Sunday, 29 May 2011

50 Cent speaks on Dre colab

While no concrete release date has been set for Dr. Dre's long overdue Detox album, two official singles from the project "Kush" and "I Need A Doctor" have made it's way to the airwaves, giving a clear indication the album will drop this year. Earlier today estranged protege 50 Cent let the cat out the bag that another record, this one featuring himself was slated to drop for the Memorial Day weekend.

"I did a joint with dre for his album that's crazy" 50 tweeted. "They were suppose to put it out this weekend but you never know with dre." 

Responding to a follower, 50 was the latest Dre confidant to confirm Detox would be delivered this year.
"@50cent when is Dre album detox comin?" user @bigseano84 questioned. "Soon dre got some heat" the Queens MC replied.

During his twitter frenzy 50 also elaborated on the progress of his next album.

"Iv been working I'm recording a lot for this album. I'm gonna keep recording cause I want to top get rich or die trying. You can be mad cause you have to wait but you will be happy when it comes. I want it to be perfect."

After being challenged if he can top his highly successful debut album Get Rich Or Die Trying, 50 acknowledged it was a tough challenge yet vowed the upcoming album will stand the test of time. 

"I know its my best album but its long 19 cuts" said 50. "I'm not bothered by doubt people have expressed that to me all my life. It only enhances the feeling of victory in the end."

Thursday, 26 May 2011

Snoop says he needs to be part of Detox, Dre's with the wrong people

Rapper Snoop Dogg recently shed some light on why he believes that Dr. Dre's 'Detox' album has seen so many lengthy delays. 

During an interview with Tim Westwood, rapper Snoop Dogg gave some interesting insight on why he believes there’s been such a delay in releasing Dr. Dre’s Detox album. Snoop explained that the main problem is the type of environment Dre’s creating his music in.

“It’s a formula. Like I was trying to explain to you earlier when we made records in the past it was an environment, an atmosphere. It was always girls,” Snoop explained. “It was always parties. It was always the right atmosphere to create that kind of album that sounds like the albums that you’ve heard in the past. If there’s not that atmosphere you can’t create that kind of album. So that’s what’s happening right now. The songs don’t match the atmosphere and the atmosphere don’t match the songs.”

Snoop went on to explain that due to his perfectionist side Dr. Dre is unlikely to release anything until he feels that it’s close to perfect.

“What we’re accustomed to hearing from Dr. Dre is the brand new, next best everything and from right now people not getting that. He knows that,” said Snoop. “So he’s a perfectionist and until he gets that he’s not gonna release it cause he doesn’t want the scrutiny of people saying ‘I waited this long for that?’ It’s like when I wait this long I better get that and that.”

Snoop also shed some light on the fact that Dr. Dre may not be surrounding himself with the right people when it comes to making his album. He also shared that he feels like he and D.O.C. need to be a part of Detox in order for it to work.

“I’mma say this and I don’t know if it’s gonna ruffle any feathers. I just think the wrong people is in the environment. When he made records that were hit records in the past: D.O.C., Snoop Dogg, RBX, Kurupt,” said the rapper. “It’s like it’s pieces that’s not there that need to be there. And I’ll say D.O.C. and Snoop Dogg is the backbone. When you take those two equations and you take them out of the equation it’s not gonna work. You need to put them two back into the situation and let us mastermind and head the project like we did The Chronic in 2001. That’s what’s missing.”

Source -

Wednesday, 25 May 2011

The Chronic 2011 – Dr Dre Video Mix

A tribute to one of the most influential figures in rap history. With a career spanning from 1984 to the present and over 80 million records sold, Dre has left a lasting mark on the music industry. As the anticipation grows for his upcoming release Detox, this Dre vs. Dre mashup takes you on a journey through works of one of hip-hop’s greatest producers. This megamix features some of Dr. Dre’s most memorable videos remixed with his own catalog of classic beats. Sprinkle in some rare footage and hard to find samples, and we present to you the smoked out odyssey that is… The Chronic, 2011.

The Chronic 2011 - Dr. Dre Video Mix from Trauma House on Vimeo.

Source -

Saturday, 21 May 2011

Swizz Beatz Detox "Will Be 'Worth The Wait'

'Everybody just gotta chill out and let that man do his thing,' Swizz tells MTV News.

