Dr. Dre - Rolling Stone Article Lyrics
Do hip-hop producers hold Dr. Dre in high esteem? It's like asking a Christian if he believes Christ died for his sins. Dre has a whole coast on his back. He discovered Snoop — one of the two greatest living rappers, along with Jay-Z — and signed Eminem, 50 Cent and the Game. He takes artists with great potential and makes them even better. I wonder where I'd be right now if Dre had discovered me.
I remember hearing Dre's music before I really knew who he was. I had a tape of Eazy-E's Eazy-Duz-It when I was 11 years old (until my mother found out it had curses on it and confiscated it). I didn't know what "production" was back then, but I knew I loved the music. The more I learned about producing hip-hop, the more I respected what Dre was doing. Think about how on old N.W.A records the beat would change four or five times in a single song. A million people can program beats, but can they put together an entire album like it's a movie?
When I was learning to produce, working in a home studio in my mother's crib, I tried to make beats that sounded exactly like Timbaland's, DJ Premier's, Pete Rock's and, especially, Dr. Dre's. Dre productions like 2Pac's "California Love" were just so far beyond what I was doing that I couldn't even comprehend what was going on. I had no idea how to get to that point, how to layer all those instruments. The Chronic is still the hip-hop equivalent of Stevie Wonder's Songs in the Key of Life. It's the benchmark you measure your album against if you're serious. But it's "Xxplosive," off 2001, that I got my entire sound from — if you listen to the track, it's got a soul beat, but it's done with those heavy Dre drums. Listen to "This Can't Be Life," a track I did for Jay-Z's Dynasty album, and then listen to "Xxplosive." It's a direct bite.
I first met Dre in December of 2003. He asked me to produce a track for the Game. At first I was star-struck, but within 30 minutes I was begging him to mix my next album. He's the definition of a true talent: Dre feels like God placed him here to make music, and no matter what forces are aligned against him, he always ends up on the mountaintop.
I remember hearing Dre's music before I really knew who he was. I had a tape of Eazy-E's Eazy-Duz-It when I was 11 years old (until my mother found out it had curses on it and confiscated it). I didn't know what "production" was back then, but I knew I loved the music. The more I learned about producing hip-hop, the more I respected what Dre was doing. Think about how on old N.W.A records the beat would change four or five times in a single song. A million people can program beats, but can they put together an entire album like it's a movie?
When I was learning to produce, working in a home studio in my mother's crib, I tried to make beats that sounded exactly like Timbaland's, DJ Premier's, Pete Rock's and, especially, Dr. Dre's. Dre productions like 2Pac's "California Love" were just so far beyond what I was doing that I couldn't even comprehend what was going on. I had no idea how to get to that point, how to layer all those instruments. The Chronic is still the hip-hop equivalent of Stevie Wonder's Songs in the Key of Life. It's the benchmark you measure your album against if you're serious. But it's "Xxplosive," off 2001, that I got my entire sound from — if you listen to the track, it's got a soul beat, but it's done with those heavy Dre drums. Listen to "This Can't Be Life," a track I did for Jay-Z's Dynasty album, and then listen to "Xxplosive." It's a direct bite.
I first met Dre in December of 2003. He asked me to produce a track for the Game. At first I was star-struck, but within 30 minutes I was begging him to mix my next album. He's the definition of a true talent: Dre feels like God placed him here to make music, and no matter what forces are aligned against him, he always ends up on the mountaintop.
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Initially known to the world as an MC for gangsta godfathers N.W.A, Dr. Dre went on to become the single most influential producer in hip-hop history. With 1993’s Chronic, he married breezy funk samples to hardcore imagery, creating the G-Funk style and inspiring a host of imitators. He would later discover and nurture some of the best rappers ever, including Snoop Dogg, Eminem, and 50 Cent.
Originally from Rolling Stone, edited by Jonathan Ringen.
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