CinisterCee said:

Any person that DOESN'T know that Dre is the greatest Hip Hop producer of all time and then proceeds to dis him, DOESN'T KNOW HIP HOP. Period.

chico4U said:

Because you know I'd own you on this topic, son.

No contest: The Chronic. Although both are testements to George and the Parliament/Funkadelic mob, Dre's even more so.

blackguitaristz said:

Ain't that the truth. Dre's bread and butter is P-Funk no doubt.

"doggystyle" will always be the best hip hop album of all time!!!!

blackguitaristz said:

mancabdriver said:

Damn. You're EASY to impress, aren't you?

Love the Chronic.."High Powered"..but Dooggystle was and is awesome,
Gz and Hustlas
Aint No Fun(ITHCHN)with Nate on the vocal hook
Doggy Dog World with the Dramatics
For All My Niggaz
Lodi Dodi

just for starters.

mrwigglesdaw1rm said:

Doggy Dog World is my cut Mr. Wiggles. The video is my shit with Pam Greer,Dolemite, The Dramatics, and Rerun.

mrwigglesdaw1rm said:

Isn't "Gz Up Hoes Down" the best though?

I love that 'Nard sample on "Gz and Hustlas" too.

MadameS said:

That shit wuz gangsta tho: We'd like to welcome y'all to the fabulous Carolina West. I own this motherfucker and my name is Taa-Dow. Y'all niggaz know who I am y'all niggaz tearin up shit ...

Chronic no doubt

mrwigglesdaw1rm said:

It's A Doggy Dog World."

CinisterCee said:

Hoboglobotribin xcuse me dictionary... Bernard Wright Nard LP

that may be the one.

mrwigglesdaw1rm said:

Yep that's the song title.

I was young when both came out, so I havent really heard the albums as a whole with the exception of a few classic cuts from both.

With that said, based on talent alone, I prefer Dre. Hiphop wouldnt be hiphop without him. He's a great producer, and he's made alltime classics like "Nuthin But A G Thing" and "Dre Day". Anyone who doesnt get goosebumps hearing these songs needs to get their heads examined. Hell, even Trent Reznor used his talents on a track on the NIN album "The Fragile". Also, he's made Eminem and 50 Cent what they are today, and he's carved out hits for Mary J. Blige and Gwen Stefani as well.

As for Snoop, I like him. Not to diss him cause he has good songs as well, but he's not much of a talent aside from the flow he puts out while rapping. Basically, Snoop became Snoop because of Dre, and Snoop is the Snoop he is today because of Pharrell. Without both, I dont think he would have gotten nearly as popular as he is today.

I do intend on checking out The Chronic. I have too much respect for Dre to ignore this album.

TheCrucialExperience said:

ok. you must be 12. and maybe you're into owning people....but you'll never own this one.

chico4U said:

You can always tell the youngin's on the org - they're the 1st to try and tell you how old you are. Again, if you knew ANYTHING about HIP HOP then you'd KNOW that Dre is the dopest HIP HOP producer of all time. Pay respect to the builders, son, and NOT the newbies that you THINK are buildin' something.

Scrub.

CinisterCee said:

That's right dem Dre's beats
[Edited 9/6/05 21:46pm]

TheCrucialExperience said:

again. thanks for proving my point. and i am young...very young.

I've been discussing this topic with friends for over ten years. Had to get in this thread. My apologies if this ends up long.

Back in '92-'93, before all the drama with Suge, before eminem, before Pac & Biggie were killed, etc...

NOTHING sounded like The Chronic when it first came out. MADE for bumpin in a good system in your ride.

"Like We Always Do About This Time"

It pulled you in from the super dramatic intro by Snoop. And that beat on the intro, good lord. Shit is heavy like Zeppelin, no question. Snoop tells you about the new label Death Row, (protected by niggaz with big dicks, a.k.s and 187 skills!), shouts out to the "fallen" death row/ruthless family member D.O.C. (his vocal cords got fucked up in a car accident, and he couldn't really rap anymore) and follows that with a diss to Eazy, Jerry Heller and the whole Ruthless Records crew. Ending the intro with that classic "Get out of my life woman" sample was just brilliant.

