West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: OG Hack Wilson on June 10, 2011, 04:06:36 PM
-
i'll start
Cali Love remix: Laylaw
-
i'll start
Cali Love remix: Laylaw
i heard sam sneed and dj quik had ties to that too.. but who knows..
-
Keep their heads ringin, wasn't always rumored Sam Sneed or Barney Rubble did that
-
From an article in the source...
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.”
-
everyone worked on everything. thats all we can know. barney played keys on a lot of dre songs. that does not make him the producer.
on the original cali love i think it was butch on drums barney and sam on keys and stu-b-doo programming the strings. did dre coordinate all of their efforts as a "producer"? I guess lol. who knows what dj quik had to do with that song, if anything.
the death row beats had a lot of interesting musical elements and they all clearly took a number of musicians, producers, and engineers to put together.
a lot of dre's post death row beats were really much much simpler and a lot of them probably were him slapping his name on something someone else took 5 minutes to make. "keep their heads ringing" is a rich, complex, and interesting beat. it was probably majorly updated from whatever demo sam sneed did originally, maybe it went through several revisions.
"if i can't", on the other hand, is simplistic bullshit. i don't even CARE who made it lol
-
Keep their heads ringin, wasn't always rumored Sam Sneed or Barney Rubble did that
all i know j-flexx wrote it for dre.
-
Thread should be titled who made the beat or who was the beat maker for the songs dre produced. People still don't understand the meaning of producer...some beatmakers that did stuff for him seem to not understand the meaning either.
-
No maybe its dre that needs to learn what it means to produce.
Just blaze, timbaland, neptunes, khalil, quik, etc etc etc all produce songs by MAKING THE DAMN BEAT. Dre is the only one that's allowed to mix and arrange the orders of things and get production credit.
-
Doggy Dogg World was really produced by Chris "The Glove" Taylor, someone posted an interview of him months back and he mentioned producing it.
-
here goes this for reference material
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.
"It’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.[/i]
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 niggas. I ain’t a dick-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 fuck 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 shit is being done over there where muthafuckas 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 shit. One minute you good with the muthafucka 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 bullshit; 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 muthafuckas A&Ring a record and that’s bullshit. 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 produces/orchestrates his own music.
all of these other guys are just his music-tools
let it go already
Keep their heads ringin, wasn't always rumored Sam Sneed or Barney Rubble did that
all i know j-flexx wrote it for dre.
a lot of those rhymes were written by RBX
-
Whoever wrote it needs to be in the book of world records for worst punchlines in a song.
-
here goes this for reference material
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.
"It’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.[/i]
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 niggas. I ain’t a dick-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 fuck 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 shit is being done over there where muthafuckas 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 shit. One minute you good with the muthafucka 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 bullshit; 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 muthafuckas A&Ring a record and that’s bullshit. 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.
I remember that...so we base what we know on one side of the story? If neff u produced those songs why didn't the credits ever get changed. If I was him I would ve got a lawyer involved if the credits were that messed up.
-
No maybe its dre that needs to learn what it means to produce.
Just blaze, timbaland, neptunes, khalil, quik, etc etc etc all produce songs by MAKING THE DAMN BEAT. Dre is the only one that's allowed to mix and arrange the orders of things and get production credit.
Then I guess you'll be surprised to learn that a lot of big name producers aren't solely responsible for the beats they produce. Timbaland and Kanye both use coproducers for starters, as well as teams of musicians. And I'd be willing to best most of the others do as well. The thing is for those producers there aren't hardcore groupies scouring over production credits trying to figure out who did what and reading every interview from every no-name they've ever been associated with.
-
natural born killers: sam sneed
-
No maybe its dre that needs to learn what it means to produce.
Just blaze, timbaland, neptunes, khalil, quik, etc etc etc all produce songs by MAKING THE DAMN BEAT. Dre is the only one that's allowed to mix and arrange the orders of things and get production credit.
Quik has said himself that producing isn't just making a beat. If Dre doesn't know what it means to produce, why do the majority of the people you just named view him as either the greatest or one of the top producers in hip-hop?
-
Daz produced one half of Doggystyle, Warren G did the other ::)
-
No maybe its dre that needs to learn what it means to produce.
Just blaze, timbaland, neptunes, khalil, quik, etc etc etc all produce songs by MAKING THE DAMN BEAT. Dre is the only one that's allowed to mix and arrange the orders of things and get production credit.
Then I guess you'll be surprised to learn that a lot of big name producers aren't solely responsible for the beats they produce. Timbaland and Kanye both use coproducers for starters, as well as teams of musicians. And I'd be willing to best most of the others do as well. The thing is for those producers there aren't hardcore groupies scouring over production credits trying to figure out who did what and reading every interview from every no-name they've ever been associated with.
Khalil works with musicians too
No maybe its dre that needs to learn what it means to produce.
Just blaze, timbaland, neptunes, khalil, quik, etc etc etc all produce songs by MAKING THE DAMN BEAT. Dre is the only one that's allowed to mix and arrange the orders of things and get production credit.
Quik has said himself that producing isn't just making a beat. If Dre doesn't know what it means to produce, why do the majority of the people you just named view him as either the greatest or one of the top producers in hip-hop?
it's because people speak on things they have no clue of.
-
Get the hate out of your eyes people. How can you think that Dre isnt a producer? Music is never made by one man, beat is hardly ever made so too (Im talkin about the good ones), you need a bunch of people to work on music, and Dre takes it to another level. Thats his part and he does it great.
-
LayLaw - "Cali Love Remix"
Neff - U - "If I Cant"
Neff - U - "Say What You Say"
Neff - U - "My Dads Gone Crazy"
Neff - U - "Back Down"
Chris The Glove Taylor - "Doggy Dogg World"
Chris The Glove Taylor - "Stranded on Death Row"
Chris The Glove Taylor - "Hello"
Chris The Glove Taylor - "XXplosive"
Daz - "Aint no Fun"
Daz - "Rat-a-tat-tat"
Daz - "High Powered"
Daz - "Serial Killa"
Sam Sneed - "Keep thier heads ringing"
Scott Storch - "Still D.R.E"
Mike Elizondo and Tommy Coster Jr - "The Real Slim Shady" (Eminem even confirmed in his book that Dre wasnt even in the studio when they made that beat., he came in after everything had been laid down, and just added some drums to it)
And thats just whats been made public :grumpy:. Dre is a fraud
And for all the dre groupies saying that its impossible for him to be getting away with it for 20+ plus, it is possible when you have the money, power and right people behind you
-
You've got to look all these guys track records without Dre, hardly any of them stand out. Yella, Mel Man, Sam Sneed, Barney Rubble, Focus...
I dont know what goes on in Dre's studio and neither does anyone else on here but he is clearly doing something right. At the end of the day i couldnt care less. He's not taking any cash out my pocket as long as some decent music comes out of it all, i've got my problems to worry about.
-
Simple way to tell all these dudes who say Dre aint produce nothing is to listen to their beats when Dres around and listen to em when hes not.
-
You've got to look all these guys track records without Dre, hardly any of them stand out. Yella, Mel Man, Sam Sneed, Barney Rubble, Focus...
I dont know what goes on in Dre's studio and neither does anyone else on here but he is clearly doing something right. At the end of the day i couldnt care less. He's not taking any cash out my pocket as long as some decent music comes out of it all, i've got my problems to worry about.
I disagree - Sam Sneed, Mel Man and especially Focus..., Daz and Warren G are all strong producers in thier own right. Dogg Food and Regulate G Funk Era were just as good and Chronic and Doggystyle, and they were both done without Dre's involvement
-
natural born killers: sam sneed
A good example here of how Dre changes beats. Listen to 'The Heist' by Sam Sneed. This is the original NBK beat he gave Dre which then became NBK*. it is almost a completely different beat, only the bass groove is the same.
