2001 | ||||
---|---|---|---|---|
![]() | ||||
Studio album by | ||||
Released | November 16, 1999 [1] | |||
Recorded | 1998–1999 [2] [3] | |||
Studio |
| |||
Genre | ||||
Length | 68:01 | |||
Label | ||||
Producer |
| |||
Dr. Dre chronology | ||||
| ||||
Singles from 2001 | ||||
|
2001 (also referred to as The Chronic 2001 or The Chronic II) is the second studio album by American record producer and rapper Dr. Dre. It was released on November 16, 1999, by Aftermath Entertainment and Interscope Records as the follow-up to his 1992 debut album, The Chronic . The album was produced mainly by Dr. Dre and Mel-Man, as well as Lord Finesse, and features several guest contributions from Hittman, Snoop Dogg, Kurupt, Xzibit, Eminem, and Nate Dogg.
2001 exhibits an expansion on Dre's debut G-funk sound and contains gangsta rap themes such as violence, crime, promiscuity, sex, drug use, and street gangs. The album debuted at number 2 on the U.S. Billboard 200 chart, selling 516,000 copies in its first week. It produced three singles that attained chart success and has been certified 6× Platinum by the Recording Industry Association of America (RIAA); as of August 2015 the album has sold 7,800,000 copies in the United States. 2001 received generally positive reviews from critics, many of whom praised the production and music, although some found the lyrics morally objectionable.
In 1995, the original successor to The Chronic was to be titled The Chronic II: A New World Odor (Poppa's Got A Brand New Funk). However, this version of the album was scrapped after Dre departed from Death Row Records.
After the creation of Aftermath Entertainment, the album was initially titled Chronic 2000 until Priority Records, who had become Death Row Records' new distributor decided, in conjunction with Death Row's founder and then-CEO Suge Knight, to call their newest compilation album Chronic 2000 . Death Row owned the trademark for The Chronic as did Interscope Records who previously distributed the Death Row catalogue. Knight became aware of the title of Dr. Dre's album when notification for the trademark use was required by his label, Aftermath Records. When Aftermath heard that Priority and Death Row planned to use the same name for their album, Dre sought legal action. According to his lawyer Howard King, "both sides agreed that we'd allow the other to use the title, and then let the public decide which one they preferred". [6]
After the release of Death Row's Chronic 2000, Interscope announced that Dr. Dre's album would now be named Chronic 2001: No Seeds through teaser posters displaying a "Summer '99" release date. Amongst the roster of guests listed on the posters were rappers Sticky Fingaz and RBX, who neither were featured on the finished album. Years later, in an interview with Sticky Fingaz, he stated the song featuring himself and RBX was the Eminem song "Remember Me?", which, at Eminem's request, was put aside for his then-upcoming album, The Marshall Mathers LP . Shortly after, Interscope began the main promotional campaign displaying a new release date, "October 26th 1999", and a new logo that drops the subtitle No Seeds. At this point, Priority decided not to honor the original agreement and threatened to sue Dr. Dre if the Chronic trademark were to be used in any capacity. Dre eventually decided to release the album as simply 2001 in November. [6] [7]
In an interview with The New York Times, Dr. Dre spoke about his motivation to record the album and how he felt that he had to prove himself to fans and media again after doubts arose over his production and rapping ability. These doubts came from the fact that he had not released a solo studio album since 1992's The Chronic . He stated:
For the last couple of years, there's been a lot of talk out on the streets about whether or not I can still hold my own, whether or not I'm still good at producing. That was the ultimate motivation for me. Magazines, word of mouth, and rap tabloids were saying I didn't have it anymore. What more do I need to do? How many platinum records have I made? O.K., here's the album – now what do you have to say? [8]
