Why Dr. Dre Is The Best Producer Ever, (and it ain’t close)

We discuss the work of the man with the most records in the top 10 of our 50 greatest Gangster Rap albums of all time.  

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Episode Transcript

Speaker 1 (00:00):
But all right, job.

Speaker 2 (00:03):
All across the USC Compton, Watts Bay to LA. Come
on to California day from Rowley the Valley. We represent
that Keller County. So if you're keeping it real on
your side of your town, you tune into Gainst the
Chronicles Chronic Goals.

Speaker 3 (00:21):
He gonna tell you how are we goals?

Speaker 2 (00:24):
If I lie, my notes will grow like Pinocchio.

Speaker 3 (00:26):
We're gonna tell you the truth and nothing but the
truth Gangs.

Speaker 4 (00:29):
The Chronic Goals. This is not your average shows.

Speaker 2 (00:33):
You're now tuned into the rail mc ain't Big Change
and big steels the streets.

Speaker 1 (00:40):
Hello, we welcome to the Gangst the Chronicles podcast, the
production of iHeart Radio and Black Effect Podcast Network. Make
sure you download the iHeart app and subscribe to Against
the Chronicles. For my Apple users, hit the Purple Michael
on your front screen. Subscribed to Against the Chronicles, leave
a start rating the comment. Broadcasting live from the world

(01:03):
famous Coin Academy. It's another episode of Against the Chronicles podcast.
And now am big still with my guy Jeer and
of course man we have journalists extraordinarire mister Sawn Baker.

Speaker 4 (01:15):
Into his now Yes, yes, thanks for having me, Ah
for sure.

Speaker 1 (01:18):
For sure. Man, you know we touching down man on
this top fifty gangster rap albums of all time. Man,
it's been a a journey, and I won't say it's
been too much controversy with it. Man, you know anything,
you know? First of all, these are just our opinions.
Y'all free to go out there and create any kind
of holistics y'all want to. But I think that we

(01:39):
are the experts up here. I do think we know
a little bit of something. What we were talking about.

Speaker 3 (01:43):
Were the experts?

Speaker 5 (01:44):
Well, hey, I don't say we we we have a
we have a high opinion.

Speaker 3 (01:52):
You get me. You wanna be you wanna be labeled
the expert?

Speaker 1 (01:58):
Well, I think I gotta not. You know, motherfuckers have
actually paid me for my opinion on certain you know, man,
I think I want to know a little something. You know,
how many records you don't sow? You know, saw like
fourteen fifteen million records? I think that would make you
when someone on road for everybody from the La Times
to the Sores and all this other shit. So I
would say we definitely know a little bit more than

(02:19):
the average bear.

Speaker 4 (02:20):
More than a little bit, you know, a.

Speaker 1 (02:22):
Little bit more, man, I want to hop right into it.

Speaker 5 (02:25):
Man.

Speaker 1 (02:28):
When we talk about the top five gangster rap albums
of all time, we talk about like albums like you know,
the Chronic Can't forget that Ice Cube, America's most wanted
certificate albums like that. Man, I think with some of

(02:49):
the craziest production around, the Boogeyman just went insane on that.
DJ Bobcat, DJ Pool, who else? To Rashad, it was
just real, just nasty on that album. He did a lot.
It was just a very well produced album. I think
there was kind of ahead of his time because it

(03:10):
kind of took that. You remember back then how everybody
was missing samples together. Yeah, but they had started kind
of playing their own instrumentation during that time over whereas
the Bomb Squad was just kind of sample of stuff
as it was.

Speaker 6 (03:26):
Well, that's one of the many things as rap production
in the late eighties going into the early nineties, there
was a lot of musicianship that people I think don't
understand or appreciate because a lot of people dre in particular,
you know, as you know on the early Ruthless records,
they had a lot of drums that were live, a

(03:47):
lot of bass guitars staying guitar man and guitar man
Sims and all those type of dudes. Man, they were
playing live music, and that I think makes it's a
big difference when.

Speaker 5 (04:02):
You I guess, you know, the sample era was, you
know what it was, But a lot of dudes didn't
want to touch that ship because they didn't want to
give up that bread.

Speaker 4 (04:14):
So very expensive.

Speaker 5 (04:15):
That's what made uh me and you know slipping who
you know whatever. That's why we wanted to start creating.
I guess basically what we would hear or just try
to come up with our own melodies or whatever, and
then we would bring it, you know, Willie z in,

(04:37):
you know, because I mean sampling was good, you know,
especially if you know how to chop a lot of
ship up, which a lot of good producers knew how
to do back then. But a lot of records were
sample heavy man back.

Speaker 3 (04:52):
In that era.

Speaker 6 (04:53):
So in this time too, a lot of people were
doing their interpolations. So explain how to that worked financially
if you interpolated a record versus sample.

Speaker 4 (05:04):
That what was the financial difference? Hmm?

Speaker 3 (05:10):
To me?

Speaker 5 (05:11):
In my opinion, I would just say, and the way
we did shit is. We would try to hide the
shit you get me, so the financial gain from it
would would be you so better because you wasn't given
up publishing, and then you wasn't giving up you know whatever,

(05:31):
or the whole song. Sometimes you would have to give
up the whole fucking song. If you sample somebody'shit and
it was recognizable, so you know, learning how to interpret
the shit, you could do different tricks with it. You know,
leave a note out here or there, add a note here,
add this or add that. So you know, a lot

(05:51):
of shit I replayed, you know, it was probably shit
I heard. But then by the time I got to
the keyboard and Willie Z and we would just recreate
this shit. You know, wanted to have probably the same
melody and.

Speaker 4 (06:04):
Shit, but like the same feel but a different.

Speaker 5 (06:07):
But I'm gonna change up something, so a motherfucker just
can't be like, oh that's my song, you get me?

Speaker 1 (06:14):
You know, I think a thing that was really pivotal
to that time because before if you remember, with sampling,
wasn't nobody clearing shit for a long time hip hop,
But then biz Mark he got hit with that. When
biz Mark he got hit with the album, was it.

Speaker 4 (06:30):
What was I need a haircut?

Speaker 1 (06:32):
I need a haircut and he got hit man. It
was something man like.

Speaker 4 (06:36):
It was Gilbert O'Sullivan, I believe, Yeah, and.

Speaker 1 (06:38):
It was something like a million dollars at that time.

Speaker 4 (06:41):
Yeah, they did a ceason assist. They had to pull
the record.

Speaker 6 (06:44):
So I remember when I bought it, I was one
of the only people in Maryland that had it because
the album got yanked pretty quick. So that basically put
a big problem in the biz. Marky's career and a
lot of other people got they old tribe called quest
I heard I had read multiple times over the years

(07:05):
that can I Kick It?

Speaker 4 (07:07):
They don't get any money.

Speaker 6 (07:08):
Off that because they didn't clear any of the samples,
and Lou reed, I guess it's the Walk on the
wild Side, I believe, but he basically owns can I
Kick It? So they don't get any money off that song.

Speaker 1 (07:19):
You know. The one upside to it, door is they
get that touring revenue off of.

Speaker 4 (07:23):
That, that's for sure, you know, because.

Speaker 1 (07:25):
You know, Tribe has been all around.

Speaker 6 (07:27):
The world, you know, many times forming that song, you know,
so they even use it.

Speaker 4 (07:31):
At the NFL.

Speaker 6 (07:32):
Man shout out to Justin Tucker when the Ravens when
they go to commercial break they play can I Kick It?
A lot of times on a commercial. I've seen it
at least three or four times over the last two
or three years.

