One Song - Warren G's "Regulate" (feat. Nate Dogg) with Warren G

Episode Date: November 7, 2024

Regulators…MOUNT UP! Get ready for One Song history to be made. On this episode, Grammy-nominated rapper, producer, DJ, and masterful storyteller Warren G joins Diallo and LUXXURY to break down his 1994 G-funk classic hit, “Regulate.” Warren shares stories about learning to produce music while growing up in Long Beach, meticulously crafting beats and selecting the samples for his hit song, and taking West Coast hip-hop to a whole new level. By the end of this episode, you'll know things like: Did this artist invent G-funk? Is the story that Warren G and Nate Dogg tell in this song a true story? And is the Eastside Motel a real place? Learn more about your ad choices. Visit megaphone.fm/adchoices

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Free of charge. BetMGM operates pursuant to an operating agreement with Eye Gaming Ontario. Luxury. Today's song is from a G-Funk pioneer who took West Coast hip-hop to a whole new level. This song first appeared on the Above the Rim soundtrack, then as a single on this artist's triple platinum debut album. And it was a smash hit, reaching number one on the Billboard Hot Rap Songs Chart and number two on the Billboard Hot 100 in 1994. That's right, Tiala, with its smooth beats laid back flow and vivid storytelling about the streets of Long Beach, this anthem has influenced countless artists

30 years after it was released and we couldn't be more excited to celebrate it today. No, we can't. Seriously, it could not be more excited. By the end of this episode, you will learn things like did this artist invent G-Funk? Is the story that this song tells a true story? And by the end of this episode, you'll learn things like did this artist invent G-Funk?

Is the story that this song tells a true story? And is the East Side Motel a real place? It seems like kind of a fun place. Maybe? I don't know. But we'll find out if it exists. It's one song and that song is regulate by Warren G. Featuring Nate Dog.

I'm actor-writer, director, and sometimes DJ Diallo Riddle. And I'm producer, DJ, songwriter, and musicologist luxury, aka the guy who whispers at tarpaulation. So for the first time in one song history, we're going straight to the source and breaking down the song with the literal authority, the artist. He's right there.

whose name is on the song. He's sitting right here. He's right here in the studio with us. Our guest is a Grammy-nominated rapper, producer, DJ, and a masterful storyteller and a masterful freestyle rapper. He's collaborated with the likes of Tupac and Snoop Dogg, among many, many others, hailing all the way from Long Beach, California.

Give it up for today's guest, the legend Warren G. Give it up. What's up. How you doing? Coming. Oh, my God. What a honor to have you. you here. Thanks for coming.

It's blowing our minds that you're in the heartbeat studios with us. So, you know, we're just going to get right into it. And by the way, congrats on the 30th anniversary of Regulate, you know, and the album. Thank you. This is a momentous time. How do you feel? I feel good. Just, you know, I'm happy, you know, that I'm able to still be, you know, in the music business

because a lot of people come in and come out real fast. It'll kick you out. And yeah, and just to be here for 30 years and still be a household name and people still love you, it feels good. And it's crazy to have your voice here because your voice has it. You know, sometimes rappers, their voice changes over time. You know what I mean? It's Warren G. Oh, yeah. Well, listen, before we break down how your song was made, we want to get into the origin story.

Yeah. Your origin story, to be very specific. From a musician's perspective, what was it like growing up in Long Beach? It was cool. You know, it was a lot of, you know, a lot of gangs, a lot of sports, church. You know, it was a fun place, you know. And I was born there, born and raised there. So I was born into everything that was a part of the city.

So, I mean, but like I said, it was cool. What was the hip-hop scene in Long Beach like? You know, like we're talking about like. basically the late 80s, you know, and that's where you're growing up. What were you listening to? What was the local scene like? Run DMC, the fat boys, Slick Rick, Dougie Fresh, Grandmaster Flash, MellyMell, Sugar Hill gang, Jimmy Spicer. It was a bunch of groups, the world-class wrecking crew.