Good things come to those who wait. So while rap fans continue to clamor over Dr. Dre's long-awaited but hopefully forthcoming Detox, producer Swizz Beatz says to "chill out."

The "On to the Next One" producer told MTV News that he has been in the lab with Dre and together the pair has created about four songs. As of now, Swizz isn't sure which, if any, of their co-creations will end up on Detox, but he has secured one record called "VIP Chillin' " for his upcoming Haute Living LP.

"It's just been a great experience for me, whether they go on the album, whether they don't go on the album," Swizz said of his time spent in the studio with Dre and the songs they've recorded. " 'V.I.P. Chillin',' I took that one for myself, but I would gladly give it back to him anytime he wants it back."

Swizzy is particularly fond of Dre's performance on the aforementioned song. "He's energetic. He's vibing in a way that you've never heard him before," he said. "So even if he don't put that one particular track out, I'm blessed to have the blessing from him to have it for my album."

He does have his favorite, but Beatz says that he is confident with any of his and Dre's songs surfacing. In addition to the work that they did together, Swizz, who has heard at least some of Detox, is supportive of the Doctor and the album's delay. "Dre has amazing songs and I think everything is worth the wait. He's a genius, he's a legend and it's just no getting around that," he said. "Everybody just gotta chill out and let that man do his thing. He's a master at what he does, hands down."

The Bronx, New York, producer has a message for fans that let their impatience grow into doubt of Dr. Dre's capabilities to produce another rap classic. "Don't ever count a master out. I'm never counting a person like Dre out." 

Source -

Dre's 'Nuthin but a 'G Thang' named top song of the '90s by XXL Mag

Many hip-hop enthusiasts consider the 1990s the genre’s best decade. With the music in full maturation, hip-hop expanded outside of New York, blew up in the west, and introduced us to new stars, styles and sounds. To celebrate the ’90s, on May 24 XXL Magazine will release a special one-off issue that ranks the Top 250 Greatest hip-hop songs from “Rap’s Best Decade Ever!”

At the top of the heap is Dr. Dre’s 1992 classic with Snoop Dogg, “Nothin’ But a ‘G’ Thang.” The Chronic lead single, sparked the West Coast’s ’90’s reign and helped mold Dre and Snoop into worldwide superstars.

The artist formerly known as Puff Daddy comes close, but doesn’t get the cigar at the number two spot with his 1997 posse cut all “It’s All About the Benjamins (Remix).”2Pac’s “California Love” (No.7) and Pete Rock and CL Smooth’s “They Reminisce Over You” (No.10) get ranked pretty high, while fan favorites like Ice Cube’s “No Vaseline” (No.58), The Lox’s “Money, Power & Respect” (No.117) and Luke’s “I Wanna Rock” (No.141) get props as well.

East Coast pioneers like Public Enemy, KRS-One, Run-DMC and Eric B. & Rakim are all present. West Coast luminaries like E-40, Too $hort and Ice-T get nods too. Crossover pop hits like MC Hammer’s “U Can’t Touch This” (No.115) get ranked right alongside hardcore rap classics like Scarface’s “I Never Seen a Man Die” (No.99).

Knoc-Turn'Al discusses ghostwriting for Dre, and Detox

Please note that this isnt the ful interview.  The interview here highlights Knoc's relation with Dre.The full interview, where he talks about his album, can be accessed with the link at the bottom of this post.

Exclusive: The west coast veteran explains how Dr. Dre-related royalties allowed his five-year hiatus, and why he did not appreciate Jay-Z using his song for the "Super Ugly" Nas diss.

Now back with his first official release in half a decade, HipHopDX spoke with Knoc-Turn’Al about Knocs’ville, the advice he received from the late Nate Dogg, what he said to Nas and Jay-Z after Hov tossed the “Bad Intentions” beat into this century’s first great rap battle, his disappointment in today’s California Emcees and why his relationship with Dr. Dre is different from the rest.             

HipHopDX: Let’s start this off with a quote from your track, “Sorry I Left You”: “Okay, I’ll admit I got lazy / 'Cause I ain’t like those other suckas / Dre paid me...” In some ways, Knoc-Turn’Al is synonymous with unfilled promise. Whether that’s because of label politics and all the things that happened with Elektra [Records]...