The Heist: http://www.youtube.com/watch?v=9vz4sYG91CY
Dre does not 'steal' other people's beats.
* This was confirmed by Sam Sneed in interviews and when I have spoken to him myself.
-
You've got to look all these guys track records without Dre, hardly any of them stand out. Yella, Mel Man, Sam Sneed, Barney Rubble, Focus...
I dont know what goes on in Dre's studio and neither does anyone else on here but he is clearly doing something right. At the end of the day i couldnt care less. He's not taking any cash out my pocket as long as some decent music comes out of it all, i've got my problems to worry about.
Sam Sneed was an amazing producer during that era and Focus has some dope beats too.
-
You've got to look all these guys track records without Dre, hardly any of them stand out. Yella, Mel Man, Sam Sneed, Barney Rubble, Focus...
I dont know what goes on in Dre's studio and neither does anyone else on here but he is clearly doing something right. At the end of the day i couldnt care less. He's not taking any cash out my pocket as long as some decent music comes out of it all, i've got my problems to worry about.
I disagree - Sam Sneed, Mel Man and especially Focus..., Daz and Warren G are all strong producers in thier own right. Dogg Food and Regulate G Funk Era were just as good and Chronic and Doggystyle, and they were both done without Dre's involvement
Dogg Food was not done without Dre's involvement, he mixed every track. Daz is a decent producer but his best work was done with Dre when he was around Dre. Sam Sneed Mel Man and Focus have the odd good beat here and there but nothing spectacular.
Regulate, great album no doubt. But look at Dre's career, NWA, Death Row, Aftermath albums that cant be a coincidence. He cant have 20+ year career on stealing credit.
-
you can say the exact opposite, how many tracks on Death Row that were Dre produced and not credited, especially on Dogg Food
-
you can say the exact opposite, how many tracks on Death Row that were Dre produced and not credited, especially on Dogg Food
but that doesn't fit the dr.dre is a thief, tunnel vision.
http://www.cover.dk/blog/motherfuckers-who-forgot-about-dre
-
Daz's best work wasn't done with dre. What about all eyez on me? What about raw? What about the mike dean days?
Daz's weakness is obviously not being able to properly mix songs consider quik and mike dean saved him the numerous songs I mentioned. But when has dre made dope street bangers like "whatcha talkin bout" or "my system"?
-
Daz's best work wasn't done with dre. What about all eyez on me? What about raw? What about the mike dean days?
Daz's weakness is obviously not being able to properly mix songs consider quik and mike dean saved him the numerous songs I mentioned. But when has dre made dope street bangers like "whatcha talkin bout" or "my system"?
daz really had the industry fooled for a hot second thinking he was a musician of some sort...this nigga can program drums and knock out some basslines every now and again and thats pretty much where it stops.
thats why as soon as he departed from deathrow you didnt hear that deathrow big money sound again from daz...the closest hes got was working with mike dean.
anytime yall was hearing them moog synths and shit that cats seem so partial too on them songs that was soopafly that fly percussion was barney rubble and butch....take that shit out of a daz beat and whats left? some drums and a bassline.
-
Daz's best work wasn't done with dre. What about all eyez on me? What about raw? What about the mike dean days?
Daz's weakness is obviously not being able to properly mix songs consider quik and mike dean saved him the numerous songs I mentioned. But when has dre made dope street bangers like "whatcha talkin bout" or "my system"?
But let's be real. The Death Row credits were fucked up. You really think nobody was getting shook for credits on the songs Daz produced?
Honestly, his resume on post-Death Row projects isn't too far off from Dre, he always has a co-producer or two. He had Mike Dean on the early DPG Recordz catalog and Ivan Johnson on the more recent stuff. And that's okay. Everybody has people contributing to their tracks. These "super producers" don't sit around and conceive all this shit from start to finish.
-
Good point.
Hell we may never knew who really produced what on death row. Were just now finding out quik was involved with dogg food and tha doggfather
-
DJ Quik also co produced "Skandalouz". He played the keys, did the talkbox and had a bass guitarist play on the track too. He ended up doing a bunch of shit on Pacs album and didnt get credit apart from "Heartz Of Men".
-
It seems like the rule of thumb at Death Row was they were only crediting the people they had under contract in most cases. If I recall, wasn't Soopafly doing a lot of work when he first went over there but didn't see any credit until he signed to the label?
-
the best partner Dre ever worked with was Mel-Man
his drums were the shit
-
emmanuel dean was involved in "gin & juice" & "what's my name"
-
Daz's best work wasn't done with dre. What about all eyez on me? What about raw? What about the mike dean days?
That's just opinion. In my opinion Daz' best work was Dogg Food.
-
you can say the exact opposite, how many tracks on Death Row that were Dre produced and not credited, especially on Dogg Food
but that doesn't fit the dr.dre is a thief, tunnel vision.
lmao @ this euro getting butt hurt because the guy he named his board name after is a fraud
-
you can say the exact opposite, how many tracks on Death Row that were Dre produced and not credited, especially on Dogg Food
but that doesn't fit the dr.dre is a thief, tunnel vision.
lmao @ this euro getting butt hurt because the guy he named his board name after is a fraud
who the fuck you tryin to provoke(187)
http://www.youtube.com/v/atXFgGGSqTI
(http://blogs.villagevoice.com/music/images/dre-day-2010-64.jpg)
-
^ :)
dre produces/orchestrates his own music.
all of these other guys are just his music-tools
let it go already
Keep their heads ringin, wasn't always rumored Sam Sneed or Barney Rubble did that
all i know j-flexx wrote it for dre.
a lot of those rhymes were written by RBX
Where did you hear that from?
-
Kinda sorta ot:
Anyone else remember reading that rumor that dre was actually done with detox in around 03-04 but all the ghost producers got together and took a stand against dre stealing their beats and that's what eventually led to detox being pushed back so much?
Now I have no inside sources or anything but on the outside looking in, sounds pretty believable when you consider...
1. The source article about neff-u, big chuck, melman, etc leaving and forming their own music group cuz they were tired of not being credited for their work
2. Dre has officially released 2 singles from detox and neither of them were produced by dre
Hmmm
-
so basically, is Dre still a producer or a guy who takes other ppls beats and "touches them up" so to speak?
-
"Got My Mind Made Up" This track was supposeably one of the cuts that contributed to the Pac/Dre beef and also might have contributed to the Daz/Dre low-key beef where Dre won't work with Daz anymore
Kurupt: The original record was me, Rage, Redman, Method Man and Daz. I told Daz, "Man,
this is the one, we need to drop this, we need to put this on Dogg Food." 'Cause we did it
when we was making Dogg Food. When 'Pac came home, we put it up for 'Pac, like "You
want this record?" 'Pac was like "Hell, yeah, I want that record!" And he dropped his verse
where Rage's was, 'cause Rage said she'd put her verse on something else, and that's how that
record made it on 'Pac's album. Me, Method Man and Redman and Daz and Rage-that was the
original record, and Inspectah Deck was on it at the end. That's him you hear at the end:
"Wish....this....bliss...."Thaat's inspectah Deck. I went and picked up Red and Meth and Deck
personally and too them to Daz's house. We knocked the record off in about three, four hours.
It was a done deal, and then we....we didn't use it, 'cause Daz wasn't feeling like mixing it and
doing all that. We end up taking it to 'Pac when 'Pac came 'cause Suge was like, "When it's
time to work on a project, everybody needs to give everything to whoever's project it is."
Daz: We did that song at my house. Kurupt had brought Method Man and Redman over to my
house. And Inspectah Deck was on the song too. He was at the end-"I.N.S., the rebel...." Just
his voice. They had taken his voice. They had taken his verse out and kept the background
'cause it sounded good. It wasn't originally 2pac song. I had transferred it at Dr. Dre's house
and had left it out there. [2pac was] flossing like. "I got a beat with Method Man, Redman.
