#West Coast G Eazy Beat

[cyarskaren52]

REGULATORS: THE 25 DOPEST G-FUNK SONGS

By Stereo Williams

Published Mon, February 7, 2022 at 12:00 AM EST

West Coast Hip-Hop was already becoming a force. 

In the late 1980s, artists like Ice-T, Too $hort, King Tee and N.W.A. were putting California on the Hip-Hop map and by the dawn of the 1990s, New York City's grip on the rap industry was no longer a given. Producers like Above The Law's Cold 187Um (aka Big Hutch), DJ Quik and most famously, Dr. Dre, began melding their love of the bass-heavy grooves of Parliament/Funkadelic and other bands like Zapp and the Ohio Players, into Hip-Hop beats. The sound that emerged came to be known as G-Funk, and after 1992, it took over the West Coast.

And, in turn, the West Coast would take over Hip-Hop, commercially. After Dr. Dre took G-funk to the mainstream with the success of his solo debut The Chronic, the sound was virtually everywhere. With the Super Bowl Halftime Show putting everyone in a West Coast spirit, we decided to rank the 25 Dopest G-Funk songs. 

#26

"YOUR LOVE IS A 1.8.7." - THE WHITEHEAD BROS [BONUS SONG]

G-Funk was so big in 1993/1994, that it started to influence R&B. One of the most obvious examples was this single from The Whitehead Bros. With its squealing synths and references to murder and automatic weapons, it's a gangstafied love song. 

#25

"SUMMERTIME IN THE LBC" - THE DOVE SHACK

One of the most criminally overshadowed groups of the era, The Dove Shack came out swinging with this breezy ode to Long Beach in the summer. 

#24

"GETTIN' IT" - TOO $HORT W/PARLIAMENT-FUNKADELIC

"We gon' do it like this...on the last album," $hort Dog mournfully announced on this Parliament-assisted banger. Of course, we all know Too $hort was far from finished, but he delivered one of the most prominent latter entries in the G-Funk canon. 

#23

"AIN'T NO FUN" SNOOP DOGGY DOGG FEAT. WARREN G, NATE DOGG AND KURUPT

Yes, it's one of the most problematic songs of all time. But what a banger! Daz ghost-produced this G-funk staple. 

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#22

"DEEZ NUUUTZ" - DR. DRE FEAT. DAT NIGGAZ DAZ, NATE DOGG

Another classic from "The Chronic," and a song that spawned 30 years of eighth grader jokes, the Nate Dogg outro is just perfection. 

#21

"ALWAYZ INTO SOMETHIN'" - N.W.A.

Probably the clearest indicator on N.W.A.'s notorious sophomore album "Niggaz4Life" of where Dr. Dre was about to take things with "The Chronic" a year later. 

#20

"REAL MUTHAPHUCKKIN G'S" - EAZY-E FEAT. B.G. KNOCC OUT AND DRESTA

Eazy-E's diss aimed squarely at Dr. Dre and Death Row, this track was one of the best examples of Ruthless Records' brand of G-Funk, a sound the label rarely gets acknowledgment for. 

#19

"INDO SMOKE" - MISTA GRIMM

A weed theme song for stoners circa 1993, this banger from the "Poetic Justice" soundtrack gave an indication of where Warren G was going to go production-wise. It also memorably provided an intro snippet on Snoop's "Doggy Style" a few months later.

#18

"DUSTED 'N' DISGUSTED" - E-40 FEAT. MAC MALL, SPICE 1, ANT BANKS, 2PAC

E-40 pulls together a who's-who of Bay Area legends for one of the most beloved singles in his catalog. 

#17

"BLACK SUPERMAN" - ABOVE THE LAW

ATL's G-Funk legacy has always been overshadowed by the behemoth that is Death Row, but know that Cold 187um got there first and Ruthless sustained the sound alongside more high-profile camps. 

#16

"LET'S PLAY HOUSE" - THA DOGG POUND FEAT. MICHEL'LE AND NATE DOGG

A song that would become a West Coast backyard boogie staple for years to come, it's Daz in top form, production-wise. But everyone brings their A game here. 

#15

"DOLLAZ & SENSE" - DJ QUIK

Quik takes no prisoners on this infamous MC Eiht diss. Their feud would be one of West Coast Hip-Hop's most notorious, and this track is a classic entry. 

#14

"AFRO PUFFS" - LADY OF RAGE FEAT. SNOOP DOGGY DOGG

The First Lady of Death Row came with it on this hit single from "Above The Rim," an ode to natural hair, gangsta shit and keepin' it funky. 

#13

"DOGGY DOGG WORLD" - SNOOP DOGGY DOGG FEAT. THA DOGG POUND, THE DRAMATICS AND WARREN G

The pimptastic video is one of the most memorable of the 90s; and the groove is pure 70s funk, highlighting how deeply indebted to that era G-funk had been. 

#12

"YOU KNOW HOW WE DO IT" - ICE CUBE

Cube's first album was Bomb Squad bombast and his second outing was looser, but still hard. After enjoying mainstream success with singles like "It Was A Good Day" and "Check Yo' Self," Cube dropped his most obviously G-Funk-leaning single in this West Coast classic. 

#11

"LET ME RIDE" - DR. DRE FEAT. SNOOP DOGGY DOGG AND JEWELL

Dre's love of P-Funk was never more evident than on this Sunday driving anthem. The flip of "Mothership Connection (Star Child)" is perfect and it gave "The Chronic" another hit single. 

#10

"THIS D.J."

Sure, the Nate Dogg-assisted "Regulate" is way more famous. But this follow-up single best sums up the sunny vibe of Warren G's particular brand of G-Funk. He kept it street, but also gave a more laid-back alternative to what was coming out of Death Row at the time. And this is a great summer song.

#9

"CALIFORNIA LOVE" [REMIX] - 2PAC W/DR. DRE FEAT. ROGER TROUTMAN

The original may be more famous, but it's the remix that's pure G-Funk. From that wobbly bassline to those squealy synths and the presence of an electro-funk legend in Roger Troutman himself. 

#8

"WHO AM I? (WHAT'S MY NAME)" - SNOOP DOGGY DOGG

It's so P-Funk-like, it's like you can hear George Clinton sitting in the room. Nobody would ever have trouble remembering his name again. Shoutout to "Atomic Dog." 

#7

"CALL IT WHAT YOU WANT" - ABOVE THE LAW FEAT. 2PAC AND MONEY B

Big Hutch (Cold 187Um) is one of the most underrated producers of all time. It's so funky and Pac and Money B bring some of that freewheeling D.U. energy to the proceedings. 

#6

"BIG PIMPIN'" - THA DOGG POUND FEAT. SNOOP DOGGY DOGG

Daz's spin on G-Funk is so distinct. He goes deep into those bass grooves and this is one of his rubbery best. From the classic "Above The Rim" soundtrack, it helped announce that Tha Dogg Pound was up next. 

#5

"DRE DAY" - DR. DRE W/SNOOP DOGGY DOGG

From that opening thump; you can feel Parliament's influence. This hit from "The Chronic" was the culmination of his sound up that point--and yes, a scorching diss of Dre's former bandmate Eazy-E (and Luke and Tim Dog). 

#4

"REGULATE" - WARREN G FEAT. NATE DOGG

Where the G-Child proved to any late comers that he was more than just Dre's brother. The Long Beach product crafted his own uniquely melodic brand of G-Funk, and this classic epitomized it. 

#3

"TONITE" - DJ QUIK

Another example of G-Funk before Death Row and "The Chronic," DJ Quik's breakout hit wasn't necessarily called "G-Funk" at the time, but when you listen to it now, it's clear that he's pointing towards where so much mainstream West Coast Hip-Hop was headed. 

#2

"GIN AND JUICE" - SNOOP DOGGY DOGG

Another ode to getting drunk as hell, Snoop's second single cemented him as the most unique new voice in the game back in 1994. All these years later, it's a staple of the sound and era, a true G-Funk classic. 

#1

"NUTHIN' BUT A 'G' THANG" DR. DRE FEAT. SNOOP DOGGY DOGG

"Deep Cover" obviously came first, but this was Death Row's first smash and the song that pushed G Funk into the mainstream. Snoop and Dre's chemistry was on fire, and the groove launched a thousand imitators.

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[yuv4na]

Evolution of Rap: From the Streets to the Mainstream

Rap, a genre born from the streets of New York City in the late 1970s, has evolved over the years, embracing different styles, themes, and sounds. From its humble beginnings to becoming a global phenomenon, the journey of rap music is marked by the contributions of numerous artists who have shaped its landscape. Let's embark on a journey through the decades to explore how rap evolved and diversified.

1980s: The Birth of a Cultural Phenomenon

The 1980s marked the emergence of rap music into the mainstream. Artists like Grandmaster Flash, Eazy-E, Dr. Dre, Run DMC, Big Daddy Kane, and Rakim pioneered the genre, laying the foundation for what was to come. Their rhymes, often delivered over beats sampled from funk and disco records, reflected the realities of inner-city life, addressing social issues, and celebrating street culture. Run DMC's fusion of rap and rock with hits like "Walk This Way" showcased the genre's crossover appeal, setting the stage for its future growth.

1990s: The Golden Era of Rap

The 1990s is often referred to as the golden era of rap, characterized by its diversity and innovation. Artists like Big L, 2Pac, Nate Dogg, Snoop Dogg, and Nas rose to prominence, each bringing their unique style and storytelling prowess to the forefront. 2Pac's raw lyricism and social commentary resonated with audiences, while Nas' intricate wordplay and vivid storytelling elevated the art form. Meanwhile, Snoop Dogg's laid-back flow and G-funk sound became synonymous with West Coast rap, influencing a new generation of artists.

2000s: The Rise of Mainstream Rap

The 2000s witnessed rap's ascent to the forefront of popular culture. Artists like Eminem, 50 Cent, Xzibit, Lil Jon, and The Game emerged as chart-topping superstars, dominating the airwaves and shaping the sound of the decade. Eminem's lyrical dexterity and introspective storytelling pushed the boundaries of rap, while 50 Cent's gritty tales of street life captivated audiences worldwide. Meanwhile, Lil Jon's crunk anthems brought a new energy to the genre, inspiring dance floors everywhere.

2010s: A New Era of Diversity

The 2010s saw rap diversify even further, with artists like Lil Wayne, Kanye West, Joey Badass, ASAP Rocky, Kendrick Lamar, and Wiz Khalifa pushing the boundaries of the genre. Lil Wayne's prolific output and unconventional flow solidified his status as one of the decade's most influential artists, while Kanye West's genre-defying experimentation blurred the lines between rap, pop, and electronic music. Kendrick Lamar's socially conscious lyricism and intricate storytelling earned him critical acclaim and a dedicated fanbase, solidifying his place as one of rap's modern icons.

As we reflect on the evolution of rap music over the decades, it becomes clear that its journey is far from over. From its humble beginnings in the streets of New York City to becoming a global phenomenon embraced by audiences of all backgrounds, rap has continually evolved, adapting to changing times while staying true to its roots. As new artists emerge and new sounds emerge, one thing remains certain: rap will continue to shape and influence the cultural landscape for years to come.

