By the way, does anyone one have a clue what song was removed from 'The Chronic' for failing sample clearance? Is it something we have never come across or heard -

QD3 (Quincy Jones III), the son of Quincy Jones, stated that there was a track on The Chronic that he considered his favorite, which was ultimately removed from the album due to a sample clearance issue.

This comment came from a red carpet interview around 2009. QD3 did not elaborate further on the specific track or sample

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Chronic left-over tracks break-down -

Some Dre production notes -

SNOOP DOGG: [Dre] listened to it off the board (The Chronic) in the studio. He'd cut it together, cut the reels, splice it in. He actually had to put it together piece by piece, by hand. Every song connected to the next song, to the next song, to the next song.

ALLEN GORDON (former editor, Rap Pages magazine): Dre had the talent to hear music and [say], “This needs a flute, harp strings, heavier drum track.” That's an incredible talent, even if he can't read music himself.

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Collabs :

''Let me tell you something man, the collaborative effort for me is everything, I’ve never done one thing in my career by myself. It’s all been a collaboration. I love collaborating, I love being in the studio with likeminded people who understand where we’re trying to go with this music shit and that’s the magic for me at least.'' — Dr Dre on LL Cool J- 7:35

Since the outset of his career, Dre has worked in tandem with others and for him, it’s where the joy resides. Back in the World Class Wreckin Cru, he combined his efforts with Alonzo Hawkins and Marquette Hawkins. After that, NWA gave him the chance to revolutionize gangsta rap alongside Ice Cube, Eazy E, MC Ren and Yella.

Once he broke out of the Ruthless Records roster and onto Death Row, he expanded his rolodex of collaborators again and has continued to replenish them across the different eras of his Aftermath label.

To Dre, the act of collaboration is essential to making something special. But on the flipside, his insistence on realizing each solitary note’s full potential means that even when he’s working with others, he leaves nothing to chance.

By doing so, he’s allowed to coax greatness out of his co-conspirators and proteges in a way that any producer worth their salt should seek to emulate.

“Sometimes he has something he hears me on immediately that he’ll know my flow or my cadence will compliment the track, or sometimes he’ll just let me go in the studio, he got about 400 beats, just pick through and see what I catch the vibe on. He all about the feeling, he ain’t never wanna rush or sit on it too tong about creating unless it’s one of them ones that;s for sure for sure. He gives me creative space where I can do what I do and then he just comes in and tweaks it, taking me to the next level. It’s crazy.”- — Kendrick Lamar on Hardknock TV- 4:50

Compton (A Soundtrack By Dr. Dre): Instrumentals (Full Album)

Damn, already gone. Did someone download this one?

Agree!  I think DOC's voice was unique and crazy during that time, definitely could've had some dope albums produced around that unique sound.  Heltah Skeltah was a great album.

Dre simply didnt want DOC to be around but Why?

Why buy him out from Ruthless in de first place?

Here's another one and the story behind it, and no it's not who you think it is in the pic -

How I ended up in a limo with Ice Cube and MC Ren from N.W.A. in 1989




N.W.A.
How I ended up in a limo with Ice Cube and MC Ren from N.W.A. in 1989

A couple years back, rapper MC Ren shared a photo on social media of him, his fellow N.W.A. member Ice Cube and some unidentified guy in the back of a limo, sharing a laugh. That guy was me.

[Bobby Tanzilo]

A couple years back, rapper MC Ren shared a photo on social media of him, his fellow N.W.A. member Ice Cube and some unidentified guy in the back of a limo, sharing a laugh.

I’m that unidentified guy, and because I've been asked numerous times, here’s how that photo came to be. (Sorry to everyone who had guessed it was Michael Rapaport in the picture.)

In early 1989, I was a part-time sports reporter at the Milwaukee Sentinel, writing about whatever needed writing about – I believe I hold the record as longest tenured Bowler of the Week columnist at the Sentinel! – plus working in the newsroom editing copy, writing headlines, formatting stats, reading page proofs and that sort of thing.