Knoc-Turn’Al: With Lyor [Cohen] and Elektra [Records] and all that stuff. I said that for a reason because I did get lazy because I had to pull back. I have two children now. I had to pull back and focus on them for a little while. I was missing their first steps and birthdays. I was working too much. I was probably only home for two months out of the year. I had to pull back for a minute and value what’s really important. I know my career is important as well, but I had to pull back for a minute. I felt like I could pull back for a second because [Dr.] Dre did pay me. He made sure I had my publishing and everything so I said, “Okay, let me step back and do what’s really important.” If you can’t keep your family together, then you’re just like a preacher preaching bullshit.

DX: Who’s doing the production?

Knoc-Turn’Al: This guy named Komplex. I’ve got a couple from Warren [G], couple from Doc. Big Hollis and MG. It’s a conglomerate of people that are precisely putting themselves in the music business that knows what they’re doing. When you’re trying to elevate yourself, you’ve got to make sure you get the people that are elevating at the same time. And of course it’s always good to give back. I’ve got the Mathmadix on there. I’ve got my little brother Jaguar on there. I wouldn’t be me if Dr. Dre didn’t give me a chance. I’ve got to give people a chance too, and that’s what I learned from Dr. Dre.

DX: You did an interview with a couple years back where you were talking specifically about that. You were saying how it’s more important to build a team of people that you can help lift up than it is to always try to be around the people that are already at the top.

Knoc-Turn’Al: Exactly. First of all, they’ll never forget it. Second of all, where would you be is someone didn’t give you a chance? I always hate cats that make it and then turn their nose up. I was a block baby. I was born on the block, raised on the block between the streets of Long Beach and Wilmington, [California]. I went to the [penitentiary]. Got out the pen, got shot. I ain’t proud of that. I did some stupid shit when I was growing up. But the whole point is: where would I be if Dr. Dre didn’t give me a chance? So why would I not try to give back, know what I mean?

DX: It’s interesting that Nate Dogg said that to you because I always felt that you had the ability to connect through hooks and melodies in a way similar to Nate Dogg. “Bad Intentions” is the perfect example, I think.

Knoc-Turn’Al: Exactly. He always told me to make sure that I focus on that because I be having melodies and different stuff stuck in my head. And the funny thing is, I was having sinus and allergy problems that day. That’s why my voice sounded like that when I was like “All I really know is...” [sings “Bad Intentions” hook] And Dr. Dre said, “Keep it!” [Laughs] I was having allergy and sinus problems that day. That shit is hilarious. And Dr. Dre kept it. He was like, “Fuck that. Keep that shit!” [Laughs] Then he told me to do another track of that right there. [Laughs] Dr. Dre ass is crazy. You never knew what he was gonna hear. You never knew what was on his mind. When he heard that he was like, “Fuck that, keep that shit right there. Give me another track like that, Knoc Knoc.” The shit came out right, though.

DX: How much fun was it shooting that video? When I look at that video, I’m like, “Man, those cats are having fun.”

Knoc-Turn’Al: Oh yeah, Me, Dr. Dre, the film crew and 50 bitches -- that was fun. [Laughs] It wasn’t nobody else. Just me, Dr. Dre, the film crew and 50 bitches. That shit was hilarious.

DX: You know, style-wise -- away from the hooks and your melodies -- but style-wise, the way you approached “Bang Bang” [on 2001], to me, was just amazing. That off-kilter kind of conversational flow.        

Knoc-Turn’Al: Yeah, Dre says it’s like an off-beat on-beat flow -- like I’m a street narrator, like I’m talking but I’m rapping. He says, “As soon as I think you’re not going to rhyme right or land on the beat, you land there.”

DX: How did you land on that style? Is that you naturally or do you actually have to work on that?