Sources - Spotify | YouTube | Pinterest | Wikipedia | Encyclopedia Britannica | People.com

[istandardpro]

Dope A$$ Beat Tapes - Agent M - North West Coast

Need some west coast slaps to vibe to? @AgentMBeats has you covered. Check out his instrumental EP, North West Coast #MusicMondays #DopeA$$BeatTapes #BeatTapes

Seattle producer Agent M checks in representing for the upper region of the left side, with his instrumental EP, North West Coast. The [istandard] alum and Beast of the Beats XII participant dished offered some insight into the inspiration for North West Coast. “After spending time with all the people I met in ATL and seeing how they operate, I really began to focus on working with and developing…

[randomvarious]

Knight Owl - “Who’s the Man?” Brown & Proud, Volume 1 1994 Hip Hop / Party Rap / G-Funk

The Knightowl (now Mr. Knightowl) is a pioneering Chicano gangsta rapper from San Diego. Debuting in 1993, his career nearly took off when he was set to sign a contract with Eazy-E’s Ruthless Records, but Eazy’s untimely passing in 1995 caused that plan to derail. Since then, the Knightowl has been a staple of the SoCal underground gangsta rap scene, appearing on tracks alongside venerated west coast veterans such as Daz Dillinger, Kid Frost, and the aforementioned Eazy-E.

His 1994 self-titled debut album contains an awesome and overlooked piece of party rap hype called “Who’s the Man”. That same year, it appeared on a Latin hip hop compilation called Brown & Proud, released by Miami bass label Pandisc Records.

“Who’s the Man” is a piece of golden age high-powered dope. Produced by the completely unknown Reggie Valenzuela, this song is littered with constant g-funk shrieks, whining horn synths, and corrugated electro-funk basslines. Matching the beat’s intensity, the Knightowl spits with a brash and aggressive, confident ferociousness, sounding something like a cross between Marky Mark on “Good Vibrations” and LL Cool J on “Mama Said Knock You Out”. And when the Knightowl’s not rapping, someone else (Valenzuela?) intervenes with some excellent turntable scratching.

A super underrated track. Good for any old school 90s party rap mix.

[onestowatch]

bbno$, Doja Cat, SHY Martin, and More Artists You Should Listen to Now | #NowWatching Playlist

It’s officially Friday, and we here at Ones To Watch are back to present you with the best new music that came across our radar this week. From Doja Cat’s Hot Pink, the new album from viral rapper bbno$, i don’t care at all, to Omar Apollo, Dominic Fike, and Kenny Beat’s collaboration of the year, “Hit Me Up,” this is what we have had on repeat. You can find all of this and more in our weekly #NowWatching playlist below. 

Follow along for the best new music every Friday. 

TRACKLIST: 

bbno$, Lewis Grant - “on god”

Doja Cat - “Say So”

SHY Martin - “Make Us Never Happen”

Greyson Chance - “Boots”

Omar Apollo, Dominic Fike, Kenny Beats - “Hit Me Up”

Easy Life, Arlo Parks - “Sangria”

Michael Seyer - “Nostalgia”

Glowie - “Unlovable”

Mura Masa, slowthai - “Deal Wiv It”

Caro - “rock bottom”

Emotional Oranges - “West Coast Love”

Lauren Sanderson - “Upset”

ROSALÍA - “A Palé”

Chloe Lilac - “High School”

Collard, Bakar - “Stone”

j ember - “Bargain Flights”

RAY BLK, Chip - “Action’

Amilli - “Movie”

DRAMA - “Gimme Gimme”

Tim Atlas - “Crime of Passion”

Yoshi Flower - “Martyr”

Meghan Trainor, Lennon Stella, Sasha Sloan - “Workin' On It”

Two Feet - “BBY”

Col3trane, Miraa May - “Rendezvous”

Allie X - “Regulars”

Brandt Orange - “Effortless”

Elliot Moss - “July 4”

Bishop Briggs - “CAN YOU HEAR ME NOW?”

Kilo Kish - “NICE OUT”

Ambré, G-Eazy, BJ The Chicago Kid - “eternal sunshine”

Nick Leng - “Lonely Shade of Blue”

VanJess, Xavier Omär - “In & Out”

Louis The Child, Drew Love - “Free”

Johnny Utah - “4Tounce”

Thutmose - “Love in the Morning”

Dounia, Rema - “Vanilla Freestyle”

Darci - “Take It Back”

QUIN - “Calling”

88GLAM, Lil Keed - “Bankroll”

Matthew Chaim - “Byways”

[thehotboxsocial]

Greg Hutchinson aka Cold 187um is the producer and lead rapper of Above The Law, one of the west coast’s finest crews and also DJ Screw’s favorite group. His production credits are fewer and less scattered than past producers I’ve highlighted but he is responsible for entire back-to-back-to-back classic albums.

Hutch is known in many circles as the true creator of sinister G-Funk sound that Dr. Dre popularized. ATL’s incredible Black Mafia Life album was released a couple of months after The Chronic but according to many accounts it was recorded beforehand. This compilation kicks off nicely with the intro to that album “Never Missin’ A Beat” which has the same bassline as “Dre Day”. Some may argue that G-Funk actually started in 1991 with NWA’s “Alwayz Into Somethin” but elements of that sound are also present in Kokane’s “Just A Fiend” and a few tracks from ATL’s Vocally Pimpin EP from the same year.

187um addresses this funk-biting issue on the vicious 8-minute “Don’t Bite The Funk”, a very underrated (and prophetic) dis record. These days it’s all good of course; he appeared on Dre’s Compton album 3 years ago, and when recently asked about who created the sound Hutch explains: “You’re highly influenced by people around you. G-Funk was my theory. Dre utilized it and made lots of money. I don’t think he was being malicious. I just think he heard a hot sound and used it.”

Cold 187um Productions

Never Missin’ A Beat [Above The Law]

Black Superman [Above The Law]

Bamseeya [Frost]

Concrete Jungle [Above The Law]

Don’t Bite The Funk [Kokane feat. Cold 187um]

Uncle Sam’s Curse [Above The Law]

Kalifornia [Above The Law feat. Kokane]

Any Last Werdz [Eazy E feat. Cold 187um & Kokane]

Why Must I Feel Like Dat [Above The Law]

Call It What U Want [Above The Law]

Givin’ It Up [KAM feat. Cold 187um]

Aftermath [Kokane feat. Above The Law & Dirty Red]

Apocalypse [Above The Law]

Hoe I Am [H.W.A.]

All Over A Ho [Mz. Kilo]

V.S.O.P. [Above The Law]

Process Of Elimination [Above The Law feat. MC Ren]

Bring It On [MC Ren feat. Cold 187um & Triggaman]

Gangsta Madness [Above The Law]

[fmhiphop]

#FMSpotlight: G-Eazy, P-LO & FREDOBAGZ - "PARTY WITH THE GANG" (Listen)

Over a thumping West Coast-styled hip-hop beat, G-Eazy, P-LO & FREDOBAGZ detail how they reap the benefits of their success in "PARTY WITH THE GANG." The trio also speaks about women who wouldn't mind indulging in some group activities. P-LO takes care of the chorus while G-Eazy & FREDOBAGZ drop braggadocious bars about their foreign whips & wads of cash.  First, the These Things Happen raps about his luxurious whips before bigging up his home state.   "I'm in that Royce switching lanes/150 in my car/So insane/She just wanna be around the fame," he raps "'Cause I'm icy I got Tahoe on my chain/Bay Area we started all the slang/On Mommas/I put that on everything." Shortly after switching the flow, G-Eazy speaks about his charm & how it can often anger the opposite sex.  "I hit her friend she know I did it/She mad about it/Catching feelings," he spits.  Once FREDOBAGZ hops on the beat, he raps about his top-tier drip game & fortune, saying, "she likes the ice up on these chains/When we walk in the club, we make it rain."  After, the rapper says that losing an admirer wouldn't be detrimental. He then continues to talk about his hierarchy in life & wealth. "I can't trip off no h*e/I'm baggin' b*tches by the 3," FREDOBAGZ raps. "PARTY WITH THE GANG" is a single off Tales Of The Town. Tales Of The Town is a multimedia project that explores the rich history & culture of Oakland through various Black natives via the album & a podcast created by Abbas Muntaqim & Delency Parham (co-founders of People's Programs & the Hella Black Podcast).  All of the featured artists were so moved by the importance of this endeavor. They donated their verses for free, with all the proceeds going to People's Programs.  Listen to "PARTY WITH THE GANG" by G-Eazy, P-LO & FREDOBAGZ below: https://www.youtube.com/watch?v=p9QfQBhAzeY Related Stories: FM Interviews: ShakoyahD On Music And Business By: Natalee Gilbert Read the full article

[kingjaffejoffer]

If you made a top 10 of the greatest West Coast beats what would you pick?

Its impossible to narrow this down to just 10 beats. 

What imma do is just rattle off some my favorite beats in no particular order. And this is by no means comprehensive….. its a stream of consciousness 

Kurupt - Callin Out NamesDr. Dre - XxplosiveDr. Dre - Deez Nutz (if I could only pick 1 song to describe to someone what a stereotypical west coast beat sounds like. It would be this song)Eazy - Boyz In The HoodEazy - Real Muthaphuckkin G’sMac Dre - Get Stupid (remix)The Fixxers - Can U Work Wit ThatTha Eastsidaz - I Luv ItKendrick Lamar - Money TreesMack 10 - Foe LifeDre & Cube - Natural Born Killaz (this beat so fucking hard)Snoop Dogg - Those GurlzDJ Quik - TroubleYG- My NiggasDr. Dre - Deep CoverThe Game - Ali Bomaye (84 consecutive flame emojis)

VERSACE OUTFIT COST ME THREE THOUSAND

[bradburnsdigitalartsfmp]

Research to FMP Project: West coast vs East coast Rivalry - The beginning

The East Coast-West Coast hip hop rivalry was a feud in the 1990′s between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States. The two main parties involved were West Coast-based rapper Tupac Shakur and his Los Angeles-based label Death Row Records, and East Coast-based rapper The Notorious B.I.G. and his New York-based label Bad Boy Records. Tupac Shakur and The Notorious B.I.G. were killed by unknown assailants in 1996 and 1997, respectively.