Dre made it." That's what Dr. Dre told 2pac. That's how the whole fued started between Dre
and 'Pac. 'Cause I happened to be walking by the studio like, "That's my beat. I did that." 2pac
[was] like, "that's your stuff?" from that situation, that's when he and Dre started fueding. Dr.
Dre was taking credit and wasn't doing nothing, wasn't coming around.
-
Suge was like, "When it's
time to work on a project, everybody needs to give everything to whoever's project it is."
That's a hell of a support system. Having that many talented artist chipping in on every project. Hate on suge all you want but he got shit done.
-
GB thats wat i be sayin about Suge. He most definitely shouldnt have been tha CEO but dude served an important service and role to Death Row Records, so important that ex-members still dont quite grasp it all tha way to this day. I understand Suge's genius tho, i get it but it goes right over people's head that they just left there wondering lame to tha game. On topic tho, Dr. Dre just aint tha Dr. Dre we've all known, loved, and obsessed with over tha years tragically.
-
In Dre's defense tho there's ALOT OF DIFFERENT stories about wat was goin on over at Death Row, if u read alot of em alot of people tell alot of different stories about wat was happenin and who did what. Just look at ''california love'' for example. I just hope one day we'll all get to hear wat Dre says about all of this. There's two sides to ever story and alot of times THE TRUTH is complex and its not so black and white.
-
hmmm , this has nothing to do with the thread ... I should be an A&R i know shit anyways.. if dre wants to release the 'first' single of detox the beat should be in the same vein as Jay-z's "Trouble" .. it should be more 'bangy'? and it should feature T.I and Gilbere Forte (The guy from alors on danse remix) and Frank Ocean.
-
tanner is that you?
-
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
-
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
I agree with most of what you said. But in hindsight, who was really eating on the West? People were working alright but at their peak, Death Row was worth well over $100 million and yet Pac died owing them money, Snoop left with nothing and still owing them albums, and all those guys who wrote and helped on a lot of those albums got dicked out of publishing. Comparing Dre's predicament at Aftermath to what happened with Death Row is two different things. I mean, in the last years of that label, how many albums were they pushing out?
-
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
I agree with most of what you said. But in hindsight, who was really eating on the West? People were working alright but at their peak, Death Row was worth well over $100 million and yet Pac died owing them money, Snoop left with nothing and still owing them albums, and all those guys who wrote and helped on a lot of those albums got dicked out of publishing. Comparing Dre's predicament at Aftermath to what happened with Death Row is two different things. I mean, in the last years of that label, how many albums were they pushing out?
i get wat u sayin' but (here's tha but) Suge had a GIFT for pickin' talent and music, not a talent but a GIFT. I can say I have a talent for pickin' out music, DJ Drama can say he has a talent for pickin' out music, same as DJ Clue and DJ Kay Slay but none of us can sit here and say for a fact that we have a GIFT (i will soon tho).
i dont wanna sound all mushy gushy but if played the role of Executive Producer like I think he was doin then all hats off to tha man. Suge can say the same thing Diddy can say, he has a GIFT. There's alot more that goes into albums and mixtapes (for some people) than just picking hot beats and picking songs that could be considered "single ready". it takes a certain something, it takes a GIFT. that's y u always hear people talkin about "rap is so lame these days and anybody can get on" but the person YOU KNOW who's doing shit like that isn't even packin clubs. it takes a little more than a business plan and a gimmick to make it big in this game.
suge has a gift and that's why 20 years later Death Row still sounds a little fresh verses something that sounds clearly date and only good in it's time (like an old Wu Tang record for example; not takin' nothin away from the Clan tho... some of those niggaz still make bomb ass musik)
-
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
I agree with most of what you said. But in hindsight, who was really eating on the West? People were working alright but at their peak, Death Row was worth well over $100 million and yet Pac died owing them money, Snoop left with nothing and still owing them albums, and all those guys who wrote and helped on a lot of those albums got dicked out of publishing. Comparing Dre's predicament at Aftermath to what happened with Death Row is two different things. I mean, in the last years of that label, how many albums were they pushing out?
And Suge went bankrupt.... so we saw the best label of all time get cashed in on by Jimmy Iovine, Ted Fields, and all the Interscope execs who never recorded a song in their life
-
so son since everybody is a knowitall when it comes to Dr. Dre and what he has and hasn't done then what did Dre do to this beat?
http://www.youtube.com//v/y6nbIN1V2ec&feature=related - 50 killed that btw
&
http://www.youtube.com//v/MQkiIAy7EdQ&feature=related
Now as any of you can clearly read from the credits http://www.dubcnn.com/connect/index.php?topic=200283.0 somebody has to tell me what tha fuck it iz that they think Dr. Dre did to this track ASAP! "Death To My Enemies" is pretty much a loop so HOW the need for 5 producers is beyond me.
"It Could've Been You" has 6 producers/players on it PLUS 50.... somebody has to tell me what tha fuck this nigga Dr. Dre did to tha song becuz I'm not seein' it.
somebody give me/us all a LOGICAL explanation for the shit becuz I've studied engineering a little and I know the importance of an engineer/mixer. WE do alot that is true but what tha fuck did he do (dr. dre). you're talking about a buncha talented cats in a multimillion dollar studio, i don't think it's THAT hard to come up with something nice, something album material worthy.
i see all u experts out there and all u people defendin' my nigga Dr. Dre but somebody has to tell me (atleast) what tha fuck was going on becuz I'm not seein' it.
let me help u somemore with "Relapse" (*assuming everybody has heard tha album in it's entirety already*)
http://www.dubcnn.com/connect/index.php?topic=216719.0
now i get tha role of a Producer, how, becuz i do tha same shit so when people are like "dre didnt make the beat but he produced it" i get it and i understand that language (i can actually UNdERSTAND these credits in "Relapse"). but let's keep this shit 1000 tho, WHAT THA FUCK DID HE DO when 9/10 your manz waz already makin music like that in tha 1st place and after u (*Scott Storch*).
people are always like, "but what did they do after Dr. Dre?" well my question is "what did Dr. Dre do after them?"..... "what did Dr. Dre do before them?". just becuz u can master and mix some music in your own different way, a way that could be considered the "generic" like Bruce Springsteen's music or Soulja Boy's music for some but musically what did u actually do to tha track.... what did u do to tha song that made it soooo good? When i hear "The Way I Am" by KnocTurnAl i'm like this sounds like a Dr. Dre beat when I heard that new WC single he released with Ice Cube i'm like "this is an interpolation" of an old skool early 2000's Dr. Dre beat. Then i realized (and read) that Dre wasn't exactly doing everything to make the beat sound like that.
Do i believe Dr. Dre puts his OWN touch on tha tracks and just happened to pull what Lil' Jon did (twice or 3 times according to some out there) before there was a Lil' Jon that we know today....... hell yeah. But there's just one too many people including 2Pac (RIP) who have all said the same thing about Dr. Dre NO MATTER WHAT PERIOD OF TIME WE WERE IN (90's, 00's, and now) and homie aint came out and said ANYTHING about it,,, i dont know what world yall live in but in real life in America on planet earth we call that "suspect" (if not an all out "lyin ass nigga").
I'm hyped for "Detox" for more than a few reasons. 1 of em being that it's gonna be tha hottest compilation since the birth of Hip Hop hands down (if i may).
u non believers have to understand, it's not just "ex" producers and artists who are saying this. people like Lil' Kim and Lil' Wayne are coming out tha cut saying that they've worked on "Detox". People you've never even heard of although they have some sort've "classic resume" attached to their name have come out tha wood work and stated that they've worked on "Detox". Everybody in the industry has practically worked on "Detox". The only thing in Dre's defense outta all of that is no matter what at the end of the interview the nigga is like "i dont know if it'll make the final cut or not it's up to Dre". i love Dr. Dre but i'm not a baby either, i'm very aware of what's going on in the real world lol. shot out to Dre tho, that nigga took pimpin' to a whole new level and folks still dont even get it lol.
for u niggaz that cant put 1 and 2 together i feel sorry 4 u
-
this thread is a good read.
