8/NWA-Niggaz4-Life-album-of-the-year-1991-The-Source-Magazine-January-1992-28-x.png) (https://postimg.cc/NLsG4wNC)
NWA Niggaz4Life album of the year 1991 The Source Magazine January 1992 #28
https://archive.org/details/source_28/page/n19/mode/2up
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I'd say that Quik's album is better than N4L.
Initially they spelled the album title backwards. As a dumb teen I was like "WTF album title is that?" haha
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I'd say that Quik's album is better than N4L.
Looking at The Source Magazine list of
ALBUMS OF THE YEAR 1991
(includes albums released from november ’90 - oct ’91)
The only ones that I still listen to from their list is
-N.W.A; Niggaz4Life > My favorite album of all time period.
and
-Scarface; Mr. Scarface Is Back
-Geto Boys; We Can't Be Stopped
I assume they left out
-Ice Cube; Death Certificate
because it was released 29 october, 1991.
Quik is my name ain’t even on my top 100
2nd II None first album, also produced by DJ Quik I still bump though.
Not saying there it ain't dope joints on Quik is my name like
Tonite, Born and raised in Compton, Deep and Loked out hood,
but when it comes to his solo albums I rather listen to
Safe + Sound, Rhythm-al-ism and Balance & Options.
My favorite DJ Quik produced album is
Penthouse Players Clique; Paid the Cost (1992)
other 1991 albums I still listen to is;
-Yomo & Maulkie; Are U Xperienced? (produced by DJ Yella)
-Kokane; Addictive Hip Hop Muzick
-Ice-T; O.G. Original Gangster
-Convicts; Convicts
-415; Nu Niggaz on tha blokkk
-Schoolly D; How a Black Man Feels
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other 1991 albums I still listen to is;
-Yomo & Maulkie; Are U Xperienced? (produced by DJ Yella)
-Kokane; Addictive Hip Hop Muzick
-Ice-T; O.G. Original Gangster
-Convicts; Convicts
-415; Nu Niggaz on tha blokkk
-Schoolly D; How a Black Man Feels
You're kidding right? :dirty:
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-415; Nu Niggaz on tha blokkk
You're kidding right? :dirty:
Is it the greatest album ever > no.
But I still listen to it, even if Richie Rich ain't on it.
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https://www.youtube.com/watch?v=PyUSLekSq1I
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oh yea Ice-T's OG is his best, forgot about that
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2Pacalypse Now
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Is it the greatest album ever > no.
But I still listen to it, even if Richie Rich ain't on it.
What do you like about it? It's actually one of the worst albums ever to me.
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Any news or info on Admiral Dancehall?
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This Album is timeless 8) 8)
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Any news or info on Admiral Dancehall?
I hate reggae, so I made an edit where I cut out his parts on Dayz of Wayback
https://gofile.io/d/X1pBnt
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https://www.youtube.com/watch?v=gv2w1D8PEzI
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Amazing album. Dre and Yella were ahead of their time with production on this one.
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It's a toss up for me between Niggaz4life Don Killuminati 3Day Theory & Don Killuminati 7Day Theory & Death Certificate
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It's a toss up for me between
Niggaz4life
Don Killuminati 3Day Theory & Don Killuminati 7Day Theory
& Death Certificate
As your all time favorite?
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As your all time favorite?
Yea it's a toss up between those 3 as my favorites one week is one the next week is the next but i would probably pick Makaveli at the end cause of the subject matter over NWA & Cube
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https://www.youtube.com/watch?v=fZ9qY-_46HY
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production on this album is a 10/10
the highlight of the rapping imo was MC Ren's flow
lyrically it was pretty embarrassing though...that's where they really missed Cube
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https://www.youtube.com/watch?v=PyUSLekSq1I
this sounds so good, maybe even better then the released version.
Does anybody know the sample?
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https://www.youtube.com/watch?v=PyUSLekSq1I
The original version of
"Just don't bite it"
that sampled Watermelon Man that Herbie Hancock would not clear leaked several years ago.
https://www.youtube.com/watch?v=yT8qIbvkEDs
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production on this album is a 10/10
the highlight of the rapping imo was MC Ren's flow
lyrically it was pretty embarrassing though...that's where they really missed Cube
I actually prefer N.W.A without Cube, always liked the other members best.
Sure his part on Straight Outta Compton, Parental Discretion Iz Advised and Grand Finale is outstanding, but I could do without I ain't the one and Bitch is a bitch.