Onto the first proper track "fuck wit dre day (and everybody's celebratin)"...
First, what a brilliant title. I hated the radio mix on principle that shortening the title to just "dre day" ruined the joke.

About the P-Funk samples: You have to remember that this was the start of the so-called "G-funk era" so George Clinton samples weren't played out yet. And Dre didn't usually sample from the records, he had his own band that would play the riffs he wanted to use (To put this in prospective, dre's guitarist Mike Elizando is now producing for Fiona Apple...). The live band samples provided more of a groove than just hearing the same snippets from the records we grew up on. It wasn't just a couple rappers on top of a 4 bar loop.

Yes, there's no doubt that "...Dre Day..." is essentially Dre & Snoop talking shit about Eazy, Luke and Tim Dogg while the band plays variations on "Knee Deep", and Dre sounds a bit, um, out of place on the mic, but you still can't fuck with Snoop's flow, although even Snoop has one clunker line, rhyming "self" with "self" at the end of his final verse. Am I remembering right that it's Michelle doing the background vocals on the coda? "Death Row is in hoauauauauause, yeah yeaaaaa yeahhhh" etc... That shit is just... great.

One last note: I seriously suggest that any fan of this song, you gotta go find yourself a copy of the maxi single. It has a 10 minute version of "...Dre Day..." that uses a different bassline instead of "knee deep". It keeps the vibe of the original album version, but extends it, changing it just enough to give you a different angle on the track. This is back when an extended mix meant just that. But Dre had something even deeper up his sleeve ...

"Let Me Ride". Again, Dre is still not sounding completely comfortable on the mic, but it doesn't matter. The classic "mothership connection" samples (dre does snatch directly from the records on this one, but not in a Puff Daddy way) and Snoop's very effective "rollin in my 6-4" makes an instant classic cruising song.

BUT THAT AIN'T EVEN MY POINT.

Fuck the "Dre Day" maxi single, you ain't gonna find one anyway. Today, or as soon as you can, hit up your used record store or log onto your favorite online hip hop shop and find yourself a copy of the "Let Me Ride" maxi single. Let me hit you with what you're missing out on, this is not to be slept on.

The Let Me Ride Extended Mix shows what Dre was attempting on the Dre Day extended, but this one shines in a million different ways better. First, Dre actually brought George Clinton into the studio, had him get on the mic and basically just be himself, talkin some shit, singin a lil bit, and adding to the party vibe. But that's just where it begins. Check out the first verse, and just when you expect snoop to come in with just his One Line in the song, rollin in my 6-4 ... nah, he drops a whole new verse, then we get the chorus, and then another new verse from Dat Nigga Daz. New verses are nothing new in rap remixes these days, but back then, it just wasn't done much. We're five minutes into the song now, and most mixes would have faded there, but no, not this one dammit. George comes back on the mic to sing along on the chorus, and you start to notice the funky flowing work of Dre's band, his bassist especially coming very fluid and slinky. Suddenly - the song falls apart, slowing down down down, and down some more, as if the batteries suddenly died on your turntable. And then it's DRE, with Lil Half Dead with him just TWEEKIN! on the mic, his voice all FX'd out and he informs you that

"YOU MUFUCKERS GOTTA BE REAAAAAL FUCKED UP, TO LISTEN TO THIS SHIT...."

Then it's back to the groove, with an amazing guitar solo by Mike Elizando. Yes he just let Mike go off for a few mins, while the rest of the band continues to play variations on the Let Me Ride groove, and while E is no Hendrix (but then, who is?), it's easy to forget for these few minutes that you're even listening to a RAP record. George is still talking shit in the background, and Dre even asks his bassist to drop a particularly tasty lick AGAIN, cuz he felt it so much. There has been nothing before or since in hip hop, like this track. If even half of the "Rock Rap" that came out after this album took the approach that Dre takes on the final minutes of this song, oh man, forget about it. It's amazing, really. Go find it. It's eleven minutes of what Dre was REALLY capable of back in those days, and you know what? Even if Dre didn't produce it himself, or anything else on the Chronic album, it doesn't change what the music is worth. Dre doesn't really write his own lyrics either, and that's not really the point. Let's keep it on a level of how great the albums themselves are, and which is better.