The album was first intended to be released like a mixtape; with tracks linked through interludes and turntable effects, but it was changed to be set up like a film. Dr. Dre stated, "Everything you hear is planned. It's a movie, with different varieties of situations. So you've got build-ups, touching moments, aggressive moments. You've even got a 'Pause for Porno.' It's got everything that a movie needs." [8] Speaking of how he did not record the album for club or radio play and that he planned the album simply for entertainment with comical aspects throughout, he commented "I'm not trying to send out any messages or anything with this record. I just basically do hard-core hip-hop and try to add a touch of dark comedy here and there. A lot of times the media just takes this and tries to make it into something else when it's all entertainment first. You shouldn't take it too seriously." [8]
Some of the lyrics on the album used by Dre have been noted to be penned by several ghostwriters including Eminem, Jay-Z, and Hittman. Royce da 5'9" was rumored to be a ghostwriter on the album [9] and though he was noted for writing the last track, "The Message", [10] he is not credited by his legal name or alias in the liner notes. A track he recorded on the album, originally named "The Way I Be Pimpin'", was later retouched as "Xxplosive". "The Way I Be Pimpin'" has Dr. Dre rapping penned verses by Royce and features Royce's vocals on the chorus. Royce wrote several tracks such as "The Throne Is Mine" and "Stay in Your Place" which were later cut from the album. The tracks have been leaked later on several mixtapes, including Pretox. [11]
The album's production expanded on that of The Chronic, with new, sparse beats and reduced use of samples which were prominent on his debut album. [12] [13] Co-producer Scott Storch talked of how Dr. Dre used his collaborators during recording sessions: "At the time, I saw Dr. Dre desperately needed something. He needed a fuel injection, and Dre utilized me as the nitrous oxide. He threw me into the mix, and I sort of tapped on a new flavor with my whole piano sound and the strings and orchestration. So I'd be on the keyboards, and Mike [Elizondo] was on the bass guitar, and Dre was on the drum machine." [14] Josh Tyrangiel of Time has described the recording process which Dr. Dre employs, stating "Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound." [15]
The album primarily featured co-production between Dr. Dre and Mel-Man and was generally well-received by critics. AllMusic writer Stephen Thomas Erlewine noted that Dr. Dre had expanded on the G-funk beats on his previous album, The Chronic, and stated, "He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations" and went on to say, "Sonically, this is first-rate, straight-up gangsta." [12]
Entertainment Weekly 's Tom Sinclair depicted the album as "Chilly keyboard motifs gliding across gut-punching bass lines, strings and synths swooping in and out of the mix, naggingly familiar guitar licks providing visceral punctuation". [13] NME described the production as "patented tectonic funk beats and mournful atmospherics". [16] PopMatters praised the production, stating that "the hip-hop rhythms are catchy, sometimes in your face, sometimes subtle, but always a fine backdrop for the power of Dre's voice." [17] Jon Pareles of The New York Times mentioned that the beats were "lean and immaculate, each one a pithy combination of beat, rap, melody and strategic silences". [18]
The album marked the beginning of Dr. Dre's collaboration with keyboardist Scott Storch, who had previously worked with The Roots and is credited as a co-writer on several of 2001's tracks, including the hit single "Still D.R.E.". Storch would later go on to become a successful producer in his own right and has been credited as a co-producer with Dr. Dre on some of his productions since. [19]
The lyrics on the album received criticism and created some controversy. They include many themes associated with gangsta rap, such as violence, promiscuity, street gangs, drive-by shootings, crime, and drug usage. Stephen Thomas Erlewine said that the only subject matter on the album was "violence, drugs, pussy, bitches, dope, guns, and gangsters" and that these themes have become repetitive and unchanged in the last ten years. [12] Critics noted that Dr. Dre had differed from his effort to "clean up his act" which he tried to establish with his 1996 single, "Been There, Done That" from Dr. Dre Presents...The Aftermath . [8] [13]