Absolutely. Absolutely. Easy. Yeah. Uncle Jam's Army. You know, the rotium swab meat. Can I ask you, what was it like having, because a lot of people may not know that you're, you know, not blood relation, but you are technically, you know, Dr. Dre is your stepbrother. Yeah.

So what was-brothers? Shit, we've been together all our life. Exactly. Exactly. He's brothers, basically. Yeah. Like, what was it like having a. a brother who was in world-class record crew at a time when they were like blowing up.

Like, what was that like? I mean, it was cool. I used to hear a lot of the music before it came out from tapes that he had. I was going to say, what was the format? It was a cassette tapes. It was a cassette tapes at the house. And it just felt good to know that somebody in the family was successful in the music business. And we all loved it, you know, and me being a young kid.

kid, I looked up, you know, I looked up to him. And, you know, when you have a big brother, Andre and Tyree, you look up to the guys that's older than you, because I had all the sisters, my sister Felicia and Tracy. And then I have little sisters up under me. She make him Mitzi. And how do you start making music? Because obviously with Dre and this happening, is there a moment where suddenly you're kind of brought in to sort of participate or see how it's made and you're something clicks like, oh, I can do this. Or they bring you. into it. Well, I mean, as far as the, how music was instilled in me was through my father. We used to listen to jazz all day. My mom would send me to his house on the weekends, and we would listen to jazz

and just all day. And my mother, she would listen to blues all day. So I had to listen to both sides and be, you know, listen to it all day. And I fell in love with it. And that's kind of like where my story side comes from, from my mother playing the blues. And then the smooth side comes from my father from with the jazz. And, you know, I was a big fan also of another hip hop emcee named Jimmy Spicer. And my style is kind of, and like I got kind of the same, not the same style, but I love That's so interesting.

The cadence that he had. That was really dope. Because I always felt like the, I always felt like Slick Rick had a big influence on just like the West Cust in general because at a turn, when all of a rapper kind of rap very strong like this. Like, you know, Slick was, you know, he had a totally different style. Once upon a time not long ago when people wore pajamas and live like slow, where laws were stern and justice stood. And people were behaving like. You know, like, yeah, some melodies in there. Smooth.

It was smooth. And I felt like you and Snoop, like I always, as an observer way off in Atlanta, Georgia, I always felt like the West Coast must have had heard Slick Rick in a different way. Yeah. Yeah. I mean, no, I mean, we, but you're bringing in Jimmy Spicer, which is a very interesting connection. Yeah. Yeah, it was, it was, we love Slick Rick still.

Yeah. Out here, out here in California. So, I mean, that was incredible. But Jimmy Spicer. Count Coolout. You know, he was really, really dope, from the girl. Oh, gee, he's fine.

You in for the piece I bring to the world. I took a tea from the tune, duke, duke a girl. Got my seat from the clouds. He also was a storyteller as well. You know, it kind of rubbed off on me a little bit. Not all the way, but just a little bit. And as far as I went on to answer the question, to continue with it from earlier,

earlier. That was how I was introduced to music and then living with Andre and Tyree and my dad and my stepmom, Verna, and my little sister Shemika and Dre used to be in there mixing on the turntables. So I asked him like, man, can you show me how to do that? I was a sports guy. I was football. I played straight football. So he showed me how to how to start mixing. And so the first like DJ vinyl mixing. Yeah, like the first performer. Yeah, the first, the first record that he showed me how to how to do some scratching and mixing with was I think the name was called Shihim. Remember, It's Time.

It's time. But that's what a lot of DJs used to mix when they battle in each other to see who was the oldest. You have two copies of the same record? Two copies of the same record. And he taught you to do that routine. Yeah, he showed me how to do it. That routine. It took me a minute to learn it, but I learned it.

And that was dope, you know, that he even showed me how to do that. Did you take it to the stage? Did he give you like an opening slide? No, not at all. Not at all. So I always, like I said, I had the music in me and I used to always be around a lot of guys that was rapping. And one of the guys that was really good at it was Snoop.

So it used to be snooping the twins. And just a host of us. It has you meet Snoot. Our relationship started in King Park and CIS College Intermediate School. It was right across the street from King Park. We know it from your rhymes. Yes, indeed. Yes, indeed.