Onward...

The Day The Niggaz Took Over. Can't even say enough about this track and the vibe on it. Very cinematic instrumentation, and showing Dre is made up of more than P-Funk rips. Dre lets the track develop at it's own pace, taking nearly 2 minutes before he finally grabs the mic, after a Ragga emcee sets things up. Dre sounds a little more sure of himself on this track, and truly, everybody on this track is on point. Sure, it's the obligatory "niggaz were looting and set trippin during the rodney king riots, fuck the police and oh yea, fuck whitey too" song, but it's so well put together, that you gotta just say fuck it and join in the fun. The ragga emcee returns for the coda, and the track slides nicely into the classic

Nuthin but a G thang. If I even have to spend one paragraph talking about this song, man ... damn. Yall know how classic this, I shouldn't even have to, and I won't.

Deez Nuuts! Back on the G-funk thang again, but great synths. Dre is just talkin more shit about how fresh he is, but it's cool, he's sounding more confident in his mic skills as the album rolls on. Daz is here too, and Snoop is back in his one line role, but then oh shit:

INTRODUCING NATE DOGG.

It was true back then, and it's still true now: "It must be a hit if Nate Dogg's singin on it" or whatever that line is. Don't play yourself, you know damn well Nate could sing listings from the Yellow Pages and it would still be fresh as hell. but "Deez Nuuts" is the first time we heard him on some shit, and nobody in '92-'93 could have even predicted he'd end up as the singing narrator in a Chris Rock flick years later. (Head of the State, if you missed it, go get it). But you know what? Fuck this song anyway, cuz now I get to talk about

LIL GHETTO BOY.

THE CENTERPIECE OF THE WHOLE ALBUM.

If Dre has a Purple Rain, this is it. The best lyrics on the album whether you're checkin Dre or Snoop. That unfuckwithable Donnie Hathaway hook, the FLUTE SOLOS. GOOD GOD. This is the song yall. If yall don't know, (and I still got homeboys who never checked it, even after having the album for 12 years. but we don't hang with those guys too often, cuz they're stale, obviously) but if yall don't know, or only picked up on the couple singles from this album, you're really missing out on this song. and if you DO know, maybe you ain't played this one in a while. Put it on, and slip back. This track is godlike.

Alright, I just looked up, and saw how much I've written so far, and this is only up to the end of SIDE ONE of the Chronic album. I'm not gonna type a bunch more about Side Two tho. It doesn't live up to the hot shit on side one, with a few exceptions.

A Nigga Wit A Gun. I've always been a sucker for this song, cuz of the slowed down Whodini drums, and that beautiful bassline, which i've still not tracked down the source for, but I've heard it in other shit too.

Ratatattat ... Ok, I can take or leave this one, but it does include Snoop on the chorus, and I'll show why that's important in a lil bit.

20 Dollar Sack Pyramid, well of course it's a classic. I ain't even gonna try and do it justice here. Yall know.

"This... Should be played at high volume. Preferably in a residential area."

Well, if you insist. We was gonna do that any muthafuckin way, haha. Here's Lady of Rage, on a song called "Lyrical Gangbang", who should have been used a lot more on this album. She wasn't the flyest on the mic, but she had a style that forgave her for her less than perfect lyrics. Sometimes it IS the delivery that matters more than the message. More funky worm type synths, they worked so well on this album, appearing just often enough throughout the album to provide continuity, and oh, what's this? That Zeppelin break that the Beasties used back in '86? (yes I know it's "when the levee breaks" but that ain't the point). Yea even Dre wasn't above using these tired ass drums. It would work too, if the Dogg Pound's verses on it weren't so forgettable. This may have been one of the last songs recorded for this album, as everybody kinda sounds like they're just going through the motions on this one. Or maybe they were just all tired that day. ( I'll let someone else make the expected joke that they'd all had too much "chronic" that day... let's move on.)