Speaker 1 (07:43):
But that's the downside to what his artists get older
that tipping them not getting none of that money. You know,
the low family is getting that money. And in some
cases you only taking a little tiny semission of a
sample and it's like, shit it dog, I want the
whole record.

Speaker 6 (07:57):
Yeah, and uh Steely Dan was the same thing for
me myself and I I don't I don't remember reading
the financial breakdown of that, but that's really what hurt
a lot of uh Our Soul's early momentum because of that.
But yeah, man, and when was that the Guns on
Peter Guns. Yeah, they sampled Steely Dan and they did

(08:19):
the same thing that.

Speaker 5 (08:20):
That is one of the reasons why we tried to
stay away from outright sample and ship because you could
probably get the label to pay for it, which is
gonna come out of your budget.

Speaker 4 (08:37):
And I was gonna say it's your budget, your money.

Speaker 5 (08:39):
But knowing that you would get no publishing, you probably
have to pay some upfront money. I mean, because we
we were part of that. I mean we paid, we sampled.
I sampled some Berry White, you know, I sample, we

(09:00):
sample some Isaac Hayes.

Speaker 4 (09:01):
I was gonna say, a lot of big artists.

Speaker 3 (09:04):
They paid like a motherfucker.

Speaker 5 (09:07):
But you know, I think what was good about our
ship at the time was it was away from what
everybody else was typically using at the time. So we
kind of got like that, Oh, okay, you want to

(09:27):
use our ship.

Speaker 3 (09:28):
Okay, no problem.

Speaker 5 (09:29):
Oh you know, because a lot of people wasn't using
you know, Berry White and other ships.

Speaker 3 (09:37):
We was coming from. You know, that was records I
used to listen.

Speaker 1 (09:40):
To growing up.

Speaker 5 (09:41):
Yeah, Berry is pretty fair with Yeah, so didn't crazy.
I used I think a very white on fucking the
music to drive By album, more straight checking than one
of them. And then we used to walk on By
by Isaac Hayes on Nigga Struggling and Ship.

Speaker 3 (10:00):
You know, so, I mean that's what you did.

Speaker 5 (10:03):
I mean back then, you know, you found a funky
motherfucking record and you go ahead and try to chop
it up, but you know the consequences of it. So
it all depends on how much you you desperately feel
like that song is worth giving up, you know what
I'm saying, all your publishing and giving up a couple

(10:23):
of dollars up front and maybe all on the back end.

Speaker 4 (10:26):
Who knows, But well I also know too.

Speaker 6 (10:29):
Some artists had it that if a producer was gonna sample,
the producer was responsible for Yeah.

Speaker 3 (10:35):
They started doing they started doing that.

Speaker 5 (10:39):
Well, if you produce the record, yeah, it's gonna come
out of your end and your publishing and whatever. So
that wouldn't affect like me as a writer or an artist,
because I'm not the one who produced the beat, So
why should I get my cut taken out of a
money drawn from me? You gotta pay for that, especially
if you using an out our producer outside of the camp.

Speaker 3 (11:01):
You know what I'm saying.

Speaker 1 (11:03):
Yeah, you know what. I remember when I was working
for Minder Music, we were actually involved in suing Doctor
Dre for the Less Get Higher record because he had
used the baseline from the fat back band the Dunk
d Dunk. And what was crazy about it is John
Foggery that was the guy on Minded Music shout out

(11:25):
the Big John out of the UK. But he contacted
Dre numerous times he wanted to clear the record. Wow,
like we wanted to clear the record. He just wouldn't
respond when Dre when we went to court with Dre,
you know what dra did. Drake came in, went to
sleep and walked out and left like he didn't give
a fuck. He didn't give a fuck, walk out and left.

Speaker 3 (11:45):
What y'all won't, man?

Speaker 1 (11:48):
I think that sample wound up costing him one point
two million.

Speaker 3 (11:52):
Dollars And they get a nigga that ship billion.

Speaker 1 (11:55):
Dollars and they own like the publishing for the song.
But they wanted to share with him that. They were
willing to do that, but he just wouldn't get back
to him.

Speaker 5 (12:03):
Yeah, because at that time, you know, it's like, nigga, please, nigga,
I'm making y'all hot as fuck again, right feel me?
That was probably my nigga, Dre's motherfucking mind state, Like nigga.
Ain't nobody in ninety three bumping fat back band?

Speaker 3 (12:18):
You feel me? Was you bumping it?

Speaker 1 (12:21):
No? I was?

Speaker 4 (12:24):
I did what I did when the two thousand and
one album.

Speaker 3 (12:26):
Came out as fuck.

Speaker 1 (12:27):
You know when one of the two thousand and one
album still said, nah, I want to go back to service,
I want to go back to I know you talk
about death certificate someone right, Yes, I want to go
for that.

Speaker 4 (12:42):
That's my number one in your mind.

Speaker 1 (12:44):
What makes that the number one gainst the rap album
of all time?

Speaker 6 (12:48):
I think because it really examines, uh, so many angles
of what was going on in society at the time.
And Cube had so many brilliant stories that you know,
from the beginning of the album to the end of
the album really examined you know, Alive on Arrival was

(13:09):
going after the healthcare system. You had Us, which was
looking in the mirror at the self created problems.

Speaker 4 (13:15):
You had color.

Speaker 6 (13:16):
Blind dealing with with the problems of gang banging. You
had Steady Mob, which was just a day in the hood.
You had My Summer Vacation, which I think is one
of the best songs ever made about the migration of
gangs and drugs. You had I mean it was just
back to boy I want to Kill Sam talking about
the government.

Speaker 4 (13:36):
It was a little devil.

Speaker 1 (13:39):
Yeah, my Summer Vacation, yeah, number which really examined the
migration of the West Coast, you know, the West Coast
gangsters into the.

Speaker 4 (13:49):
Into the Midwest and the Midwest, and.

Speaker 1 (13:51):
It actually spawned me being originally from the Midwest. As
I remember crips and bloods coming to Ohio and it
wasn't on no hostile takeover stuff like. It was just
they had the best prices. They had prices cats couldn't
believe in. So cats they came up there with the work.
So you had cats. You saw local gangs like the
Brick City Outlaws and the Dynamite Devils that had been

(14:14):
around since the sixties started kind of making the transition
and turning the blood gangs turning the crip gangs just
because they met somebody that was cool from California. And
a lot of those cats set up the set up
shopping the Midwest. It's still there to this day. They
wound up having families, wound up just never going back. Yeah,
if they didn't go to the Feds. Yeah, that was
the intention. Shit and Pott of Cali go somewhere set up.

(14:37):
Once you plant the roots, you like, frok it, nigga,
this is home.

Speaker 6 (14:41):
Yeah, because they had You know, Cube does a great
job on My Summer Vacation of really breaking down that
reality and how the gang culture spread in a different way,
and like you guys are saying, the different drugs in
a different way that it was distributed, it was just
my summer is just an amazing, amazing breakdown. And then

(15:02):
of course there's a very heavy Nation of Islam influence
on there, and he's talking about you know, knowledge itself
and historical facts and different.

Speaker 4 (15:11):
Things going on.

Speaker 6 (15:12):
That all of that added together plus the production, plus
Cube being such a brilliant writer, it just really has everything.
And I think Cube, Bob Can Rashata as the Boogeyman,
and then Sir Jenks all super underrated producers and all
of it coming together all at once, and Cube having

(15:33):
a few guest appearances mainly on color Blind. It was highlighted.
It's incredible. It's phenomenon.

Speaker 5 (15:42):
I think, you know, from the transition of coming off
as the solo artists, first from the America's you.

Speaker 3 (15:50):
Know, this record was more.