NME mentioned that the album was full of "pig-headed, punk-dicked, 'bitch'-dissing along with requisite dollops of ho-slapping violence, marijuana-addled bravado and penis-sucking wish fulfillment." [16] Massey noted that the lyrics were overly explicit but praised his delivery and flow: "His rhymes are quick, his delivery laid back yet full of punch." [17] The rhymes involve Dr. Dre's return to the forefront of hip hop, which is conveyed in the singles "Still D.R.E." and "Forgot About Dre". Many critics cited the last track, "The Message"; a song dedicated to Dr. Dre's deceased brother, as what the album could have been without the excessively explicit lyrics, [16] [18] with Massey calling it "downright beautiful" and "a classic of modern rap". [17]
Three singles were released from the album: "Still D.R.E.", "Forgot About Dre" and "The Next Episode". Other tracks "Fuck You", "Let's Get High", "What's the Difference" and "Xxplosive" were not officially released as singles but received some radio airplay which resulted in them charting in the Hot R&B/Hip-Hop Singles & Tracks. [20] "Still D.R.E." was released as the lead single in October 1999. It peaked at number 93 on the Billboard Hot 100, number 32 on the Hot R&B/Hip-Hop Singles & Tracks and reached number 11 on the Hot Rap Singles. [20] It reached number six on the UK single charts in March 2000. [21] The song was nominated at the 2000 Grammy Awards for Best Rap Performance by a Duo or Group, but lost to The Roots and Erykah Badu's "You Got Me". [22]
"Forgot About Dre" was released as the second single in 2000 and like the previous single, it was a hit on multiple charts. It reached number 25 on the Billboard Hot 100, number 14 on the Hot R&B/Hip-Hop Singles & Tracks and number 3 on the Rhythmic Top 40. [20] It reached number seven on the UK single charts in June 2000. [21] The accompanying music video won the MTV Video Music Award for Best Rap Video in 2000. The song won Dr. Dre and Eminem Best Rap Performance by a Duo or Group at the 2001 Grammy Awards. [22]
"The Next Episode" was released as the third and final single in 2000. It peaked at number 23 on the Billboard Hot 100, number 11 on the Hot R&B/Hip-Hop Singles & Tracks and number 2 on the Rhythmic Top 40. [20] It peaked at number three on UK single charts in February 2001. [21] It was nominated at the 2001 Grammy Awards for Best Rap Performance by a Duo or Group, but the award went to another single from the same album to Dr. Dre and Eminem for "Forgot About Dre". [22]
Review scores | |
---|---|
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Encyclopedia of Popular Music | ![]() ![]() ![]() ![]() ![]() |
Entertainment Weekly | A− [13] |
Los Angeles Times | ![]() ![]() ![]() ![]() |
NME | 6/10 [16] |
Q | ![]() ![]() ![]() ![]() ![]() |
The Rolling Stone Album Guide | ![]() ![]() ![]() ![]() ![]() |
The Source | ![]() ![]() ![]() ![]() ![]() |
Spin | 7/10 [28] |
XXL | 5/5 [29] |
2001 received generally positive reviews from critics. [30] Stephen Thomas Erlewine of AllMusic stated, "2001 isn't as consistent or striking as Slim Shady , but the music is always brimming with character." [12] Entertainment Weekly's Tom Sinclair praised the production, calling it "uncharacteristically sparse sound" from Dr. Dre and that it was as "addictive as it was back when over 3 million record buyers got hooked on The Chronic and Snoop Dogg's Dre-produced Doggystyle " and went on to commend Dr. Dre, stating, "If any rap producer deserves the title "composer", it's he." [13] NME mentioned that Dr. Dre didn't expand the genre, but it was "powerful enough in parts, but not clever enough to give Will Smith the fear". [16] PopMatters writer Chris Massey declared that "Musically, 2001 is about as close to brilliant as anyone gangsta rap album might possibly get." [17] Christopher John Farley of Time stated that "The beats are fresh and involving, and Dre's collaborations with Eminem and Snoop Dogg have ferocity and wit." [31] Although he was ambivalent towards the album's subject matter and guest rappers, Greg Tate of Spin was pleasantly surprised by "the most memorable MC'ing on this album com[ing] from Dre himself, Eminem notwithstanding" and stated, "Whatever one's opinion of the sexual politics and gun lust of Dre's canon, his ongoing commitment to formal excellence and sonic innovation in this art form may one day earn him a place next to George Clinton, if not Stevie Wonder, Duke Ellington, or Miles Davis." [28]