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https://www.youtube.com/watch?v=UR8ykB0KZ4k
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most nihilistic album in the history . you can feel the death and very pessimistic about the black communauty
a classic
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What happened to Admiral D?
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Amazing album. Dre and Yella were ahead of their time with production on this one.
Agreed. Dayz of Wayback and Alwayz into Something easily sounds like something that could've been on The Chronic.
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I actually prefer N.W.A without Cube, always liked the other members best.
Sure his part on Straight Outta Compton, Parental Discretion Iz Advised and Grand Finale is outstanding, but I could do without I ain't the one and Bitch is a bitch.
Cube was the best lyricist in the group...but I get what you are saying
I always preferred Ren, I thought his flow was crazy
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Some of the best production Dr. Dre has ever done is on this album and the EP. Breakbeats, hard hitting drums and snares, brash vocal samples and you can hear him getting into the G-funk territory too. Extremely hard-hitting album and an offensive listen, but you can't help but like it.
Not an album I'd play around anyone else anymore because of subject matter, but listen to it yourself and play it loud for the best experience.
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production on this album is a 10/10
the highlight of the rapping imo was MC Ren's flow
lyrically it was pretty embarrassing though...that's where they really missed Cube
I actually prefer N.W.A without Cube, always liked the other members best.
Sure his part on Straight Outta Compton, Parental Discretion Iz Advised and Grand Finale is outstanding, but I could do without I ain't the one and Bitch is a bitch.
Cube was the best lyricist in the group...but I get what you are saying
I always preferred Ren, I thought his flow was crazy
Well, if you look at Cube's work post N.W.A it's hard to deny that. But at that time remember that Death Certificate had not dropped yet. Cube was away in Arizona for most of at least recording "Eazy Duz it" and that is at least in my opinion a "N.W.A album", Ren is all over it. And on Straight Outta Compton other that Cube's stellar performance on Straight Outta Compton I prefer the more Ren centric tracks.
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Some of the best production Dr. Dre has ever done is on this album and the EP. Breakbeats, hard hitting drums and snares, brash vocal samples and you can hear him getting into the G-funk territory too. Extremely hard-hitting album and an offensive listen, but you can't help but like it.
Not an album I'd play around anyone else anymore because of subject matter, but listen to it yourself and play it loud for the best experience.
I'd rank Approach to Danger as one of Dre's very BEST productions! Incredible album and more replay value than Straight Outta Compton
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HipHopDX
The Source Magazine (Early 90's) Part 1: The Greatest Story Never Told
Reginald C. Dennis interview
Now I can talk your ears off about how, in terms of musical innovation and sheer cultural audacity, I believe that NWA‘s Niggaz4Life was Dr. Dre‘s true quantum leap. The Chronic is dope and deserves every accolade it has ever received, but the sudden jump between Straight Outta Compton and Niggaz4Life is a heart stopper. Yeah, by that point we’d all been following the evolution of Dre‘s sound with the likes of The DOC and Above The Law and the 100 Miles and Runnin’ EP, but those first three songs on Niggaz4Life were unlike anything we had ever heard before. Just startling. And as masterful as The Chronic was, nothing on it � with the possible exception of Bitches Ain’t Shit – ever hit me in quite the same way.
https://hiphopdx.com/interviews/id.406/title.part-1-the-greatest-story-never-told
The whole part about The Chronic
HipHopDX
The Source Magazine (Early 90's) Part 1: The Greatest Story Never Told
Reginald C. Dennis interview
DX: Any albums you regret not giving the coveted 5 mic rating?
RD: Ok, we need a bit of context before I jump into this one. Awarding records 5 mics � classic status � has always been, on some levels, troubling to me. I mean, we are not only saying that a particular piece of music is superior to everything that is out now, but it will be better than most things released in the future as well. So we are being asked to be predictors of the future. But let me give you a little more context before I get too deep into it.