Knoc-Turn’Al: Nah, that’s just the way that I like to rap. Everybody got their own style. Busta Rhymes, can’t nobody do that. Ludacris, can’t nobody do that. You can try. Bone Thugs-N-Harmony, can’t nobody do that. You can try to imitate somebody but that’s just the way I felt like the raps should go. When I start writing raps and saying them in my brain, that’s the way I felt they needed to go. I don’t what it is, but it’s my style. Dre got his style when people write for him and when he writes for himself he knows what he wants. I ghost wrote for Dre before, but I didn’t write my style for him. I wrote who I thought he should sound like as the pioneer to the west coast. Remembering him from N.W.A. and everything else, I thought this is the way he should sound. My style in particular was totally different. 

DX: Did you ghost write “Bad Intentions?”

Knoc-Turn’Al: Yeah.

DX: “Super Ugly!”

Knoc-Turn’Al: “Super Ugly!” You know what “Super Ugly” means, right?

DX: Correct me if I’m wrong, but that’s you talking about smoking weed and drinking and it’s not pretty. It’s “Super Ugly.”

Knoc-Turn’Al: Nah, nah, nah, nah, nah. “Super Ugly” means -- you know that face that you get when you see a bad ass bitch and you get that “Super Ugly” face like, “Damn!” [Laughs] That’s why when we walk by bad bitches, we be like, “Super Ugly!” That’s the face you make when you see a bad ass bitch, like “Got damn! That bitch bad!” Me and Dre laughed about that for a long time. Women would be wondering why we’re walking around just saying, “Super Ugly.”

DX: That’s classic now. Jay-Z got that from you.

Knoc-Turn’Al: Yeah I know. Yeah, Jay-Z cool, too. Jay-Z’s a cool dude. I ain’t like how he put me in that Nas beef. [Laughs] I ain’t appreciate that, but he’s still cool.

DX: Did you ever talk to him about that?

Knoc-Turn’Al: I just told him, “I don’t know why you did that, but it’s all good.” [Laughs] It was at a Grammy Awards after-party and I was like, “Why you have to put me in that Nas beef? Did you not realize that one week after you did that I had to do a couple of shows with Nas?” [Laughs] Why he just bust out laughing though?  

DX: That’s what he did? [Laughs]

Knoc-Turn’Al: Yeah, he started laughing like, “My bad, Knoc.” He was funny though because right after “Bad Intentions” came out he was talking about “Busting a nut on his baby seat,” and I was like, “Oh, that’s disrespectful.” A week or two later, I think I was in Boston or something, and had to do a show and Nas was the headliner and I had to tell Nas, “Hey, you know I ain’t have shit to do with that song, you know that right?” He was like, “It’s all good, fam. You wanna hit this blunt?” [Laughs] He said, “I’ma get that muthafucker back.” [Laughs] They crazy. Them New York muthafuckers, they be beefing for real. 

DX: Are you working on Detox? Are you going to be on there?

Knoc-Turn’Al: I did a couple songs for it. It just depends on what Dre picks. You never know the direction he’s going to go with it. He’s a perfectionist so if something’s just a little bit out of line, he’s not going to release it, he’s going to do something different with it. He’s scientific with the shit, that’s why he calls himself the Doctor. I remember I was in the studio with him one time and he had bought some new machine or whatever and he was messing with it for two days over a drum beat. I was like, “What is he doing?” And once he finally got that one sound right, it was on from there because he just kept doing it over the drum beat that he had. He just kept messing with the sounds and shit, but he was doing it for like two days. Then he was like, “I found it!” and put it inside the drum beat. But when his shit comes out, it’s always dope. 

DX: I want to take this back to that original quote that I started with: “Okay, I’ll admit I got lazy. / Cause I ain’t like those other suckas, / Dre paid me. / The reason why you know my name is cause Dre made me.” D.O.C. recently did an interview with HipHopDX and he was talking about how he’s not working with Dre or ghostwriting for Dre anymore and he’s basically saying the exact opposite of what you say in that line -- that he never got his royalties the way he felt like he should have for ghostwriting so much. 

Knoc-Turn’Al: I don’t know why. I ain’t never have no problems.