In a negative review, Robert Christgau from The Village Voice found Dr. Dre's lyrics distastefully misogynistic, writing "It's a New Millennium, but he's Still S.L.I.M.E. ... For an hour, with time out for some memorable Eminem tracks, Dre degrades women every way he can think of, all of which involve his dick." [32] Erlewine spoke of how the number of guest rappers affected the album and questioned his reasons for collaborating with "pedestrian rappers". He claimed that "the album suffers considerably as a result [of these collaborations]". Erlewine criticized the lyrics, which he said were repetitive and full of "gangsta clichés". [12] Sinclair mentioned similar views of the lyrics, calling them "filthy", but noted "none of [this] should diminish Dre's achievement". [13] NME spoke of how the lyrics were too explicit, stating, "As the graphic grooves stretch out, littered with gunfire, bombings and 'copters over Compton, and the bitch-beating baton is handed from Knock-Turnal to Kurupt, 2001 reaches gangsta-rap parody-level with too many tracks coming off like porno-Wu outtakes." [16] Massey referred to the lyrics as a "caricature of an ethos [rather] than a reflection of any true prevailing beliefs." [17]
In 2006, Hip Hop Connection ranked 2001 number 10 on its list of the 100 Best Albums (1995–2005) in hip hop. [33] In a 2007 issue, XXL gave the album a retrospective rating of "XXL", their maximum score. [29] In Rolling Stone 's The Immortals – The Greatest Artists of All Time, where Dr. Dre was listed at number 54, Kanye West talked of how the track "Xxplosive" inspired him: "'Xxplosive', off 2001, that's [where] I got my entire sound from—if you listen to the track, it's got a soul beat, but it's done with those heavy Dre drums. Listen to 'This Can't Be Life,' a track I did for Jay-Z's Dynasty album, and then listen to 'Xxplosive'. It's a direct bite." [34]
During the hype of the nu metal era, the band Korn kept Dr. Dre from hitting number 1 in America's Billboard 200 with their album Issues, which sold 575,000 copies in its first week. [35] As a result, the album debuted at number 2 on the chart, with first-week sales of 516,000 copies. [36] It also entered at number one on Billboard 's Top R&B/Hip-Hop Albums chart. [37] The album was successful in Canada, where it reached number 2 on the charts. [38] The record was mildly successful in Europe, reaching number 4 in the United Kingdom, number 7 in Ireland, number 15 in France, number 17 in the Netherlands and number 26 in Norway. It peaked at number 11 on the New Zealand album chart. [39] Closing out the year 2000, the album was number 5 on the Billboard Top Albums and number one on the Billboard Top R&B/Hip-Hop Albums chart. [40] [41] It re-entered the charts in 2003, peaking on the UK Albums Top 75 at number 61 and on the Ireland Albums Top 75 at number 30. [42] The album was certified six times Platinum by the Recording Industry Association of America (RIAA) on November 21, 2000. [43] It is Dr. Dre's best selling album, as his previous album, The Chronic, was certified three times platinum. [44] As of August 2015, the album has sold 7,800,000 copies in the United States. [45]
Credits adapted from liner notes. [46] All songs produced by Dr. Dre and Mel-Man, except for "The Message" which is produced by Lord Finesse.
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Lolo (Intro)" (featuring Xzibit and Tray Deee) | 0:41 | |
2. | "The Watcher" | 3:26 | |
3. | "Fuck You" (featuring Devin the Dude and Snoop Dogg) |
| 3:25 |
4. | "Still D.R.E." (featuring Snoop Dogg) | 4:30 | |
5. | "Big Ego's" (featuring Hittman) |
| 3:58 |
6. | "Xxplosive" (featuring Hittman, Kurupt, Nate Dogg, and Six-Two) |
| 3:35 |
7. | "What's the Difference" (featuring Eminem and Xzibit) |
| 4:04 |
8. | "Bar One (Skit)" (featuring Traci Nelson, Ms. Roq, and Eddie Griffin) | 0:50 | |
9. | "Light Speed" (featuring Hittman) |
| 2:41 |