So we used to be at the park because that was like our home, like our epicenter. That's where everybody met up at. That was after school. Yeah, this was after school. during the summertime because in the summer, they had free lunches and summer programs. Right. So we joined like the summer programs and they used to take us to Cal State, which is another place that's mentioned in this DJ. Yes. And we just used to have a lot of fun and activities to do, even though we was in a neighborhood that

was really gang heavy. That was our getaway right there. It was Kings Park. And even though all of the gangsters used to be there in the park too, we was born there. And are you like rapping freestyle, like Seifer style? Or like, is that what you're doing in the park sometimes? Well, me and Snoop all and Dirty Left, which is his older brother, Jerry. We all, and the twins, all of us, we all built our relationships being at King Park.

And like I said, the freelance programs and the, you know, United Teams, you know, that was providing jobs for us. But what we did, we had a, on our block, it was a guy named Steve. He used to drive in a white van. And he was scooping us up all the young kids, all in the neighborhood. He could have kidnapped us if he wanted to. Because that's how. I'm getting that white van.

You know what I mean? He's getting that white. It's windows, yeah. You know what I mean? But we were so deep, we'd all get in there at the same time. So that was the Voltron crew, another thing that I talked about. What? I was going to ask you about the Voltron crew.

So wait, the Voltron crew was just like some kids who liked that show of Voltron. Well, we liked Voltron, but we was pretty much like Fat Albert now in the bunch, you know, fat Albaugh. And the Junkyard gang. The Junkyard gang. That's what we was pretty much like that. But the Voltron crew, that was just our. That was the big thing at that time. So that was our name.

And Steve will pick us up to take us around the city. to sell candy, you know, so we, you know, we worked. I was where them kids came from. Yeah, we were. Yeah, we used to sell candy. Yeah. We used to sell candy. We'd go over by UCLA.

We'd go to Santa Ana. Everywhere, like just all, like, places where we know that they got money at the grocery stores and stuff like that. And we used to sell the candy. And after we would finish selling candy, we would get back to the van. and our main thing was once we made the little money that we made, we'd make like $25, $30 off selling a candy. Yeah.

That's a lot of money. It's a good money. You know, at a young age. So we would, our thing was he would take us to McDonald's afterwards, and all we wanted to get was a Big Mac value pack. That's when they called those, the Big Mac Value Packs. And we would be freestalling because everybody in the van I pretty much knew how to rap or freestyle.

So we would just be in the van, just rapping, battling, freestyleing, and having a good time flipping quarters and, you know, doing all that type of stuff right there. And that was one of the things that introduced me into starting to rap, you know, just being around them. As well as watching Dre with the world-class record crew doing his thing. Dr. J., Jay, Jay, Jay, Jay. I was going to ask you if you felt like early on, did you know that you wanted to be a rapper or a producer? Did you know that you wanted to do both?

It just was in me. You know, he showed me what he showed me. And then I start, well, Drey showed me what he showed me. And then being around the Voltron crew, you know, if you're around it all the time, you start getting into it. Plus, I was a hip-hop fan, period. So, you know, and everything. Every young kid around that time was trying to do rap.

We got older. I moved to Compton with my father, stayed in Compton, but I was still back and forth from Long Beach, going to school, this, that, and that. And long story short, my dad moved to North Long Beach. So we all, all of us moved to Long Beach from Compton where we was at. And I was living in North Long Beach,

so I had to go to the schools in North Long Beach. Went to a couple of schools, because I was pretty bad in school a little bit. I got kicked out, so they kicked me out the whole East Side District. I wasn't that bad. You can't go to school over here. You can't even go to all this district.

And it was a hundred different guys. There's a story there. There was a hundred different guys there. I just did one little thing, and they kicked me out the district over a food fight. Over a food fight. But I hit the principal. Oh, come on. Okay, well.

That is next level. Yeah, so they kicked me out of the eastern district. So I had to go to the north side. So I went to the north side. I went to Hamilton. First time, as soon as I got there, got into it with a dude, a blood dude, you know, trying to bang on me. And I'm like, I ain't getting ready to be sitting here, you know, going at it with this dude.