The Source started rolling in 1988, well after all the rules and sensibilities determining what was good and bad in hip-hop had already been established. I’d have to check my magazines to be sure, but if I recall correctly, The Source didn’t start really reviewing records until 1989 and those early reviews were not governed by any kind of rating system. You just read the review of, I dunno, Steady B, and either agreed or disagreed with it. By 1990 there was a five point rating system in place (but instead of mics, the governing icon was a series of exploding records). Art director Erik Council changed all that and so we began to rate with mics, and our five-point rating system mirrored what was seen in Rolling Stone and other places with a “1” being garbage and a “5” being a classic. So, from 1990 on we had things under control as far as the ratings went. But the problems was – and it didn’t seem like a problem early on – was what to do with all of the influential albums that had come out before the mic system had been conceived? I’m talking about the records that we compared all others to; the stuff that was never officially reviewed in the context of The Source‘s 5 mic system, but nevertheless became our cultural gold standard. And it’s a pretty long list when you come to think about it. Let’s take a look at but a small sample of records not rated by The Source. (And yeah, I know that the magazine has practiced some revisionist history of late, but it’s easier to call those shots 20 years after the fact.) Raising Hell, Paidin Full, Criminal Minded, The Great Adventures of Slick Rick, Critical Beatdown, It Takes a Nation of Millions, Straight Outta Compton, Long Live The Kane, Three Feet High And Rising� Without these records there probably wouldn’t have ever been a need for Hip Hop journalism and there certainly would never have been a Sourcehad it not been for them, so to give records like Brand Nubian and A Tribe Called Quest five mics without ever having rated many of what I consider to be some of the greatest records of all time always made me feel a bit uneasy. But in 1991 it was obvious to anyone reading The Source or making records or writing reviews that everything was being compared to and judged by a standard that was felt and acknowledged by all but documented by none.
Now, with that bit of back-story out of the way, I’ll answer your question about record albums I regret not giving 5 mics. The answer is both yes and no. See, when I took over as music editor, one of the first things I did was put a moratorium on awarding albums 5 mics. My reasons were the following: I believed then � as I do now – that a piece of art can only achieve classic status in retrospect. How can you expect someone to receive an advance cassette of an album on a Thursday, listen to it and complete the review by the following Monday and be 100% confident that this particular record is not only better than everything out now, but will have a cultural impact that will loom over everything to come in the future? I mean that’s what we are really asking. And back in the day you were lucky if you had three days to make that kind of determination (Nowadays I think you are only allowed to listen to albums a few times in a label conference room while you busily scribble notes about what you are feeling. So the process seems to have gotten noticeably worse).
And what about records that are amazingly dope, but will probably not have any sort of enduring cultural resonance? Do you give them 5 mics? I mean, I like TI but I’m not prepared to put him up there with Eric B & Rakim, y’know. Scarface had a record out a few years ago that damn near had me doing back flips, but can’t even remember the album’s title today or recite any song lyrics. I think that record got 5 mics, but was it a situation of that record being the best thing out in a watered down, mediocre field, or did they truly believe that this was a record that folks would still be talking about 20 years from now? That’s the dilemma: temporary dopeness versus enduring dopeness. And a lot of people, in the initial excitement of being one of the first people on the planet to hear a dope record, get caught up in the moment and lose sight of what they are supposed to be doing.
In 1992 we gave Dr. Dre‘s The Chronic 4.5 mics. Had I the opportunity to press reset, I would have given it a 5. Here’s the story:
We got the advance of the album in October of 1992 and it immediately became an office favorite. And our version was a little better than the one everyone else got to hear because we had the joint that was sequenced differently, had different song arrangements and in some instances, different lyrics. It was all good. In fact it was too good – and I didn’t want to let the album out of my sight, so I decided that it would be reviewed totally in house, meaning that a fellow Sourceeditor would handle the task (I didn’t want to risk the tape coming up missing, which was always a concern if you were mailing things out of state for review or dealing with Hip Hop writers who, due to their weed habits, tended to misplace things or drop the critical ball from time to time).
So my man Matty C, fellow editor and the king of Unsigned Hype, did the do, and he gave it 4.5 – he thought “Lil’ Ghetto Boy” was the weak link in the chain – and that was that. I was firm on my “no 5’s” rule and that was also that. If you check the actual review, you’ll see that the byline is attributed to “TMS” (The Mind Squad) – which, for those that don’t know, was how we handled things that were done by group effort or committee. I can’t remember why we didn’t use Matt‘s name, but it couldn’t have been because of anything too serious.
Anyway, no one could have predicted the seismic shift that this album would produce. And it wasn’t like there was anyone on staff jumping up and demanding that this record be a 5. We sent the review off to the printer around the time “Nuthin But A G Thang” started to catch fire and we could all tell that the landscape was about to change. By the time the magazine went on sale the streets had declared that this album � an album that many folks had still yet to hear � (remember: one of the reasons why folks read The Sourcewas because were getting the music first and regularly reviewing important albums two months before they hit the racks) � was going to be a classic. And to tell you the truth, we all knew it as well.
