Turfaholic
New member
Classic?
Y'all niggas trippin
Y'all niggas trippin
- Status
Tommy bilfiger
New member
This album has zero replay value this gotta be some type of record 24 hours after it's released and zero replay value WOW.Get this bullshit outta here
victory_kid
New member
I dont know if it has been mentioned already.
But doesn't For The Love Money instrumental remind you of Chopper (Lupe Fiasco's Tetsuo and Youth) a bit? The snares and distorted bass-line are similar to me.
But doesn't For The Love Money instrumental remind you of Chopper (Lupe Fiasco's Tetsuo and Youth) a bit? The snares and distorted bass-line are similar to me.
supergangster
New member
Dr. Dre's Compton Projected To Sell 250-275k & Debut At #2
Based on first day sales data, Hits Daily Double forecasts an opening week total of 325-340,000 for Luke Bryan’s “Kill the Lights.” The Apple-exclusive “Compton,” which is the soundtrack to “Straight Outta Compton” and being positioned as the first Dr. Dre studio album since 1999, is expected to move 260-275,000.
http://hitsdailydouble.com/news&id=297085
Based on first day sales data, Hits Daily Double forecasts an opening week total of 325-340,000 for Luke Bryan’s “Kill the Lights.” The Apple-exclusive “Compton,” which is the soundtrack to “Straight Outta Compton” and being positioned as the first Dr. Dre studio album since 1999, is expected to move 260-275,000.
http://hitsdailydouble.com/news&id=297085
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LcnsdbyROYALTY
New member
Turfaholic;8275378 said:
I haven't said it yet but
Fuck yea! InstaClassic
ChillaDaKilla;8274035 said:
he really didn't expose shit new,he just exposed a dude who ppl thought was a genius cranking out dope verse after verse,depending on your taste.
Slaughterhouse,Monch,Skillz,Smitty, etc get a lot of work writing for other ppl,that I assume are known.
Preach2Teach;8274102 said:
Pause unless you're a chick.It's good,but not that good and it's great .
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_Goldie_;8275057 said:
Yeah I would care if it was at the peak of their careers.Look, nobody is saying that ghostwriting don't happen, it's pretty fucking obvious that it's happening when niggas be totally switching their styles up from album to album. You can't be considered THE BEST RAPPER if you got unknown ass niggas writing your shit. If you tell me that Snoop didn't write Doggystyle, or that Cube didn't write Death Certificate, or that Jay didn't write Blueprint, or that Nas didn't write Illmatic then I'll get pissed off. I don't care about one verse on an album that's not even theirs in 2015. I know niggas still mad about Drake being "exposed" but c'mon bruh. Drake will be ok, he just knows that he better be more upfront with that shit.
LcnsdbyROYALTY
New member
Wait... Did this nigga Game just become Kendrick on Just Another Day? I swear I thought that was someone else. Smmfh
LcnsdbyROYALTY
New member
Stew;8275653 said:
Niggas always tryna gay sumn up >_>
supergangster
New member
Stew;8275647 said:
Yes Dr. Dre is number one on the iTunes charts before the second album that is supposed to take the number one spot on billboards. He would be gold first week but this was about the agreement with Apple.
supergangster
New member
Reading a nice interview with Dj Premier about how the Dr Dre track came thru
How were you approached to be a part of Compton?
I’m working on a project in Russia with Boiler Room TV, with a producer named BMB Spacekid from Moscow, who’s like the top hip-hop producer in Russia. Boiler Room wanted to see if I could collab with another producer, which I don’t do, but I thought it would be unique for a Russian producer and I to get together, so I said I was interested in doing it. After saying, “Let’s do it,” [they] said [they] were going to get MF Doom to be the voice for the project once we could put our beats together, using Russian samples and stuff like that.
The first beat that we worked on was the one that Dre took. It wasn’t intended for Dre at the time. When I was about to head out there, MF Doom was sick and couldn’t make it. He couldn’t fly due to a minor surgery he had. So when I asked, “Who are you going to get?” [Boiler Room TV] got a guy named Anderson Paak. I’d never heard of him. They sent me a video called “Suede” and I saw they had Stones Throw artist Knxwledge doing the beat. I’m a Stones Throw fan, a Peanut Butter Wolf fan, so the connection let me know he was official. I loved the video, loved the vibe in the basement, and he looked so confident in the video. I hit them back and said, even though I’d never heard of him, I’m totally down to put my name with his. He just so happened to be doing a meeting with Dre for some of his music, which was totally irrelevant to mine, so he already had his connection with Dre.