10. | "Forgot About Dre" (featuring Eminem) |
| 3:42 |
11. | "The Next Episode" (featuring Snoop Dogg) |
| 2:41 |
12. | "Let's Get High" (featuring Hittman, Kurupt, and Ms. Roq) |
| 2:27 |
13. | "Bitch Niggaz" (featuring Snoop Dogg, Hittman, and Six-Two) |
| 4:13 |
14. | "The Car Bomb (Skit)" (featuring Mel-Man and Charis Henry) | 1:00 | |
15. | "Murder Ink" (featuring Hittman and Ms. Roq) |
| 2:28 |
16. | "Ed-Ucation" (featuring Eddie Griffin) | 1:32 | |
17. | "Some L.A. Niggaz" (featuring Hittman, Defari, Xzibit, Knoc-turn'al, Time Bomb, King T, MC Ren, and Kokane) |
| 4:25 |
18. | "Pause 4 Porno (Skit)" (featuring Jake Steed) | 1:32 | |
19. | "Housewife" (featuring Kurupt and Hittman) |
| 4:02 |
20. | "Ackrite" (featuring Hittman) |
| 3:39 |
21. | "Bang Bang" (featuring Knoc-turn'al and Hittman) |
| 3:42 |
22. | "The Message/Outro" (featuring Mary J. Blige and Rell) | 5:30 | |
Total length: | 68:01 |
Notes
Sample credits [47]
Weekly charts
| Year-end charts
Decade-end charts
|
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA) [104] | 4× Platinum | 280,000‡ |
Belgium (BEA) [105] | Gold | 25,000* |
Canada (Music Canada) [106] | 5× Platinum | 500,000^ |
Denmark (IFPI Danmark) [107] | 2× Platinum | 40,000‡ |
France (SNEP) [108] | 2× Gold | 200,000* |
Germany (BVMI) [109] | Gold | 150,000^ |
Italy (FIMI) [110] sales since 2009 | Platinum | 50,000‡ |
Netherlands (NVPI) [111] | Gold | 50,000^ |
New Zealand (RMNZ) [112] | 5× Platinum | 75,000‡ |
Switzerland (IFPI Switzerland) [113] | Gold | 25,000^ |
United Kingdom (BPI) [114] | 5× Platinum | 1,500,000‡ |
United States (RIAA) [115] | 6× Platinum | 6,000,000^ / 7,800,000 [45] |
Summaries | ||
Europe (IFPI) [116] | 2× Platinum | 2,000,000* |
* Sales figures based on certification alone. |
Reviews were almost uniformly positive.
The Marshall Mathers LP is the third studio album by American rapper Eminem. It was released on May 23, 2000, by Aftermath Entertainment and Interscope Records. Production on the album was handled by Dr. Dre, Mel-Man, F.B.T., Eminem, and The 45 King. Recorded over a two-month period in several studios around Detroit, the album features introspective lyricism reflecting Eminem's thoughts on his rise to fame, criticism of his music, and estrangement from his family. As a transgressive work, it incorporates hardcore hip hop, satirical hip hop, and horrorcore. The album features guest appearances from Dido, RBX, Sticky Fingaz, Bizarre, Dr. Dre, Snoop Dogg, Xzibit, Nate Dogg, and D12.
The Slim Shady LP is the second studio album by American rapper Eminem. It was released through Aftermath Entertainment and Interscope Records on February 23, 1999. Recorded in Ferndale, Michigan following Eminem's recruitment by Dr. Dre and Jimmy Iovine, the album features production from Eminem himself, alongside Dr. Dre and the Bass Brothers. Featuring West Coast hip hop, G-funk, and horrorcore musical styles, the majority of The Slim Shady LP's lyrical content was written from the perspective of Eminem's alter ego, named Slim Shady, whom he introduced on his 1997's extended play of the same name. The Slim Shady LP contains cartoonish depictions of violence and heavy use of profanity, which Eminem described as horror film-esque, in that it is solely for entertainment value. Although many of the lyrics on the album are considered to be satirical, Eminem also depicts his frustrations of living in poverty.
The Chronic is the debut studio album by American record producer and rapper Dr. Dre. It was released on December 15, 1992, by his record label Death Row Records along with Interscope Records and distributed by Priority Records. The recording sessions took place at Death Row Studios in Los Angeles and at Bernie Grundman Mastering in Hollywood.
Doggystyle is the debut studio album by American rapper Snoop Doggy Dogg. It was released on November 23, 1993, by Death Row and Interscope Records. The album was recorded and produced following Snoop Doggy Dogg's appearances on Dr. Dre's debut solo album The Chronic (1992), to which Snoop contributed significantly. The West Coast style in hip-hop that he developed from Dre's first album continued on Doggystyle. Critics have praised Snoop Dogg for the lyrical "realism" that he delivers on the album and for his distinctive vocal flow.