So the principal in them got way into that. So they kicked me out of there. Then they sent me to Lindbergh, which was where everything started. Lindbergh was the one. Had some of the most fun times in my life there. And from there, I went to Long Beach Jordan High. Jordan High was incredible. Like I said, that was like some of the most fun I had in my life growing up as a team.

So one day I'm at lunch, walking out from lunch and going to go get in line and get my lunch. and I hear somebody calling my name Warren. So I'm looking, I'm like trying to see who it is. Like, Warren. So I look, and I'm like, Snoop. And he's like, yeah. He said, what's up? I'm like, what's happening?

You know, what's you doing up here? He's like, man, my mom's moved over on 60% London. So I was like, is that right? I stay on 60% orange. And, you know, so that was a trip. So he was like, you know, you still doing music. I was like, yes. So I was like, I started linking up and going to my house.

I got turntables. I got a tape deck. So we could record. I got the mic and we could just record demos. So we went to my house and we were recording demos all the time. That's amazing. And I would take the demos and I would put them in envelopes and I would, I seen Carol Lewis's name. I used to mail them to Carol Lewis just so they could hear us trying to get us a deal.

Wow. So I kept doing that. Now, tell us who's Carol Lewis. Carol Lewis was a huge agent, pretty much, an agent in the hip-hop business. You see your name on the back of a record? Yeah, yeah, her name was always on everything. Kids, liner notes, they're valuable. Yeah, so I sent everything to her.

But attention to Eric being Raqam, the fat boys run DMC, all of these guys that was a part of crush groove. And, you know, so I was trying to get us a deal then. But we just kept working at it, kept working at it. And as we grew and got out of high school, we kind of fell into the street life a little bit, you know, because it was like, what are we going to do after high school? So we got kind of caught up in the street life and was hustling, you know, just to make money to buy clothes, to eat, look good for the ladies. And, you know, but we at the same time, we were still doing hip hop, you know.

So we just kept moving around, just building our name. When is Nate coming to the picture? You know, one day we was on the spot and this dude pulls up. I forgot what kind of car it was. But at that time, I didn't really know. I knew Nate, but I didn't never. We didn't hang around too much like that. You know, we would see each other at Kings Park,

but I was only with a certain crew at Kings Park, but he used to be at Kings Park too. So I knew him, but we had never hung out like me, Snoop and Jerry and all of us, the twins and all of us hung out. But Snoop and Nate had been around each other playing church basketball and the church circuit. So he came up, you know, and Snoot was like, that's, damn, Nate, that's Nate.

So Nate came up and Snoop was like you're still singing. And at that time, we was doing, you know, messing around with music here and there. And so Nate started singing and we just started building, you know, building with Nate and just started moving around. We would just go to, you know, go to clubs and just rock the clubs, just he'll be singing. I'll be rapping or DJing and Snoop will be rapping. I got a question about that, if you don't mind, just really quickly, because you mentioned the experience of being in the van, Donald,

and that's how you kind of started. Were you all kind of trading fours? In other words, like four bars each. On this track, you're doing that, right? Is that kind of a thing? Yeah, on the track with me and Nate, we went four, four, four, four, which May 16. And, you know, that's how I wanted to do how Snoop and Dre did with G-Tang. but just me and Nate doing our version of it.

Right. You know, because we loved that record so much. And I was like, this would be dope if me and you did it like this. I don't know if it's too deep, but like you were just talking about listening to jazz records with your dad all day. Like that's such a jazz thing for the soloist to trade four bars for the drummer, four bars for the soloist. That's an interesting thing that you brought into it.

That's dope. We're going to get into all that with the song in our next segment. Before we go to that next segment, I just want to point out real quick. This song debuts on a soundtrack. It debuts on the above the rim soundtrack. And, you know, soundtracks were such an important vehicle, such an important showcase for artists that you didn't know in the 90s because newsflash, we didn't have the internet the way that we do now.