Speaker 5 (15:57):
West Coast field, much more America's most wanted was, you know,
it had it had a few West Coast references and field,
you know, we had once upon a time in the
projects and you know, but I think with the death certificate,
it really hit home on what you say, niggas, you know,

(16:20):
West Coast rap and transition of what it was about.
And like I said, the songs just you went through
a motherfucking roller coaster ride. Yeah, and like you said,
a lot of a lot of that around that time,
you know, with being in the rap game and having
to deal with the oppression of motherfuckers didn't want rap

(16:44):
and you know, they was hating on it. You kind
of even though niggas was on some gang shit, you
kind of was able to listen to those songs on
that record because you was like, Yeah, they don't want
a nigga to eat and they tripping because we saying
we from here and niggas is wearing colors and you know,

(17:04):
bitch and whole shit, and you know, just a reality
of what niggas was going through on the daily. But
for some reason in that time, man, they really was
against what we was pushing. So you know, that's what
that record represented to me. You know, especially the cover
with the Sam toe tager.

Speaker 4 (17:24):
That that was cracking crazy.

Speaker 5 (17:27):
That was like one of those classic covers, like like
music to drive by.

Speaker 1 (17:31):
And Ship, you know exactly.

Speaker 5 (17:33):
You know, one of them classic covers that you always remember,
like damn them niggas did that, Like damn he did that.

Speaker 3 (17:40):
Damn nigga put a toe tag on.

Speaker 1 (17:42):
Uncle Sam, Like, I'm gonna tell you one thing that
he did it too, that he did to even the
sequence and the way the album was sequence, because yeah,
he had given up the nappy dug out that talked
about a promission WITHS Girl and then he.

Speaker 4 (17:57):
Hed, look who's burning STD.

Speaker 1 (18:00):
You know, right after that. And I think that's something
that was seldom talked about in hip hop is AIDS. Yeah,
during that, you know, nobody talked about AIDS. Nobody talked
about nario sexually transmitted diseases as well.

Speaker 6 (18:14):
I think the difference is though with Cube because uh,
if you remember booking down productions on the bio all
Means necessarily had a Jimmy song where they were talking
about the Jay and the Jimmy had so people were
talking about it. But the difference that Cube did and
Cube always did is I took it much more on

(18:38):
a street profane level, whereas Karaswan was doing it more
of a edutainment whereas Cube was like street edutainment on
a totally different level, much more graphic and explicit because
because people.

Speaker 4 (18:54):
Had been rapping about it.

Speaker 6 (18:56):
But when Cube did it, Cube did it in a
way that I think resonated more with a lot of
people because as great as the Jimmy song is, by
booking down productions, a lot of people don't remember that song,
even though it's a safe sex song, and even though
it's on a great album. It's on a gold album.
That's a gold album. It's on the My Philosophy album,
it's on I'm Still Number one album. So it's on

(19:18):
the Self Stop the Violence album, Illegal Business album. Yeah,
that's one of the best albums too ever made. But
I think that's the we have giving up the nappy dugout.
You have twenty Little Devil, these type of songs when
they're examining uh, sexual tension, racism, sexually transmitted diseases, but

(19:42):
doing it from such a profound naway.

Speaker 3 (19:48):
Niggas gonna like.

Speaker 5 (19:53):
You're speaking on topics that usually motherfuckers would be like, man,
what the fuck you talking about?

Speaker 3 (19:58):
But you're putting it in the way to it go.
Hell yeah.

Speaker 5 (20:01):
Exactly when Nigga got burnt and I knew a bit
she was given them what you burn it, Nigga, So
he put in a conscious shit in a way that
the average motherfucker could relate to it, and you got
to simplified shit sometime for motherfuckers exactly what I'm saying.

Speaker 1 (20:19):
You knew anybody during that time period, the Kaids and anything, No,
and you know, and that was the thing. And what
was scary about that is that it was affecting, that
it was impacting the African American community and disproportionate numbers,
right because nobody talked about it. Nobody talked about it.
And I remember my cousin that caught my head, a

(20:41):
cousin rec in Peace Tiff the Ks, right, and she
caught it from her husband, he was a humophiliac and
he caught it from Kais And I just remember thinking,
like wow, that really kind of fucked me up a
little bit because at that point you would hear little
rumors about certain people in the neighborhood, right, they had
the package, but it would never get confirmed. Like so
it was almost one of them things didn't nobody want

(21:02):
to talk about, right, Like nobody ever talked about it,
because I ain't gonna lie to have me scared to death.

Speaker 3 (21:09):
Oh definitely scared you away.

Speaker 1 (21:11):
From some ass Hell yeah, maybe definitely, go.

Speaker 5 (21:16):
E say it definitely scared you away from some asses
that like they got think twice I think I will
pass or that or right there, it's a little a
little funky today, I think I will pass.

Speaker 1 (21:28):
So for sure, you definitely became more You definitely be
more mindful.

Speaker 5 (21:33):
Exact it had to be you say you have to
be more smell forul you know what I'm saying.

Speaker 3 (21:39):
Ship. You got to be able to sniff out that ship.

Speaker 1 (21:43):
Yeah, for sure, And I think it was a phenomenal
labum man. But I want to go name your listener
name name those five off again.

Speaker 4 (21:56):
So Cube is number one, and then my other five.

Speaker 3 (22:00):
This is Sawerings number one.

Speaker 6 (22:01):
This yeah, that's my number one, that certificate and the
other ones in the top five. I would say it's
the Brothers for Life n w A, The Chronic Doctor, Dre,
Straut Compton.

Speaker 4 (22:12):
N w A and Easy Easy does it?

Speaker 3 (22:15):
My nigga sown said the Brothers for Life. Man.

Speaker 5 (22:19):
You know, be politically he's slick with some people say,
I'm saying for him, it's Niggas for Life. You feel
mean all good?

Speaker 1 (22:29):
Man? I want to talk about Niggas for Life for
a minute, man.

Speaker 4 (22:31):
Because that's Dre's best produced album.

Speaker 1 (22:35):
Dre was making that transition, and I think everybody has
something to proof. You gotta remember you had just left
the group and everybody was kind of wondering what.

Speaker 5 (22:45):
A deduction was. Production was way better than than Straight
Out by far.

Speaker 4 (22:50):
It's Dre's produced best produced album.

Speaker 5 (22:52):
Donny Compton was on some real like you know, like
a lot of niggas, especially DJ's and him coming from
a DJ, it was a blender man that nigga knew
how to blend record, scratch and all that. So a
lot of the first Straight Out of Compton record was
a lot of breakbeat.

Speaker 4 (23:12):
Well it's a very bomb squad esque.

Speaker 5 (23:15):
Exactly, very bomb really, you know, like not too like
as of today, if you listen to it, you would go,
this ain't no West Coast record.

Speaker 3 (23:26):
As far as production.

Speaker 5 (23:27):
Now, what they talking about very West Coast, but the
production they mocking back back East, you know, with the
with the heavy, motherfucking breakbeat.

Speaker 3 (23:39):
Influenced tracks all day.

Speaker 5 (23:42):
The Niggas for Life album was more you know, baseline
riffs and horns and instrument exactly, so it gave a
more of a West Coast field to the n w
A ain't.

Speaker 1 (24:00):
Nothing away from Dre, but Drey has started doing a
lot of work with the homies from Above the Law.
You got to remember Above the Law was very very
much in the live instrumentation at the time. I actually
in VENTI G Funk around that time, because you got
to remember Warren and Warren and Snoop were in Above

(24:20):
the Laws camp at that time. Yeah, they kind of
honed their skills over there, you know what I mean,
before they got over to before started messing with Trump.