DX: Right. Well, that’s the question: what made your relationship or your situation with Dre so different? I know you were introduced to him through a mutual friend and he was just on board the whole time. And throughout your career, you’ve never had a problem getting Dre beats, whereas you hear that story quite often. A lot of people had difficulty at least getting Dre in the studio because he was working on Detox. That never seemed to be the case with you.   
Knoc-Turn’Al: Well maybe it’s because a lot of times when we were in the studio I wasn’t necessarily looking for a handout. I had money in my pocket. When he was ordering food, I wasn’t ordering food just because he was ordering food. I ordered food because I wanted to eat and I paid for it. If you’re sitting there ordering something every time he’s ordering something and he’s got to pay for everything...When we go out, I’ll go to the bar and get me a drink. He’ll go and get a bottle or whatever, but I’ll still go get me a drink at the bar. I guess it’s kind of like, when you have a lot of people around you that ain’t trying to pay their way and he sees somebody that’s trying to pay their way even though they ain’t got it like that, I guess he leaned a little bit towards me more. I don’t know. I can’t explain it but I know that I tried as least as possible to make him have to pay for anything. I wanted to show him I wasn’t there just because he’s got some money. I was there because I respected him and I respected him for the pioneer that he is for the west coast and I was glad to be there.

One time he got aggravated with me because I was working on my birthday in the studio with him for like 12 hours and somebody told him the next day, “You know it was Knoc’s birthday yesterday.” He was like, “What?! Nigga, why ain’t you tell me it was your birthday, Knoc Knoc?” I was like, “Nigga, what else could I be doing except writing songs with Dr. Dre on my birthday? What the fuck you talking about?” I think it was simple shit like that that made him say, “Okay, this nigga can roll.” Fuck my birthday. Shit, I’m writing songs with Dr. Dre! [Laughs] Shit. You know what I’m saying? This nigga crazy, talking about why I ain’t tell him it was my birthday. Nigga, I’m working! Fuck my birthday.

DX: I have one last question for you. Honestly, Knoc, I really appreciate this. I was looking forward to this interview just off the strength of how talented you are and how curious I’ve been about where you went. I think more than anything else, in order to really compete right now in a flooded music environment, you’ve got to be a talented person. Talent is always going to rise. You’ve never had that problem. You never had any gimmicks. You never had any stray little I’ma-pimp-this-one-thing-too-far. You were always a well rounded artist. But after nine years, almost ten years with exposure and being in music and all of this stuff -- what still surprises you about Hip Hop?

Knoc-Turn’Al: [Laughs] What always surprises me about Hip Hop is the songs that people listen to because you never expect that song to be a hit. But this is how it is in Hip Hop. You never know what’s going to be a hit until you put it out there. That’s what always surprises me. Like, who would think [DJ Webstar & Young B's] “Chicken noodle soup with a soda on a side” [song] would’ve been at the top of the charts? If you’re eating chicken noodle soup you ain’t eating it with a soda. You’re drinking water. If times are that bad, you ain’t got no damn soda. You’re drinking water. Might be tap water, not even bottled water, you never know. Or tap water with some ice, nigga, with your chicken noodle soup. [Laughs] It never ceases to amaze me how you never know what’s going to end up being a hit. So for all those people that think that they can’t do it and people tell you that you’re song ain’t [hot], just think about how that song was a hit.

Source -

Thursday, 19 May 2011

Eminem Explains Dre's EP Absence

With no production credits from the good doctor on the upcoming Bad Meets Evil EP, rap fans have been wondering whether Eminem and Royce Da 5'9" forgot about Dre. Not exactly. During Wednesday's (May 18) "RapFix Live," Slim Shady explained Dre's absence on their upcoming joint project, titled Hell: The Sequel.

"I think Dre is, like, really cracking down on getting Detox finished, so I think he's more so focused on that," Em says of the producer who discovered him. Still, it wasn't like Eminem or Royce reached out to the Doc either. "I really didn't say anything to Dre till kinda like the last minute. We didn't really say anything to anybody about what was going on because we weren't sure what was going to happen with it," Slim explained to Sway. "It wasn't like I said, 'Yo, Dre, can we get a beat for this project that we're workin' on?' Because it wasn't really necessarily a project yet."

Source -

Saturday, 14 May 2011

Blog update - New discussion pages for each track

This update had been considered for while now, before the live chat trial.  

The reason a discussion board was never considered was because in my opinion it wouldnt be visible enough, for those who take the discussions/comments/ratings of potetial detox tracks seriously.

A work around has been added, now each track which has been officially been released will have its own page.  Where discussions can still take place, and are clearly visible.  

