Thanks to his fusion of 70s soul samples and funky productions, Dre helped to usher in the era of melodic rap: “Let Me Ride” rode all the way to No.34 on the Billboard charts and nabbed Dre a Grammy Award for Best Rap Solo Performance during the 1994 Grammy Awards. With his skillful use of Parliament’s live rendition of the “Swing Down Sweet Chariot” refrain, featuring the soulful vocals of Glen Goins, Dre created a sonic backdrop that showcased his sophisticated technical genius. The Chronic’s third and final single, “Let Me Ride,” is a prime example of Dre’s production mastery. Accompanied again by Snoop Dogg, the video for the track featured a fake Eazy-E and poured more fuel on the fire as the former friends became bitter enemies, “F_k Wit Dre Day” raced up the chart, peaking at No.8. The scathing diss track “F_k Wit Dre Day (And Everybody’s Celebratin’)” is a ruthless (pun definitely intended) assault on Eazy-E, with jabs at Tim Dog and 2 Live Crew’s Luther “Luke Skyywalker” Campbell for good measure. Dre is at the door” – Dre asserted his place in the hip-hop landscape with a bona fide classic that reached No.2 on the Billboard Hot 100.
With one of the most recognizable opening bars in hip-hop history – “One, two, three and to the four/Snoop Doggy Dogg and Dr. Sampling Leon Haywood’s ‘I Wanna Do Something Freaky To You’ and featuring a superstar in the making, Snoop Doggy Dogg(as he was known then), ‘Nuthin’ But A “G” Thang’ was the perfect introduction to Dre the solo artist. Unlike his contemporaries on the East Coast who sampled disco and jazz records, Dre’s brand of hip-hop relied upon the influences of George Clinton’s Parliament-Funkadelic collective – aka P-Funk.ĭre signaled that something new was on hip-hop’s horizon with The Chronic’s first single, ‘Nuthin’ But A “G” Thang’. Dre was transformed from great beatmaker into a composer par excellence, orchestrating the length and breadth of the project and becoming hip-hop’s answer to Quincy Jones.ĭeploying a funk- and sample-infused strain of hip-hop, The Chronic introduced to the world the G-Funk sound and galvanized the West Coast hip-hop style that would completely dominate the genre. The beef ended when Eazy-E died of AIDS complications on Maat 31.Named after a slang term for top-of-the-line cannabis and sporting a tribute to Zig-Zag rolling papers on its cover, The Chronic caused a seismic shift in the music industry. Death Row records may or may not have negotiated Dre's release from the deal using lead pipes and baseball bats. This is a reference to their legal dispute, which according to Eazy, entitled him to earnings from the song. In the lyrics, Dre upbraids his foe in certain terms:Įazy fired back with "Real Muthaphuckkin G's," where he makes specific mention of this song: "'Dre Day' only meant Eazy's pay day." "Dre Day," officially titled "F-k Wit Dre Day (And Everybody's Celebratin')," was the first musical attack launched in his war with Eazy. He was still contractually obligated to Ruthless, but formed his own label, Death Row Records, with Suge Knight, in early 1992.
Ice Cube left the group over royalty diputes in 1989, and Dre followed suit in 1991. The group was signed to Ruthless Records, which Eazy-E ran with the businessman Jerry Heller. As members of the transgressive group N.W.A, they defined gangsta rap in the late '80s, but when the money came in, Dre thought there should be more of it.
Dre and Eazy-E had more beef than a rodeo.
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