-
@hollywood
What I mean by the whole west got to eat is how many other artist got free promo just by being on around tha row? Quik was with the camp, the relativez and redum got put on, 2nd ii none was around, squeek ru, the list goes on. Hell he even gave real street niggas like cbo, keita rock, and cj mac opportunities.
We all know suge penny pinched the fuck out of his artist but he gave the whole west coast an opportunity (to a degree).
-
And Suge went bankrupt.... so we saw the best label of all time get cashed in on by Jimmy Iovine, Ted Fields, and all the Interscope execs who never recorded a song in their life
But Suge got PAID. According to him, he owned his masters and publishing, which means he was eating. He still had the same deal after Jimmy and Interscope bounced. Also, as far as Death Row being the "best label of all-time", I'd say Def Jam and Motown, to name just a couple, were easily bigger. In regards to the injustice that Jimmy Iovine "who never recorded a song in his life" made a killing off of Suge. Before Interscope, Jimmy was an accomplished producer who had a background in music where as Suge came from bodyguarding. When Suge started Death Row, Jimmy already had close to twenty years of in-studio experience as a producer and a recording engineer. Suge, to his credit, is undoubtly a hell of an executive and a business man, but I'm not sure how far his knowledge of music production goes.
-
@GB I knew wat u meant i agree. as far as Suge musically not bringing anything to tha table i cant speak on that becuz i wasnt there but taking wat i know about producing and Suge Knight then i cant cosign wat u said. I actually happen 2 think cuz knows a thing or two about music, more than wat we could officially ever give him credit for.
-
like i said Suge had a Gift, not just a talent. Suge seems to know alot about psychology and energy.
-
@hollywood
What I mean by the whole west got to eat is how many other artist got free promo just by being on around tha row? Quik was with the camp, the relativez and redum got put on, 2nd ii none was around, squeek ru, the list goes on. Hell he even gave real street niggas like cbo, keita rock, and cj mac opportunities.
We all know suge penny pinched the fuck out of his artist but he gave the whole west coast an opportunity (to a degree).
What is free promo? "Eating" means you're fucking paid. You don't buy groceries with promotion. At the end of the day, if someone is recording a song that they're not getting any real money off of, they're the one doing FREE PROMO for you. Now, I can't knock Suge Knight. The dude had his shit together but at the end of the day, from what I've seen and heard, I don't think there was a single artist or producer who was a millionaire when they left Death Row.
-
thats becuz Suge and Dre are alike.
-
thats becuz Suge and Dre are alike.
How so?
-
thats becuz Suge and Dre are alike.
How so?
both are black, both were in the music biz for death row
lmao
-
They both historically have pretty much done tha same shit. Suge leans towards violence and fear to get shit done verses Dre just being more laidback and stubborn or intimidating. Thats why Bishop and everybody elsed left. Its tha same thing just alot calmer i imagine, thats why weve literally only gotten 50s and Eminems albums over tha years and not everybody elses - excludin Bishops ''mixtapes''. Same thing Continues at DR. we got pac,dre,and snoop only over tha years. we're just NOW getting others
-
Truth Hurts = The Lady of Rage
-
I think this is pretty much common knowledge now but Death Row LITERALLY could've been tha next Mo Town or LITERALLY tha new/next Def Jam but they didnt do it that way...for a reason tho. Alot of people/most people never really understood Suge and or Dre's method to their madness thruout all these and those years. U ask me, i think Daz had more issues between him and Dre than Dre had between him and Suge ever really did. We can talk circles all day about hypotheticals, but wat matters is tha end results.
-
No. They have not historically done the same shit. I'm trying to address this as best as possible but you kind of just threw out this whole, rambling concept that really doesn't make sense. You start by explaining how Dre gets shit done by being either "laidback and stubborn" or "intimidating". WHAT? Then there's this really weird use of the word "literal" where it doesn't apply. He's LITERALLY only put out Eminem and 50 Cent albums over the years? Were the Game, Busta Rhymes, and Truth Hurts projects "figurative" releases or perhaps, "methaphorical"? Let's look at your Suge-Dre comparison.
- I'd venture to say there's a lot more publishing credits on "2001" than "The Chronic" so I would assume the guest rappers, writers, and instrument players probably got better royalty checks than the artists who contributed on "The Chronic". Mel-Man likely got a plaque when that album charted gold and platinum where Warren G didn't even get a job offer.
- Tupac and Snoop were only with the label for two albums a piece. Pac died and Snoop left. Pac ended up owing the label money and his estate had to battle them in court over it. Snoop ended up breaking his contract early and owing Suge points on all of his No Limit projects. While both were in the process of starting sub-labels, nothing developed to the point of any actual releases for either. 50 Cent had his own artist label within just a few months of his first release and has put out 10+ albums through that label and four solos on Aftermath. Eminem got a label deal on his second album, has put out six solos, and a bunch of releases through his own imprint. They both are multi-millionaires with their own deals.
Suge's strenths are the business, Dre's is music. Suge is aggressive, Dre is quiet and seemingly non-confrontantial. That's why the early days of Death Row worked very well.
-
busta and game's album are like the mwtc soundtrack and dogg food since youre callin me out on literal shit lol. my point is that there was only a focus on Core artists at tha labels. Gunit and Shady are sublabels, in other words theyre Dogg Pound Records (huge label btw). i get wat u mean but when u boil it down its all tha same chit when u add it up. as far as that other chit goes, youre right but its a different time today. those gunit niggaz were simi established, NOBODY on Death Row was.
-
I think this is pretty much common knowledge now but Death Row LITERALLY could've been tha next Mo Town or LITERALLY tha new/next Def Jam but they didnt do it that way...for a reason tho. Alot of people/most people never really understood Suge and or Dre's method to their madness thruout all these and those years. U ask me, i think Daz had more issues between him and Dre than Dre had between him and Suge ever really did. We can talk circles all day about hypotheticals, but wat matters is tha end results.
Why do you keep using the word, LITERALLY, in statements where the only interpretation could be literal?
I think the combination of Suge Knight and Dr. Dre had the right mix of credibility, business savy, intelligence, and music talent to where if they had chosen so, yes, they could have given Motown or Def Jam a run for their money but they didn't and were never really on the right track to. The way the label was run, I don't think it ever would have got there. When beatdowns and intimidation are going down in the offices, it's going to be a shelf life right there. You can't put a bunch of street people around and let them smack engineers for messing up tracks or slap around artists like prositutes and expect to have a long-term situation like that.
-
50 and Eminem had they crew and teams that were ALREADY doing shit and were gona get paid regardless, Dre didnt really have a choice and considering that they had a different sound completely it wouldve been a little difficult trying to pass it off as ''this is another dr. dre production''. people arent retarded, even when ''my name is'' came out u knew it wasnt ALL Dre.
-
thats tha energy and psychology im talkin about tho. thats why ppl dont get it. think about wat Snoop said about son not having tha right people in their environment. it all makes sense if u've been there before
-
50 and Eminem had they crew and teams that were ALREADY doing shit and were gona get paid regardless, Dre didnt really have a choice and considering that they had a different sound completely it wouldve been a little difficult trying to pass it off as ''this is another dr. dre production''. people arent retarded, even when ''my name is'' came out u knew it wasnt ALL Dre.
Snoop had his own crew too. So did Pac. "Murder Was The Case" was actually supposed to be the jump-off for Snoop and all his DPG/LBC artists but Suge started pushing his own acts at this point. There were enough producers and acts to get a sub-label going but it didn't work out that way. It's just not an accurate comparison.