So, like, it was really an opportunity for people to hear artists they might not otherwise here. And that above the rim soundtrack is really just, it's almost, it's not entirely a West Coast soundtrack, but it's an important soundtrack in the development of West Cust music. We saw that the soundtrack sold over two million copies. It peaked at number one on the Billboard Top R&B and Hip Hop Albums chart in 1994. And I didn't know this. It won soundtrack of the year at the 1995 Source Awards.

I have to ask you, were you at the 1995 Source Awards? I definitely was. You should do a whole podcast about that. Because you're alive to talk about them. Yeah, I wasn't there like with, you know, death. And everybody, I was there by myself. You were just there by yourself. Because by the way, you're not a death row artist.

No, I wasn't a death row artist. So I was all the way in the back. I had a hoodie on just in the back, just all the way back. Probably is the smartest thing you could have done. Yeah. Yeah. I mean, because we wasn't, you know, I wasn't really seeing, we wasn't really seeing eye to as far as Shug Knight and me being on death jam.

And it's about a hundred of them and I'm by myself. so I had to sit back in the cut. You know what I'm saying? And my name was mentioned on the, uh, listen. You know, when the award was accepted, he accepted the award for regulate. Shug did. Shug did. Okay, so I would, let's just, let's just rip the band-aid off.

Why did you not sign with death row? Well, death row didn't want to sign me, but I wanted to be right there, you know, but, uh, it was just clear. Yeah, that's my, my brother, my best friend. All my other friends, which is like my brothers as well. Was Nate signed to death row? No, not at that point. He wasn't. And it just, it was just, it was just a terrible thing at that time to not be able to be with

your best friend, your brother, and they having fun and having success. And it's like I just got kicked out, like booted and left for dead. So I went back to the hood, to my sister house. I was sleeping on her floor. You know, I wasn't being accepted over there. I see. You know, then I was like kind of like in this, like kind of like at a low point in my life, like where I was just by myself, didn't, I wasn't around them.

But what happened was I would still come around to the studio session. So one day I went to the studio session with that Dre and Snoot was doing. And John Singleton and Paul Stewart came in that. session. Wow. And they were looking for songs for the soundtrack to Poetic Justice. Okay. So I walked up to Paul and John and asked them, Are you guys looking for songs? And they was like, yeah, so I said, can I play a record for you? So walk to the car, Paul came with me. I popped the tape in. I played maybe like 15, 20 seconds of Indo Smoke.

Break away, come again like this, the L-B-to-the-C, two times. He stopped it. He was like, can I take this with me? I said, yes. So I say about maybe three or four days later, got a call from Paul Stewart and John Singleton, and they were like, can we make this the first single, which was Endosmo. Yeah. Which is an absolute classic.

A classic, yeah. So that was like what happened, that was what opened the door for me to be signed to Def Jam, because Paul had a relationship with death jam. Okay. So, glad you walked us through that. Yeah. Yeah. And Paul Stewart, he influenced so many careers.

Yeah, a lot, a lot, a whole bunch of guys. So had a meeting on the phone with Def Jam, but I thought it was some Mr. Grimm. I didn't think they was on there for me. So we on there doing the interview and they like, we want the guy that kind of has like the little melody to him. And I'm the producer. So I'm listening. So, you know, the melody produced, you know, he's got like a melody, like a singing type of style to him. And I was like, that's me.

That's, that, you're talking about me. And by the way, nowadays we live in a world where they're J. Coles and all these people who are rappers and producers. Yeah. But I'm going to go out on a limb and say, I don't know that many rapper producers. It's not a lot. There was not a lot back then. You're absolutely one of the first. It still ain't a lot.

of these guys. Yeah. I mean, a lot of people like Kanye is really like they start off producing and rapping on their songs. But then at some point they're definitely not producing their songs anymore. They're just laughing. You know what I mean? But you're one of the first rapper slash producers.

Yes, indeed. That everybody knows, oh yeah, he's the producer as well. Right. And I learned that from Dre, DJ Quick and Q-Tip as far as, you know, guys that produce and rap. And all of that stuff right there that, you know, it, you know. introducing that song on that soundtrack, opened the doors for Def Jam to sign me.