Wednesday, 11 May 2011

Bud'da Talks Detox, Dr Dre's Death Row Split And Recording Process

EXCLUSIVE: The "Been There Done That" and "Bow Down" beatmaker reveals his current relationship with Dr. Dre, and why Dre didn't want to fight Death Row. 

In the first half of Bud’da’s revealing conversation with HipHopDX, the producer from Pittsburgh who, thanks to fellow ‘Burgh native Sam Sneed, helped define the west coast Gangsta Rap sound of the ‘90’s discussed his history of crafting classics for Ice Cube and Dr. Dre two-thousand miles from his hometown.   
Now in the second half of his discussion with DX, the man most responsible for the Westside Connection’s classic debut, who then became arguably the architect of Aftermath Entertainment’s early sound, revealed why he and fellow Pittsburghians Mel-Man and Stu-B-Doo made the “transition” to Aftermath but Dr. Dre’s good friend Sam did not. Bud’da additionally explained why his own stint working for the good doctor didn’t last past creatively flipping “California Love” to help King T “Shake Da Spot” for T’s shelved Aftermath album, (but why Dre is still selecting Bud’da beats years later).  

The longtime Los Angeles transplant also discussed his impressive post-Aftermath work for Mr. X-to-the-Z and lessened, but no less powerful, productions for Ice Cube in the years since his history making contributions to Bow Down.

Remarkably pleasant and polite for someone with over 15 years logged in the at times dark and depraved business of music, the music composer (with over a dozen film and television scores to his credit) and CEO of Bout Time Entertainment (where he is overseeing the development of singer Eddie Gomez) concludes the must-read story of how one of the greatest producers you might not know about went from Dr. Dre to Disney.

HipHopDX: So on that first Aftermath compilation, [Dr. Dre Presents … The Aftermath], you were down, so was Stu-B-Doo, and Mel-Man was in the mix, but where was Sam? When I spoke to Sam, he said Dre basically ignored his inquiries about what Dre was gonna do post-Death Row [Records] and so Sam went back to Pittsburgh.

Bud’da: That was a grey area during that time. We was all out here trying to make it happen when the Death Row thing happened. It got really weird all the way around the board in regards to threats and all type of other stuff. So, Dre was playin’ it on the low…And when he decided to do what he did, the reasoning I got behind it was that Sam was still in his Death Row contract. And for the most part – I’m only assuming – Dre didn’t want to – being that he was leaving that situation – I guess he didn’t wanna put himself even more on the line to try to fight for Sam, even though they had been through a whole bunch. … So that was my [understanding] on why Sam didn’t transition [to Aftermath]. To my knowledge, they was good friends before [me, Mel and Stu] even all came out [to Los Angeles].       

DX: Why didn’t you stay in-house at Aftermath [very long] past that ’96 compilation?

Bud’da: I felt it was time for me to transition, because in being in-house – I’ll put it this way, there was times that I was getting approached while I was signed there, once the Bow Down album was doing its thing, where cats was coming at me about doing some work that was like, “Man! You serious?!,” in regards to not only the money but just the different opportunities that I coulda had. And I stuck in there. Because, one of Dre’s things was in trying to basically be an apprentice to him at that time … In his career, what he knows has worked has been being exclusive to who you’re working with and what you’re doing. It creates a certain kind of mystery, and it keeps you from kinda being all over the place. Exclusivity worked for him [at Ruthless and Death Row Records]. So I’m like, if that format worked for him – I love to do music, it ain’t like I’m not getting paid here, [and so] I’ma pass up these [outside] opportunities. But down the road – not that it got rocky, but I just wanted to exercise some other [options]. When I spoke to Dre about it, he wasn’t opposed to it, but his theory was being exclusive to what Aftermath was doing at the time. I don’t know if that’s the case now, ‘cause he even does stuff outside of Aftermath, which he didn’t use to do that kinda stuff. So that was my main reason for shakin’. [But] unlike anybody else, I didn’t ruffle any feathers. We left on good terms. We both mutually respect each other. And from time to time I get a chance to holla at him, and I even submitted some stuff for Detox. I never burned that bridge and we always stayed cool.       
DX: How long ago did you submit those Detox tracks?