Origin -  Hip hop came around in the 1970′s on the streets of the South Bronx, New York. Powered by DJ’s such as Kool-Herc, Grandmaster Flash, and Afrika Bambaataa, the new genre became popular throughout the city's neighbourhood’s. The New York City area remained at the forefront of hip hop music throughout the early to mid 1980′s and was the home of most popular hip hop acts. In 1986, inspired by Philadelphia-based rapper Schoolly D, Los Angeles rapper Ice-T released the song ‘6 in the Morning’. It is considered by many music writers as the very first gang rap song and assisted with the emergence of the beginning West Coast hip hop scene. A young drug dealer named Eric ‘Eazy-E’ Wright saw the potential profits and fame of the hip hop lifestyle, so he founded the group N.W.A with ‘’Dr. Dre, Ice Cube, MC Ren, DJ Yella, and Arabian Prince’’. The group released their groundbreaking debut album, ‘Straight Outta Compton’, in 1988, and changed the hip hop genre and cemented the West Coast's appearance in the nation's hip hop scene. Financial issues led to the disestablishment of the group. Eazy-E remained as the wealthy owner and manager of his Ruthless Records label, Ice Cube released a string of successful albums starting with 1990's ‘Amerikkka's Most Wanted’, and Dr. Dre went on to co-found Death Row Records with Suge Knight, The D.O.C. and Dick Griffey. During his tenure at Death Row, Dr. Dre released one of the most influential hip hop albums of all time with ‘The Chronic’ in 1992. The album single-handed revolutionised the G-funk movement. Other successful stars on the Death Row label included Snoop ‘Doggy’ Dogg, The Lady of Rage, Nate- Dogg, and Daz Dillinger and Kurupt of ‘Tha Dogg’ Pound. By the early 1990′s, the West Coast had separated itself as the dominant region in hip hop.

Rivalry - 2Pac vs Biggie

After the release of Notorious B.I.G song "Who Shot Ya?", 2Pac appeared on numerous tracks aiming threatening and antagonistic insults at Biggie, Bad Boy Records and anyone affiliated with them from late 1995 to 1996. Examples include 2Pac’s songs "Against All Odds", "Bomb First My Second Reply" and, most famous, "Hit 'Em Up". During this time, the media became heavily involved and dubbed the rivalry a coastal rap war, reporting on it continually. This resulted in fans choosing sides. Although an official retaliation record was never released by B.I.G., certain lyrics from his catalogue were interpreted by listeners as subliminal shots aimed at Tupac Shakur, in particular, the track "Long Kiss Goodnight". Combs denied these theories, claiming that B.I.G. would call Tupac Shakur out by name if he were to diss him. On 13 September 1996, Tupac Shakur died after being shot multiple times six days earlier in a drive-by shooting in Las Vegas, Nevada. Although the gunman remains unknown, the murder is generally attributed to the South-side Crips street gang, who are believed to have shot Shakur to avenge the beating of one of its members by Shakur and his gang a few hours earlier. Six months after Shakur's death, The Notorious B.I.G. was killed in a drive-by shooting by an unknown killer in Los Angeles, California on 9 March 1997. To this day, both murders remained officially unsolved, yet many believe ‘Suge Knight’ to be involved in the death of both artists.

With this research i can base my final outcome with the rappers feud and do a digital drawing or make my own record label based on East and West coast.

[hyperap]

Watch: Dezzy Hollow Freestyles on G-Eazy's "West Coast" Beat | Bootleg Kev & DJ Hed

[richmegavideo]

G-Eazy, Blueface – West Coast Instrumental

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G-Eazy, Blueface - West Coast Beat

Rising LA rapper Blueface has exploded onto the scene these past few months following the success of his single “Thotiana.” The record, which has reached No. 13 on the Billboard Hot 100 this week, has seen several remixes thus far, including Nicki Minaj, YG, Cardi B, & Desiigner having all jumped on it. Looking to capitalize off his newfound fame & buzz, Blueface decides to return to the scene today by jumping on G-Eazy’s new song “West Coast.” It's unclear if this will see life on Gerald's next project or just something to hold us over with in the meantime, but either way we'll take it.

#geazy #blueface #westcoast #drakibeats

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[jordandesta]

3 / 27 / 19 ━ your character’s mood for the day. 

01. pure water by mustard, migos. “give me the beat, i ride it like a jetski, so many bad bitches they harassin' me, they like me 'cause i rap and be with the athletes.”

02. fall threw by rich the kid, young thug, gunna. “pull off in that lambo quick, hundred racks and a tec in this bitch, quarter mil' on my necklaces, tell your bitch to stop texting me, i've been living so reckless.”

03. splashin by rich the kid. “i flip the money, got my check up, i'm flexing up, but i'm no wrestler, blue cheese pockets got the extras, i stack the money up like tetris, how I got two-fifty from my neck up? how I made it from the hood to a bent truck?”

04. pure cocaine by lil baby. “when your wrist like this, you don't check the forecast, every day it's gon' rain, made a brick through a brick, i ain't whip up shit, this pure cocaine, yeah.”

05. west coast by g eazy, blueface, allblack, yg. “you can't imagine the way that this cash feelin', don't know what's harder, the first or the last million, my last album took care of my grand children, you try to win, cracked you head on the glass ceiling.”

06. middle child by j. cole. “i just poured somethin' in my cup, i've been wantin' somethin' I can feel, promise I am never lettin' up, money in your palm don't make you real.”

07. legacy by off set, travis scott, 21 savage. “i can't hold nothing back, i won't hold you up, i can't fit all my pain in this styro' cup, always talk to myself 'cause it's only us, always deep in my mind, don't know who to trust.”

08. envy me by calboy. “i was fighting some demons, in the field, bitch, i'm deep in, i was raised in the deep end, i know ****** be sinking.”

3 / 28 / 19 ━ songs that remind your character of their children/child.

for jasmine isabelle desta;

01. violent crimes by kanye west. “father forgive me, i'm scared of the karma, 'cause now i see women as somethin' to nurture, not somethin' to conquer, i hope she like nicki, i'll make her a monster, not havin' menages, i'm just being silly.”

02. when i’m gone by eminem. “have you ever loved someone so much, you'd give an arm for not the expression, no, literally give an arm for, when they know they're your heart, and you know you are their armor, and you will destroy anyone who would try to harm her.”

03. may i have this dance by francis and the light, chance the rapper. “you've got your, your mother's eyes, you've got your, your grandmother's ring, you've got your daddy's discernment, giirl, you did your thing, oh, give me one more, one, two, one, two, always on beat.”

04. right by you by john legend. “and even when it all becomes too much, when you're growing old and feeling out of touch, listen to this song and just take care, and know that i will be there...yeah, i promise i will, little girl, i'm cryin'.”

for legend magesty desta;

05. i love you so much by dj khaled, chance the rapper. “whatever you want to do, i will support you forever, one thing i can promise you, i love you forever, you're my son, i love you so much, i love you, son, you're my biggest blessing, mommy, daddy, we love you, we love you forever, son, you're the greatest that ever did it.”

06. only one by kanye west.  “hello my only one, remember who you are, you got the world 'cause you got love in your hands, and you're still my chosen one, so can you understand? one day you'll understand, so hear me out, i won't go, no goodbyes, just hello.”

07. new day by jay z. “sins of a father make yo' life ten times harder, i just wanna take ya to a barber, bondin' on charters, all the shit that i never did, teach ya good values, so you cherish it, took me twenty six years to find my path, my only job is cuttin' the time in half.”

08. mockingbird by eminem. “i know sometimes things may not always make sense to you right now, but hey, what daddy always tell you? straighten up little soldier, stiffen up that upper lip, what you crying about? you got me.”

3 / 29 / 19 ━ a playlist for your lover or ex lover.

01. worth it by yk osiris. “time is precious, baby girl, let's not let it go by, i just really wanna know, do you love me? don't lie, i know you felt alone, 'cause i been on the road, but i been doin' shows, i swear i ain't doin' you wrong”

02. swervin’ by a boogie wit da hoodie, 6ix9ine. “how you look so perfect on your worst days? double c your purses, you deserve it, ****** in your dm, they be thirsty, and in person, but you're curvin’, curvy little body, love your surface, i’m all on your body, make you nervous”

03. caramel by lloyd. “caramel, drippin' in my bed, yeah you know, what's going through my head, i'm thinking 'bout, getting with you tonight, i'm thinking 'bout, wifing you up for life”

04. kevin’s heart by j. cole. “she my number one, i don't need nothing on the side, said that i was done for good and don't want no more lies, but my phone be blowing up, temptations on my line, i stare at the screen a while before i press decline”

05. more/diamond ring by benny blanco, ty dolla $ign, 6lack. “you know your future brighter than a diamond ring, god damn, i put you on different things, god damn, you gon' make me break the bank, god damn...you're all I ever need, god damn, you mean so much to me”

06. ivy by frank ocean. “in the halls of your hotel, arm around my shoulder so i could tell, how much i meant to meant it sincere back then, we had time to kill back then, you ain't a kid no more, we'll never be those kids again”

07. mrs. variety by leon thoma, tayla parx. “mrs. variety, feels like i'm dating someone different every single week, it's like you know just how to play to every part of me, it's like you know just how to cater to my every need, mrs. variety”

08. cinderella by mac miller, ty dolla $ign. “you in my dreams that's why i sleep all the time, just to hear you say i love you, just to touch you, just to leave you behind, i told you, you don't have to worry, you'll be fine, this the type of thing i heard it happen all the time, yeah, I just wanna see you fly, because your fragrance got me faded, you be keepin' me high”

3 / 30 / 19 ━  songs that hit your character in the feels

01. power trip by j. cole, miguel. “got me up all night, all i'm singing is love songs, she got me up all night, constant drinking and love songs, she got me up all night, down and out with these love songs, she got me up all night, drown it out with these love songs, she got me up all night.”

02. practice by drake. “i can tell that money's got you working, got your body so wet, now we're finally here in person, i taste pain and regret, in your sweat, you've been waiting for me, i can tell that you been practicing.”

03. angel by the weeknd. “cause all I see are wings, i can see your wings, but i know what i am and the life i live, yeah, the life i live, and even though i sin, maybe we are born to live, but i know time will tell if we're meant for this, yeah, if we're meant for this.”

04. don’t by bryson tiller. “get in the ride, left hand is steering the other is gripping your thigh light up a spliff and get high, shawty you deserve what you been missing, looking at you i’m thinking he must be tripping, play this song for him tell him just listen.”

05. best mistake by layla russo, big sean. “hold up, i know love could be a beach with no shore, i done count to ten, lost my temper, and went back to four, i know sometimes it's hard to realize i'm the man that you need, i had a dream we branched out started a family tree.”

06. own it by drake. “next time we fuck, i don't want to fuck, i want to make love, next time we talk, i don't want to just talk, i want to trust, next time I stand tall I want to be standing for you.”

07. thinkin bout you by frank ocean. “yes, of course i remember, how could I forget? how you feel? and though you were my first time, a new feel, it won't ever get old, not in my soul, not in my spirit, keep it alive.”

08. come and see me by partynextdoor, drake. “i'll admit i'm sorry when i feel i'm truly sorry, things change, people change, feelings change too, never thought the circumstances woulda changed you.”

3 / 31 / 19 ━  a playlist for your character’s best friend. ( squad )

01. ni**as in paris by jay z, kanye west.

02. look at me now by chris brown, lil wayne, busta rhymes. 

03. rack city by tyga. 

04. swimming pools (drank) by kendrick lamar. 

05. gold digger by kanye west, jamie foxx. 

06. v.3005 by childish gambino.

07. the motto by drake, lil wayne.

08. bedrock by young money, lloyd.

4 / 01 / 19 ━ road trip playlist

01. hey jude by the beatles.

02. mr. jones by counting crows.