-
thats tha energy and psychology im talkin about tho. thats why ppl dont get it. think about wat Snoop said about son not having tha right people in their environment. it all makes sense if u've been there before
There's a criticial difference between Snoop saying Dre/Aftermath "don't have the right people in their environment" and saying Death Row have "the wrong people". It's a complete opposite.
-
u dont understand tha higher power Jimmy, i get it, alota people wont. try thinking outside yourself 4 a minute tho. People got fuckd outta money and credit (in tha few booklets dudes name is in) but theyll be immortalized forever and i dont think u get that. thats why people to this day who r yung and old (just found this out again tha othr day) STILL know who Daz and Kurupt are and these niggaz been out tha spotlight for years in Hollywood years. People dont really understand God or tha Devil.
-
i know i get it i sound crazy right. i have to be reaching right. deathrow is still today more powerful than u think and all of tha key players involved are still shining. its just a ''new day''
-
Nah, bro. I'm very capable of understanding a conflicting opinion. I can even respect those I don't necessarily agree with if they're bringing a little knowledge to the table. You come off as someone who might have read a few interviews or watched this but you're still playing a part. You're talking vague in some areas hoping that misinformed people will read that as a form of intelectual way of expression. That talking over people shit like you are in the know doesn't work on me. You have a tendency to use popular expressions incorrectly, which says to me, that you absorb the oft-repeated but don't always take the time to properly decode it. You can throw out all the pseudo-philosophical babble you want but you're not even hinting at anything relevant. If you want to trade facts, we can do that. You want to go the spiritual route... I'm good with that as well. Just don't pull the back and forth routine and then act like I'm incapable of reading between the lines because I don't understand a Higher Power. You're not deep. You're confused.
-
Kinda sorta ot:
Anyone else remember reading that rumor that dre was actually done with detox in around 03-04 but all the ghost producers got together and took a stand against dre stealing their beats and that's what eventually led to detox being pushed back so much?
Now I have no inside sources or anything but on the outside looking in, sounds pretty believable when you consider...
1. The source article about neff-u, big chuck, melman, etc leaving and forming their own music group cuz they were tired of not being credited for their work
2. Dre has officially released 2 singles from detox and neither of them were produced by dre
Hmmm
mel man's issue was about money
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
suge never got blackballed, he just messed up so the company went bankrupt.
-
Dre needs to be labeled a Conductor not a producer :nawty:
-
son u totally just flipped tha script on me becuz u knew i was going there witchu. But c whole time i was hip, u kept trying to start a conflict that wasnt there. everytime i said sumthing u would make up another conflict about nothing (as we can c). i was hip son and im not trying no psykadelics im just callin it like it was. cheers 2 u tho becuz u get it but tha truth about tha matter is all in my words...there was nuthing left 2 say but this if anything. it doesnt take a genius 2 figure this out.
-
unless youre brand new to Death Row then u should already know Daz and Warren and others produced Doggystyle and The Chronic. Even if youre brand new to tha game u already know Dr. Dre uses a coproducer on all of his beats. Even if youve been in a diabetic coma for a quarter century u know that Suge is an jackass in real life. None of this is news.
-
More insight into Dre's production process. From an old Rolling Stone interview
http://web.archive.org/web/20080506072416/http://www.rollingstone.com/artists/drdre/articles/story/5937496/cover_story_day_of_the_dre
A freaky drum track pumps from the giant studio speakers, and Dre, headphones on, hunches over his turntables as intently as a neurosurgeon, surrounded by hundreds of records: Three Times Dope, early Funkadelic, Prince's Dirty Mind, even a tattered Jim Croce LP.
Listening to a Dre beat take shape in the studio is like watching a snowball roll downhill in a Bugs Bunny cartoon, taking on mass as it goes. Dre may find something he likes from an old drum break, loop it and gradually replace each part with a better tom-tom sound, a kick-drum sound he adores, until the beat bears the same relationship to the original that the Incredible Hulk does to Bill Bixby.
A bass player wanders in, unpacks his instrument and pops a funky two-note bass line over the beat, then leaves to watch CNN, though his two notes keep looping into infinity. A smiling guy in a striped jersey plays a nasty one-fingered melody on an old Mini-Moog synthesizer that's been obsolete since 1982, and Dre scratches in a sort of surfadelic munching noise, and then from his well-stocked Akai MPC60 sample comes a shriek, a spare piano chord, an ejaculation from the first Beastie's record -- "Let me clear my throat" -- and the many-layered groove is happening, bumping, breathing, almost loud enough to see.
Snoop floats into the room. He closes his eyes as if in a dream and extends both hands toward Dre, palms downward. Dre holds out his hands, and Snoop grazes his fingertips with a butterfly flourish, caught up in the ecstasy of the beat. Somebody hands Snoop a yellow legal pad. The rapper wanders over to the main mixing console, fishes a skinny joint out of his pocket and tenderly fires it up. He inhales deeply. He picks up a pencil and scribbles a couple of words before he decides to draw instead, and he fills the sheet in front of him with thick, black lines. He looks around the room for something more interesting to do than draw, and his sly canine leer settles on a visitor to the studio.
"You like this beat?" Snoop asks. "Think it's going to work? I think I'm going to call this one 'Eat a Dick,' about all the punk-ass niggaz who ain't down with the Row."
Daz and Snoop, who have heard this before, convulse into laughter.
Daz and Snoop and Kurupt slouch over their legal pads, peeking over each others' shoulders like the kids cheating on an exam. Daz gets to practice his new rap in a back corner away from the others; Kurupt wheels his chair over toward Snoop and says, "I've got the shit, man. I've got the crazy shit." Snoop listens to his friend rap for a bit, shrugs and goes back to his own rhyme. Kurupt is crushed. Dre comes in from the lounge, twists a few knobs on the Moog and comes up with the synthesizer sound so familiar from The Chronic, almost on pitch but not quite, sliding a bit between notes.
Tomorrow, Dre will throw away this Doggy Dogg beat and start on another.
"Did you see," Dre asks, "all those reels that are in the studio?"
They are unavoidable, piled up as thickly as an adobe wall.
"There's 35 or 36 reels of Snoop in there," Dre says. "Each reel holds three songs. So far, I have five that I like. That's just a small example of how ... how deep I'm going into this album. I feel that the tracks that I'm doing for him right now are the future of the funk.
From a Time interview
http://www.time.com/time/magazine/article/0,9171,1000775-3,00.html
Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound. "My greatest talent," Dre says, "is knowing exactly what I want to hear."
Truck Volume, a track for The Wash, began with a Dre beat and an eerie keyboard riff played on an old Vox V-305 organ. ("I was watching VH1--The Doors: Behind the Music," he says, by way of explanation.) Dre then added layers of strings. Everyone from Eminem to Madonna has been known to beg Dre for tracks, but the Doctor decides who gets his music based entirely on feel. Truck Volume, with its exaggerated haunted-house vibe, seemed like a good fit for the exuberantly hoarse rapper Busta Rhymes. "Busta just sounds crazy to me," Dre says.
Rhymes recorded his vocals a few days ago. Now Dre is icing the cake, playing the track from beginning to end dozens of times, nodding his head to the rhythm and making tiny adjustments as he goes. "More reverb here," he says. The technician tweaks the reverb on a two-second patch of Rhymes' voice. The track plays again. "Now it sounds like he's in the Grand Canyon." When the level is adjusted to his satisfaction, Dre calls Rhymes in New York. "I don't think we should add any more to it. Nah. All the breakdowns and all the instruments sound full enough. I'll call you if there are any changes." Dre hangs up, listens to the song one more time and tells the technician, "Put that on a CD real quick. Let me listen to it in my truck."