"High Powered".
Hmm. All I'm going to say about this one is: It's short, it kinda doesn't really sound like a song, more like an interlude stretched to song length, and when I'm in my car, with my homies, and we're all stoned, it sounds great, but right now, as I write this, I'm in my house, and I'm not stoned, and it sounds like shit. (Readers, don't bother replying and trying to dress me down for driving while smoking herb. You obviously have no idea how many people do it everyday, and we're going to keep doing it. We're not getting shitfaced drunk and crashing into school buses and killing 20 children. Next time you're on the road, look to your left and to your right, each time you stop at a traffic light. Several of the people you'll see are stoned right then. It's just a fact of life so don't ruin this thread with your anti drug shit, please. I know bad shit does happen, but my friends and I ain't never killed anybody. Like Quentin Tarentino said in Pulp Fiction, "I don't go out Joy-Poppin' with Bubble Gummers, my friends can handle their highs..." Go make your own thread to tell prince.org how terrible we are. Thanks.)

I could really do without the "Doctor's Office" skit, especially when it follows "high powered". Both tracks really bring the album to a screeching halt. But that's alright, that's what the skip button is for, and you can really skip "stranded on death row" too, a great title for a song, but wasted with bullshit lyrics. Interesting thought about "Stranded.." though: isn't that the same drum track that DNA used on their remix of "Tom's Diner", but slowed down? I love that beat.

Alright, alright. People either Love or Hate the "The Roach". It's a straight rip of "P-Funk wants to get funked up" but on the weed tip. The band sounds incredible tho. Personally, I dig it, but that's just me and my peoples.

Even though The Roach is supposed to be the end of the album, we get a bonus track (It originally wasn't even listed on the packaging anywhere, although the reissues do). This one's called "Bitches ain't Shit", and, along with "the roach" you either love it or hate it. You can't deny the beats on it, that's a classic groove Dre puts together, but Dre can't resist ending the album the way he began it, talkin more shit about Eazy, but that's cool. Snoop and Rage also drop verses, and we learn two more things: Daz is Snoop's Lil Cousin, and Rage doesn't suck "EVERY" dick, just the juicy ones. (WHAT THE FUCK? HAHA. ok then!). But back to the beat for a minute, if you've ever heard the bootleg Biggie track "Real Niggaz Do Real Things" you've heard Biggie spit all over this beat, and, oh my god. Dre should just produce everybody. I don't care if he never has time to sleep or do anything but live in his studio. ANYBODY sounds def on a Dre beat. Ok, I'll give you "Rich Girl" as an example of how anybody can fuck up, but oh well.

I never really bothered to take sides in the Dre vs. Eazy beef. This was before Rap Beef really ended in real life dead bodies. This was before Pac and Biggie, etc. I will say that Eazy basically destroyed Dre on his "187 Dre Killa" EP or whatever, but that's just bangin on wax.

WHY ISN'T EITHER VERSION OF "DEEP COVER" ON THIS ALBUM? I CALL FOUL.

Yes, there's two entirely different songs with the "1-8-7 on a muthafuckin cop" hook. One is called "Deep Cover" and it's been mentioned. But there's a second version that only appeared on the "Dre Day" maxi single, this time simply called "One Eight Seven". You can look at it as a "Part one and two" or however you want, but I guarentee if you DJ Parties or Clubs, and hip hop is what you spin, and you throw on the Maxi Single version of One Eight Seven, you're gonna have every G-Funk fan in the house on your dick. Cuz hardly nobody knows about this track. Snoop would rarely sound as venomous as he does right here. And it IS "Muthafuckin cop" on this version, instead of "Undercover cop" as it is on the common Deep Cover. But I'm gettin off track.

Here we go again....

"Like We ALWAYS Do About This Time..."

Inside the Chronic Tape Notes (Cuz people were still bumping more tapes in their ride than CDS in '92-'93) it was announced that the next Death Row Release would be a Snoop Doggy Dogg album called Doggystyle. A lot of us folks back then looked forward to it, but we really had no idea what it would be like. I'll never forget, the night that the tape called Doggystyle came out, how we unintentionally created an instant party in the parking lot of the apartments I lived in that summer of '93, when my homeboy showed up with the tape and we put it in his ride, opened the doors, rolled up the Bud, broke out the 40s and played it loud, for the whole damn neighborhood. By the end of side one, it really did look like the "G Thang" video. But my fingers are tired, so I'll continue the second half of this long ass remembering the old days, later.
[Edited 9/7/05 2:56am]

smokeverbs said:

DAYUM!! You makin' me want all them shits!!