So I signed, had the meeting with Def Jam. They flew out, Leor O'O. Cohen, Tracy Waples, Chris Lydie. They flew out. I met Russell later. They flew out. We met. My lawyer had a good talk. It was other labels trying to get at me as well,

but I had to think about it. And when I thought about it, I was like Crush Groove. That's all that kept flashing in my head. Part of that legacy. Boom. So I don't want to hear from nobody else. I want to sign with these guys. Forget about it.

Loud. Yeah. Delicious vinyl. Yeah. So I signed with them. And the first thing I did was I said to myself, I want to go get my own equipment, you know, and take it to the house and just work from home. So I don't have to go to the studio and spend all my budget.

I could keep that money in my pocket. Smart. And so I did that, started creating my music there. So walk us through the timeline, you got the deal and then you make Regulate, which goes on the soundtrack, which hits hard, and then... Well, this is what happened now. What I did, I created Regulate and was also creating the rest of the songs that I had for Regulate the G-Funk Air. The album. I did all of them right there in my apartment.

And the way Regulate got his lift off was, like I said, I used to go see Dre, see Snoop at the studio. So I just went to the studio to go see Dre at record one. He was working on music. It was him and Mike Lynn. So Mike Lynn, I was like, Mike, I want you to hear the song. I just did. He came to the car.

I popped the CD in this time because I was out of a little bit more advanced. And so I popped the CD in and let him here regulate. So he was like, can I take the CD, you know, let Jimmy here because they're looking for songs for the above-the-rimmed soundtrack. So I don't know how this happened. I guess God was just working with me. I got called the same way, like a couple days later. we want this to be the first sing-tart soundtrack.

That's crazy. Lightning strikes twice. That's where Regulet got its kickstart. And from that kickstart, it was a lot of success. It made the bottom rim soundtrack blow up to like big numbers for hip-hop sound on that soundtrack. It made the whole sound. It was some powerhouse. There's an absolute fire on there.

Sweet Sable. Big pimping. Yeah. Yeah, it was some bang-hers on there. But this is the one that sold it. Yeah, that regulates, sold the whole soundtrack. And then once they got into the record and they heard all the other music, it was like, oh, this is a dope soundtrack.

So what we did, uh, Def Jam, we took the single, the same record. We repackaged it up, made it look like it was a brand new single again. And we re-released it. as my single. Yeah. Regulite. And I feel like that's when you see it all over at MTV. Yeah.

After the break, we'll dive into how Regulate was made with the one and only, Warren G, who's with us today. We'll be right back. Welcome back to one song. All right, Warren, walk us through it. We've got to learn how you made Regulate. Let's dive into these stems. How about we start with the drums?

Okay, I got the kick here. That's cool. So it's emphasizing the original sample kick drum. You need that quad knock in your card. Yeah, so that was the kick I used in there. And this was the high hat right here that I used. Nice.

It's just a straight high hat. It's running through the whole thing. I'm going on a limb and say, like, from this song to like the most recent Glorilla album, sometimes you should not overthink the high hat. Like the hi-hat serves a purpose. Especially if it's like, that's an 808 high hat, I assume? Yes, indeed.

So you had an 808 drum machine and you took all the sounds off of it. That's the symbol. That's the 808 sound. That's the rule in T.R. 808 for those. Yes, indeed. That's the symbol. Classic sound. I had a pad.

Me and Greg knocked this pad down right here. Because I used to have musicians come in from all over the place to just play on, like, hello. These strings. I love. the string pad. The song was already cinematic. You're literally sampling cinema at the beginning of the thing

at the beginning of the song. But when you put those strings underneath it all, that it's really just like, oh, damn, what am I about to listen to? Oh, yeah. It added to... Drama. Exactly. Like a movie.

Yeah. You know what I mean? Speaking of the movie, the Young Gunn sample. Uh-huh. Let's talk about that. I had to figure out what would I do for the intro of it.

So, because that's what I did with every one of my records and that's how we used to do it on the chronic. We would do an intro before we start. Set the mood. Either before the hook or the verse, we would do it have an intro. Sometime we would start right off the intro. Sometime we would go right into the hook, then the verse. Yeah.