03. wonderwall by oasis.

04. hurricane by bob dylan.

05. mr. brightside by the killers. 

06. scar tissue by the red hot chili peppers.

07. all star by smashmouth.

08. stacy’s mom by fountains of wayne.

4 / 02 / 19 ━ three songs that make your character cry… every. single. time.

01. acid rain by chance the rapper. “my big homie died young; just turned older than him, i seen it happen, i seen it happen, i see it always, he still be screaming, i see his demons in empty hallways, i trip to make the fall shorter.”

02. perkys calling by future. “Iineed better thoughts, i need better vibes, focus on the top and let my ***** slide, i need more advice and ain't got no time, hustlin' do it right, feel like i waited a life time.”

03. u by kendrick lamar. “you shoulda filled that black revolver blast a long time ago, and if those mirrors could talk it would say "you gotta go", and if i told your secrets, the world'll know money can't stop a suicidal weakness.”

4 / 03 / 19 ━ free day, we just wanna see you be creative. ( throwbacks )

01. ambitonz az a ridah by 2pac. 

02. gin and juice by snoop dog, daz dillinger  

03. all falls down by kanye west, syleena johnston.

04. mrs. officer by lil wayne, bobby v, kidd kidd.

05. i’m n luv (wit a stripper) by t-pain, mike jones.

06. ms. jackson by outkast.

07. smack that by akon, eminem.

08. laffy taffy by d4l.

[music-in-the-world]

G-funk

70) ( gangsta-funk, ghetto-funk ) - rodzaj muzyki hip-hopowej, który wywodzi się z West Coast gangsta rapu. W G-funku, w przeciwieństwie do innych rodzajów muzyki hip-hopowej, sample nie są najważniejsze w tworzeniu muzyki. G-Funk łączy ze sobą funkowe brzmienia, hip-hopową linię basu, rap oraz śpiew. Często wykorzystywany jest talkbox. Od strony lirycznej, w G-funku raperzy poruszają głównie kwestie hedonistyczne, włączając w to przemoc, seks oraz narkotyki. Głównym zamiarem tej muzyki jest wprawianie w dobry nastrój, więc nie porusza się tutaj ważnych kwestii. Kwestia powstania G-funku jest skomplikowana, i trudno określić kto tak naprawdę jest „ojcem G-Funku”. Większość osób uważa Dr. Dre za twórcę G-Funku, pierwsze zaczątki tego nurtu pojawiły się na singlu N.W.A „Alwayz Into Something” z albumu wydanego w 1991 pt. Efil4zaggin, w którym Dr. Dre wykorzystał sample zespołu Parliament-Funkadelic. Jednak pierwszy prawdziwy G-Funkowy singel Dra Dre pojawił się w 1992 i był to utwór Deep Cover, który również był soundtrackiem do filmu o tej samej nazwie. Na tym singlu można było po raz pierwszy usłyszeć Snoop Dogga. Kiedy w 1992 Dr. Dre wydał swój debiutancki album The Chronic nakładem wydawnictwa Death Row Records, słynne stało się określenie tzw. „głosu Kalifornii”. Album stał się niemal natychmiastowym sukcesem, i dzięki niemu G-Funk stał się najbardziej popularnym gatunkiem hip-hopu. Jednak wielu uważa, że Dr. Dre ukradł koncepcje G-Funku zespołowi Above the Law. We wczesnych latach '90, N.W.A. i Above The Law należały do jednej wytwórni - Ruthless Records. Wtedy to Dre miał usłyszeć utwory z ich nowej płyty, która de-facto wyszła po The Chronic. Black Mafia Life – album Above the Law wydany w 1993 – przypomina w brzmieniu i wykonaniu album The Chronic. Kilka utworów wykorzystuje nawet te same sample (np. utwór Pimp Clinic i Let Me Ride). Above The Law cały czas twierdzą, że to oni są prekursorami G-Funku. Po wydaniu The Chronic, wielu producentów z Zachodniego Wybrzeża, a nawet kilku ze „Wschodu” zaczęło tworzyć G-Funk. Producenci Warren G i DJ Quik stworzyli swoje najbardziej znane materiały właśnie trzymając się nurtu Gangsta Funk. Dr. Dre będąc w Death Row wyprodukował debiutancki album Tha Dogg Pound – Dogg Food. Warren G w 1994 wydał album Regulate... G-funk Era, który odniósł ogromny sukces o czym świadczy potrójna platynowa płyta. Producent Easy Mo Bee – były członek wytwórni Bad Boy próbował nadać G-Funkowe brzmienie debiutanckiemu albumowi Notoriousa B.I.G. Single Nuthin' But a G Thang (z albumu The Chronic) oraz Gin and Juice (album Doggystyle) stały się najbardziej znanymi przykładami muzyki G-Funkowej. Nutę Gangsta Funku można było również usłyszeć w większości popularnych utworów Tupaca Shakura włączając w to Me Against the World – Heavy in the Game, a szczególnie w utworze Cant C Me (wyprodukowanym przez Dr. Dre). Lata 1995 i 1996 przyniosły kilka ważnych wydarzeń dla G-Funku, odejście Dr. Dre z Death Row Records, śmierć Eazy-E, problemy wytwórni Brotha Lynch Hung, wiele procesów sądowych z licznymi G-Funkowymi raperami z „Zachodu” oraz morderstwo Tupaca – przyczyniło się do tego, że era G-Funku zmierzała do końca. Jednak nie można mówić o śmierci tej muzyki, gdyż nadal wielu muzyków i producentów jest aktywnych w tworzeniu muzyki Gangsta Funku. W 1999 Dr. Dre, wydał swój nowy album – 2001. Chociaż różnił się on znacznie stylem od The Chronic, jednak ma ona swoje korzenie w G-Funku. W 2005 roku dwóch dobrze znanych artystów DJ Quik i Warren G wydali swoje albumy (Trauma i In the Mid-Nite Hour). Oba albumy odniosły duży sukces. Dwa mniej znane zespoły (Foesum i Suga Free) wydały w 2006 roku swoje albumy, które również korzystały z G-Funkowych brzmień. Natomiast w 2007 roku, Dogg Pound wydał swój album Dogg Chit, w całości wyprodukowany przez Daza, który na tym albumie powrócił do klasycznego Gangsta Funku. Prekursorem polskiego G-Funku jest Ten Typ Mes oraz Beat Squad z PDG oraz skład Feel da Funk Or Die (F.F.O.D.) pochodzący z Wrocławia, w którym udzielał się Wall-E. W Polsce albumy G-Funkowe wydawali do czasu: 2cztery7, zespół Beat Squad, a także raperzy tacy jak Kuba Knap czy Bleiz, który w styczniu 2009 wydał pierwszy solowy album. Bleiz jest także założycielem Grill-Funk Records, wrocławskiego projektu zrzeszającego sympatyków oraz wykonawców G-Funku.

[thehotboxsocial]

Stan “The Guitar” Man Deep Cuts

Sip Of The Duce [Duce Duce]

Can't Lose 2 Tha Game [Blackjack]

House N---a [C.O.D.]

Another Wasted Life [Toddy Tee]

Nickel Slick N---a [Kokane]

Hello [Shello]

Hollywood [Street Mentality]

See Ya Later Bye [Geetas]

The Weekend [Kid Sensation]

Hounddogz [MC Ren]

I'm Straight [T.I. feat. B.G. & Young Jeezy]

Lyrical Murda [Big Hutch]

Thrilla [Kali's Finest feat. Big Lurch] 

Mobbin' [Rodg]

The Hemp Museum [B-Legit] 

Sunbeams [Volume 10] 

Sticky Fingers [Coolio] 

Three Strikes [Spice 1] 

Fly Guy [MC Trouble] 

They Don't Know [Penthouse Players Clique] 

Hang 'Um High [KAM] 

Never Gonna Get Nowhere [40 Thevz] 

No Title For This [KMC] 

Here are some lesser known gems from one of the unheralded heroes of 90′s G-funk, Mr. Stan “The Guitar” Man who has played guitar, bass and occasionally keys on many west coast raps. He has also produced solo and as a member of the production crew Torcha Chamba. There may be more Stan songs out there that we don’t even know about; he’s revealed in a rare interview that he is uncredited on the Ice Cube & 2Pac songs below so maybe he should speak up more often. 

yt                  dl

Bonus Beats: The Hits & A-Listers

No Vaseline [Ice Cube]

No Doubt [DJ Quik feat. Playa Hamm & Suga Free]

Gangstas [Mystikal feat. Snoop Dogg & Master P]

Gangsta Gangsta [N.W.A.]

Let The Bass Go [The D.O.C.]

We Want Eazy [Eazy-E]

Dose Of The Mega Flex [Above The Law]

F--k The World [2Pac feat. Shock G]

[fmhiphop]

#FMSpotlight: G-Eazy, P-LO & FREDOBAGZ - "PARTY WITH THE GANG" (Listen)

Over a thumping West Coast-styled hip-hop beat, G-Eazy, P-LO & FREDOBAGZ detail how they reap the benefits of their success in "PARTY WITH THE GANG." The trio also speaks about women who wouldn't mind indulging in some group activities. P-LO takes care of the chorus while G-Eazy & FREDOBAGZ drop braggadocious bars about their foreign whips & wads of cash.  First, the These Things Happen raps about his luxurious whips before bigging up his home state.   "I'm in that Royce switching lanes/150 in my car/So insane/She just wanna be around the fame," he raps "'Cause I'm icy I got Tahoe on my chain/Bay Area we started all the slang/On Mommas/I put that on everything." Shortly after switching the flow, G-Eazy speaks about his charm & how it can often anger the opposite sex.  "I hit her friend she know I did it/She mad about it/Catching feelings," he spits.  Once FREDOBAGZ hops on the beat, he raps about his top-tier drip game & fortune, saying, "she likes the ice up on these chains/When we walk in the club, we make it rain."  After, the rapper says that losing an admirer wouldn't be detrimental. He then continues to talk about his hierarchy in life & wealth. "I can't trip off no h*e/I'm baggin' b*tches by the 3," FREDOBAGZ raps. "PARTY WITH THE GANG" is a single off Tales Of The Town. Tales Of The Town is a multimedia project that explores the rich history & culture of Oakland through various Black natives via the album & a podcast created by Abbas Muntaqim & Delency Parham (co-founders of People's Programs & the Hella Black Podcast).  All of the featured artists were so moved by the importance of this endeavor. They donated their verses for free, with all the proceeds going to People's Programs.  Listen to "PARTY WITH THE GANG" by G-Eazy, P-LO & FREDOBAGZ below: https://www.youtube.com/watch?v=p9QfQBhAzeY Related Stories: FM Interviews: ShakoyahD On Music And Business By: Natalee Gilbert Read the full article

[blackkudos]

Dr. Dre

Andre Romelle Young (born February 18, 1965), better known by his stage name Dr. Dre, is an American rapper, record producer, and entrepreneur. He is the founder and current CEO of Aftermath Entertainment and Beats Electronics. Dre was previously the co-owner of, and an artist on, Death Row Records. He has produced albums for and overseen the careers of many rappers, including 2Pac, The D.O.C., Snoop Dogg, Eminem, Xzibit, Knoc-turn'al, 50 Cent, The Game and Kendrick Lamar. He is credited as a key figure in the popularization of West Coast G-funk, a style of rap music characterized as synthesizer-based with slow, heavy beats. In 2014, Dr. Dre was ranked as the second richest figure in the American hip hop scene by Forbes with a net worth of $550 million; he is at the top of the 2015 Forbes list, with an estimated pre-tax take of $620 million in 2014.