But what I really wanted to do was write about music and so almost as soon as I started the job in November 1988, I harassed Jim Higgins into letting me freelance record reviews, concert reviews, book reviews and music features for the paper’s Let’s Go section. Once in a very rare while film critic Duane Dudek would even send me to do a movie review.

In addition to reggae, jazz and what we’d later call “alternative rock,” I also wrote about hip-hop, which was especially fertile at the time, though mostly on the East Coast. But L.A. was beginning to make itself heard.

Even if I never managed to make my dream dual interview with Milwaukee’s Iceberg Slim and Cali rapper Ice-T – who had taken his stage name as a tribute to Slim – happen (despite getting very close), I did connect with Pat Charbonnet at Priority Records, who was currently working the label’s latest release, N.W.A.’s “Straight Outta Compton” pretty hard.

That album was released 35 years ago today, on Aug. 8, 1988.

I reviewed the record for the newspaper and soon after found myself on the phone in my mom’s kitchen in Milwaukee interviewing Ice Cube, who was on the phone in his mom’s kitchen in L.A. (Yes, we both still lived at home!)

That article ran in the Sentinel as a preview for the group’s June 16, 1989 performance at the Arena (now the UWM Panther Arena) with Kid ‘n Play, Too Short, Kwame and a solo set by N.W.A.’s Eazy-E.

Then, Pat asked if I wanted to meet up with Ren and Cube three nights before the Brew City gig for a little promotional tour around Milwaukee. Of course, I said yes.

The night before that tour was to take place, I went to Mitchell Airport to meet them at their gate as they arrived along with promoter Tony Selig and a few others. This was pre-Sept. 11, when non-passengers could just stroll down to the end of any concourse at an airport.

We met, welcomed them, chatted briefly, and they went to their hotel.

The next morning, we met up outside the Eagles Club (now The Rave, but back then home to Omnibus, a club run by Selig) and we hopped into a couple 40-foot white limousines with its plush red interior, and off we went.

Our first stop was the Mainstream Megastore South on 27th Street and Loomis Road, which was said to have been selling “Straight Outta Compton” at “breakneck pace.”

But as I wrote later in the Sentinel, “the only autograph hunters were store employees who asked most everyone in the entourage for signatures whether they were in the group or not.”

By contrast, when the limo arrived at Mr. Music, a record store just north of Center Street on the east side of King Drive, a few hundred kids were waiting.

“The crowd gathered at Mr. Music grew larger and larger each minute,” I wrote, “with traffic slowing to a near halt while motorists tried to get hold of the postcard-sized concert advertisements that fans were having signed.

“The hour-long visit was still (ahem) too short for all to get authentic signatures and some resorted to having members of the entourage sign (things like) ‘To Terrance from Eazy-E’.”

Multiple kids assured me that I was N.W.A. member DJ Yella and insisted – despite my fervent denials – that I sign their cards with this name.

Next, we headed out, “making a quick getaway in an unmarked car in true Beatlemaniac style ... whisked off to WNOV-AM for some promo spots and an interview.”

A “few dozen well-informed youths” had already gotten there before us.

The next part was perhaps the most unusual.

“A small group turned into a motorcade of cars that followed the limousines back to promoter Tony Selig’s Shorewood street,” I wrote, noting that the scene of Selig and his 2-year-old daughter exiting a 40-foot limo, which was then beset by a group of eager rap fans, still had Selig’s neighbors talking afterward.

I remember MC Ren and Ice Cube chatting with fans and signing autographs and we talked about music in the car between stops, but it was clear they were pretty tired.

As I noted in my wrap-up later, they “spent their previous day off at a press conference in Cleveland and this one being whisked around Milwaukee with no food in their stomachs and no clean clothes in their suitcases.”

But, they did perk up “when listening to (and critiquing) the new LL Cool J CD ("Walking With A Panther," released that week), watching the final game of the NBA Championship series (the Pistons swept series against the Lakers that night) and grooving to the Too Short and Special Ed (who attended my high school a couple years after me) tapes they bought.”