Cheers is the debut studio album by American rapper Obie Trice. It was released on September 23, 2003 by Shady Records and Interscope Records. Eminem served as the executive producer for this album. This album serves as his first release from Shady Records since being signed in 2000. The album was certified Gold by the RIAA.
Devil's Night is the debut studio album by American hip-hop supergroup D12. It was released on June 19, 2001, by Shady Records and Interscope Records. It was also the first album to be released on Shady Records, although the label had been active since 1999. Production was primarily handled by Eminem and Dr. Dre, with contributions by Mr. Porter, DJ Head, and Jeff Bass. The album features guest appearances by Obie Trice, Truth Hurts, and Dina Rae.
The Massacre is the second studio album by American rapper 50 Cent, released on March 3, 2005, via Interscope Records, Eminem's Shady Records, 50 Cent's G-Unit Records, and Dr. Dre's Aftermath Entertainment. With production from Dr. Dre, Eminem, Scott Storch, Sha Money XL and others, the album features guest appearances from G-Unit affiliates Tony Yayo, Olivia, Eminem and Jamie Foxx.
The Documentary is the commercial debut studio album by American rapper the Game. It was released on January 18, 2005, by Aftermath Entertainment, G-Unit Records, and Interscope Records. The record serves as his major-label debut, preceded by his independently released debut Untold Story in 2004. In 2001, while the Game was in hospital recovering from a shooting, he decided to pursue a career in music. He released the mixtape, "Q.B. 2 Compton" under his then record label "Get Low Recordz" in 2002, which was later discovered by Dr. Dre and led to him signing the Game to his label, Aftermath Entertainment. The album includes production from high-profile producers such as Dr. Dre, Kanye West, Scott Storch and Timbaland, among others, and guest appearances from 50 Cent, Eminem, Nate Dogg and Faith Evans, among others. This would be the Game's only album on Aftermath and G-Unit Records, as he left the label later in 2006 after a feud began between him and fellow G-Unit label-mate 50 Cent.
Tha Last Meal is the fifth studio album by American rapper Snoop Dogg. It was released through No Limit, Doggy Style, and Priority Records on December 19, 2000. It was his third and final studio album released on No Limit, marking this record his first album on his newly founded label, called Doggy Style, alongside Priority in the United States. The album title makes reference to being the last record partially owned by his former label, Death Row Records. The album was produced by Dr. Dre, Timbaland, and Soopafly, among others. The album includes four official singles: "Snoop Dogg ", "Lay Low", "Loosen' Control", and "Wrong Idea". The album was generally met with positive reception.
Tha Doggfather is the second studio album by American rapper Snoop Dogg. It was released on November 12, 1996, by Death Row and Interscope Records. After the success of his debut album Doggystyle (1993), Snoop was arrested and charged with murder and in 1995, spent time preparing for the case that went to trial. On February 20, 1996, he was cleared of all charges and began working on his second album without Dr. Dre providing work as a record producer. This was Snoop's final album on Death Row until 2022, when he acquired the rights to the Death Row trademarks from MNRK Music Group, releasing BODR the same year. This would also be his last album under the moniker Snoop Doggy Dogg before it was shortened to Snoop Dogg. Recording sessions took place from February 1996 to October 1996, with Suge Knight as the executive producer on the album, alongside the additional production from several record producers such as DJ Pooh, Daz Dillinger, Soopafly and L.T. Hutton; as well as guest appearances from Charlie Wilson, Kurupt, Tray Dee and Warren G, among others.
No Limit Top Dogg is the fourth studio album by American rapper Snoop Dogg. It was released May 11, 1999, by No Limit and Priority Records. Following the mixed reception of his previous album, Snoop began to work again with Dr. Dre and returned to the west coast sound of his earlier career while on Death Row Records. The album was generally met with positive reception with many critics citing it as a return to form and his best album since Doggystyle (1993). Many praised the production work for the album with the tracks made by Dr. Dre being highlighted as well as Snoop's delivery while criticism was mainly aimed at the length of the album, the No Limit features, and the lack of new lyrical content. The Source placed the album on their list of the "Top 10 Best Albums of the Year" for 1999.