Hard on the Boulevard, a track on which Dre raps with Snoop Dogg, is the first single from The Wash. The video is supposed to shoot in two days. The track isn't finished yet. Dre is also working on a song for No Doubt, due next week, and on tracks for his next solo album, Detox, which he'd like to release in 2002. He seems unconcerned.
Dre has asked a male singer named Cocaine to come in and rework some of his vocals on the Boulevard chorus. Dre doesn't feel that the song is properly layered yet. "One of the things I like most about producing is recording vocals," he says. "I like instructing people, but I'm also trying to bring out a good performance, so I work with them--encourage them." When Cocaine arrives, Dre plays the track. Even though Cocaine is a relative unknown ("He must not want to get his stuff on anybody's station, naming himself Cocaine," says Dre) and Dre is the top producer in the game, he is enthusiastic, even sweet, in explaining what he's looking for. When it appears Cocaine is not getting it, Dre sings the part, revealing perfect pitch and a surprisingly nice voice. Cocaine listens to him, nods his head and starts warming up his pipes.
-
those parts aren't really supporting your statements about dre
-
Damn so about 106 songs and dre only likes about 5? No wonder aftermath doesn't release shit lol
-
Dope article tho
-
unless youre brand new to Death Row then u should already know Daz and Warren and others produced Doggystyle and The Chronic. Even if youre brand new to tha game u already know Dr. Dre uses a coproducer on all of his beats. Even if youve been in a diabetic coma for a quarter century u know that Suge is an jackass in real life. None of this is news.
I wouldn't subscribe to either of those statements as being absolute truth. Unless you are in the studio with Dre for every song he works on, you have no idea what his role is at that level. Ditto for the comments about Suge.
-
More insight into Dre's production process. From an old Rolling Stone interview
http://web.archive.org/web/20080506072416/http://www.rollingstone.com/artists/drdre/articles/story/5937496/cover_story_day_of_the_dre
A freaky drum track pumps from the giant studio speakers, and Dre, headphones on, hunches over his turntables as intently as a neurosurgeon, surrounded by hundreds of records: Three Times Dope, early Funkadelic, Prince's Dirty Mind, even a tattered Jim Croce LP.
Listening to a Dre beat take shape in the studio is like watching a snowball roll downhill in a Bugs Bunny cartoon, taking on mass as it goes. Dre may find something he likes from an old drum break, loop it and gradually replace each part with a better tom-tom sound, a kick-drum sound he adores, until the beat bears the same relationship to the original that the Incredible Hulk does to Bill Bixby.
A bass player wanders in, unpacks his instrument and pops a funky two-note bass line over the beat, then leaves to watch CNN, though his two notes keep looping into infinity. A smiling guy in a striped jersey plays a nasty one-fingered melody on an old Mini-Moog synthesizer that's been obsolete since 1982, and Dre scratches in a sort of surfadelic munching noise, and then from his well-stocked Akai MPC60 sample comes a shriek, a spare piano chord, an ejaculation from the first Beastie's record -- "Let me clear my throat" -- and the many-layered groove is happening, bumping, breathing, almost loud enough to see.
Snoop floats into the room. He closes his eyes as if in a dream and extends both hands toward Dre, palms downward. Dre holds out his hands, and Snoop grazes his fingertips with a butterfly flourish, caught up in the ecstasy of the beat. Somebody hands Snoop a yellow legal pad. The rapper wanders over to the main mixing console, fishes a skinny joint out of his pocket and tenderly fires it up. He inhales deeply. He picks up a pencil and scribbles a couple of words before he decides to draw instead, and he fills the sheet in front of him with thick, black lines. He looks around the room for something more interesting to do than draw, and his sly canine leer settles on a visitor to the studio.
"You like this beat?" Snoop asks. "Think it's going to work? I think I'm going to call this one 'Eat a Dick,' about all the punk-ass niggaz who ain't down with the Row."
Daz and Snoop, who have heard this before, convulse into laughter.
Daz and Snoop and Kurupt slouch over their legal pads, peeking over each others' shoulders like the kids cheating on an exam. Daz gets to practice his new rap in a back corner away from the others; Kurupt wheels his chair over toward Snoop and says, "I've got the shit, man. I've got the crazy shit." Snoop listens to his friend rap for a bit, shrugs and goes back to his own rhyme. Kurupt is crushed. Dre comes in from the lounge, twists a few knobs on the Moog and comes up with the synthesizer sound so familiar from The Chronic, almost on pitch but not quite, sliding a bit between notes.
Tomorrow, Dre will throw away this Doggy Dogg beat and start on another.
"Did you see," Dre asks, "all those reels that are in the studio?"
They are unavoidable, piled up as thickly as an adobe wall.
"There's 35 or 36 reels of Snoop in there," Dre says. "Each reel holds three songs. So far, I have five that I like. That's just a small example of how ... how deep I'm going into this album. I feel that the tracks that I'm doing for him right now are the future of the funk.
From a Time interview
http://www.time.com/time/magazine/article/0,9171,1000775-3,00.html
Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound. "My greatest talent," Dre says, "is knowing exactly what I want to hear."
Truck Volume, a track for The Wash, began with a Dre beat and an eerie keyboard riff played on an old Vox V-305 organ. ("I was watching VH1--The Doors: Behind the Music," he says, by way of explanation.) Dre then added layers of strings. Everyone from Eminem to Madonna has been known to beg Dre for tracks, but the Doctor decides who gets his music based entirely on feel. Truck Volume, with its exaggerated haunted-house vibe, seemed like a good fit for the exuberantly hoarse rapper Busta Rhymes. "Busta just sounds crazy to me," Dre says.
Rhymes recorded his vocals a few days ago. Now Dre is icing the cake, playing the track from beginning to end dozens of times, nodding his head to the rhythm and making tiny adjustments as he goes. "More reverb here," he says. The technician tweaks the reverb on a two-second patch of Rhymes' voice. The track plays again. "Now it sounds like he's in the Grand Canyon." When the level is adjusted to his satisfaction, Dre calls Rhymes in New York. "I don't think we should add any more to it. Nah. All the breakdowns and all the instruments sound full enough. I'll call you if there are any changes." Dre hangs up, listens to the song one more time and tells the technician, "Put that on a CD real quick. Let me listen to it in my truck."
Hard on the Boulevard, a track on which Dre raps with Snoop Dogg, is the first single from The Wash. The video is supposed to shoot in two days. The track isn't finished yet. Dre is also working on a song for No Doubt, due next week, and on tracks for his next solo album, Detox, which he'd like to release in 2002. He seems unconcerned.
Dre has asked a male singer named Cocaine to come in and rework some of his vocals on the Boulevard chorus. Dre doesn't feel that the song is properly layered yet. "One of the things I like most about producing is recording vocals," he says. "I like instructing people, but I'm also trying to bring out a good performance, so I work with them--encourage them." When Cocaine arrives, Dre plays the track. Even though Cocaine is a relative unknown ("He must not want to get his stuff on anybody's station, naming himself Cocaine," says Dre) and Dre is the top producer in the game, he is enthusiastic, even sweet, in explaining what he's looking for. When it appears Cocaine is not getting it, Dre sings the part, revealing perfect pitch and a surprisingly nice voice. Cocaine listens to him, nods his head and starts warming up his pipes.
I remember this read..its dope cause the interviewer guided us threw the whole making of(A NIGGA WITH A GUN)from the chronic lp.classic read. 8)
-
Lol @ the article making "cocaine" sound like some random new artist.
And lmao @ 'dre would like to release detox in 2002'...so 9 years later
-
More insight into Dre's production process. From an old Rolling Stone interview
http://web.archive.org/web/20080506072416/http://www.rollingstone.com/artists/drdre/articles/story/5937496/cover_story_day_of_the_dre
A freaky drum track pumps from the giant studio speakers, and Dre, headphones on, hunches over his turntables as intently as a neurosurgeon, surrounded by hundreds of records: Three Times Dope, early Funkadelic, Prince's Dirty Mind, even a tattered Jim Croce LP.