I remember going to the video shoot for Naughty By Nature‘s “Hip Hop Hooray.” It was being filmed in a studio just off Astor Place in Manhattan’s Greenwich Village. I had the advance of The Chronic in my pocket the whole day. (I didn’t let that tape out of my sight for a second.) I watched Treach and Spike Lee do their thing for most of the afternoon, and if you’ll remember the video, much of it included footage of huge crowd scenes, which were being filmed that afternoon. So there were a lot of people around, maybe a couple of thousand all total; both inside the venue where the video was being shot and outside milling in the street and blocking traffic. You’ll also recall that that the video featured many Hip Hop guest stars, like Eazy-E and Run-D.M.C, who were also hanging out for their cameos. And because Naughty was so popular and because Spike was a celebrity director the video set became a news event and word began to spread that this was the place to be. It wasn’t long before The Sourcevan arrived on the scene. And when I spotted it I came down stairs kicked it with my peeps. Well, since I had the Dre tape on me, and since the van had a ridiculous sound system, and since we had a huge crowd to play to� I put the tape in the deck and turned shit up full blast to get everyone’s attention and drown out the endless loop of Naughty‘s constant “heeeeey, hooooo” chant. Well, the whole block literally stopped whatever they were doing and converged on the van in order to get a better listen. People were astonished by what they were hearing and began to pepper us with endless questions about the album. It was quite a moment. And when Nate Dogg came in with the “You picked the wrong mutha-fuckin’ dayeeeee�” part, I thought I was going to see people’s heads explode. Fab 5 Freddy actually climbed in the van and damn near put his head on the speakers. It was unreal. So yeah we knew early on that this was going to be the shit. The streets had spoken.
But I was trying to close the barn door after the horse had already escaped, and didn’t allow any flexibility for the possibility that we would encounter something that could be considered an instant classic. I set the ceiling at 4.5; it happened on my watch and I take full responsibility for the error.
Not giving The Chronic 5 mics did two things. One, it increased the level of background talk that The Source was biased against the West Coast. And two, it made getting 5 mics in The Sourceall the more desirable. In 1992, The Sourcewas still the law of the land and people tended to go along with it. So, if The Chronic wasn’t worthy of 5 mics, then what was? It also elevated the historic status and overall value of the half dozen or so records that had received 5s in the past. By not getting 5 mics, The Chronic did more to elevate the status of the 5 mic club than any record that had previously received the award. It was the event that cemented the mics as Hip Hop’s governing standard.
Now I can talk your ears off about how, in terms of musical innovation and sheer cultural audacity, I believe that NWA‘s Niggaz4Life was Dr. Dre‘s true quantum leap. The Chronic is dope and deserves every accolade it has ever received, but the sudden jump between Straight Outta Compton and Niggaz4Life is a heart stopper. Yeah, by that point we’d all been following the evolution of Dre‘s sound with the likes of The DOC and Above The Law and the 100 Miles and Runnin’ EP, but those first three songs on Niggaz4Life were unlike anything we had ever heard before. Just startling. And as masterful as The Chronic was, nothing on it � with the possible exception of Bitches Ain’t Shit – ever hit me in quite the same way.
https://hiphopdx.com/interviews/id.406/title.part-1-the-greatest-story-never-told
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production on this album is a 10/10
the highlight of the rapping imo was MC Ren's flow
lyrically it was pretty embarrassing though...that's where they really missed Cube
Cube was the best lyricist in the group...but I get what you are saying
I always preferred Ren, I thought his flow was crazy
Was MC REN Just As NICE As ICE CUBE?
https://www.youtube.com/watch?v=6rB6OkM_Un0
-0.00 - Niggaz4life production.
-3.30 - MC Ren VS Ice Cube.
-6.55 - Steele says that he has heard a unreleased MC Ren album produced by Bobcat featuring a track with Ice Cube and Dr. Dre.
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Some of the best production Dr. Dre has ever done is on this album and the EP. Breakbeats, hard hitting drums and snares, brash vocal samples and you can hear him getting into the G-funk territory too. Extremely hard-hitting album and an offensive listen, but you can't help but like it.
Not an album I'd play around anyone else anymore because of subject matter, but listen to it yourself and play it loud for the best experience.
This album, to me, surpasses Straight Outta Compton. Prob rank it as a top 3 or top 5 album from Dre.