Man vs. Machine is the fourth studio album by American rapper Xzibit. It was released on October 1, 2002. Special guests include Dr. Dre, Snoop Dogg, Eminem, M.O.P, and Nate Dogg. Producers on the album include Rick Rock, Bink, Rockwilder, Erick Sermon, DJ Premier, and Dr. Dre. The album debuted at number three on the Billboard 200 with over 156,000 copies sold in its first week. Since then album was certified gold by the Recording Industry Association of America (RIAA). It was the last album released by Loud Records before it went defunct the same year.
Tha Blue Carpet Treatment is the eighth studio album by West Coast hip hop recording artist Snoop Dogg. It was released on November 21, 2006, by Doggystyle Records and Geffen Records. Recording sessions took place from November 2005 to September 2006 in several recording studios and artists such as Dr. Dre, The Neptunes, DJ Battlecat, DJ Pooh, Timbaland, Danja, Mark Batson, Terrace Martin, and Mr. Porter appear on the album, among others.
"Forgot About Dre" is a song by American rappers Dr. Dre and Eminem. Written by Eminem, the collaboration was released as the second single from Dr. Dre's album 2001 (1999).
The discography of American record producer, sound engineer, and rapper Dr. Dre consists of three studio albums, forty-two singles,, two compilation albums, one soundtrack album, and twenty-one music videos.
"X" is the first single from Xzibit's third studio album, Restless, released through Sony Music Entertainment, Epic Records, SRC Records, Loud Records, and Xzibit's Open Bar Entertainment. Fellow West Coast rapper Snoop Dogg can be heard talking in the outro. It was produced by Dr. Dre with co-production from Scott Storch and Melvin "Mel-Man" Bradford. The song samples the line "Not these niggas again" from Eminem's "Bitch Please II" which is featured on Eminem's album The Marshall Mathers LP.
The Marshall Mathers LP 2 is the eighth studio album by American rapper Eminem. It was released on November 5, 2013, by Shady Records, Aftermath Entertainment, and Interscope Records. It is his last album to carry the logo of the independent label WEB Entertainment and his first since joining Aftermath not to feature production by Dr. Dre, who serves as an executive producer alongside Rick Rubin. The album is a sequel to Eminem's third studio album, The Marshall Mathers LP, and follows the trend set by his previous album, Recovery, by featuring popstars such as Rihanna and Nate Ruess, and using outside producers like S1, Alex da Kid, and Rick Rubin.
Compton is the third studio album by American rapper and producer Dr. Dre. It was released on August 7, 2015, on Apple Music and the iTunes Store, with the physical editions released on August 21, 2015. It is the follow-up to his second album, 2001 (1999), after the cancellation of the premeditated album Detox.
Revival is the ninth studio album by American rapper Eminem, released on December 15, 2017, through Aftermath Entertainment, Shady Records and Interscope Records. Like his previous album, The Marshall Mathers LP 2, it is executive produced by Dr. Dre and Rick Rubin, and features many pop artists, such as Beyoncé, Ed Sheeran, Alicia Keys, X Ambassadors, Skylar Grey, Kehlani, and Pink, along with fellow American rapper Phresher. The album's production was handled by several returning producers from his previous two albums, including Rick Rubin, Mr. Porter, Emile, Just Blaze, Alex da Kid, Fredwreck, and DJ Khalil.
Music to Be Murdered By is the eleventh studio album by American rapper Eminem. It was released on January 17, 2020, through Shady Records, Aftermath Entertainment, and Interscope Records. Just like his previous studio album, Kamikaze, it is executive produced by Eminem and Dr. Dre and was released with no prior announcement. The album was produced by many producers, with Dr. Dre returning to produce songs for Eminem for the first time since 2010's Recovery. Guest appearances include Skylar Grey, Young M.A, Royce da 5'9", White Gold, Ed Sheeran, the late Juice Wrld, Black Thought, Q-Tip, Denaun, Anderson .Paak, Don Toliver, Kxng Crooked, and Joell Ortiz.