That's the one that makes me pick up the album from time to time. The hook pops in my head & I gotta hear it. That's the one

smokeverbs said:

You definitely got a point. That song is definitely my cut.

chico4U said:

No problem. I'm ALWAYS available to shut a scrub down.

TheCrucialExperience said:

chico4U said:

Time for ya nap I see, huh, lil one?

smokeverbs said:

It's probably hard to imagine now that back in the day, the release of somebody's debut album could be reason enough for a party. But it's true. Before the album came out, radio stations in Detroit had already started playing "Who am I" - they didn't even wait for a radio mix, they mixed it themselves, scrambling the curse words. That's how hot that track was. Yes, it was another "Knee Deep" variation, but Snoop's lyrics and flow on this one were even tighter than anything on The Chronic (except Lil Ghetto Boy, of course...). Based on hearing a censored version of "Who Am I" on the radio, we couldn't wait for the album.

I guess the Bathtub Intro was supposed to bring us right into Snoop's world, but I found it stupid. But that's alright, really, cuz we get a second intro after that! "G-Funk Intro" -- oh yea, now we're off and running! I think Rage knew she had to come tighter on Snoop's joint than she did on Dre's, and she's up for the challenge. Then we get George Clinton back in the studio for some more shit talkin like only old George can do, and then we're straight into the first proper song on the album -

Gin & Juice. Of course it's a classic, but I hate the radio and video versions. It should have never been released as a single. The fact that those re-recorded versions are so commonly heard, makes hearing it on the LP a treat, still. It's kind of like going to some hole in the wall diner, and ordering some pot roast. It's ok, but it ain't your mom's. Then one day you go home and your mom hooks up her pot roast. Yeahhh now that's the shit right there. 12 years later, this track is still melt in your mouth delicious.

But that really ain't shit, we're just getting started.

EVERYBODY'S GOTTA HEAR THE SHIT, ON W-BALLZ, W-BALLZ, W-BALLLLLZ!!

There were some people back then, believe it or not, that still didn't think Snoop was much of a rapper! Those people, I tie up and force them to listen to-

The Shiznit.

You CANNOT fuck with this flow. It's smooth as silk, while still 100% gangsta. I still think at least parts of it were freestyled on the spot in the studio. It's laid back and loose, and untouchable. Some of Snoop's greatest lines were right here in the song, one right after the other. The lyrics stand up against anything Eminem did in his early, untouchable days.

Snoop barely takes a breath during this song, and rhymes come out of nowhere from every direction.

Ok, I've never understood what "selling loot" meant, but whatever. Snoop never sounded this comfortable on the mic as he does right here on this track. Freestyle? Maybe. He does keep coming back to referring to laying in the cut, as if he's taking a mental breath, setting up the next line. I sat in on enough cyphers over the years to recognize when someone's tryin to work it out by repeating themes. But it's brilliant how each line connects to the next, nobody, nobody raps like this anymore on wax, and it's a shame.

"You tried to see me, on the TV, youse a B.G.
D-O-double-G, yes I'ma O.G.
You can't see my homey Dr. Dre
So what the fuck a nigga like you gotta say
Gotta take a trip to the MIA
And serve your ass with a motherfuckin AK
You, can't, see, the D-O-double-G, cuz that be me
i'm servin um, swervin in the Coupe
The Lexus, flexes, from Long Beach to Texas
Sexist, hoes, they wanna get with this
Cuz Snoop Dogg is the shit, beeeitch!"