Listening to a Dre beat take shape in the studio is like watching a snowball roll downhill in a Bugs Bunny cartoon, taking on mass as it goes. Dre may find something he likes from an old drum break, loop it and gradually replace each part with a better tom-tom sound, a kick-drum sound he adores, until the beat bears the same relationship to the original that the Incredible Hulk does to Bill Bixby.
A bass player wanders in, unpacks his instrument and pops a funky two-note bass line over the beat, then leaves to watch CNN, though his two notes keep looping into infinity. A smiling guy in a striped jersey plays a nasty one-fingered melody on an old Mini-Moog synthesizer that's been obsolete since 1982, and Dre scratches in a sort of surfadelic munching noise, and then from his well-stocked Akai MPC60 sample comes a shriek, a spare piano chord, an ejaculation from the first Beastie's record -- "Let me clear my throat" -- and the many-layered groove is happening, bumping, breathing, almost loud enough to see.
Snoop floats into the room. He closes his eyes as if in a dream and extends both hands toward Dre, palms downward. Dre holds out his hands, and Snoop grazes his fingertips with a butterfly flourish, caught up in the ecstasy of the beat. Somebody hands Snoop a yellow legal pad. The rapper wanders over to the main mixing console, fishes a skinny joint out of his pocket and tenderly fires it up. He inhales deeply. He picks up a pencil and scribbles a couple of words before he decides to draw instead, and he fills the sheet in front of him with thick, black lines. He looks around the room for something more interesting to do than draw, and his sly canine leer settles on a visitor to the studio.
"You like this beat?" Snoop asks. "Think it's going to work? I think I'm going to call this one 'Eat a Dick,' about all the punk-ass niggaz who ain't down with the Row."
Daz and Snoop, who have heard this before, convulse into laughter.
Daz and Snoop and Kurupt slouch over their legal pads, peeking over each others' shoulders like the kids cheating on an exam. Daz gets to practice his new rap in a back corner away from the others; Kurupt wheels his chair over toward Snoop and says, "I've got the shit, man. I've got the crazy shit." Snoop listens to his friend rap for a bit, shrugs and goes back to his own rhyme. Kurupt is crushed. Dre comes in from the lounge, twists a few knobs on the Moog and comes up with the synthesizer sound so familiar from The Chronic, almost on pitch but not quite, sliding a bit between notes.
Tomorrow, Dre will throw away this Doggy Dogg beat and start on another.
"Did you see," Dre asks, "all those reels that are in the studio?"
They are unavoidable, piled up as thickly as an adobe wall.
"There's 35 or 36 reels of Snoop in there," Dre says. "Each reel holds three songs. So far, I have five that I like. That's just a small example of how ... how deep I'm going into this album. I feel that the tracks that I'm doing for him right now are the future of the funk.
From a Time interview
http://www.time.com/time/magazine/article/0,9171,1000775-3,00.html
Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound. "My greatest talent," Dre says, "is knowing exactly what I want to hear."
Truck Volume, a track for The Wash, began with a Dre beat and an eerie keyboard riff played on an old Vox V-305 organ. ("I was watching VH1--The Doors: Behind the Music," he says, by way of explanation.) Dre then added layers of strings. Everyone from Eminem to Madonna has been known to beg Dre for tracks, but the Doctor decides who gets his music based entirely on feel. Truck Volume, with its exaggerated haunted-house vibe, seemed like a good fit for the exuberantly hoarse rapper Busta Rhymes. "Busta just sounds crazy to me," Dre says.
Rhymes recorded his vocals a few days ago. Now Dre is icing the cake, playing the track from beginning to end dozens of times, nodding his head to the rhythm and making tiny adjustments as he goes. "More reverb here," he says. The technician tweaks the reverb on a two-second patch of Rhymes' voice. The track plays again. "Now it sounds like he's in the Grand Canyon." When the level is adjusted to his satisfaction, Dre calls Rhymes in New York. "I don't think we should add any more to it. Nah. All the breakdowns and all the instruments sound full enough. I'll call you if there are any changes." Dre hangs up, listens to the song one more time and tells the technician, "Put that on a CD real quick. Let me listen to it in my truck."
Hard on the Boulevard, a track on which Dre raps with Snoop Dogg, is the first single from The Wash. The video is supposed to shoot in two days. The track isn't finished yet. Dre is also working on a song for No Doubt, due next week, and on tracks for his next solo album, Detox, which he'd like to release in 2002. He seems unconcerned.
Dre has asked a male singer named Cocaine to come in and rework some of his vocals on the Boulevard chorus. Dre doesn't feel that the song is properly layered yet. "One of the things I like most about producing is recording vocals," he says. "I like instructing people, but I'm also trying to bring out a good performance, so I work with them--encourage them." When Cocaine arrives, Dre plays the track. Even though Cocaine is a relative unknown ("He must not want to get his stuff on anybody's station, naming himself Cocaine," says Dre) and Dre is the top producer in the game, he is enthusiastic, even sweet, in explaining what he's looking for. When it appears Cocaine is not getting it, Dre sings the part, revealing perfect pitch and a surprisingly nice voice. Cocaine listens to him, nods his head and starts warming up his pipes.
I remember this read..its dope cause the interviewer guided us threw the whole making of(A NIGGA WITH A GUN)from the chronic lp.classic read. 8)
my bad fellas..the guided us threw some tracks for (Doggy style..bless.
-
Nah hollywood I've always agreed with what you said. Suge was very necessary. His mistakes were bringing too many niggas and unnecessary drama to the table, and turning his back on dre. But as we see from aftermath, dre as a ceo doesn't get much done. But when suge was on his game the whole west got to eat. You could even see that when he tried to rebuild Tha Row, but by then he was already eternally blackballed.
yeaa right
even Bruce Williams 'The Man Behind The Man' is saying that.. Dre was talking about doing things when Suge was already doing it.
-
The problem with Suge and Dre is they sit on albums way too long and then the demand dies down and fans are letdown. People want to hear the music. You can say whatever you want about Master P, but he dropped albums left and right, right and left, constantly pushing out singles and moving units with No Limit Records -- Suge and Dre meanwhile you're lucky to get 1 to 3 releases a year out of them.
-
*****Dre has asked a male singer named Cocaine to come in and rework some of his vocals on the Boulevard chorus. Dre doesn't feel that the song is properly layered yet. "One of the things I like most about producing is recording vocals," he says. "I like instructing people, but I'm also trying to bring out a good performance, so I work with them--encourage them." When Cocaine arrives, Dre plays the track. Even though Cocaine is a relative unknown ("He must not want to get his stuff on anybody's station, naming himself Cocaine," says Dre) and Dre is the top producer in the game, he is enthusiastic, even sweet, in explaining what he's looking for. When it appears Cocaine is not getting it, Dre sings the part, revealing perfect pitch and a surprisingly nice voice. Cocaine listens to him, nods his head and starts warming up his pipes.*****
^
weird.
Jelly Roll did the chorus, not Kokane
-
Keep their heads ringin, wasn't always rumored Sam Sneed or Barney Rubble did that
all i know j-flexx wrote it for dre.
you mean J-Flexx wrote the lyrics? Because those were the illest lyrics Dre's ever spit in my opinion. That shit was hot to death. Dre has never sounded better on the Mic than he did on "Keep Your Heads Wringin". He might as well of been Rakim, Eminem, and the DOC all in one on that track. People who say Dre can't spit need to listen to that song.
This makes me wonder what other tracks J-Flexx has written. Dre's had everyone from Eminem to DOC to Jay-Z write for him and nobody's hooked him up like that.