Bud’da: It mighta been about a year-and-a-half ago. But, you know how long it’s been that he’s been working on it, so … It mighta been another year-and-a-half before that I submitted something else. He goes through so much stuff. He’s submitted so much music, and people are coming through recording. It used to be funny watching certain folks…be all pumped up - it could be a known artist, it don’t even matter – [and after they] leave the studio, Dre been done had like four other known artists get on [that same track]. And whoever fit it right for him is the one that ends up making the end product. So you might be waiting for it to come out [like], “Aw, I was on that song!” And you don’t hear yourself on the song.

DX: Did you get any personal feedback from Dre though…about those recent tracks you submitted?

Bud’da: It wasn’t even submission, I went there and actually played a couple joints for him and he picked like three. He picked three personally. And it just didn’t...nothin’ happened after that. So he may have recorded something to [them] at some other time, or not. He mighta just kept it pushin’. But, he picked three while I was there.

DX: Do those tracks sound anything like the Westside Connection era Bud’da stuff?

Bud’da: Uh … it could have a certain feel [like that stuff]. They were hard, I could tell you that. But, I can’t necessarily say that they felt like the Westside Connection thing. Although I’ve transitioned from that stage, I still instinctively keep the glue of a certain feeling together. So, it’ll have a certain feeling, but it won’t sound like 1996.          

DX: A lot of people don’t know – and [so] I wanna note here – [that] beyond the gangsta shit one of your most impressive credits from that era didn’t appear on a Ice Cube or Dr. Dre project. The lucky beneficiary of that synth-less symphony were the Golden State Warriors, [Xzibit, Ras Kass and Saafir], for “3 Card Molly” [from Xzibit’s 40 Dayz & 40 Nightz]. How did you end up crafting that classic for Mr. X-to-the-Z?

Bud’da: That was one of the first things I started getting at once I made the transition from Aftermath. X and a couple of other projects, I was just taking stuff on. I love that record just in general ‘cause it kinda went back to [my] roots of sampling and freakin’ drums a certain way, and just having a good mixture of Hip Hop with live instrumentation. I think “Deeper” is another song … where I chopped up some strings. And although I did do stuff like that at Aftermath, there’s a lot of stuff that’s still in the vault that no one will ever hear [that sounds like those Xzibit tracks]. So I was glad to be able to exercise that so that I didn’t get pigeonholed like I couldn’t do my thing in regards to [music outside of Gangsta Rap].   

DX: Do you still got a line to X? ‘Cause he needs those types of tracks back in his life.

Bud’da: I do not have a line to X. I haven’t talked to X in a minute. Whenever I do see X though, it’s always love, and we end up exchanging numbers. But, since I transitioned into other things, I [haven’t] necessarily been chasing down certain projects or people or nothin’.   

DX: Besides the Xzibit stuff, you went on to do some more stuff for [Ice] Cube: “Ghetto Vet,” “Extradition,” etc. from War & Peace Vol. 1 in ’98. But aside from “Chrome & Paint” in ’06, you haven’t worked much with Cube over the last decade. He does remember you did “Bow Down,” right? [Laughs]

Bud’da: [Laughs] Well, over the last decade, yeah, we worked together but I missed the second Westside Connection album, [Terrorist Threats], and I missed [Raw Footage]. [After] the second Westside Connection was [Laugh Now, Cry Later], with “Chrome & Paint” and “Smoke Some Weed.” So I made that one. … Cube is one cat that I can definitely say knows what he wants. I had met with him in regards to – um … I’m trying to think if it was [for] that I Am the West album. I met with him during that time, when he was doing promotion for something else, and he played me some joints to let me know the direction. And I think what happened with that is I had committed shortly after meeting with him to doing a film [score]. And in doing films, they really require you to really…it just takes a lot. So, as much as I woulda loved to do some beats for [I Am the West], I couldn’t give him my full attention like I woulda wanted to [so] if he didn’t like this bunch [of beats], submit some more, if he ain’t like this bunch, submit some more. I have always had an open line with Cube, but in the latter years I just started transitioning into different things...    

DX: And what are those different things? Why does Bud’da’s discography on seem to sort of trail off as the ‘90s end?