Speaker 6 (24:29):
Well, you know, I talk about this in my book,
The History Against the Rap, But if you really look
at it, the Vocally Pimping EP that Above the Law
put out in ninety one, and then Black Mafia Life,
which came out and really in ninety two. I don't
know how I got it in ninety two and Maryland,
but I did. I had it before the Chronics somehow,

(24:50):
and I got it from a record store, so maybe
it had shipped accidentally or something. But by the time
the Chronic came out, I had heard a lot of
the samples that they used on Vocally Pimping and Black
Mafia Life were used on the Chronic in the exact
same way. So Above the Law they did it first,

(25:11):
and they created it, and i'd say dre stamped it
and perfected it. And Warren g really commercialized it.

Speaker 1 (25:18):
So yeah, for sure, you know, I would say the
biggest thing man on the Niggas for Life album, Man,
outside of Drey's production, it's all of them dudes was
coming off on there.

Speaker 5 (25:33):
Man.

Speaker 4 (25:33):
I was gonna say Wren Rien was.

Speaker 1 (25:37):
On there killing shit, was destroying shit on there in
the album, man, and I think he had a I
ain't gonna lie, man, I could picture all them dudes like, Man,
fuck this. I'm tired of motherfucker's talking about Q being
a man all the time. I make my statement on
this album.

Speaker 5 (25:52):
I think Wren was always uh, he was always he
was always there.

Speaker 3 (25:58):
To the penmanship.

Speaker 5 (26:01):
Like you said, outside of Cube, I always thought that
he stood his own ground.

Speaker 1 (26:08):
Oh yeah for sure.

Speaker 6 (26:09):
Well let me let me ask you this being from here,
growing up here and being in Compton, because on Easy
does It, it's really Easy and Ren are on that
album a lot, and even on the Straight out of
Compton it's Dre and Ren are on.

Speaker 4 (26:26):
It a lot.

Speaker 3 (26:27):
Yeah, they was back and forth, man.

Speaker 4 (26:28):
And they were going to harmonize it.

Speaker 3 (26:30):
The Compton and the Hot Common. Yeah, the house was.

Speaker 4 (26:32):
Cracking, man, super cracking.

Speaker 3 (26:35):
Again that New York did a lot of that back
and forth man.

Speaker 4 (26:38):
The run MC style.

Speaker 6 (26:41):
So my question eight is when being here because even
in Maryland, I always thought it was more of an
equal share. Like I always looked at Rend and Cbe
back then at this as like the same level dude.

Speaker 4 (26:58):
So was that the vibe out here that you guys
were getting?

Speaker 6 (27:04):
Uh?

Speaker 5 (27:05):
For me, I always put Rin and they like there
was no first and second to me back then when
they was getting off, dre was who he was. I
never looked at you know, dreas because he was the

(27:26):
producer doing the beats and all that.

Speaker 3 (27:29):
We all knew.

Speaker 5 (27:30):
Easy was a hood nigga, so we knew he wasn't
writing his raps and ship but his delivery and his voice.
But when it came to you know, Rin and Cube,
I never looked at like Cube is here and then
I always was like both of them niggas is fire.

Speaker 4 (27:50):
Yeah, because because.

Speaker 5 (27:53):
N solo record on, you know, when he would do
those solo songs, killing him, that was the They was
just both prolific To me at the time.

Speaker 1 (28:06):
I actually Rin had a little bit more styling.

Speaker 5 (28:09):
A lot of a lot of people you know probably
had Rin as the favorite also because.

Speaker 3 (28:20):
He was just a hard nigga man, and.

Speaker 5 (28:23):
That's how we we respected them. Nigga, he can't. He
was from the hood, you know what I'm saying. And
and just to be putting our records in ser Rin
was like the was like king to niggas. Man, It wasn't.
It wasn't no separation to us like oh, you know
Cube and then Wren. It was never especially when they

(28:43):
was together. N could hold his own with with any motherfucker.

Speaker 1 (28:47):
Hey, I'm gonna tell y'all now, Bob Kak got an
album on Rihn. It never came out. I had the
craziest beats I ever heard in that they got a
song with cbe Ring and Dragon never came out that
Bob can't produced. Wow, craziest motherfucking beat I ever heard.

(29:08):
And all of them is on there coming off.

Speaker 4 (29:10):
Why I say it though, and it just never came out. Dog.

Speaker 1 (29:12):
They they got some shit in the cut, I'm.

Speaker 6 (29:14):
Sure because Bobcat worked with ran On Kissed my Black
ass on and On shot at the Hour and he
destroyed it. But they they always seem to work well together.
So I love to hear that.

Speaker 4 (29:27):
One day. Still, we gotta we gotta talk to Bobcat.

Speaker 1 (29:29):
Man, I know you watched the show.

Speaker 4 (29:31):
Bob.

Speaker 1 (29:31):
Please come up here, man, Bob, we gotta put them records.
Are he's supposed to be putting a lot of that
stuff out this year.

Speaker 5 (29:38):
Well, maybe it's some ship, Bobcat. Maybe to me on
the Secret. I won't let them, I won't let steal
play none of it. Just send it to me on
the Secret.

Speaker 4 (29:48):
Yes, hey, it'll just play it for us so we
can hear it at least.

Speaker 1 (29:51):
Hell, yeah, you know, I know it's something. Sorry you
didn't have it in your top file lifts, but I'm
gonna bring it up right now. It's Doggy Style.

Speaker 4 (30:02):
That's probably number six or seven.

Speaker 1 (30:04):
I don't know if dogg easty. I think Doggy Style
might be a number one dog And I'm gonna tell
you why. And it's conflicting to me. I almost want
if we can have a tie in this, and I
think that's what we go probably do. We gona probably
all make our own list and let the fans vote
on it. Okay, you know, I think we probably should
make our own top fifty. And you know we dropped
over sometime this week on line on the internet. So
if you go to the Gangst the Chronicles podcast, Hit

(30:27):
the Gainst the Chronicles podcast. Instagram up. You'll be able
to go in and see all three of our top fifty,
and we gonna have the fans actually vote on which
one they did the most. I think that's the only
fair thing. Is we close on a lot of things.
But I just think, see Doggy Style wasn't just the
introduction the Snoop Dogg, which is the biggest brand in

(30:47):
hip hop, probably the most famous motherfucker ever, the most
famous motherfucking raperever probably. But I just think what you
came with that, And I'm gonna tell you Rage set
that whole motherfucking album off Rage probably the one of
the most vicious fuck is called Female them Seeds, one
of the most vicious them seeds of all time. What
do you think.

Speaker 5 (31:09):
I think Doggy Style, Uh, change the little change the
lane of which you know we were coming as far
as West Coast music, a lot of us, you know, Uh,

(31:29):
we're focused on East Coast hip hop. Not that we
wanted to mimic East Coast, but if it ain't broke,
don't fix it. A lot of our beats, like I said, breakbeats.

Speaker 3 (31:45):
And and and a lot of heavy you know whatever.

Speaker 5 (31:50):
Chopping up samples and and up tempo. And you know,
I think when it came to Doggy style, Uh, it
just put us in a in a different element as
far as West Coast concerning the production, you know what

(32:11):
Niggas was, you know, Niggas wrapping them out, getting high,
and it was on a different element.

Speaker 1 (32:16):
It was a change to the guard kind of like
it was just it was a change it to me,
And that's why I say that album itself not just
for Snoop Dogg's appearances on there, but just for everybody
from the way that Dogo came in from.

Speaker 6 (32:28):
But I think to the the main key to me
that the chronic and doggy style did that really changed.