-
The problem with Suge and Dre is they sit on albums way too long and then the demand dies down and fans are letdown. People want to hear the music. You can say whatever you want about Master P, but he dropped albums left and right, right and left, constantly pushing out singles and moving units with No Limit Records -- Suge and Dre meanwhile you're lucky to get 1 to 3 releases a year out of them.
the thing is that Dre is a craftsman while Beats By The Pound are like industrious workers. I mean in the early days the production on No Limit albums was almost flawless but as soon as they switched into that "let's drop 70 albums a year" mode (from 97-98 on) the quality of the music and especially the production (since the rapping's never been No Limit's forte, obviously lol) drastically plummeted. Dre had an interest in making sonically perfect music that would mark its era and "change the future of funk" while P had an interest on taking advantage of the favorable conditions for him to make a quick buck (huge buzz, receptive market, juicy deal with a huge advance for each album released, a fat cut of the wholesale price). Dre is a musician first and foremost. P is a businessman first. As for Suge, well he didn't have P's channels to push an average album gold or platinum(street promotion, relentless hustlin, etc.), and he needed to rely on the traditional route (extensive promotion + a good deal of controversy) and it was more costly for him to release an album than it was for P so he had to be sure that the quality was there, as well as the commercial potential. that's why he shelved Danny Boy's album IMO, he tested its potential with Slip N Slide (which had DeVante on the beat and Ginuwine on the hook) and saw that the response wasn't too crazy so he decided not to push it.
-
The problem with Suge and Dre is they sit on albums way too long and then the demand dies down and fans are letdown. People want to hear the music. You can say whatever you want about Master P, but he dropped albums left and right, right and left, constantly pushing out singles and moving units with No Limit Records -- Suge and Dre meanwhile you're lucky to get 1 to 3 releases a year out of them.
the thing is that Dre is a craftsman while Beats By The Pound are like industrious workers. I mean in the early days the production on No Limit albums was almost flawless but as soon as they switched into that "let's drop 70 albums a year" mode (from 97-98 on) the quality of the music and especially the production (since the rapping's never been No Limit's forte, obviously lol) drastically plummeted. Dre had an interest in making sonically perfect music that would mark its era and "change the future of funk" while P had an interest on taking advantage of the favorable conditions for him to make a quick buck (huge buzz, receptive market, juicy deal with a huge advance for each album released, a fat cut of the wholesale price). Dre is a musician first and foremost. P is a businessman first. As for Suge, well he didn't have P's channels to push an average album gold or platinum(street promotion, relentless hustlin, etc.), and he needed to rely on the traditional route (extensive promotion + a good deal of controversy) and it was more costly for him to release an album than it was for P so he had to be sure that the quality was there, as well as the commercial potential. that's why he shelved Danny Boy's album IMO, he tested its potential with Slip N Slide (which had DeVante on the beat and Ginuwine on the hook) and saw that the response wasn't too crazy so he decided not to push it.
Dre believes in setting trends. He doesn't believe in just cashing in when the gettin is good, like exploitin the popularity of a certain angle in hip-hop that is selling at the time. He believes in spending a lot of time on one record and making it superior to all other records so that others follow him.
No Limit was just about cashing in at a time when the hip-hop world was missing 2pac, and needed to fill that void. Master P even said that's what No Limit was about.
-
*****Dre has asked a male singer named Cocaine to come in and rework some of his vocals on the Boulevard chorus. Dre doesn't feel that the song is properly layered yet. "One of the things I like most about producing is recording vocals," he says. "I like instructing people, but I'm also trying to bring out a good performance, so I work with them--encourage them." When Cocaine arrives, Dre plays the track. Even though Cocaine is a relative unknown ("He must not want to get his stuff on anybody's station, naming himself Cocaine," says Dre) and Dre is the top producer in the game, he is enthusiastic, even sweet, in explaining what he's looking for. When it appears Cocaine is not getting it, Dre sings the part, revealing perfect pitch and a surprisingly nice voice. Cocaine listens to him, nods his head and starts warming up his pipes.*****
^
weird.
Jelly Roll did the chorus, not Kokane
there seems to be some confusion over that
kokane implies that he did the hook, even though he doesnt fuck with Jelly Roll
Dubcnn: Besides Jayo, Kam, Suga Free, George Clinton, who else do you have on the album?
I got up and coming artist Young Bleezy, Trajic, we got Mamie Gun who's definitely somebody to watch for.
Dubcnn: She's not with Jelly Roll anymore right?
No!
Dubcnn: You told me you had some words for some people on the record too...
Yeah. And I'ma save the surprise. I ain't never fucked with no Jelly Roll. Sometimes I had to do that but *starts singing "The Wash" (Dr. Dre & Snoop Dogg ft. Jelly Roll) I'd rather be riding than walking, and all you loud mouth niggas keep talkin', la la laaa *singing* You know what I'm saying? I might have to turn around an 'Knoc-Turnal' your style! You know what I mean? Sometimes thats the way rapping’s been, ain't nobody I wanna see dead, but take it to the stage, sucka! Put that in your pipe and smoke it! You know what I'm saying? It's a competitive competition, even though we on the same Olympic U.S. team but still, we trying to be the best we can be. Right now I'll go up against anybody. I don't care homie, we right here groovin' homie, and it's authenticated. On this album, George Clinton crowns me Duke Of Funk, so nobody can take that. Oooohwoooow..
But Jelly Roll says that he did the hook
dubcnn.com: Let's clear this up once and for all, cause people still ask me about it. Who sang the hook of "On The Blvd" off The Wash?
Uhhh.... I think his name is Jelly Roll. *laughs*
dubcnn.com: Okay, cause you still have people arguing that it's Kokane, so...
Well, okay, you know how people can distinct it? The Jelly Roll flavor when he sings like that is more Church, it's not George Clinton. I don't mock people. You know? Everything I do, my background comes from growing up in church, so that's the Deacon man.
wanst there the same confusion over "Hard Liquor"?
-
infinite is white
-
"keep their heads ringin'" is lyrically one of the worst tracks i've ever heard. infinite was definitley fuckin around lol. crazy...
&
shakingmyfuckinghead at me latching on to popular opinion. i fuckin hate when my mom and dad are like "What show did u get that from", "when did Snoop Dogg say that", i fuckin hate shit like that. 1st off I rarely get shit from TV, i get it from real life and people when we're talking and ONLY (i stress ONLY) when it's something that's not common knowledge or it's some new game i've NEVER heard before, it's not my fault at 22 im way smarter than u ever could be at 22.
it's not my fault that people like wat i like. i admit i've tried to gain that type of ear when i was like 14 but since then it's mostly been all me. J' u have no idea how much u just blew me with that... smmfh
-
shakingmyfuckinghead at me latching on to popular opinion. i fuckin hate when my mom and dad are like "What show did u get that from", "when did Snoop Dogg say that", i fuckin hate shit like that. 1st off I rarely get shit from TV, i get it from real life and people when we're talking and ONLY (i stress ONLY) when it's something that's not common knowledge or it's some new game i've NEVER heard before, it's not my fault at 22 im way smarter than u ever could be at 22.
it's not my fault that people like wat i like. i admit i've tried to gain that type of ear when i was like 14 but since then it's mostly been all me. J' u have no idea how much u just blew me with that... smmfh
Is this you talking sideways in my direction or are you addressing someone else?
-
youre so dumb Jimmy. stop trying to act like youre smarter than everybody.
-
I'm not trying to be smarter than you or anybody else. I'm confident with who I am and what I know. If I'm the dumbest guy in the room so be it but if I'm debating or arguing with a person, I'm sharing insight. Intelligent people share intelligent thoughts. That's how you educate people. All that other noise is just silly. If you're smart, don't talk about how smart you are, show how smart you are.
-
give me a dollar
-
Alll I got is quarters.