Dre began his career as a member of the World Class Wreckin' Cru and later found fame with the influential gangsta rap group N.W.A with Eazy-E, Ice Cube, MC Ren, and DJ Yella, which popularized the use of explicit lyrics in rap to detail the violence of street life. His 1992 solo debut The Chronic, released under Death Row Records, led him to become one of the best-selling American performing artists of 1993 and to win a Grammy Award for the single "Let Me Ride". That same year he produced Death Row labelmate Snoop Dogg's quadruple platinum debut Doggystyle, and even molded artists into top-notch producers such as his step-brother Warren G, which led to his Multi-Platinum debut Regulate...G Funk Era in 1994, and Snoop Dogg's cousin Daz Dillinger which led to the double platinum debut album Dogg Food by Tha Dogg Pound in 1995.

In 1996, he left Death Row Records to establish his own label, Aftermath Entertainment. He produced a compilation album titled Dr. Dre Presents the Aftermath in 1996, and released a solo album titled 2001 in 1999. During the 2000s, he focused on production for other artists, while occasionally contributing vocals to songs. Dr. Dre signed Eminem in 1998 and 50 Cent in 2002 to his record label respectively, while contributing production on their albums. He has won six Grammy Awards, including Producer of the Year. Dr. Dre has also had acting roles in movies such as Set It Off, The Wash and Training Day. Rolling Stone ranked Dre at 56 on their list of "100 Greatest Artists of All-Time".

Early life

Young was born in Compton, California, the first child of Theodore and Verna Young. His middle name, Romelle, is derived from his father's amateur R&B singing group, The Romells. His parents married in 1964, separated in 1968, and divorced in 1972. His mother later remarried and had three children: sons Jerome and Tyree (both deceased) and daughter Shameka. In 1976, Young began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School. His mother later married Warren Griffin, whom she met at her new job in Long Beach, which added three stepsisters and one stepbrother to the family; the stepbrother would eventually become rapper Warren G.

Young is the cousin of producer Sir Jinx. He attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. Young attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years. Young fathered a son with Cassandra Joy Greene named Curtis (born December 15, 1981). Curtis was brought up by his mother and first met his father 20 years later, when Curtis became rapper Hood Surgeon.

Music career

1984–85: World Class Wreckin' Cru

Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", he often attended a club called Eve After Dark to watch many DJs and rappers performing live. He subsequently became a DJ in the club, initially under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby, later to become member DJ Yella of N.W.A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio, Dre and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song. He later joined the musical group World Class Wreckin' Cru under the independent Kru-Cut Records in 1984. The group would become stars of the electro-hop scene that dominated early 1980s West Coast hip hop. "Surgery", which was officially released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable. The record would become the group's first hit, selling 50,000 copies within the Compton area.

Dr. Dre and DJ Yella also performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website Allmusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only".

His frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house. He later dropped out of Chester to focus on performing at the Eve's After Dark nightclub.

1986–91: N.W.A and Ruthless Records

In 1986, Dr. Dre met rapper O'Shea Jackson—nicknamed Ice Cube—who collaborated with Dr. Dre to record songs for Ruthless Records, a rap record label run by local rapper Eazy-E. N.W.A and fellow West Coast rapper Ice-T are widely credited as seminal artists of the gangsta rap genre, a profanity-heavy subgenre of hip hop, replete with gritty depictions of urban crime and gang lifestyle. Not feeling constricted to racially charged political issues pioneered by rap artists such as Public Enemy or Boogie Down Productions, N.W.A favored themes and uncompromising lyrics, offering stark descriptions of violent, inner-city streets. Propelled by the hit "Fuck tha Police", the group's first full album Straight Outta Compton became a major success, despite an almost complete absence of radio airplay or major concert tours. The Federal Bureau of Investigation sent Ruthless Records a warning letter in response to the song's content.

After Ice Cube left N.W.A in 1989 over financial disputes, Dr. Dre produced and performed for much of the group's second album Efil4zaggin. He also produced tracks for a number of other acts on Ruthless Records, including Eazy-E's 1988 solo debut Eazy-Duz-It, Above the Law's 1990 debut Livin' Like Hustlers, Michel'le's 1989 self title'd debut, The D.O.C.'s 1989 debut No One Can Do It Better, J.J. Fad's 1988 debut Supersonic and funk rock musician Jimmy Z's 1991 album Muzical Madness

1992–96: The Chronic and Death Row Records

After a dispute with Eazy-E, Dre left the group at the peak of its popularity in 1991 under the advice of friend, and N.W.A lyricist, The D.O.C. and his bodyguard at the time, Suge Knight. Knight, a notorious strongman and intimidator, was able to have Eazy-E release Young from his contract and, using Dr. Dre as his flagship artist, founded Death Row Records. In 1992 Young released his first single, the title track to the film Deep Cover, a collaboration with rapper Snoop Dogg, whom he met through Warren G. Dr. Dre's debut solo album was The Chronic, released under Death Row Records with Suge Knight as executive producer. Young ushered in a new style of rap, both in terms of musical style and lyrical content, including introducing a number of artists to the industry including Snoop Dogg, Kurupt, Daz Dillinger, RBX, The Lady of Rage, Nate Dogg and Jewell.

On the strength of singles such as "Nuthin' but a 'G' Thang", "Let Me Ride", and "Fuck wit Dre Day (and Everybody's Celebratin')" (known as "Dre Day" for radio and television play), all of which featured Snoop Dogg as guest vocalist, The Chronic became a cultural phenomenon, its G-funk sound dominating much of hip hop music for the early 1990s. In 1993 the Recording Industry Association of America (RIAA) certified the album triple platinum, and Dr. Dre also won the Grammy Award for Best Rap Solo Performance for his performance on "Let Me Ride". For that year, Billboard magazine also ranked Dr. Dre as the eighth best-selling musical artist, The Chronic as the sixth best-selling album, and "Nuthin' but a 'G' Thang" as the 11th best-selling single.

Besides working on his own material, Dr. Dre produced Snoop Dogg's debut album Doggystyle, which became the first debut album for an artist to enter the Billboard 200 album charts at number one. In 1994 Dr. Dre produced some songs on the soundtracks to the films Above the Rim and Murder Was the Case. He collaborated with fellow N.W.A member Ice Cube for the song "Natural Born Killaz" in 1995. For the film Friday, Dre recorded "Keep Their Heads Ringin'", which reached number ten on the Billboard Hot 100 and number 1 on the Hot Rap Singles (now Hot Rap Tracks) charts.

In 1995, Death Row Records signed rapper 2Pac, and began to position him as their major star: he collaborated with Dr. Dre on the commercially successful single "California Love", which became both artists' first song to top the Billboard Hot 100. However, in March 1996 Young left the label amidst a contract dispute and growing concerns that label boss Suge Knight was corrupt, financially dishonest and out of control. Later that year, he formed his own label, Aftermath Entertainment, under the distribution label for Death Row Records, Interscope Records. Subsequently, Death Row Records suffered poor sales by 1997, especially following the death of 2Pac and the racketeering charges brought against Knight.

Dr. Dre also appeared on the single "No Diggity" by R&B group Blackstreet in 1996: it too was a sales success, topping the Hot 100 for four consecutive weeks, and later won the award for Best R&B Vocal by a Duo or Group at the 1997 Grammy Awards. After hearing it for the first time, several of Dr. Dre's former Death Row colleagues, including 2Pac, recorded and attempted to release a song titled "Toss It Up", containing numerous insults aimed at Dr. Dre and using a deliberately similar instrumental to "No Diggity", but were forced to replace the production after Blackstreet issued the label with a cease and desist order stopping them from distributing the song.

1996–98: Move to Aftermath Entertainment

The Dr. Dre Presents the Aftermath album, released on November 26, 1996, featured songs by Dr. Dre himself, as well as by newly signed Aftermath Entertainment artists, and a solo track "Been There, Done That", intended as a symbolic farewell to gangsta rap. Despite being classified platinum by the RIAA, the album was not very popular among music fans. In October 1996, Dre performed "Been There, Done That" on Saturday Night Live. In 1997, Dr. Dre produced several tracks on The Firm's The Album; it was met with largely negative reviews from critics. Rumors began to abound that Aftermath was facing financial difficulties. Aftermath Entertainment also faced a trademark infringement lawsuit by the underground thrash metal band Aftermath. First Round Knock Out, a compilation of various tracks produced and performed by Dr. Dre was also released in 1996, with material ranging from World Class Wreckin' Cru to N.W.A to Death Row recordings. Dr. Dre chose to take no part in the ongoing East Coast–West Coast hip hop rivalry of the time, instead producing for, and appearing on, several New York artists' releases, such as Nas' "Nas Is Coming", LL Cool J's "Zoom" and Jay-Z's "Watch Me".

The turning point for Aftermath came in 1998, when Jimmy Iovine, the head of Aftermath's parent label Interscope, suggested that Dr. Dre sign Eminem, a white rapper from Detroit. Dre produced three songs and provided vocals for two on Eminem's successful and controversial debut album The Slim Shady LP, released in 1999. The Dr. Dre-produced lead single from that album, "My Name Is", brought Eminem to public attention for the first time, and the success of The Slim Shady LP – it reached number two on the Billboard 200 and received general acclaim from critics – revived the label's commercial ambitions and viability.

1999–2000: 2001

Dr. Dre's second solo album, 2001, released on November 16, 1999, was considered an ostentatious return to his gangsta rap roots. It was initially titled The Chronic 2000 to imply being a sequel to his debut solo effort The Chronic but was re-titled 2001 after Death Row Records released an unrelated compilation album with the title Chronic 2000: Still Smokin in May 1999. Other tentative titles included The Chronic 2001 and Dr. Dre. The album featured numerous collaborators, including Devin the Dude, Snoop Dogg, Kurupt, Xzibit, Nate Dogg, Eminem, Knoc-turn'al, King T, Defari, Kokane, Mary J. Blige and new protégé Hittman, as well as co-production between Dre and new Aftermath producer Mel-Man. Stephen Thomas Erlewine of the website AllMusic described the sound of the album as "adding ominous strings, soulful vocals, and reggae" to Dr. Dre's style. The album was highly successful, charting at number two on the Billboard 200 charts and has since been certified six times platinum, validating a recurring theme on the album: Dr. Dre was still a force to be reckoned with, despite the lack of major releases in the previous few years. The album included popular hit singles "Still D.R.E." and "Forgot About Dre", both of which Dr. Dre performed on NBC's Saturday Night Live on October 23, 1999. Dr. Dre won the Grammy Award for Producer of the Year, Non-Classical in 2000, and joined the Up in Smoke Tour with fellow rappers Eminem, Snoop Dogg, and Ice Cube that year as well.