Verse Three:

"Ahhhh, I'm somewhat brain boggled
So I look to the microphone and slowly start to wobble
Grab it, have it, stick it to the plug
It's Snoop, Doggy, I got a got a fat dub
Sack of the chronic in my back pocket loc
Need myself a lighter so I can't take a smoke
I toke everyday, I loc everyday
With the P-O-U-N-D and my nigga Dr. Dre
Lay back in the cut, like I told your ass
Gimme the microphone and let me hit you with a blast
I got a little cousin by the name of Daz
And bitches who fuck him, gimme the ass
Cuz they know about the shit that we be goin through
And they know about the shit that I be puttin up
And they be knowin bout the shit I do when I'm on the mic
Cause Snoop Dogg is Trump tight like a virgin, the surgeon
Is Dr. Drizzay, so lizzay, and plizzay
With D-O-double-Gizzay the fly human being seein
No I'm not European bein all I can
When I put the motherfuckin mic in my hand, and
You don't understand when i'm kickin
Cuz Snoop is on the mic and I gets wicked, follow me
Listen to me, cuz I do you like you wanna be done
Snoop Doggy Dogg on this three two one, umm
Dum, diddy-dum here I come
With the gat and the guitar was strung, I'm
not that lunatic nigga who you thought I was
When I caught you slippin, I'm gon catch you then I peel your cap
Snapped back, relax
Ya better not be slippin with them deez on the '83 Cadillac
So we gonna smoke a ounce to this
G's up hoes down while you motherfuckers bounce to this"

I mean good GOD, that shit is just untouchable. Enough.

Another aspect of this song, lets me talk about my favorite thing about both these albums, The Chronic and Doggystyle.

CONTINUITY.

If frank zappa and Ike Willis were rappers, these two albums would still exist, just like they do. Only Zappa fans will really get this, but here it is in a nutshell:

Zappa's entire catalog existed under a concept called "Conceptual Continuity". This means that every album, nearly every song he put out, related in some way to some other album or song, thus making his entire catalogue, a WHOLE, and not just a bunch of albums. Think of it like a long running tv series where it's all one long interconnected story. If Dre & Snoop had kept this up, their catalogues would have been tremendous.

WHAT THE HELL DOES THIS HAVE TO DO WITH THE CHRONIC AND DOGGYSTYLE?

Listen to the 2 albums back to back. What appear on Chronic as throw away lines by Snoop, Dre and that Ragga emcee on the Chronic, reappear on Doggystyle, in new contexts and sometimes even creating fully formed songs.

Find these on both albums:

"Blam Blam, Blam to dem fall, listen to the shots from my nigga Doggy Dogg"
"Chill till the Next Episode"
"Murder was the case that they gave me"
"So peep out the manuscript, you see that it's a must we drop gangsta shit"
"Cuz I never hesitate to put a nigga on his back"

etc etc.

Themes and lyrics are repeated and reused in new ways on both albums to provide a link between the two albums. in some cases one line from one song on Chronic is expanded on through a whole song on doggystyle. Either both albums were recorded at roughly the same time, or it was a conscience decision to create Doggystyle as The Chronic Part 2 (in a series! collect them all!)

This theory is backed up by the fact that ALL of dre's albums (both as an artist and a producer) begin with the same line "LIKE WE ALWAYS DO ABOUT THIS TIME" .. (even "the aftermath" lp). So it's all connected, and on that idea, Dre had a brilliant idea. I was a bit disappointed that he didn't bring that back for the 2001 intro.

but back to the Doggystyle LP.

A house party interlude that may or may not have revealed that Eazy E had Aids (listen carefully to the talking in the background - either somebody knew something long before it was announced to the public that Eazy was H.I.V. positive, or it's just an eerie coincidence...) leads us directly into a masterful "Lodi Dodi", a cover of the classic slick rick track. So great, in fact, that it recieved lots of radio play, without ever being released as a single. That's unheard of today. If it's not a single, you really don't hear it on the radio. But that's another topic entirely, how urban radio has changed. Lodi Dodi, if I even have to explain how great it is, ah fuck that. go put the album on. If you don't own it, chances are you know someone who does.

MURDER WAS THE CASE. If "Lil Ghetto Boy" is Dre's "Purple Rain" then this is Snoop's. Shit, the two songs are even connected - Snoop's line "Murder was the case that they gave me" from "lil ghetto boy" was directly lifted to create the hook for this song. Run-DMC used to do the same thing, but here, it's on another level that I can't find the words to explain. And please forget the remix that was later released as a single. The album version is loads better, if only for the original Vocal (the remix uses an alternate that just isn't as smooth).