I’d be surprised if they remembered anything about the experience in Milwaukee, moving, as they were, from city to city as part of a concert and promotional tour, and surely they’d have no memory of me, one of countless faces they’d encounter on that jaunt almost 35 years ago.

But it’s a memory I’ll always have and thanks to an unknown photographer (I'd guess it was the late Tony Selig), I at least have a photo from that crazy day.

I thought it was Rapaport too 

Best version of The Chronic sound quality wise -

The Chronic - DSS One-Step

Artist:
    Dr. Dre

$124.98
Quantity

Ships on: January 12, 2026



The Definitive Sound Series (DSS) meticulous One-Step process creates the definitive sounding audiophile version of all-time classic albums. Dr. Dre “The Chronic” was mastered from the original analog master tapes to ensure “The Chronic” has never sounded better!

This DSS version is limited to a one-time pressing of 3,000 numbered copies, includes a top-quality heavyweight tip on double gatefold jacket for the first time and is housed inside a uniquely designed slipcase.
Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recordings nuances at every step, in order to create the definitive sounding record.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing and the listening experience.

DSS One-Step Details
- Audio Source: Original Analog Master Tapes
- Vinyl Compound: Neotech VR900-D2 180g High-Definition Vinyl
- Vinyl Mastering: Chris Bellman at Bernie Grundman Mastering
- One-Step Process: Dorin Sauerbier at Record technology, Inc.
- Pressing: Record Technology, Inc.
- Print & Packaging: GPA Global

Dr. Dre Notes:
When originally released back in 1992 The Chronic was a single LP with long sides. It was a gift that vinyl even existed for the original release - CDs ruled the day. By 2001 this landmark recording was split across 4 sides which allowed for a more authentic audio listening experience to what Dr. Dre had created.

Now we have The Chronic One-Step release which takes Dr. Dre’s production to a whole new listening level.
The original analog master tapes were completely sequenced and in great shape - ready to cut!
Of course we used Chris Bellman at Bernie Grundman Mastering where every version of The Chronic had been mastered, to put the magic of the tapes onto the Definitive Sound Series One Step!

https://interscope.com/products/the-chronic-dss-one-step

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Dr. Dre's Hip Hop Classic Gets a Well-Deserved "One Step" Release From Tape




hey boomer! You might actually like this! you'll love the sound for sure

Label: Interscope

Produced By: Dr. Dre

Engineered By: Willi Will

Mixed By: Greg Royal

Mastered By: Chris Bellman (originally mastered by Bernie Grundman)

Lacquers Cut By: Chris Bellman at Bernie Grundman Mastering

In the audiophile ghettos otherwise known as "hi-fi shows" Hip Hop music rarely if ever gets played. Blues? Yes. A lot of blues. Jazz? Yes a lot of jazz. Some classical too, but Hip Hop? Not that I can recall. Some say it's the coarse language. Around the time this now classic Hip Hop album was released late 1992, a Howard Stern Show character named "Stuttering John" (Melendez) stuck a microphone in Walter Cronkite's face at a press event and attempted a Q&A. During the questioning he slipped in the word "friggin'" and that set off the then retired CBS News anchor, who excoriated Melendez for his foul language.

33 years later "friggin"? It's in TV commercials and sitcoms. No big deal. Our public language has gotten a great deal coarser. We have a President who regularly throws "F-bombs", uses phrases like "shithole countries", and spouts vulgarities that, coming from a President's mouth in public once would have been considered scandalous. Most of them spewed their expletives in private.

There's very little said on The Chronic (slang for the highest quality weed, if you didn't know) that most people reading this haven't said (usually with far less humorous intent) or at least heard in private and maybe in public depending upon where you hang and with whom, though in my family growing up if you ever used the N word you got your mouth washed out with soap.

The Chronic quickly reached number 3 on the Billboard 200 charts and spent 8 months in the Top 10, eventually being certified triple platinum (3 million copies sold) and all of that were before these coarse public language times. It was a mainstream album. The Library of effing Congress selected The Chronic for preservation in the National Recording Registry in 2019 as "culturally, historically or aesthetically significant"!