During the course of 2001's popularity, Dr. Dre was involved in several lawsuits. Lucasfilm Ltd., the film company behind the Star Wars film franchise, sued him over the use of the THX-trademarked "Deep Note". The Fatback Band also sued Dr. Dre over alleged infringement regarding its song "Backstrokin'" in his song "Let's Get High" from the 2001 album; Dr. Dre was ordered to pay $1.5 million to the band in 2003. The online music file-sharing company Napster also settled a lawsuit with him and metal band Metallica in the summer of 2001, agreeing to block access to certain files that artists do not want to have shared on the network.

2001–07: Focus on production and Detox

Following the success of 2001, Dr. Dre focused on producing songs and albums for other artists. He co-produced six tracks on Eminem’s landmark Marshall Mathers LP, including the Grammy-winning lead single, “The Real Slim Shady”. The album itself earned a Grammy and proved to be the fastest-selling rap album of all time, moving 1.76 million units in its first week alone. He produced the single "Family Affair" by R&B singer Mary J. Blige for her album No More Drama in 2001. He also produced "Let Me Blow Ya Mind", a duet by rapper Eve and No Doubt lead singer Gwen Stefani and signed R&B singer Truth Hurts to Aftermath in 2001. Dr. Dre was the executive producer of Eminem’s 2002 release, The Eminem Show. He produced three songs on the album, one of which was released as a single, and he appeared in the award-winning video for “Without Me”. He also produced The D.O.C.'s 2003 album Deuce, where he made a guest appearance on the tracks "Psychic Pymp Hotline", "Gorilla Pympin'" and "Judgment Day".

Another copyright-related lawsuit hit Dr. Dre in the fall of 2002, when Sa Re Ga Ma, a film and music company based in Calcutta, India, sued Aftermath Entertainment over an uncredited sample of the Lata Mangeshkar song "Thoda Resham Lagta Hai" on the Aftermath-produced song "Addictive" by singer Truth Hurts. In February 2003, a judge ruled that Aftermath would have to halt sales of Truth Hurts' album Truthfully Speaking if the company would not credit Mangeshkar.

Another successful album on the Aftermath label was Get Rich or Die Tryin', the 2003 major-label debut album by Queens, New York-based rapper 50 Cent. Dr. Dre produced or co-produced four tracks on the album, including the hit single "In da Club", a joint production between Aftermath, Eminem's boutique label Shady Records and Interscope. Eminem's fourth album since joining Aftermath, Encore, again saw Dre taking on the role of executive producer, and this time he was more actively involved in the music, producing or co-producing a total of eight tracks, including three singles. In November 2004, at the Vibe magazine awards show in Los Angeles, Dr. Dre was attacked by a fan named Jimmy James Johnson, who was supposedly asking for an autograph. In the resulting scuffle, then-G-Unit rapper Young Buck stabbed the man. Johnson claimed that Suge Knight, president of Death Row Records, paid him $5,000 to assault Dre in order to humiliate him before he received his Lifetime Achievement Award. Knight immediately went on CBS's The Late Late Show to deny involvement and insisted that he supported Dr. Dre and wanted Johnson charged. In September 2005, Johnson was sentenced to a year in prison and ordered to stay away from Dr. Dre until 2008.

Dr. Dre also produced "How We Do", a 2005 hit single from rapper The Game from his album The Documentary, as well as tracks on 50 Cent's successful sophomore album The Massacre. For an issue of Rolling Stone magazine in April 2005, Dr. Dre was ranked 54th out of 100 artists for Rolling Stone magazine's list "The Immortals: The Greatest Artists of All Time". Kanye West wrote the summary for Dr. Dre, where he stated Dr. Dre's song "Xplosive" as where he "got (his) whole sound from".

In November 2006, Dr. Dre began working with Raekwon on his album Only Built 4 Cuban Linx II. He also produced tracks for the rap albums Buck the World by Young Buck, Curtis by 50 Cent, Tha Blue Carpet Treatment by Snoop Dogg, and Kingdom Come by Jay-Z. Dre also appeared on Timbaland's track "Bounce", from his 2007 solo album, Timbaland Presents Shock Value alongside, Missy Elliott, and Justin Timberlake. During this period, The D.O.C. stated that Dre had been working with him on his fourth album Voices through Hot Vessels, which he planned to release after Detox arrived.

Planned but unreleased albums during Dr. Dre's tenure at Aftermath have included a full-length reunion with Snoop Dogg titled Breakup to Makeup, an album with fellow former N.W.A member Ice Cube which was to be titled Heltah Skeltah, an N.W.A reunion album, and a joint album with fellow producer Timbaland titled Chairmen of the Board.

In 2007, Dr. Dre's third studio album, formerly known as Detox, was slated to be his final studio album. Work for the upcoming album dates back to 2001, where its first version was called "the most advanced rap album ever", by producer Scott Storch. Later that same year, he decided to stop working on the album to focus on producing for other artists, but then changed his mind; the album had initially been set for a fall 2005 release. Producers confirmed to work on the album include DJ Khalil, Nottz, Bernard "Focus" Edwards Jr., Hi-Tek, J.R. Rotem, RZA, Jay-Z, Warren G, and Boi-1da. Snoop Dogg claimed that Detox was finished, according to a June 2008 report by Rolling Stone magazine. After another delay based on producing other artists' work, Detox was then scheduled for a 2010 release, coming after 50 Cent's Before I Self Destruct and Eminem's Relapse, an album for which Dr. Dre handled the bulk of production duties. In a Dr Pepper commercial that debuted on May 28, 2009, he premiered the first official snippet of Detox. 50 Cent and Eminem asserted in an interview on BET's 106 & Park that Dr. Dre had around a dozen songs finished for Detox.

2008–14: The Planets, a break and Coachella

On December 15, 2008, Dre appeared in the remix of the song "Set It Off" by Canadian rapper Kardinal Offishall (also with Pusha T); the remix debuted on DJ Skee's radio show. At the beginning of 2009, Dre produced, and made a guest vocal performance on, the single "Crack a Bottle" by Eminem and the single sold a record 418,000 downloads in its first week. and reached the top of the Billboard Hot 100 chart on the week of February 12, 2009. Along with this single, in 2009 Dr. Dre produced or co-produced 19 of 20 tracks on Eminem's album Relapse. These included other hit singles "We Made You", "Old Time's Sake", and "3 a.m." (the only track Dre did not produce was the Eminem-produced single "Beautiful").

On April 20, 2010, "Under Pressure", featuring Jay-Z and co-produced with Scott Storch, was confirmed by Jimmy Iovine and Dr. Dre during an interview at Fenway Park as the album's first single. The song leaked prior to its intended release in an unmixed, unmastered form without a chorus on June 16, 2010: however, critical reaction to the song was lukewarm, and Dr. Dre later announced in an interview that the song, along with any other previously leaked tracks from Detox's recording process, would not appear on the final version of the album. Two genuine singles – "Kush", a collaboration with Snoop Dogg and fellow rapper Akon, and "I Need a Doctor" with Eminem and singer Skylar Grey – were released in the United States during November 2010 and February 2011 respectively: the latter achieved international chart success, reaching number four on the Billboard Hot 100 and later being certified double platinum by the RIAA and the Australian Recording Industry Association (ARIA).

On June 25, 2010, the American Society of Composers, Authors and Publishers honored Dr. Dre with its Founders Award for inspiring other musicians.

In an August 2010 interview, Dr. Dre stated that an instrumental album titled The Planets is in its first stages of production; each song being named after a planet in the Solar System. On September 3, Dr. Dre showed support to longtime protégé Eminem, and appeared on his and Jay-Z's Home & Home Tour, performing hit songs such as "Still D.R.E.", "Nuthin' but a 'G' Thang", and "Crack a Bottle", alongside Eminem and another protégé, 50 Cent. Sporting an "R.I.P. Proof" shirt, Dre was honored by Eminem telling Detroit's Comerica Park to do the same. They did so, by chanting "DEEE-TOX", to which he replied, "I'm coming!"

On November 14, 2011, Dre announced that he would be taking a break from music after he finished producing for artists Slim the Mobster and Kendrick Lamar. In this break, he stated that he would "work on bringing his Beats By Dre to a standard as high as Apple" and would also spend time with his family.

On January 9, 2012, Dre headlined the final nights of the 2012 Coachella Valley Music and Arts Festival, on the weekends of April 13–15 and April 20–22, 2012.

In a June 2014 interview with RapUpTV, Marsha Ambrosius talked about working on Dr. Dre’s third album. She stated that she had gone to Hawaii before the end of 2013 for a few weeks to work with him on “so many things” including his upcoming album and a project of her own among other unspecified projects. Ambrosius also told RapUpTV that Dr. Dre’s third album is no longer called Detox, but didn’t reveal the new title. In a September interview with Shots Fired that same year, Aftermath Entertainment in-house producer Dawaun Parker confirmed the title change. Parker also refrained from revealing the new title because of the fact that the title hadn’t been leaked online. He also told Shots Fired that there are as many as 300 beats that have been created for the album over the years, but few of them have had vocals recorded over them.

The length of time that Detox had been record for, as well as the limited amount of material that had been officially released or leaked from the recording sessions, had given it considerable notoriety within the music industry. Numerous release dates (including the ones mentioned above) had been given for the album over the years since it was first announced, although none of them transpired to be genuine. Several musicians closely affiliated with Dr. Dre, including Snoop Dogg, fellow rappers 50 Cent and Game and producer DJ Quik, had speculated in interviews that the album will never be released, due to Dr. Dre's business and entrepreneurial ventures having interfered with recording work, as well as causing him to lose motivation to record new material.

2015–present: Straight Outta Compton film and Compton album

On his Beats 1 radio show "The Pharmacy" on August 1, 2015, Dre announced that he would release what would be his final album, titled Compton. It is inspired by the N.W.A biopic Straight Outta Compton and is a compilation-style album, featuring a number of frequent collaborators, including Eminem, Snoop Dogg, Kendrick Lamar, Xzibit and The Game, among others. It was released exclusively for iTunes and Apple Music on August 7. A physical version was published on August 21. In an interview with Rolling Stone, he revealed that he had about 20 to 40 tracks for Detox but he didn't release it because it didn't meet his standards and he thought he was done being an artist. He also revealed that he suffers from social anxiety and due to this he remains secluded and out of attention.

On February 12, 2016 it was revealed that Apple would create its first original scripted television series and it would star Dr. Dre. Called Vital Signs, it is set to reflect the life of Dr. Dre. Dr. Dre will additionally be an executive producer on the show.

In October 2016, Puff Daddy brought out Dr. Dre and Snoop Dogg, and others on his Bad Boy Reunion tour.