Side one ends with Serial Killa. I always felt this song sounded more like a Chronic track, it's more of an ensamble cut that doesn't really fit the flavor of Doggystyle. If you exchanged this song for, say, High Powered, or Stranded on Deathrow, nobody would probably even notice.

During my rememberence of The Chronic, I said that side two didn't hold up to side one, not even close. This is VERY not true for Doggystyle. Everything on side one was just leading up to-

WHO AM I? (What's my name?)

Why this wasn't TRACK ONE on the album, I'll never know, but it works as the intro to side two. Some of snoop's deffest rhymes, and oh, it's "knee deep" again. Who cares, throw this on at a party, and watch mufuckers lose their minds.

"For All My Niggaz and Bitches" didn't age all that well, after hearing it for 12 years straight, but it's nice that Snoop included both the boys AND the girls in his mission to bring together all the people who "Don't give a fuck, like we don't give a fuck..."

But go ahead and skip ahead to the next track, and lay the fuck back as we get into the Nate Dogg showcase "Ain't no Fun" ... Can I point out how the song fucks with the listener, you're not sure if it's going to be a love song, or a "no love for hos" song, and nate keeps flip floppin it in his opening verse:

"When I met you last night, baby..."
It could be fairly innocent at this point, but then it's
"...before you opened up your gap!"
oh my. ok..
"i had respect for ya, lady but now I take it all back"
ok, she did him wrong, then? no, not at all. it's because
"cuz you gave me all your pussy"
oh damn.
"and you even licked my balls"

... ok, ok. I know that's vulgar as hell. But it's Nate's delivery that counts here, really.

"Leave your number on the cabinet, and I promise, baby, I'll give you a call..Cuz I.... have never... met a girl...."
Stop. Maybe he's going to change his mind, and say somethin like nice..
"that.... I love....."
Yea, see? He's gonna say he never met nobody he loved as much as her!
"...in the whole wide world...."

HAHA. And before you even have the time fully to react to how Nate Dogg just sucker punched your mind, Kurupt stomps all over the track

"WELL IF KURUPT GAVE A FUCK ABOUT A BITCH, I'D ALWAYS BE BROKE, I'D NEVER HAD NO MOTHERFUCKIN INDO TO SMOKE..."

Ok. I know that alot of this album, is a lot of calling women bitches, and not givin a fuck about nothin at all, and fuck all yall cuz i have some weed, and i love weed, and fuck a bitch, etc etc. But you have to remember, that these folks are a product of the streets and gangs (WHENEVER YOU HEAR SNOOP MENTION THE L.B.C. -- THAT'S NOT "LONG BEACH COUNTY" LIKE MOST PEOPLE THINK -- IT'S "LONG BEACH CRIPS") -- my point is, even if they are misogsynisitc (and even if i can't spell that word, sorry) rarely has anyone ever been so, fuck it I'll say it, POETIC in describing how they have no love for hos, etc. Again, it's the delivery that matters, I keep saying that.

It's a shame, really, that the song on the album that IS the most fun, is called "AINT no fun..." ... cuz Snoop & The dogg pound really sound like they were having a blast layin this one down. The shit is so silly sometimes, that it's DOPE.

"Guess who's back in the muthafuckin house, with a fat DICK for your muthafuckin mouth...." excuse me for putting it this way but, LMFAO! deal with THAT!

I'm probably the only person Snoop's Planet that doesn't really care for "Doggy Dogg World". Actually, Snoop's lyrics are fine. But, as much as I'm a fan of the Dramatics, and I am, They really, really don't fit on this song at all.

But it doesn't matter, much. One of Dre's best early beats is right next, on "G'z and Hustlas"... This song is flawless, and I can't say anything more about it.

Your experience with the rest of this album will vary according to a number of factors including your age and which version of the album you own.

The first copies of the album that were released, had the end of the album's tracklist listed like this:

"G's Up, Hos down"
"Tha Next Episode"
"Pump Pump"

Hmm. Go look at your copy. It's one of three or four different ways. Some copies have the interludes/skits listed as separate titles, some don't. So I may be forgetting the title of the intro to "g's up" .. but whatever. Most fans of younger age don't even know about this song. It was removed from all second shipment and later copies of the album due to Issac Hayes having issues with sample they used. Shame, really cuz it's one of the best songs on the album. A quick "day in the life of snoop" type song, beginning with Snoop tryin to decide which suit to wear ("The Blue One" -- hey is Snoop a fan of UTCM?) and it goes on from there. Plus it completes the connection with "The Shiznit" and "Gin & Juice" -- again, more of that continuity I was talking about earlier.