We worked on two beats in Moscow. We did one song called “Til It’s Done,” which is more of a bounce/trap sort of the beat. The other one was a more boom-bap style that I do. BMB said I could do whatever I want when something comes around to it. When the Freddie Gray murder and the riots happened in Baltimore, Anderson called me and said, “Yo man, that other beat that we didn’t use, I just wrote some shit down about the bullshit that’s going on in Baltimore. It’s called ‘F.S.U.,’ which stands for ‘Fuck Shit Up.’” He sent it, I thought, “Wow, this is ill.”
Right around that time, he had a session with Dre and when Dre heard it, he said, “This is totally up my alley for the Compton soundtrack.” The ’92 riots happened with Rodney King and stuff, it coincided with what we wanted to do with the Compton album. He reached out and said, “I want to put a rap on it, a Dre verse,” and I said, “Hell yeah!” How am I gonna say no to that? “You should come out, and let’s work on it together because it’s your beat, and we can add on to it and mix it down together, sprinkle it with some stuff to make it a full song. Do you mind if I change the title to ‘Animals’ instead of ‘Fuck Shit Up’?” and I said, “Yeah, that’s cool.’”
Being you got to work so closely with Dre, do you find your approaches to producing have more similarities or differences?
Honestly, the similarities were almost identical on every level. I’ve been in sessions with him back when they were working on Doggystyle. They had a concert they were going to do at Prince’s club Glam Slam and they had a new version of “Bitches Ain’t Shit.” They were going have Lady of Rage do a rebuttal called “Niggaz Ain’t Shit” on stage. I was there when they were working on that, watching the D.O.C. freestyle with his vocal chords gone but still saying dope punchlines. Daz was in there, Kurupt’s in there.
When I walked in the room, Dre was working on a song called “All in a Day's Work.” It was dope to see that process. There’s a lot to do and for him to be comfortable with me being in the room to watch him do it was super dope.
Also add on the Nas collabo album
There were once reports that you had been recording an entire album with Nas called NASdaq: Dow Jones.
Wow, that’s a new one. When the Nas beef with Jay had just happened, Nas was talking, “I want to do an album with you.” He said that after we were doing the cover of Scratch magazine that said “It’s On.” That wasn’t even the case at that time. We had discussed it. Then when he had the Def Jam deal he said, “I want to still do this,” but we never spoke titles or anything. One time he said, “Yo, whenever we do it, let’s call it Finally,” which is a dope title because a lot of people want it, as well as me. When people ask when is it happening, I say it’s always up to the artist. If Nas says we’ll start 10 years from now, I’m down. I’m not in no rush because I’m always busy doing something. But, we never had a title. That one, NASdaq: Dow Jones, I’ve never heard that one. You’re getting more information than I’m getting.
You just cleared up a decade of speculation and urban legends right now.
Nice. [Laughs.] When I recently asked Nas, “Any update?” he said, “I’m still on Def Jam for another album, and I really would rather do it independently if we’re gonna do it so I can do it how I want to and put it out how I want.” I know he has another Def Jam album he’s obligated for under his contract, so I’m sure when that drops, it’ll be a reality finally.
http://www.complex.com/music/2015/0...=musictw&utm_source=twitter&utm_medium=social
How were you approached to be a part of Compton?
I’m working on a project in Russia with Boiler Room TV, with a producer named BMB Spacekid from Moscow, who’s like the top hip-hop producer in Russia. Boiler Room wanted to see if I could collab with another producer, which I don’t do, but I thought it would be unique for a Russian producer and I to get together, so I said I was interested in doing it. After saying, “Let’s do it,” [they] said [they] were going to get MF Doom to be the voice for the project once we could put our beats together, using Russian samples and stuff like that.
The first beat that we worked on was the one that Dre took. It wasn’t intended for Dre at the time. When I was about to head out there, MF Doom was sick and couldn’t make it. He couldn’t fly due to a minor surgery he had. So when I asked, “Who are you going to get?” [Boiler Room TV] got a guy named Anderson Paak. I’d never heard of him. They sent me a video called “Suede” and I saw they had Stones Throw artist Knxwledge doing the beat. I’m a Stones Throw fan, a Peanut Butter Wolf fan, so the connection let me know he was official. I loved the video, loved the vibe in the basement, and he looked so confident in the video. I hit them back and said, even though I’d never heard of him, I’m totally down to put my name with his. He just so happened to be doing a meeting with Dre for some of his music, which was totally irrelevant to mine, so he already had his connection with Dre.