Other ventures

Film career

Dr. Dre made his first on screen appearance as a weapons dealer in the 1996 bank robbery movie Set It Off. In 2001, Dr. Dre also appeared in the movies The Wash and Training Day. A song of his, "Bad Intentions" (featuring Knoc-Turn'Al) and produced by Mahogany, was featured on The Wash soundtrack. Dr. Dre also appeared on two other songs "On the Blvd." and "The Wash" along with his co-star Snoop Dogg. In February 2007 it was announced that Dr. Dre would produce dark comedies and horror films for New Line Cinema-owned company Crucial Films, along with longtime video director Phillip Atwell. Dr. Dre announced "This is a natural switch for me, since I've directed a lot of music videos, and I eventually want to get into directing." Along with fellow member Ice Cube, Dr. Dre produced Straight Outta Compton (2015), a biographical film about N.W.A.

Entrepreneurship

In July 2008, Dr. Dre released his first brand of headphones, Beats by Dr. Dre. The line consisted of Beats Studio, a circumaural headphone; Beats Tour, an in-ear headphone; Beats Solo & Solo HD, a supra-aural headphone; Beats Spin; Heartbeats by Lady Gaga, also an in-ear headphone; and Diddy Beats. In autumn 2009, Hewlett-Packard participated in a deal to bundle Beats By Dr. Dre with some HP laptops and headsets. HP and Dr. Dre announced the deal on October 9, 2009, at a press event in Santa Monica, California. An exclusive laptop, known as the HP ENVY 15 Beats limited edition, was released for sale October 22. In May 2014, technology giant Apple Inc. made a bid for the Beats by Dre brand for a reported $3 billion. This makes the takeover Apple's most expensive purchase by far. The deal reportedly made Dr. Dre the "Richest Man in Hip-Hop", surpassing former leader, Diddy.

Philanthropy

During May 2013, Dr. Dre and Jimmy Iovine donated a $70 million endowment to the University of Southern California to create the USC Jimmy Iovine and Andre Young Academy for Arts, Technology and the Business of Innovation. The goal of the Academy has been stated as "to shape the future by nurturing the talents, passions, leadership and risk-taking of uniquely qualified students who are motivated to explore and create new art forms, technologies, and business models." The first class of the Academy began in September 2014.

Endorsements

"St. Ides"

"Coors Light"

"Dr. Pepper"

"Chrysler 300S" - Imported From Detroit

Dr. Dre started Burning Man rumors

An urban legend surfaced in 2011 when a tumblr blog titled Dr. Dre Started Burning Man began proliferating the notion that the producer, rapper and entrepreneur had discovered Burning Man in 1995 during a music video shoot and offered to cover the cost of the event's permit from the Nevada Bureau of Land Management under an agreement with the festival's organizers that he could institute an entrance fee system, which had not existed before his participation. This claim was supported by an alleged letter from Dre to Nicole Threatt Young that indicated that Dre had shared his experience witnessing the Burning Man festival with her.

Business Insider mentions the portion of the letter where Dr. Dre purportedly states "someone should get behind this...and make some money off these fools" and compares Dr. Dre's potential entrepreneurial engagement with Burning Man as a parallel to Steve Jobs' efforts to centralize and profit from the otherwise unorganized online music industry. According to Salon, Dr. Dre's ethos seems to be aligned with seven of the ten principles of the Burning Man community: "radical self-reliance, radical self-expression, communal effort, civic responsibility, leaving no trace, participation and immediacy."

Musical influences and style

Production style

Dr. Dre is renowned for constantly evolving his production style through the years, while always keeping in touch with his roots and re-shaping elements from previous work. In the start of his career as a producer for the World Class Wreckin Cru with DJ Alonzo Williams in the mid-1980s, his beats were in the electro-hop style pioneered by The Unknown DJ, and that of early hip-hop groups like the Beastie Boys and Whodini. These influences are evident in Eazy-E's 1986 song "Boyz-n-the-Hood," which Dre produced. Sampling was at the time a key element of Dre's production, the E-mu SP-1200 being his primary instrument in the N.W.A days.

In 1987, Dr. Dre sampled the Ohio Players' ARP synth riffs from their 1973 funk hit "Funky Worm" in the N.W.A song "Dopeman". Being the first hip-hop producer to sample the song, Dre both paved the way for the future popularization of the G-funk style within hip-hop, and established heavy synthesizer solos as an integral part of his production style. Dr. Dre was also one of the very first producers to interpolate the then little-known drum break from The Winstons' "Amen, Brother" in the N.W.A song "Straight Outta Compton". This break has since becοme a staple in not only hip-hop, but all popular music, having been used in over 1700 songs.

From Straight Outta Compton on, Dre uses live musicians to replay old melodies rather than sampling them. In Ruthless Records, collaborators included guitarist Mike "Crazy Neck" Sims, multi-instrumentalist Colin Wolfe, DJ Yella and sound engineer Donovan "The Dirt Biker" Sound. Dre is receptive of new ideas from other producers, one example being his fruitful collaboration with Above the Law's producer Cold 187um while at Ruthless. Cold 187 um was at the time experimenting with 1970s P-Funk samples (Parliament, Funkadelic, Bootsy Collins, George Clinton etc.), that Dre also utilized. Dre has since been accused of "stealing" the concept of G-funk from Cold 187 um.

Upon leaving Ruthless and forming Death Row Records in 1991, Dre called on veteran West Coast DJ Chris "The Glove" Taylor and sound engineer Greg "Gregski" Royal, along with Colin Wolfe, to help him on future projects. His 1992 album The Chronic is thought to be one of the most well-produced hip-hop albums of all time. Musical themes included hard-hitting synthesizer solos played by Wolfe, bass-heavy compositions, background female vocals and Dre fully embracing 1970s funk samples. Dre used a minimoog synth to replay the melody from Leon Haywood's 1972 song "I Wanna Do Somethin' Freaky to You" for the Chronic's first single "Nuthin' but a "G" Thang" which became a global hit. For his new protégé Snoop Doggy Dogg's album Doggystyle, Dre collaborated with then 19-year-old producer Daz Dillinger, who received co-production credits on songs "Serial Killa" and "For all My Niggaz & Bitches", as well as Warren G and Sam Sneed, who are credited with bringing several samples to the studio.

The influence of The Chronic and Doggystyle on the popular music of the 1990s went not only far beyond the West Coast, but beyond hip-hop as a genre. Artists as diverse as Master P ("Bout It, Bout It"), George Michael ("Fastlove"), Luis Miguel ("Dame"), and The Spice Girls ("Say You'll Be There"), used G-funk instrumentation in their songs. Bad Boy Records producer Chucky Thompson stated in the April 2004 issue of XXL magazine that the sound of Doggystyle and The Chronic was the basis for the Notorious B.I.G.'s 1995 hit single "Big Poppa":

In 1994, starting with the Murder was the Case soundtrack, Dre attempted to push the boundaries of G-funk further into a darker sound. In songs such as "Murder was the Case" and "Natural Born Killaz", the synthesizer pitch is higher and the drum tempo is slowed down to 91 BPM (87 BPM in the remix) to create a dark and gritty atmosphere. Percussion instruments, particularly sleigh bells, are also present. Dre's frequent collaborators from this period included Pittsburgh, Pennsylvania natives Stuart "Stu-B-Doo" Bullard, a multi-instrumentalist from the Ozanam Strings Orchestra, Sam Sneed, Stephen "Bud'da" Anderson, and percussionist Carl "Butch" Small. This style of production has been influential far beyond the West Coast. The beat for the Houston-based group Geto Boys 1996 song "Still" follows the same drum pattern as "Natural Born Killaz" and Eazy E's "Wut Would U Do" (a diss to Dre) is similar to the original "Murder was the Case" instrumental. This style of production is usually accompanied by horror and occult-themed lyrics and imagery, being crucial to the creation of horrorcore.

By 1996, Dre was again looking to innovate his sound. He recruited keyboardist Camara Kambon to play the keys on "Been There, Done That", and through Bud'da and Sam Sneed he was introduced to fellow Pittsburgh native Melvin "Mel-Man" Bradford. At this time, he also switched from using the E-mu SP-1200 to the Akai MPC3000 drum kit and sampler, which he still uses today. Beginning with his 1996 compilation Dr. Dre Presents the Aftermath, Dre's production has taken a less sample-based approach, with loud, layered snare drums dominating the mix, while synthesizers are still omnipresent. In his critically acclaimed sophomore effort, 2001, live instrumentation takes the place of sampling, a famous example being "The Next Episode", in which keyboardist Camara Kambon re-played live the main melody from David McCallum's 1967 jazz-funk work "The Edge". For every song on 2001, Dre had a keyboardist, guitarist and bassist create the basic parts of the beat, while he himself programmed the drums, did the sequencing and overdubbing and added sound effects, and later mixed the songs. During this period, Dre's signature "west coast whistle" riffs are still present albeit in a lower pitch, as in "Light Speed", "Housewife", "Some L.A. Niggaz" and Eminem's "Guilty Conscience" hook. The sound of "2001" had tremendous influence on hip-hop production, redefining the West Coast's sound and expanding the G-funk of the early 1990s. To produce the album, Dre and Mel-Man relied on the talents of Scott Storch and Camara Kambon on the keys, Mike Elizondo and Colin Wolfe on bass guitar, Sean Cruse on lead guitar and sound engineers Richard "Segal" Huredia and Mauricio "Veto" Iragorri.

From the mid-2000s, Dr. Dre has taken on a more soulful production style, using more of a classical piano instead of a keyboard, and having claps replace snares, as evidenced in songs such as Snoop Dogg's "Imagine" and "Boss' Life", Busta Rhymes' "Get You Some" and "Been Through the Storm", Stat Quo's "Get Low" and "The Way It Be", Jay Z's "Lost One", Nas' "Hustlers", and several beats on Eminem's Relapse album. Soul and R&B pianist Mark Batson, having previously worked with The Dave Matthews Band, Seal and Maroon 5 has been credited as the architect of this sound. Besides Batson, Aftermath producer and understudy of Dre's, Dawaun Parker, who has named Q-Tip and J Dilla as his primary influences, is thought to be responsible for giving Dre's newest beats an East Coast feel.

Production equipment

Dr. Dre has said that his primary instrument in the studio is the Akai MPC3000, a drum machine and sampler, and that he often uses as many as four or five to produce a single recording. He cites 1970s funk musicians such as George Clinton, Isaac Hayes and Curtis Mayfield as his primary musical influences. Unlike most rap producers, he tries to avoid samples as much as possible, preferring to have studio musicians re-play pieces of music he wants to use, because it allows him more flexibility to change the pieces in rhythm and tempo. In 2001 he told Time magazine, "I may hear something I like on an old record that may inspire me, but I'd rather use musicians to re-create the sound or elaborate on it. I can control it better." Other equipment he uses include the E-mu SP-1200 drum machine and other keyboards from such manufacturers as Korg, Rhodes, Wurlitzer, Moog, and Roland. Dr. Dre also stresses the importance of equalizing drums properly, telling Scratch magazine in 2004 that he "used the same drum sounds on a couple of different songs on one album before but you'd never be able to tell the difference because of the EQ." Dr. Dre also uses the digital audio workstation, Pro Tools and uses the software to combine hardware drum machines and vintage analog keyboards and synthesizers.