Speaker 4 (32:35):
It is.

Speaker 6 (32:38):
On a commercial pop level least they made the music
slower and it also made it feel more inviting. If
you listen to Fuck the Police, that's an angry record. Gangster,
Gangster is an angry record definitely, whereas Jen and Juice
that sounds fun.

Speaker 3 (32:57):
It's an angry record.

Speaker 5 (32:59):
Like Niggas was Madgas was mad then because.

Speaker 4 (33:03):
Of what was one time is not a happy record.

Speaker 5 (33:06):
No, we had angry records because at the time we
wanted people to respect what we were doing in hip hop,
but then we also wanted motherfuckers to know what was
going on over here.

Speaker 3 (33:24):
I think.

Speaker 5 (33:26):
Dog came in with the aspect of like, Okay, you
niggas know we banging, So now I'm gonna take it
to a different aspect. I'm gonna take it to where
when we ain't shooting and killing each other and WOOTI
wom Now I'm gonna tell y'all what we do just
on a good day, smoked weed, we gin and juicing nigga.

(33:48):
It wasn't all just like put it. It wasn't fun.
It wasn't all murder, was the case.

Speaker 4 (33:55):
You get me?

Speaker 6 (33:56):
And to this something that in retrospect, I noticed this
when it happened, but I didn't understand it at the time,
which is with Doggy Style.

Speaker 4 (34:07):
In ninety three and being.

Speaker 6 (34:12):
Going to like high school and college events, I noticed
this was the first time I had ever seen at
a white party, or a lot of white people at
a party where they would play the whole album. I'd
never seen that with the NWA or comptences, with nobody,
not a public enemy, not named the most popular rappers ever,

(34:35):
never until really the Chronic and Doggy Style, and I
remember it started with the Chronic and then that really
exploded and became even more pronounced with doggy style.

Speaker 5 (34:46):
Never saw that hood feel good, yeah, because it wasn't music.

Speaker 3 (34:52):
Because even like said, with the Chronic.

Speaker 4 (34:56):
Let me ride, not even to start.

Speaker 5 (34:59):
With nothing for the G thing, you would you would
look at that title and before you hear the music,
you would go nothing but a G thing. Your instant
is like, oh, these niggas gonna be on some hood,
gangster shit. Nigga, this ain't nothing but a G thing,
a gangster thing. But then when you hear the music

(35:19):
and then video making popular a groove that has already
been embedded in some motherfuckers know when motherfucker's heard that,
I want to do some freak. That's like, wait a minute,
hurt that ship before. My mama used to play that
shit in the kitchen and shit or my auntie used

(35:43):
to bump that ship. So it gave you the automatic
and I feel good like a mother.

Speaker 1 (35:48):
I'm gonna tell you another sheet two eight rolling down
the street smoking and those sipping on Jenning's juice. They
walking down the street watching ladies go by, watching you.

Speaker 3 (35:59):
That's why I'm saying, it became familiar.

Speaker 5 (36:01):
But then, like I said, but then they knew how
to nigga, We're gonna turn this into a feel good
And then when you watch the visuals, it make you
feel man. Niggas is all out kicking it at the
drive in and pass and drink around.

Speaker 3 (36:17):
It's like like you said.

Speaker 5 (36:20):
It made a motherfucker put on the record and go, oh,
I could listen to.

Speaker 1 (36:24):
This like they was having a party.

Speaker 3 (36:26):
Dog It was gonna sound like they had a party.

Speaker 4 (36:29):
And then Doggie Dog World continue that too.

Speaker 3 (36:32):
Let me, like you said, let me ride? Who gonna
let me?

Speaker 5 (36:36):
How can you even it don't matter what the color is,
even if you are, like you said, all Caucasian white
party with a gang of college kids getting drunk and
motherfucker's bumping led me.

Speaker 4 (36:48):
I've never seen that before.

Speaker 3 (36:50):
How can that be deniable? You know what I'm saying.

Speaker 5 (36:53):
It's undeniable for you to sit up and be like,
I don't.

Speaker 3 (36:56):
Want to hear that.

Speaker 4 (36:57):
I was at College Xavier in Cincinnati.

Speaker 3 (37:00):
Want to hear that even with.

Speaker 5 (37:03):
Banging, they made the ship that shit accept the ball
even on the street tips. So that's why I think
it turned the era of alienatean a lot of West
Coast artists to where you know, yeah, you niggas don't
do nothing but gang bang, shoot at each other and
say fuck the police. Now, Oh no, nigga, We party,

(37:24):
We feel good, We smoke a little weed, We ride
around and a nice cars and on low riders.

Speaker 3 (37:30):
And it's a good day today. You feel me?

Speaker 5 (37:34):
Like you said from the chronic, Snoop just they it
was the same formula because who you got behind the boards,
you got Dre behind the boards, and like you said,
Snoop layed all of the chronic. So it's just the
same fucking formula. Let's just do a part two and
call it Doggy Style, and now you're gonna be the last.

Speaker 1 (37:55):
They should never get invited in the No Sessions, which
ones for Doggie Style.

Speaker 5 (38:00):
Oh no, no, no, no, no, I was I was.
I was not a death Row camp invite because they
were cool with you know, Sug. Sug ran death Row
and even though they were mixed in bloods and crips

(38:23):
and they all got along, we were still crips to Sug.
You feel me, So we were Bompting's most wanted to shug.
That's what he used to call us.

Speaker 1 (38:32):
You know what's funny, You think Quick being over there
at that time with them, because Quick was hanging around them.

Speaker 5 (38:38):
Of course that had a lot to do with it.
I mean you've heard stories about it, so I mean,
but that was that would that would be natural. Of course,
you know Quick was hanging around with them, He was
hanging out with him. I think Shug started managing them
and all of that. That's how he was able to
perform at the Source Award on their showcase. You get me,

(39:02):
because Quick was signed the profile he was. He was
non existent with death Row.

Speaker 3 (39:09):
But Ah came.

Speaker 1 (39:11):
In, had him on suspension of some at that time,
let them put.

Speaker 5 (39:14):
These records, so he got sug involved and should got
to be in his manager. So you know, no, I
never got any uh uh death uh doggy styling.

Speaker 1 (39:24):
You imagine how that would have sounded.

Speaker 5 (39:26):
You know, I'm I'm you know, ship went the way
it should have, and I think it is what it is.

Speaker 1 (39:32):
You was dropping your own, Yeah, I was.

Speaker 4 (39:34):
I had already he was doing quite well for himself.

Speaker 5 (39:37):
I had already been you know, I had been a
part of a crew. You know that was a crew.
You know what I'm saying death Row was a crew.
Ruthless was a crew. You know, Lynch Mob was a cruise.
We was we was, We was just us, man, that's it.

Speaker 1 (39:57):
We were just hearing about wondering what Yeah, and I
can't wait to hear hawking Berg. We were.

Speaker 5 (40:05):
We didn't have no big entity click or nothing like that.
It was a couple of niggas from the neighborhood, you know,
and and and that's how we did it. Then four
five of us and that was it, man. And so
we didn't we never uh, we never had to trickle
down of you know, of of the tree. You know

(40:27):
what I'm saying. From from n w A to Dre
and then you know the tree. We didn't have that.
You would think you being from Compton, man, Dre ain't
never reached out or nothing. No, Dre was cool. I've
I've you know, I talked to Dre. We've hung out
a couple of times, but we've never got to the stage.

Speaker 3 (40:49):
Fuck it eight, let's do some music.