Now, if you've listened to The Chronic and Doggystyle back to back, you've been told at least TWICE now, to just chill, till the next episode. And there it is, near the end of this album, listed a track called "tha next episoode", and it goes like this:

Let the motion of your body be the key, cuz we
be the motherfuckin G Funk family
Now, I'll play the G in this deadly game
Snoop Dogg is the name Dogg Pound's the game
If it ain't one thing it's a motherfuckin nother
Word to my granny and my daddy, and my mother
Whether standin on the corner, or bouncin in the six-deuce
When I was locked up, I couldn't wait to get loose
Cuz back in the days, on the side where it's at
A nigga had to have a fat stack
And I was a fool, don't make me have to grab my strap and go
rat-tat-tat-tat, nigga slap to a motherfucker face he fall
Can't none of y'all niggaz see the Doggy Dogg
Cuz I'm one rude bwoy comin with the wickedness
So shut the fuck up, and listen while I'm kickin this

Blam blam, blam till dem fall,
Listen to the shots from my nigga Doggy Dogg...

Wait, wait. This is really "Pump Pump" (as proved by the background vocals going "pump pump" all the way through the song... nice connection to the maxi single version of "one eight seven" tho... you'll have find that one to hear it...)

SO, IF THIS IS "PUMP PUMP" THEN WHAT THE FUCK HAPPENED TO THAT "NEXT EPISODE" THAT THEY KEPT TELLING US TO CHILL UNTIL???

No, no, your answer is too simple. It did NOT appear years later on chronic 2001, with that great Nate dogg chorus. That's a different song all together, and I think an attempt to correct the fact that DEATH ROW FUCKED UP and FORGOT TO INCLUDE "THA NEXT EPISODE" ON DOGGYSTYLE. It's listed there, on the back of the album, but it's not there. Yea sure, you could finally stop chilling when 2001 came out with "THE Next Episode" ... but there's an episode missing -- if you search long enough on your favorite P2P network, you may be able to find a low quality copy of the ORIGINAL Next Episode, but it's really not that great a song. You'll know when you find it, by two points:

The mp3 sounds like a 20k/s real audio file, and the beat has those same funky worm Dre synths that were all over the Chronic album. It IS however the only true duet between Snoop & Dre on Doggystyle, so if you missed Dre on this album, there he was, at the very end of the album. I'd love to find a high quality copy, but it doesn't seem to be out there, I've been looking ever since the album came out.

So when the second shipment of Doggystyle was sent to stores, rather than fix their mistake, they just removed the title from the back of the album, and pretended the song never existed. As great as it is, the 2001 version of "next Episode" is a totally different song. I can't describe how excited I was when the tracklist for 2001 was first released, I thought "oh shit, he even brought back that lost track, finally get to hear it in cd quality" but no. It's a new song, and a better song with Nate Dogg on it. (I refer you to my previous post when I reminded you that it's been said that "It must be a hit if Nate Dogg's singin on it...")

So yeah, Pump Pump, is still a great way to end the album, it's some of snoops tightest flows and the beat is bumpin and it's definately somethin to ride to. While the OG "next episode" is really no loss, I wish they'd work out a deal with Issac Hayes to get "G's Up, Ho's Down" restored to this album, cuz it hasn't seen the light of day in over a decade, and it's a key track.

OK, my daughter is waking up from her nap, so I'll break again at the end of this album, and I'll return later, with a third and final post in this thread, tying up and making sense of all the ramblings in this and my previous post. Hope yall are still with me.

After that last post, even Leo Tolstoy said "Damn, man! EDIT THAT SHIT!"

CinisterCee said:

Dr Dre hasn't produced ANYTHING worth hearing.

mattperry said:

Yep. It's official now: You're certifiably retarded now.

SIDENOTE: I think I have my very first ORG STALKER NOW!
[Edited 9/7/05 19:22pm]