After founding Aftermath Entertainment in 1996, Dr. Dre took on producer Mel-Man as a co-producer, and his music took on a more synthesizer-based sound, using fewer vocal samples (as he had used on "Lil' Ghetto Boy" and "Let Me Ride" on The Chronic, for example). Mel-Man has not shared co-production credits with Dr. Dre since approximately 2002, but fellow Aftermath producer Focus has credited Mel-Man as a key architect of the signature Aftermath sound.

In 1999, Dr. Dre started working with Mike Elizondo, a bassist, guitarist, and keyboardist who has also produced, written and played on records for female singers such as Poe, Fiona Apple and Alanis Morissette, In the past few years Elizondo has since worked for many of Dr. Dre's productions. Dr. Dre also told Scratch magazine in a 2004 interview that he has been studying piano and music theory formally, and that a major goal is to accumulate enough musical theory to score movies. In the same interview he stated that he has collaborated with famed 1960s songwriter Burt Bacharach by sending him hip hop beats to play over, and hopes to have an in-person collaboration with him in the future.

Work ethic

Dr. Dre has stated that he is a perfectionist and is known to pressure the artists with whom he records to give flawless performances. In 2006, Snoop Dogg told the website Dubcnn.com that Dr. Dre had made new artist Bishop Lamont re-record a single bar of vocals 107 times. Dr. Dre has also stated that Eminem is a fellow perfectionist, and attributes his success on Aftermath to his similar work ethic. He gives a lot of input into the delivery of the vocals and will stop an MC during a take if it is not to his liking. However, he gives MCs that he works with room to write lyrics without too much instruction unless it is a specifically conceptual record, as noted by Bishop Lamont in the book How to Rap.

A consequence of his perfectionism is that some artists who initially sign deals with Dr. Dre's Aftermath label never release albums. In 2001, Aftermath released the soundtrack to the movie The Wash, featuring a number of Aftermath acts such as Shaunta, Daks, Joe Beast and Toi. To date, none have released full-length albums on Aftermath and have apparently ended their relationships with the label and Dr. Dre. Other noteworthy acts to leave Aftermath without releasing albums include King Tee, 2001 vocalist Hittman, Joell Ortiz, Raekwon and Rakim.

Collaborators and co-producers

Over the years, word of other collaborators who have contributed to Dr. Dre's work has surfaced. During his tenure at Death Row Records, it was alleged that Dr. Dre's stepbrother Warren G and Tha Dogg Pound member Daz made many uncredited contributions to songs on his solo album The Chronic and Snoop Doggy Dogg's album Doggystyle (Daz received production credits on Snoop's similar-sounding, albeit less successful album Tha Doggfather after Young left Death Row Records).

It is known that Scott Storch, who has since gone on to become a successful producer in his own right, contributed to Dr. Dre's second album 2001; Storch is credited as a songwriter on several songs and played keyboards on several tracks. In 2006 he told Rolling Stone:

Current collaborator Mike Elizondo, when speaking about his work with Young, describes their recording process as a collaborative effort involving several musicians. In 2004 he claimed to Songwriter Universe magazine that he had written the foundations of the hit Eminem song "The Real Slim Shady", stating, "I initially played a bass line on the song, and Dr. Dre, Tommy Coster Jr. and I built the track from there. Eminem then heard the track, and he wrote the rap to it." This account is essentially confirmed by Eminem in his book Angry Blonde, stating that the tune for the song was composed by a studio bassist and keyboardist while Dr. Dre was out of the studio but Young later programmed the song's beat after returning.

A group of disgruntled former associates of Dr. Dre complained that they had not received their full due for work on the label in the September 2003 issue of The Source. A producer named Neff-U claimed to have produced the songs "Say What You Say" and "My Dad's Gone Crazy" on The Eminem Show, the songs "If I Can't" and "Back Down" on 50 Cent's Get Rich or Die Tryin', and the beat featured on Dr. Dre's commercial for Coors beer.

Although Young studies piano and musical theory, he serves as more of a conductor than a musician himself, as Josh Tyrangiel of TIME magazine has noted:

Although Snoop Dogg retains working relationships with Warren G and Daz, who are alleged to be uncredited contributors on the hit albums The Chronic and Doggystyle, he states that Dr. Dre is capable of making beats without the help of collaborators, and that he is responsible for the success of his numerous albums. Dr. Dre's prominent studio collaborators, including Scott Storch, Elizondo, Mark Batson and Dawaun Parker, have shared co-writing, instrumental, and more recently co-production credits on the songs where he is credited as the producer.

Anderson Paak also praised Dr. Dre in a 2016 interview with Music Times, telling the publication that it was a dream come true to work with Dre.

Ghostwriters

It is acknowledged that most of Dr. Dre's raps are written for him by others, though he retains ultimate control over his lyrics and the themes of his songs. As Aftermath producer Mahogany told Scratch: "It's like a class room in [the booth]. He'll have three writers in there. They'll bring in something, he'll recite it, then he'll say. 'Change this line, change this word,' like he's grading papers." As seen in the credits for tracks Young has appeared on, there are often multiple people who contribute to his songs (although often in hip hop many people are officially credited as a writer for a song, even the producer).

In the book How to Rap, RBX explains that writing The Chronic was a "team effort" and details how he ghostwrote "Let Me Ride" for Dre. In regard to ghostwriting lyrics he says, "Dre doesn't profess to be no super-duper rap dude – Dre is a super-duper producer". As a member of N.W.A, The D.O.C. wrote lyrics for him while he stuck with producing. New York City rapper Jay-Z ghostwrote lyrics for the single "Still D.R.E." from Dr. Dre's album 2001.

Personal life

Relationships and family

Dr. Dre has had four sons and two daughters, by five different women.

In 1981, Dr. Dre and Cassandra Joy Greene had a son named Curtis Young when Dr. Dre was 16 years old and Greene was 15 years old. Curtis Young is an aspiring rapper who goes by the rap moniker "Hood Surgeon".

In 1983, Dr. Dre and Lisa Johnson had a daughter named La Tanya Danielle Young.

In 1988, Dr. Dre and Jenita Porter had a son, Andre Young Jr. In 1990, Porter sued Dr. Dre in Orange County Superior Court seeking $5,000 of child support per month. On August 23, 2008, Andre Young Jr. died at the age of 20 at his mother's Woodland Hills home. The coroner determined that he died from an overdose of heroin and morphine.

From 1987 to 1996, Dr. Dre dated singer Michel'le, who frequently contributed vocals to Ruthless Records and Death Row Records albums. In 1991, the couple had a son, Marcel.

In 1996, Dr. Dre married Nicole Threatt, the ex-wife of NBA player Sedale Threatt. They have two children together: a son named Truice (born 1997) and a daughter named Truly (born 2001).

Violence against women

Dr. Dre has been accused of violence against women in the past.

On January 27, 1991, at a music industry party at the Po Na Na Souk club in Hollywood, Dr. Dre assaulted television host Dee Barnes of the Fox television program Pump it Up, because he felt dissatisfied with her news report about the feud between the remaining N.W.A members and Ice Cube. Barnes filed a 22.7 million dollar lawsuit in response to the incident. Subsequently, Dr. Dre was fined $2,500 and given two years' probation and 240 hours of community service, as well as a spot on an anti-violence public service announcement on television. The civil suit was settled out of court. Barnes stated that Young "began slamming her face and the right side of her body repeatedly against a wall near the stairway." Dr. Dre later commented "People talk all this shit, but you know, somebody fucks with me, I'm gonna fuck with them. I just did it, you know. Ain't nothing you can do now by talking about it. Besides, it ain't no big thing – I just threw her through a door."

In March 2015, singer Michel'le accused him of physical abuse during their time together as a couple, but did not initiate legal action. Former labelmate Tairrie B also claimed that Dre assaulted her at a post-Grammy party in 1990, in response to her track Ruthless Bitch.

During press for the popular 2015 film Straight Outta Compton, questions about the portrayal and behavior of Dr. Dre and other prominent figures in the rap community about violence against women - and the question about its absence in the film - were raised. The discussion about the film led to Dr. Dre addressing his past behavior in the press. In August 2015, in an interview with Rolling Stone, Dre lamented his abusive past, saying, "I made some fucking horrible mistakes in my life. I was young, fucking stupid. I would say all the allegations aren't true—some of them are. Those are some of the things that I would like to take back. It was really fucked up. But I paid for those mistakes, and there's no way in hell that I will ever make another mistake like that again."

In a statement to The New York Times on August 21, 2015, Dre again addressed his abusive past, stating, "Twenty-five years ago I was a young man drinking too much and in over my head with no real structure in my life. However, none of this is an excuse for what I did. I've been married for 19 years and every day I'm working to be a better man for my family, seeking guidance along the way. I'm doing everything I can so I never resemble that man again." He went on to apologize to all the women he abused, saying, "I apologize to the women I've hurt. I deeply regret what I did and know that it has forever impacted all of our lives."

Other convictions

Dr. Dre pleaded guilty in October 1992 in a case of battery of a police officer and was convicted on two additional battery counts stemming from a brawl in the lobby of the New Orleans hotel in May 1991.

On January 10, 1994, Dr. Dre was arrested after leading police on a 90 mph pursuit through Beverly Hills in his 1987 Ferrari. It was revealed Dr. Dre had a blood-alcohol of 0.16, twice the state's legal limit. The conviction violated Dre's battery conviction in 1991 and he was sentenced to 8 months in prison in September 1994.

Income

In 2001, Dr. Dre earned a total of about US$52 million from selling part of his share of Aftermath Entertainment to Interscope Records and his production of such hit songs that year as "Family Affair" by Mary J. Blige. Rolling Stone magazine thus named him the second highest-paid artist of the year. Dr. Dre was ranked 44th in 2004 from earnings of $11.4 million, primarily from production royalties from such projects as albums from G-Unit and D12 and the single "Rich Girl" by singer Gwen Stefani and rapper Eve. Forbes estimated his net worth at US$270 million in 2012. The same publication later reported that he acquired US$110 million via his various endeavors in 2012, making him the highest–paid artist of the year.

Income from the 2014 sale of Beats to Apple, contributing to what Forbes termed "the biggest single-year payday of any musician in history", made Dr. Dre the world's richest musical performer of 2015.

Suge Knight conspiracy accusation

April 4, 2016 TMZ and the New York Daily News reported Knight as having accused Dre and the Los Angeles Sheriff's Department's department of a kill-for-hire plot in the 2014 shooting of Knight in club 1 OAK.

Discography

Studio albums

The Chronic (1992)

2001 (1999)

Compton (2015)

Soundtrack album

The Wash (2001)

Collaboration albumsWith World Class Wreckin' Cru

World Class (1985)

Rapped in Romance (1986)

With N.W.A.

N.W.A. and the Posse (1987)

Straight Outta Compton (1988)

100 Miles and Runnin' (1990)

Niggaz4Life (1991)

Awards and nominations

BET Hip Hop AwardsGrammy Awards

Dr. Dre has won six Grammy Awards. Three of them are for his production work.

Wikipedia