Warren G

[Soopafly DPGC]

I think if Warren would have stuck with his signature G-Funk sound, he would have fared better.  Early on, none of the DPG affiliated used his production because Suge had beef with him.  Later on, Warren was getting frustrated and after "Return of the Regulator" he pretty much abandoned G-Funk and tried to make mainstream beats, which he wasn't the best at.  If Snoop needs a mainstream beat, he's gonna get it from one of the heavy hitters in the game right now.  If he needs a g-funk beat, he had no one to go to.  Now Warren's starting to embrace G-Funk again and he's starting to get more work. 

[Matty]

i shot the sheriff, what's love got to do , i want it all, i don't think he's a one hit wonder nope. Certain media tend to reduce him to regulate but i'm sure people don't forget

"mac and devin" who is that ? Never heard that song (hook up?)

The song is called "I Get Lifted" from the Mac & Devin Soundtrack (Snoop and Wiz Khalifia)

fantastic production, best from Warren G in ages

[2euce 7even]

Warren G had hits in Europe
"regulate", "prince igor" and "all night, all right" wit Peter Andre

[Black Excellence]

I think if Warren would have stuck with his signature G-Funk sound, he would have fared better.  Early on, none of the DPG affiliated used his production because Suge had beef with him.  Later on, Warren was getting frustrated and after "Return of the Regulator" he pretty much abandoned G-Funk and tried to make mainstream beats, which he wasn't the best at.  If Snoop needs a mainstream beat, he's gonna get it from one of the heavy hitters in the game right now.  If he needs a g-funk beat, he had no one to go to.

this

[LAC/EASTSIDE]

Warren G= WC LEGEND!

[KrazySumwhat]

 I agree with thread starter. Not a single beat on any snoop album or dpg album(except mix tapes and left overs), he did one beat on "Kuruption", not a single beat on the 213 album(that alone says it all), only one dre beat on a Warren album and Warren not on Dres albums, Only albums on doggystyle records Warren did any production was the bones sound track(if memory serves), dope tracks like "after dark" and "dogg house soul food" and that Kurupt track when he re joined DPG all unreleased, ETC.
 Funny how Warren makes lots of commercial soundin music and cant get a single out or a hit also.
 I must admit though i went off of warren when "whats love got to do with it" and "i shot the sheriff" came out but apart from that  all of his albums are dope as fuck.
 But a dope album like "return of the regulator" flopped really badly and i think that was the end for him as far as being in teh mainstream or having any "hits".
 

[Black Excellence]

I agree with thread starter. Not a single beat on any snoop album or dpg album(except mix tapes and left overs), he did one beat on "Kuruption", not a single beat on the 213 album(that alone says it all), only one dre beat on a Warren album and Warren not on Dres albums, Only albums on doggystyle records Warren did any production was the bones sound track(if memory serves), dope tracks like "after dark" and "dogg house soul food" and that Kurupt track when he re joined DPG all unreleased, ETC.
 Funny how Warren makes lots of commercial soundin music and cant get a single out or a hit also.
 I must admit though i went off of warren when "whats love got to do with it" and "i shot the sheriff" came out but apart from that  all of his albums are dope as fuck.
 But a dope album like "return of the regulator" flopped really badly and i think that was the end for him as far as being in teh mainstream or having any "hits".
 

he also produced big bang theory on the first eastsidaz album. i agree wit what u said about return of the regulator warren's last dope album.

[BakinSodaFree]

Warren G had hits in Europe
"regulate", "prince igor" and "all night, all right" wit Peter Andre

Prince Igor was real big in Norway. Made it all the way to a collection album of the top hits of the year

[D-Nice]

I think if Warren would have stuck with his signature G-Funk sound, he would have fared better.  Early on, none of the DPG affiliated used his production because Suge had beef with him.  Later on, Warren was getting frustrated and after "Return of the Regulator" he pretty much abandoned G-Funk and tried to make mainstream beats, which he wasn't the best at.  If Snoop needs a mainstream beat, he's gonna get it from one of the heavy hitters in the game right now.  If he needs a g-funk beat, he had no one to go to.  Now Warren's starting to embrace G-Funk again and he's starting to get more work. 

Spot on. I think any change in style, flow or production for a west coast artist is more career suicide then any other artist from anywhere. Fans especially (most dubcc forum members lol) and the funny thing with Warren is, he always got major love from the east coast. He can always count on getting placement there, but yeah Warren is one of the masters when it comes to the G Funk sound. Enhance it, improve it, make it better but going completely out of his comfort zone and doing something else= not a smart move for him.

[KrazySumwhat]

I agree with thread starter. Not a single beat on any snoop album or dpg album(except mix tapes and left overs), he did one beat on "Kuruption", not a single beat on the 213 album(that alone says it all), only one dre beat on a Warren album and Warren not on Dres albums, Only albums on doggystyle records Warren did any production was the bones sound track(if memory serves), dope tracks like "after dark" and "dogg house soul food" and that Kurupt track when he re joined DPG all unreleased, ETC.
 Funny how Warren makes lots of commercial soundin music and cant get a single out or a hit also.
 I must admit though i went off of warren when "whats love got to do with it" and "i shot the sheriff" came out but apart from that  all of his albums are dope as fuck.
 But a dope album like "return of the regulator" flopped really badly and i think that was the end for him as far as being in teh mainstream or having any "hits".
 

he also produced big bang theory on the first eastsidaz album. i agree wit what u said about return of the regulator warren's last dope album.