Bud’da: ‘Cause I transitioned more into film and television. [But before that], after doing certain Hip Hop and gangsta stuff, I ended up signing with this label, Blackground, and did a production deal and a label deal with them. So for about three years I was working with their artists, and doing my own artists as well…I was out of the country working with Aaliyah for a month and some change on [“Never No More” and two other songs for her final album]. And then, working with Tank. So, that was a little stint too, to where I wasn’t working with Cube and them. That’s around the time when Tank’s [Force of Nature] came out, which I had about seven joints on there…And then after that, I started doing [the music for] a cartoon called “The Proud Family” that was on Disney channel. Then that started my whole transition into wanting to do more film and television. So that’s why it seems like it trickles off on [Discogs] but on IMDB it kinda picks back up.        

DX: Are you working with Cube on any of his [film and television projects]?

Bud’da: I definitely have wanted to work with him on a couple things. It’s funny, a neighbor of mine had did the [Are We Done Yet?]. He was a composer...And I’m like, “Man, Cube coulda called me for that!”         

DX: [Laughs] I did “Bow Down!”
Bud’da: [Laughs] You know! But he’s such a businessman … being that side, the music scoring side, is relatively new to me, he went with someone who is more seasoned in that game. I think he kinda keeps the worlds separated. ‘Cause it’s not like you see [WC]  in a movie that he’s doing. But yet, Dub will be on tour with him in Germany. So, it’s like he keeps his worlds separated and he puts on certain hats when he does. But it’s definitely been in my brain a couple times, and I hit him up a couple times. I even gave him my composer reel. He’s like, “Man, this is dope! I ain’t know you was doing this.” But I think he kinda compartmentalizes everything that he does, just so he could get the maximum benefits from everything that he’s doing.

DX: Well, we’re coming to the close of this interview, but I just have to ask before I let you go…where’s all the dirt? [Laughs] You’re still cool with everybody. When I talked to Sam there was plenty of dirt. 

Bud’da: [Laughs] If you meet anybody that knows me, man, I keep it one hundred, and I pretty much…I ain’t burned no bridge with nobody. And, for the most part I just do my thing. I’m not in it for the hype. I love music – have, and always will. So I never really got into too many situations thank God that just got too crazy to where it just started mess. I’ve earned the reputation in the music industry as someone who not only does good business, but I’ll deliver in regards to what it is that we’re trying to accomplish. And go above and beyond, and work my hardest to make it happen. So, I don’t have no dirt to sling.

Source -

Friday, 6 May 2011

Dr Dre feat Eminem Die Hard preview

Higher quality version below:

Thursday, 5 May 2011

D.V. Alias Khryst talks contribution to Detox

DX: Speaking of great platforms, I understand you got it in recently with the legendary Dr. Dre? Are we gonna hear D.V. on that Detox?  

D.V. Alias Khryst: Alonzo [Jackson] had came into town - who is an individual who works very closely with Dre. He had came to Quad [Recording Studios]. And, a friend of mine by the name of Chris Styles, from Dangerous LLC, had then introduced me to Alonzo [while] laying a chorus for the Detox project. In the studio with me was Rhymefest and Smoothe Da Hustler. … Smoothe is a profound writer. He wrote for Chuck D. and Public Enemy and Foxy Brown and a few other people. So I was like, “You know what? Rhymefest, [you and Smoothe] should write the verse for Dre and I’ll sing the chorus.” The [song] was called “Things Change.” And the beat was incredible! I can definitely say the chorus is incredible. If Dre doesn’t use this chorus … I don’t know, man. … Alonzo was impressed by the performance. So, we’ll see what happens. I did that for Detox like … I wanna say 2009. Like, when [Dre] first was sending Alonzo to New York to get people to start [contributing to Detox]. 

Sunday, 1 May 2011

Next Dr Dre track feat...

Dr Dre's next track release "Die Hard" featuring Eminem is to premiere on the next episode of Fight Camp 360.

Episode 4. Friday, May 6 10 p.m. ET/PT

According to  Elliot Wilson, who used to run the XXL Mag and now RapRadar, stated that this is not an official single for Detox.

This is now confirmed today by the official @drdre tweet:
"Die Hard" ft. @ is not the next single 

Skip to 11mins38secs