Speaker 1 (40:51):
Because Drei's temple. I'm a big temple person. Dre's temple
of his music, it's like a groove like even though
it's up in the ninety bpms sound a little bit slower,
sound like eighty five, you know what I mean? Definitely,
And I think that's Riding because that's eighth lane right there.
Eight Ride, one of them type of tracks that would
be perfect. Actually that would have been That would have

(41:13):
been fucking banana. It's I know you mentioned Easy does
it right?

Speaker 4 (41:18):
Yes?

Speaker 1 (41:19):
In the mix of all this now, I definitely for
what Easy represents the gangster rep. I definitely say you
almost have to put him in that top five. I
don't know if sonically it maxes up with those others.

Speaker 4 (41:32):
I don't know, Man, Easy does it? That album is
I'm gonna.

Speaker 1 (41:37):
Tell you my favorite song up there. This is the
stick of Nobody Moved Nobody, Gere.

Speaker 4 (41:41):
This is a stick down Nobody Moved. Number two.

Speaker 1 (41:46):
That was crazy Dude.

Speaker 4 (41:48):
That's another one with mc wren is still talking ship.

Speaker 3 (41:52):
Yeah.

Speaker 6 (41:53):
The first track there that that was a crazy Way.
And being in Maryland, I was like comped and I
thought they were from LA. They said confin Michigan.

Speaker 4 (42:02):
I was like, what are they doing? Like who are
these dudes?

Speaker 6 (42:06):
But that whole album the thing I like about it, it's,
first of all, it's incredible, but you got mc.

Speaker 4 (42:14):
Rent is on it a lot. Easy's on it a lot.

Speaker 6 (42:17):
But then Easy's character, He's got the humor, he's got
the voice, he's got you know, they got miche la,
the girls talking like on radio and on uh uh
that we want Easy. You know, they got all the
stuff coming back and forth. Easier Sayer done has one

(42:38):
of my favorite line my little sections of a rap ever,
when he said, Yo, I don't do dope, but I'm dope.
Not a dope, but I'm doper than anybody who tries
to cope. And uh that ship, dude, they told me.
Dre wrote that That's what I was told by people there.

Speaker 1 (42:57):
I'm gonna tell you something.

Speaker 3 (42:58):
Restraint with smocks from the micros the one with the
act like.

Speaker 4 (43:04):
No More Questions, dude, he's breaking down a bbery.

Speaker 3 (43:08):
Come on man, hey, you.

Speaker 6 (43:11):
Know, and and the song structures so different like on
No More Questions he's doing the interview and then he
goes off and describes what the lady's asking him. He
goes in talks about like, oh, I'm doing a robbery
to help.

Speaker 1 (43:29):
It was cracking, especially the way to break down in
the beats.

Speaker 4 (43:32):
With And then.

Speaker 1 (43:37):
I got another trick.

Speaker 4 (43:39):
My sleeve to the back of the house. Then all
the Lights is Out.

Speaker 1 (43:44):
Was hard as a motherfucker.

Speaker 4 (43:46):
That's what I'm saying.

Speaker 6 (43:47):
Like that album, Boys and the Hood is on there too,
of course, and the remix. But that album, I think
it just showed. It was super street, super gangster, super hard.
But he had such character and the humor, which I
think anytime you're able to add something.

Speaker 3 (44:09):
I can always have an on Hoole skizer.

Speaker 1 (44:14):
I was.

Speaker 3 (44:16):
I was like, who is this he was playing with him?

Speaker 6 (44:20):
Yeah, and with the yellow Man sample, with the nobody moved,
nobody hurt. It was just it brought in so much
stuff coming.

Speaker 5 (44:28):
Right afterde said here's what I'm going to put put
inside like a rabbit. It was a lot of white an.

Speaker 6 (44:40):
It was, and until the controversy with the police, that
album was actually it went gold before Straut content. It
came out before Strau content, and it was platinum before
Straud content. It was a very big album. I think
just the controversy absolutely, JJ Fad set it up, then

(45:02):
Easy set it up, and the n w A took
it out out the park.

Speaker 5 (45:06):
Nigga was as clever as a motherfucker dude, Like I'm
gonna be in the group and then my own solo.
Fuck it, let's get all this this mother He did
all this motherfucking bread right quick.

Speaker 4 (45:19):
And let's not also forget that.

Speaker 6 (45:22):
Obviously I understood this better later, of course, but to
especially people like us in Maryland or people just around
Easy E was he had the uniform.

Speaker 4 (45:34):
He was what the gangster rapper was. He was the
gangster dude.

Speaker 5 (45:39):
He did had on the white tea with the gloves
nigga with the Loachs nigga, the five oh ones nigga.

Speaker 4 (45:45):
Yeah, and the Jerry Carl the throw home on.

Speaker 5 (45:49):
He was the epitome of what what white people like.

Speaker 4 (45:53):
Oh yeah, that's the gang that is the guy.

Speaker 3 (45:57):
That's the gangster, that's the guy.

Speaker 1 (45:59):
Absolutely guess. Back in the day and still this day,
you would see a ze cad. It'd be nine degrees outside.
They got a big ass jacket on, they got some glove,
we got a beanie on, or some looks still and
it'll be nine degrees outside.

Speaker 3 (46:12):
And something for you know.

Speaker 5 (46:13):
Yeah, motherfuckers got to recognize that. We've had a lot
of em c's and groups and crews and artists come
out of the West Coast and you are. You know,
niggas are on all kinds of ship right now. You
could represent your hood.

Speaker 3 (46:34):
Yeah, fucking you can be. You just think about it.

Speaker 5 (46:39):
With with with with our expression of hip hop. Uh
no disrespect to the East Coast, but with our expression
of hip hop, you know, being able to say, you know,
fuck the police or what went on in the neighborhoods
with drugs and niggas pulling dry byes and getting jacked,

(47:03):
and you know from from expression of of the dicky
suits and the khaki suits and the bandannas and and
and what we went through for Look at hip hop today, right,
motherfucker you can be anything from a trap nigga to

(47:27):
a gay rapper to you can be anything you fucking
want today because we took all of that.

Speaker 4 (47:35):
Oh hell nah, you can see who you want to be.

Speaker 5 (47:39):
Oh hell no, you can't do that right Remember nigga
back in the days, niggas shit, you can't wear motherfucking
ten shoes and clubs and jeans and fucking T shirts
and shit.

Speaker 4 (47:52):
With saggy jam please.

Speaker 1 (47:54):
That was the funny thing about it. You remember I
used to have them dress codes for them clubs and how.

Speaker 5 (47:58):
They would man you better come in here. I used
to call them with the motherfucking Sunday Best. You gotta
come to the club with your Sunday best only, Nigga.
I'm not trying to go to a club like I'm
finna go to crazy.

Speaker 1 (48:09):
Back then, if you want to go see a concert
or something, you had to wear your slacks, your shoes,
go in. But the had on some khakis. Yeah, yeah,
had on a T shirt or jacket on.

Speaker 3 (48:20):
Nigga.

Speaker 5 (48:21):
I remember nigga back in the days, Nigga when they
wouldn't even want the artists to wear.

Speaker 3 (48:26):
Hats in the club.

Speaker 4 (48:27):
Nigga.

Speaker 5 (48:28):
We used to get ready to go perform at little clubs, Nigga,
try to walk in, Nigga. They used to be like, oh, no,
you gotta go leave your hat in the car.

Speaker 3 (48:36):
I used to be like, huh.

Speaker 5 (48:38):
In Maryland to go out of town, the little small towns,
and the motherfuckers used to be like, yeah, you gotta
leave your hat in the car.

Speaker 4 (48:44):
People like what did they do that out here?

Speaker 6 (48:47):
But in Maryland when I went on the roads in them, nigga.