Ah i had a feeling he produced a track on that album but i couldnt remember. Wow he got to produce a song and rap on one on a snoop/dpg album. A one off it would seem.

[bouli77]

Warren had a successful carreer artistically and commercially up until I Want It All, which went gold even though he was nowhere near as popular as when he first came out with Regulate. Then Return of the Regulator was supposed to be his fat come back but it flopped and things went kinda downhill afterwards. He couldn't feature Death Row artists because basically they weren't free to collaborate with whoever they wanted, that's why the original version of "what we go through" was left out. Also Dre has always seemed to have a problem with Warren making it on his albums or songs. But on I Want It All, after Suge had gone to jail and everybody was basically free to do whatever, everybody was on there, Snoop, Daz, Kurupt... Dre did the remix of Game Don't Wait, he did stuff on the first Eastsidaz album (even appeared in the booklet pictures lol). I Want It All had a lot of big names on it. I think that's the last album where he was still relevant in the rap game.

However, for Regulate alone, dude can still afford things that other artists cannot, and he shouldn't be too bitter because he is still getting placements here and there in the industry and getting major love from the fans. and i think that's the main problem with Warren, whenever you hear him in interviews, he always comes off as bitter and depressed.

[Cavvy]

interesting piece I stumbled across
As Suge Knight built Death Row into a West Coast juggernaut, Knight’s fearsome reputation grew. Knight wanted more than hit records. He wanted to dominate the industry, making moves to open a Death Row office in New York in conjunction with hip-hop heavyweight Eric B., and talking of forming a Black-owned national distribution company.
 
So when Def Jam A&R chief Chris Lighty scooped up a stray artist left to languish on Death Row’s back bench—Dr. Dre’s step-brother ,Warren G—Suge Knight made his displeasure known. Def Jam had infringed on his territory, and Knight wanted to teach Def Jam CEO, Lyor Cohen, a lesson. The confrontation came to a head one night at a De La Soul concert in Los Angeles, when Knight made his way to have a “discussion” with Cohen.
 
Lighty—himself no stranger to thuggery as an alumnus of a group of young troublemakers called the Violators—placed himself between Knight and Cohen and stood his ground. In the tense faceoff, Lighty’s accomplice brandished a weapon, and Lighty warned Eric B., “You need to tell him about us, because you’ve got to come home.” Knight backed off. And when Knight took revenge by withholding Death Row artist Nate Dogg from a Warren G video shoot, Lighty strode right into Knight’s inner sanctum (Death Row’s offices) and politely made a case for Knight to change his mind.
 
Lighty did more that day than win Knight’s respect. He set the stage for the triumph of business over bullets. It would, alas, take several more years and the death of two beloved hip-hop icons before the change manifested. But the future of the hip-hop business would ultimately belong to businessmen like Chris Lighty and Lyor Cohen, not to Knight and his ilk.

[Desert Lord]

return of the regulator is one of my all time favorite albums !!!

[V2DHeart]

interesting piece I stumbled across
As Suge Knight built Death Row into a West Coast juggernaut, Knight’s fearsome reputation grew. Knight wanted more than hit records. He wanted to dominate the industry, making moves to open a Death Row office in New York in conjunction with hip-hop heavyweight Eric B., and talking of forming a Black-owned national distribution company.
 
So when Def Jam A&R chief Chris Lighty scooped up a stray artist left to languish on Death Row’s back bench—Dr. Dre’s step-brother ,Warren G—Suge Knight made his displeasure known. Def Jam had infringed on his territory, and Knight wanted to teach Def Jam CEO, Lyor Cohen, a lesson. The confrontation came to a head one night at a De La Soul concert in Los Angeles, when Knight made his way to have a “discussion” with Cohen.
 
Lighty—himself no stranger to thuggery as an alumnus of a group of young troublemakers called the Violators—placed himself between Knight and Cohen and stood his ground. In the tense faceoff, Lighty’s accomplice brandished a weapon, and Lighty warned Eric B., “You need to tell him about us, because you’ve got to come home.” Knight backed off. And when Knight took revenge by withholding Death Row artist Nate Dogg from a Warren G video shoot, Lighty strode right into Knight’s inner sanctum (Death Row’s offices) and politely made a case for Knight to change his mind.
 
Lighty did more that day than win Knight’s respect. He set the stage for the triumph of business over bullets. It would, alas, take several more years and the death of two beloved hip-hop icons before the change manifested. But the future of the hip-hop business would ultimately belong to businessmen like Chris Lighty and Lyor Cohen, not to Knight and his ilk.

And that's why we are faced with the problem we are faced with now.. Had Death Row East materialised, I believe it could have been better than the West. Overall the Hip Hop game would be strong, and would have had another good few years run before the suits exploited the shyt out of it