Yet you won't hear The Chronic in the hi-fi show ghetto—at least I've not—or any other Hip Hop or rap music. Maybe Rap and Hip Hop are out at hifi shows because many (but not all) Hip Hop records are filled with smashed, lo-rez samples, highly processed vocals and synthetic beats that result in recordings not fit to show off high performance audio gear.

Nonetheless, one musical step away from The Chronic, and so close, the names Bernie Worrell and George Clinton and groups like Parliament/Funkadelic and War are very familiar to many audiophiles, and their music, often very well recorded, is well appreciated!* Go-Go music Chuck Brown's 70's era Washington D.C. party/dance funk variant definitely got plenty of "airplay" at hi-fi shows because I brought Go-Go Crankin' Paint The White House Black to many of them and everyone partied!

Now finally, onto this AAA The Chronic "One Step"reissue spread onto two 180g slabs. You are advised on side 3 that "This should be played at high volume preferably in a residential area!" . And you can because it's a flat out audiophile quality G-funk production, more live in the studio music, than sample derived (fewer than a dozen samples, more than a few Funkadelic derived). The funk beats are slow, fat and hypnotic the bass lines sexy and languid and Dre leaves wide open spaces that help produce huge, three-dimensional soundstages. There's a live flute played by Katisse Buckingham that magically floats in space between the channels. Most of the live instruments are equally well recorded and presented. Not sure if Dre used Neumann U-47s but the vocals are so ridiculously well recorded and left to hang unmolested by effects you can almost smell the blunt breath.

Now, regarding the lyrics and the emotional residue, Dre addresses his former bandmates and airs his grievances, sometimes viciously, Snoop Dogg raps all over the record about his rough time growing up but even then he provided almost a balm and today he's a benign mainstream caricature of his former self. People who whined then about the glorification of "gangsta violence" are the same folks who loved The Untouchables and later The Sopranos so take it for what it is, often sketch comedy funny, more like Firesign Theater, and filled with cartoon sex. Making this record must have been a collective blast.

Still there's enough of a dangerous undercurrent to make it vital and sometimes scary because it reflects how life was and probably still is for many in the real ghetto. 30 years down the road, though it goes down surprisingly mellow yet there's enough sketch comedy fun, funk and danger to keep listeners fully engaged, especially since it sounds so fucking great! The One Step costs $124.98. I reviewed a test pressing but based on the other One Steps in this series the packaging should be deluxe.

Finally, Bernie Grundman originally mastered this in 1992 and according to Wikipedia some recording was also done at Bernie's. I just wish I'd been a fly on the wall watching all of this go down with mild-mannered Bernie! Needless to say, this edition was plated by Dorin Sauerbier at RTI and pressed there on Neotech VR900-D2 180g High Performance Vinyl.
Music Specifications

Catalog No: 60247823267

Pressing Plant: RTI

SPARS Code: AAA

Speed/RPM: 33 1/3

Weight: 180 grams

Size: 12"

Channels: Stereo

Source: original master tape

Presentation: Multi LP

* Interesting.

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Only 3000 pressed, we gonna need a rip...

 

  The Definitive Sound Series (DSS)
    Numbered, Limited Edition
    One-Time Pressing Limited to 3,000 Copies
    One-Step Vinyl
    All-Analog
    Double LP
    Neotech VR900-D2 180g High-Definition Vinyl
    Audio Source: Original Analog Master Tapes
    Vinyl Mastering by Chris Bellman at Bernie Grundman Mastering
    One-Step Process by Dorin Sauerbier at Record Technology, Inc.
    Pressed at Record Technology, Inc.
    Packaging by ASG / Spark
    Top-Quality Heavyweight Tip-On Gatefold Jacket
    Uniquely Designed Slipcase
    Explicit Content

Wish someone would dig up their true sophomore album off G-Funk Records title "Ringers" that was supposed to be released in 97.  Dunno what happened with them and Warren, but their album got shelved and Warren never did much with them after that.

was it even recorded? or just rumored?

I know i'll get hate for this, but I think This DJ is better than Regulate.

why would u get hate for that

they're both widely considered 5/5 classix