Speaker 5 (48:53):
When I would go on the road, yep, you go
to the little clubs, you know. Promo tour little small clubs. Nigga,
You walk up nigga with your your motherfucking big jacket
on nigga or your pendleton nigga, and we got a
motherfucking la had on or or c on the cap
or whatever.

Speaker 3 (49:10):
The motherfucker security be like the car. You gotta go
leave that.

Speaker 5 (49:14):
In the car like this motherfucker pistol of bomb to
shoot a nigga with my cap and ship when I
get inside, nigga's gonna provoke a nigga like a motherfucker.

Speaker 3 (49:26):
But you had to go. We had to go through that.
You did me.

Speaker 5 (49:30):
We had to go through that because of the fear
of motherfuckers not knowing what was going on at the
time as far as hip hop being new or or
not hip hop, but us as far as West Coast artists,
because you know they had hip hop. We had, like
I said, Curtis Blow and the Fat Boys, and you
know we had East Coast and whatever. But when niggas

(49:53):
started pulling up with motherfucking low riders and khaki suits.
You know what I'm saying with full ain't your mama
and Danna's around their head. Motherfuckers be like you niggas
rap like you niggas do music.

Speaker 3 (50:07):
Oh no, no turn away.

Speaker 5 (50:09):
So like I said, they easy was the epitome of
the gangster to motherfuckers and shit because you know they
used to they used to get harassed going around the
country and shit too.

Speaker 1 (50:21):
Yeah, let me ask both of you all, this is
the Chronic two thousand and one as good as Doggy
Style over the Chronic?

Speaker 4 (50:29):
Wait say that again. It's two thousand and one album.

Speaker 1 (50:33):
You get a two thousand, two thousand and one album.
Is that as good as either Doggies?

Speaker 4 (50:38):
Not to me?

Speaker 5 (50:39):
No, not to Doggy Style? I think, And I like
the Chronic. The Chronic is, but the Doggy Style is
better than the Chronic. And I think Chronic two thousand
and one is what you put that before the original
Chronic or after?

Speaker 3 (50:59):
To me?

Speaker 1 (51:00):
After, I think it's after. I think it's after. Definitely.
I don't think that's the top five album. I think
it's definitely a great album, but I don't know if
it's a top five album.

Speaker 4 (51:10):
Yeah, man, that's not to me.

Speaker 3 (51:11):
These nuts so much stuff in Yeah, definitely, you.

Speaker 1 (51:16):
Know, shout out to the homie Warren Gee. He don't
get enough credit as far as his input in that
because a lot of those records I used to see.
You remember it was a record store in North Long
Beach called the Velvet Underground of off Atlantic Boulevard, because
I used to go up there looking for records and
I would see Warren up there, always getting a gang
of records. He would have like one hundred records on
the counter and searching for more and now I know

(51:38):
what the fuck he was.

Speaker 4 (51:39):
Doing and getting his samples together.

Speaker 1 (51:41):
Because this was around that time, This was before all
that stuff, So to be around during that time period
was just special because I would see him up there
and I always knew who Warren was, right, we didn't
know each other personally, but he would be like, what's up.

Speaker 4 (51:54):
Man, you know, Warren talking something.

Speaker 1 (51:56):
And he would have stacks of records on it and
I would be wondering, like, what the fuck is this
dude doing with all these records. And he brought a
lot of those records to Drea, and a lot of
those records on the chronic were records that he was
working on. Of course, Drake put his hands on him
and made him tighter because I know mister Grimm was
on the original Little Ghetto Boy that was originally a

(52:19):
Mister Grim record, and of course we all know what
happened with that. You know, by the time snooping the
the mister Officer, Mister Officer, Yeah, you know, to break
him off something that was originally Big Mike's record.

Speaker 4 (52:37):
Yeah, Big Mike.

Speaker 1 (52:39):
He was almost on it ain't that crazy, Big Michael
and three two was almost on the Chronic.

Speaker 6 (52:43):
Dog They were almost on death row because I think
they were gonna do a joint project, gonna do something.

Speaker 1 (52:53):
With Jay Prince, and that's crazy, man, that's crazy, man.
But I think when you look back at all these records, man,
that's why I say, you know, we could have our
own top fifty and stuff. Man, But you gotta seriously
consider that a doggy style, man, for just so many reasons.
Because it's, like A said, it changed the landscape of

(53:15):
music against the rap anyway, So.

Speaker 4 (53:18):
A, why do you think it's better than the chronic
doggie style?

Speaker 5 (53:24):
I mean shit, anytime, you I think, just just shit,
just being able to just being able to just feed
off of what was happening around you know what I'm saying.
If we was there with the Chronic putting the Chronic together,
now we see the formula. So now everything is gonna

(53:45):
be a step up. I just think, you know, with
Dre having too, you know, with the success of the
Chronic and seeing this success that Snoop was having.

Speaker 3 (53:56):
For being on the Chronic.

Speaker 5 (53:58):
Now, nigga, we can go in and really flip this,
and I think that's what happened. You know, anytime you
get you know, you get a chance, you get those,
you get those one once in the blue moons, you
get me and when you get the feed off the
formula that's already working. I mean, because shit, we was
all here around the roundtable, right, we all in here

(54:21):
putting together the Chronic. Rage is here, RBX is here,
Dad's is here, Corrupts is here, you know, Warren is here, whoever?

Speaker 4 (54:28):
We all here.

Speaker 5 (54:30):
So now when it's time to do Donkey style ship
and still got more. We got more money, We got more,
we got more money, we got better.

Speaker 3 (54:39):
Success, but better success.

Speaker 5 (54:41):
We got better. This better, So it's just gonna make
the ship. Oh nigga, let me try this now.

Speaker 6 (54:46):
Well. So one thing I do like about the Chronic
better though, is I love Dre Rappin. That's why I
think now that we're talking about all this stuff, that's
what I think. Doggie style doesn't have as much of
that the Chronic does. Is I think Dre is a
great rapper and always has been.

Speaker 5 (55:06):
Remember the Chronic album technically, well, I mean the Chronic, Yeah,
Drey's album.

Speaker 3 (55:13):
But like I.

Speaker 4 (55:14):
Said, I think that's why Cray just knew, you.

Speaker 5 (55:19):
Know the you know, you know the formula ship I'm
gonna go with what I think is working.

Speaker 3 (55:25):
And he knew what was.

Speaker 5 (55:26):
Working since he knew since deep Cover happened, you get me,
since deep Cover happened. He like, I know the formula,
you get me? Like, I'm not one of them niggas
who's selfish too, you know, uh in front of the
motherfuckers are, But some people, when they see the bigger picture,

(55:48):
it's what make.

Speaker 3 (55:48):
The product better.

Speaker 5 (55:50):
Like, I'm not one of those self centered motherfuckers who
feel like I can be the only star. I want
to be the I want to be the entity. I
want to be the motherfucker that umbrella niggas is under.
You get me, So I don't give a fuck if this.
If I sell one million and he sell ten, it's
still the success of fucking success exactly. I think that's

(56:14):
where his vision allowed you know ship, Yeah, I'm gonna
let you wrap on half of the motherfucking chronic and
then we're gonna turn around and flip around and let
you do a whole project by trying to say snoop
up and all those other cats. Was yeah, definitely got
throw you the alley, nigga. I've never been the forefront

(56:35):
wrapper hit me far as production and the mixer and
all of that. That's my That's where I stick my
foot in rapping. I'm doing just you know.

Speaker 1 (56:47):
Dre's hardest line was man when he said, because if
a bigs try to diss me one on full of liquor,
I smacked the big up and shoot the nigga with it.
That's the type of nigga that you're listening to talk
to you for a minute and my dick.

