“I was like, ‘Hey, this isn’t me saying this. All good things battle rock album free download full#I was also maybe a little nervous at times because they had me saying the N-word in a whole room full of brothers staring at me,” Sims laughs. “They never wrote down what they wanted me to say, they’d just tell me what to say,” he recalls. He also found himself filling the role of “corny white guy” and racist cop on some of the album’s skits. “How would he know that?”Īnother addition to the studio at the time was Mike “Crazy Neck” Sims, a jazz guitarist and bassist who earned his nickname from Dre after moving his head to the groove of the tracks he was recording. “He didn’t know he was turning down some icons in the hip-hop industry at the time,” Wolfe says. “Dre and I looked at each other, like, ‘Why?’ I guess his wife said something … and he didn’t let us use it. “Herbie Hancock called us in the studio and said we couldn’t use it,” Yella says. “But when Herbie heard it, he was like, ‘Oh, hell no.'” “When we first did, the music underneath it was ‘Watermelon Man’ by Herbie Hancock, and it was dope as fuck, it was bananas,” Wolfe recalls. Wolfe would later co-write several tracks on The Chronic. However, at the time of 100 Miles, he found himself refiguring a legendary musician who was hesitant to have his music anchoring a song about blowjobs. It was a turning point for Dre.Īfter a tour with Michel’le, bassist Colin Wolfe became friends with N.W.A, and Dre began inviting him to play bass and keyboards as well as help with engineering. As the music industry began heavily policing the use of samples in rap, Dre and Yella decided to bring in musicians to play the sounds they had in their heads and to replicate and tweak some of the samples they’d otherwise use. Where tracks like “Fuck tha Police” and “Gangsta Gangsta” contained several layers of gritty, tweaked samples, the music on EP standouts like “Real Niggaz” and “Just Don’t Bite It” sounded deeper, clearer and jazzier. The EP contained four new tunes with a noticeably different sound than Straight Outta Compton. “We was just trying to put out something to let everybody know that we were still going,” Ren says. Before long, N.W.A regrouped to record their own statement of intent, the EP 100 Miles and Runnin’. Early in the next year, he worked on Livin’ Like Hustlers, the first recording by Above the Law, the pioneering L.A.-area crew that predicted the G-funk sound. Dre had been busy in 1989 producing the D.O.C.’s classic full-length debut, No One Can Do It Better and R&B singer Michel’le’s self-titled debut. Undeterred, the members of N.W.A moved on. with everybody else,” says the D.O.C., the Texas rapper and associate who wrote some of the group’s lyrics. Ice Cube, the MC behind some of the group’s most cutting lyrics, clashed with Eazy-E and manager Jerry Heller over payment and quit at the end of the 1989 tour. It would have to go into a ‘Part Two.'”įor all of the surprise success and notoriety the self-proclaimed “World’s Most Dangerous Group” achieved with 1988’s revolutionary Straight Outta Compton, from platinum plaques to withstanding FBI threats, that version of N.W.A wouldn’t make it through the decade. “But there was just so much going on with that album. “I think we got the story told pretty good in the movie, it’s pretty close,” Yella says.
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