We worked on two beats in Moscow. We did one song called “Til It’s Done,” which is more of a bounce/trap sort of the beat. The other one was a more boom-bap style that I do. BMB said I could do whatever I want when something comes around to it. When the Freddie Gray murder and the riots happened in Baltimore, Anderson called me and said, “Yo man, that other beat that we didn’t use, I just wrote some shit down about the bullshit that’s going on in Baltimore. It’s called ‘F.S.U.,’ which stands for ‘Fuck Shit Up.’” He sent it, I thought, “Wow, this is ill.”
Right around that time, he had a session with Dre and when Dre heard it, he said, “This is totally up my alley for the Compton soundtrack.” The ’92 riots happened with Rodney King and stuff, it coincided with what we wanted to do with the Compton album. He reached out and said, “I want to put a rap on it, a Dre verse,” and I said, “Hell yeah!” How am I gonna say no to that? “You should come out, and let’s work on it together because it’s your beat, and we can add on to it and mix it down together, sprinkle it with some stuff to make it a full song. Do you mind if I change the title to ‘Animals’ instead of ‘Fuck Shit Up’?” and I said, “Yeah, that’s cool.’”
Being you got to work so closely with Dre, do you find your approaches to producing have more similarities or differences?
Honestly, the similarities were almost identical on every level. I’ve been in sessions with him back when they were working on Doggystyle. They had a concert they were going to do at Prince’s club Glam Slam and they had a new version of “Bitches Ain’t Shit.” They were going have Lady of Rage do a rebuttal called “Niggaz Ain’t Shit” on stage. I was there when they were working on that, watching the D.O.C. freestyle with his vocal chords gone but still saying dope punchlines. Daz was in there, Kurupt’s in there.
When I walked in the room, Dre was working on a song called “All in a Day's Work.” It was dope to see that process. There’s a lot to do and for him to be comfortable with me being in the room to watch him do it was super dope.
Also add on the Nas collabo album
There were once reports that you had been recording an entire album with Nas called NASdaq: Dow Jones.
Wow, that’s a new one. When the Nas beef with Jay had just happened, Nas was talking, “I want to do an album with you.” He said that after we were doing the cover of Scratch magazine that said “It’s On.” That wasn’t even the case at that time. We had discussed it. Then when he had the Def Jam deal he said, “I want to still do this,” but we never spoke titles or anything. One time he said, “Yo, whenever we do it, let’s call it Finally,” which is a dope title because a lot of people want it, as well as me. When people ask when is it happening, I say it’s always up to the artist. If Nas says we’ll start 10 years from now, I’m down. I’m not in no rush because I’m always busy doing something. But, we never had a title. That one, NASdaq: Dow Jones, I’ve never heard that one. You’re getting more information than I’m getting.
You just cleared up a decade of speculation and urban legends right now.
Nice. [Laughs.] When I recently asked Nas, “Any update?” he said, “I’m still on Def Jam for another album, and I really would rather do it independently if we’re gonna do it so I can do it how I want to and put it out how I want.” I know he has another Def Jam album he’s obligated for under his contract, so I’m sure when that drops, it’ll be a reality finally.
http://www.complex.com/music/2015/0...=musictw&utm_source=twitter&utm_medium=social
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supergangster
New member
I still laughin about that Dre left 50 outside. I know that the album is called Compton but he did had Eminem as a guest so he could had put 50 on that track..
When I made fifty mill, Em got paid
When I made sixty mill, Dre got paid
When I made eighty mill, Jimmy got paid
I ain't even gotta rap now, life is made
Said I ain't even gotta rap, I'm filthy, mane
When I made fifty mill, Em got paid
When I made sixty mill, Dre got paid
When I made eighty mill, Jimmy got paid
I ain't even gotta rap now, life is made
Said I ain't even gotta rap, I'm filthy, mane
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Smokey Tha Bandit
New member
how the fuck is this not a classic? Only on the IC...
go listen to Drake or Lil Durk or some faggot shit like that, this hip hop shit aint for yall...
go listen to Drake or Lil Durk or some faggot shit like that, this hip hop shit aint for yall...
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- Status
