G-Funk Page #4

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Summer of '92, you know,

there was about 20 guys

staying at my house at the time.

You know, Snoop, Warren,

all the guys,

just, um, that were

on The Chronic,

they were involved

in that album.

Turn the music up, cuz.

Come here, Warren G.

[Warren G] Movin' in with Dre, he

was just being a big brother to us

and giving us a place to stay,

because...

he knew that...

a lot of the situations

that was going on

where we was from,

it wasn't cool.

You know what I'm sayin'?

So he took us out

of the urban community,

away from the drive-by's

and stuff

to create some dope records

that we were doin'

for The Chronic.

["Funky Drummer (Bonus Beat

Reprise)" by James Brown playing]

Snoop, D.O.C., RBX,

Daz, Kurupt,

they were all the guys

that would write.

Rage, Nate, and Jewell,

they're role was

to create melodies.

I was the guy that'd go out

and go buy records and find

ideas and stuff like that.

And then if he liked it,

I was like,

"Take it.

I mean, we're family."

It wasn't, like,

on no business sh*t like,

"I did this or that." No.

You my big brother,

and I'm with you.

I'm ride or die with you.

So whatever I do,

you can take that sh*t.

I would come in and show him

a few things every now and then.

But he basically

picked it up on his own.

He actually taught me how,

you know, to start samplin'.

You know, so I started

gettin' the records,

I started samplin'

different sounds

and makin' my own sh*t.

"Little Ghetto Boy,"

he brought that... that sample.

[man] Wassup.

Rhythm Rock live.

We're in the studio

meeting the killaz.

We got Warren G right here.

You better work

on yourself, man.

Here's a song called

"Back in the Day."

[Donny Hathaway]

Little ghetto boy

[Warren G] One of the

ones that he really liked

was the "Let Me Ride" sample.

And he took it and re-did it.

Dre just went back to, you know,

Leon Hayward, 1974,

"I Want To Do

Something Freaky To You."

Big, you know, black hit.

He's old enough to know that.

New kids not old enough

to know it exists.

Figure that out, figure out

how to run the studio,

find somebody with

a rap style over it, boom.

You got an old cat diggin' it

on their memory,

you got a young cat diggin' it on the

rhythm that's already in their blood.

Crank the beat up for me.

Motherfuckin' Dr. Dre

Is on the piano

Doggie Dogg

Is on the vocals

And I swing like soprano

An old tin can-o

Oh my God like oh man-o

It's Snoop Doggie Dogg

He's on the mic

You understand as well

[The D.O.C.]

Once Snoop came in,

and we decided

that this is the person

that we're going to work with,

this is the road we gonna take,

I took it upon myself to

put the kind of

energy into him

it would take for him

to be great.

["Atomic Dog"

by George Clinton playing]

Yeah, this is a story

Of a famous dog

Rhythmic dogs

Harmonic dogs

House dogs street dogs

[Snoop Dogg] D.O.C., that's

when he became my sensei

and my... my writing guru.

Dr. Dre and D.O.C.

had a bond with Snoop.

It's called artist development,

'cause Dr. Dre had the beats,

D.O.C. with the lyrics.

We would go to his house

to write the songs

and get the music

and create the ideas.

We took the beat home

from Dre's place.

We'd walk up the street

to the store

and get us some

Miller Genuine Drafts.

And we'd sit down,

we'd listened to the thing,

and I said,

"Okay, now you take the beat.

You go upstairs, I'm gonna stay

down, and we're gonna write.

He would go upstairs,

take about an hour, we meet up,

he goes down what he wrote.

"That part is

really cool, Doggy,

the way you started it off

was kinda iffy.

So let's erase these four,

let's move these eight up.

Let's make four new ones.

Now we got sixteen."

Now you understand what it takes

to make a verse complete,

from beginning to end,

no flaws,

everybody can ride.

There are no mistakes.

Atomic dog

Bow wow wow

Yippie-yo yippie-yay

Bow wow yippie-yo

Dr. Dre is a bad motherf***er

in the studio,

meaning that you could be doin'

this sh*t that sound like this,

and when he finished with it, that

mothafucka gonna sound like that.

Even with me, when I came

to Dr. Dre, I was good,

but he made me great.

Like, that's what he has

the ability to

make you great, to shine you up,

to polish you up.

Like I said earlier, I deserve

a lifetime achievement award.

[Kurupt] You know, everybody

knew a little somethin',

but Dr. Dre enhanced it,

developed it,

and helped it to evolved

to a higher level.

Yeah, man,

The Chronic is like, you know,

it's the bomb thing on the

street right now, you know?

And I figure, you know, my album is

the bomb, so I had to call it that.

[Deion Sanders] Rap has always

been like the NFL, man.

Some cats are Pro-Bowlers,

other ones are just good,

But The Chronic was like,

you know, shoot,

that was Hall of Fame

type stuff, man.

I had the same feeling about that

album back then as I do now.

Wow! Dang!

Of that era,

that was the best album.

It had everything

you could want in a record.

Political, socialism,

fun, enjoyment.

And it was revolutionary

because it was transcending,

and it was gonna

change the world

to have different people

who never would listen

to hip-hop listening to hip-hop.

When we get somebody like Dre

and you have access

to all that good talent,

it was just a masterpiece.

When The Chronic was released,

that was your introduction.

'Cause we already knew Dre

from Wreckin' Cru,

we knew Dre from NWA,

but now you got Dr. Dre

as a producer again,

but he's introducing you to cats

that you've never heard of.

Now you can look and

you can say, "Oh, Snoop Dogg,

Lady of Rage, Daz, Kurupt,"

those are names that you've

been knowing for years.

These dudes was

masters of their craft.

It was like a dern dream team

right here on one album.

[Too Short] The songs never really

ended before the next one started.

It was... they fused together,

and it just...

It was an experience.

You weren't allowed

to skip to the next song.

You just listened to the album

and let it play.

I think what made

The Chronic different

than anything

that came before it,

was that you heard voices

matched with

great production concept.

It was a story.

It told a story of an era

in Los Angeles, California,

around the riots.

If NWA scared you,

for whatever reason,

Snoop, Dre and everybody was pretty

much saying some ill sh*t, too.

They just

presented it different.

I don't believe that

white America could take NWA

as much as they could

take The Chronic.

NWA opened their eyes,

but The Chronic

opened their ears.

They didn't understand

what NWA was goin' through

when they was sayin', "F*** the

police, they doin' this to us.

This is then dah dah."

But when The Chronic came out,

Rodney King got his ass beat.

"Oh, that's what you niggas

was talking about."

[sirens]

[The D.O.C.] It's funny.

It seemed like a time

black folks as a culture

were progressing.

The Cosby era.

But when I got to California,

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