Speaker 6 (57:02):
And that's why now that we say and I think
about it, because I always didn't understand why people like
doggy style better, but now I understand why. For me,
it's the chronic. It's because Dre rapping more on the
chronic to me makes it better because snoop is all
over the chronic. Snoop is the It's really a snoop
and Dre album per seatman. So the style we lose

(57:28):
Dre on doggy style, that's my that's my concern sonically.

Speaker 1 (57:33):
But this is a Snoop Dogg album. You ain't supposed
to have Dre on it rap song.

Speaker 6 (57:37):
But that's what I'm saying. Still, he's Snoop is on.
He is really the Chronic too. It's like a Dre
and Snoop album. It's like the Ray Kuan only built
for Cuban Linx. It's ray Kwan, a ghost is all
over it, whereas the Chronic has Snoop all over. It's
a similar type of thing to me at least. But
I just think Dre brings his presence vocally, brings a lot.

(57:59):
And that that's why I think Straut Compton, one hundred
Miles of Running, Brothers for Life, all those records are
so good because Dre's rapping on not He's not all
over them.

Speaker 1 (58:09):
See what we go see with the side people out
their side. I'm gonna tell you this though, man, I
was I was in Ohio a lot at the time.
I was going back to the Crib a lot, and
I was, you know, floating through Kentucky and all that.
Everybody around the country was playing Doggy Style.

Speaker 6 (58:30):
Dog Well, like I said, I've never seen so many
white people listening to rap everywhere.

Speaker 1 (58:35):
Dog It's like that album took if you think about
a dog you know how many gangster rappers came with
a poor man version of Doggy Style and the chronic.
After that, you had all these you had and then
y'all had a big impact to eight. I never saw
so many most wanteds. Detroit's most wanted, Miami's most wanted,

(58:56):
all these other different place, Chicago's most wanted. It was
like that was like the season for the gangster rap.
Every gangster came out. You had cats coming out of Flint,
you know. Speaking of which, and these ain't no top
ten albums. Detroit put out some pretty good gangster shit.

Speaker 4 (59:12):
Yeah.

Speaker 6 (59:14):
I think really, once the fludgates opened, almost every major
city that had a rap scene. Don't forget Flint with
Dayton Family.

Speaker 1 (59:23):
Yeah, the Dayton Family and the DFC and you know what,
And that's why I say, man gamester rap. You gotta
remember that we we was going into the nineties with
hip hop. I truly believe gangster rap saved hip hop.
I think it needed something cutting eggs for mainstream, because

(59:44):
if mainstream America wouldn't have caught on to it would
have been dead. If it would have just stayed a
thing that was just in our local hoods that we
just consumed, it would probably never gotten no bigger than that.
But when you had, like to me, Doggy Style came out,
it was almost like Snoop was almost like the Jelly
the peanut butter Dog, and it was just like it

(01:00:05):
was just the perfect marriage between him and Dre Dog
and the music and the way that album just came off.
You gotta think about the first voice you hear on
Doggie Styles Rage, and it's a shame she never came
out like her album the way it got done. Man,
It's like I was really looking forward to hearing rage. Man.

Speaker 5 (01:00:23):
Yeah, me too fortunate. You know, shit, that's what happened.
Sometime in the music biz, you get caught up with
labels and deals and you can't.

Speaker 1 (01:00:31):
Do shit about it. I was that's your homegirl eight.
We gotta get her.

Speaker 3 (01:00:36):
Up here, man, And they were trying to get her
up here and she was cracking.

Speaker 1 (01:00:39):
Yeah, what you think happened with her album? She ain't
never tell you about it. M I bet you. That's
just something because I was really anticipating her because I
just said it.

Speaker 4 (01:00:49):
I mean, labels caught.

Speaker 3 (01:00:52):
Up in label shit, so there's nothing else to it.

Speaker 5 (01:00:55):
She got it just you get caught up in when
labels get the falling.

Speaker 3 (01:00:59):
You know, who's ever the last left around? You know?

Speaker 4 (01:01:02):
Because look at it.

Speaker 6 (01:01:03):
Think of it in reality, Death Row, as big as
it was, put out very few albums.

Speaker 4 (01:01:08):
They did not release a lot of records.

Speaker 1 (01:01:11):
Yeah, there was a lot of compilations and stuff. They
had soundtracks and stuff like that. Yeah, but a lot
of stuff. Man, as far as my number one though, man,
And I think I don't see it numerous times. Man,
I think it's and I love Ice Cubes albums, man,
but you gotta think about it this point. Man, Doggy

(01:01:32):
Style is twenty something years thirty years old now.

Speaker 4 (01:01:36):
Came out in ninety three, so that's thirty when you.

Speaker 1 (01:01:40):
Listen to them now. Man, I think you could put
Doggy Style out the day and it was still jam
Munk changed, absolutely, and it was still jam mun changed. Man.
That was a great piece of work, man, great piece
of history. I've been going back and revisiting all these
albums and even just the album covers back then. I
was talking to eight about, like for music to drive by.

(01:02:02):
Who thought of that album cover? Because that had really
everything was original back then. It was just it was
just so dope back then, you know what I mean.
Like when I saw the album cover, I was like, damn, man,
who the fuck thought of that shit? Right there? Man?
Just the thing. Even remember King T's album cover where
he's walking down the street with the twelve.

Speaker 4 (01:02:19):
Gauge on the side. That was crazy.

Speaker 1 (01:02:22):
And you had the back part the where you didn't
know what it was like. He was just walking down
the street just looking like a real lope. He had
on his khaki suit in his head. Remember Nigga used
to dress like that.

Speaker 3 (01:02:31):
Ache Yeah, and.

Speaker 1 (01:02:32):
He had the twelve gauge on the side, like the
grip on the side.

Speaker 3 (01:02:35):
That was hard.

Speaker 4 (01:02:36):
Man, that was incredible.

Speaker 1 (01:02:38):
We had some really genius stuff, man. So remember if
you watched this on video light the channel share the
video on all that good shit. But if you listen
to the actual podcast, you know, I want to congratulate
my boy MC eight right here YouTube so on. You've
been around for a little bit too now, man, you know, Charlemagne,

(01:03:00):
send me that message, man, that we you know, had
over a million downloads already this year on the podcast. Man,
so I want to take this time to thank the fans,
because without y'all we not shit, for sure.

Speaker 4 (01:03:11):
Definitely what I'm saying, Man, it's a big accomplishment.

Speaker 1 (01:03:13):
You know, we gonna keep rocking and roller. You know,
Charlotte Magne told me, Man that put us in the
top two percent of podcasts.

Speaker 4 (01:03:19):
And man, that's big, man.

Speaker 1 (01:03:21):
So we gonna keep kicking this shit to y'all as
long as y'all will have us. Man. Remember, subscribed, you know,
subscribe to the podcast, leave a comment whatever, what you like,
what you don't like, and we holler at.

Speaker 4 (01:03:33):
You yere yes, yes.

Speaker 1 (01:03:39):
Well that concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
the Gangst the Chronicles podcast For Apple users, find a
purple micae on the front of your screen, subscribe to
the show, leave a comment and rating. Executive producers for
The Gangster Chronicles podcast Norman Stilled, Aaron m c a Tyler.
Our visual media director is Brian Whatt, and audio editors

(01:04:00):
Tayla Hayes. The Gangster Chronicles is a production of iHeartMedia
Network and the Black Effect Podcast Network. For more podcasts
from iHeartRadio, visit the iHeart Radio app, Apple Podcasts wherever
you're listening to your podcasts