It's almost on a case-by-case basis. Yeah. Went to the back of my VCR, put my RCA jacks in, took my quarter inch, put it into the NPC-60. and lined up the numbers where I heard the parts for regulate, which was in the movie, the part where the guy says regulators. Yeah. His young guy said you said. Yeah.

He said, we work for Mr. Tensdale as regulators. And then he says, but you can't be any geek off the street. And then he's some more going. He said, you got to be handed with the still, you know, no domain or you keep. So I took each part, I looked at the numbers and sampled it, boom, in each part, and then I put it together and made it an intro on the front of the regulate sample. Can you play the sample from Young Guns for us that we hear at the beginning of the track? I don't think a lot of us knew that that was. I have it.

Even though we saw that movie, I don't think we knew that. Regulators, you regulate any stealing of his property. We're damn good, too. But you can't be any geek off the street. I have a question, Warren. Whose voice that we be? Yeah, who is that? That's you.

That's you? Yeah, that's you. Yeah, that's. Screaming regulators. Regulators. Mowna. There it is. Mona.

Did it again. That's proof. Oh, yeah. Sometimes I love doing this show. Yeah, that way. Did that word have meaning like in your friend group before the movie? And it was a coincidence when you heard it in the movie? Great question.

We used to say regulate this. So regulate that. Well, I got to go regulate. I'm about to regulate this food right now. You're about to regulate food? Hey, tripping, man, y'all go regulate that. You know what I mean? Like, that's, so that's the reason.

It was just like an inside thing. Yeah. Yeah, so that's how. And then you heard it in the movie and you're like, oh, that's our words. When I heard that, I was like, oh, my God. I didn't struck it. Because you used it like as a command, like, hey, hey, regulate me some mac and cheese. Exactly.

That's acceptable? That's, yeah. Placeholder verb for anything. Well, you obviously learned that you guys are playing with language. We got Snoop's whole thing. Yeah, I think Snoop got the Izzles. We got that from Delaware Bus, right? Oh, okay.

E40. E40. Uh-huh. Okay. Well, at least it's West Coast. Yeah, yeah, yeah. May not be Southern California exclusive. E40 invented so much slang.

Yeah, he gave us slang king. He's a slang king. All right, let's talk about the Michael McDonald's sample. Is that a song you heard a lot growing up? Or was it something you discovered, you know, just in your travels? No, actually, I had heard it. before through my parents. When they would have parties with their friends,

they would play it. So I knew the song, but I hadn't heard it since I was a kid. So I had found a sample, actually. I was on my way home one day, and I stopped by Rosco's. Went to Rosco's. It was a dude out there selling records,

incense records and a whole bunch of different things. So he was selling the records for like $1, $2. So I told him I want to buy the whole crate. So I gave him about maybe like $500. Took the whole crate, went home and started digging. Because that was my weekend. I dig because I'm in music mode. So I'm digging.

All I want to do is just dig. And that's all I ever did. Even with working on the chronic, I would dig, dig, dig, just dig, dig for samples. And came across Michael McDonald and the Doobie brothers and I keep forgetting. And then now I'm a producer, so I'm like, soon as I heard it, immediately, I was like, if I flipped this, this would be dope. And do you have a sampler at this point? Are you still on turntables for your samples? Well, I had a sample.

I had an MPC 60. Yeah, the Kyi MPC. Vinyl into the MPC, right? So it's got some vinyl crackle. Oh, you might hear it a little bit. I was pretty clean. Yeah, he's trying to keep it clean. You know, this is West Coast.

West Coast is clean. Yes, indeed. Oh, yeah. So I ran across that sample. And what I did was sampled it, you know, just the first part, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom, boom. I just sampled just that, that little part. And have you EQed that to take out some of the bass, knowing that the 808's going to be in there for the base? Yes, indeed.

It feels like a little bit like more mid. Take the bottom out of it. Yeah, take the bottom out. I hear that. if I hear this. Yeah. There's the switch loop. The loop point.

A little bit of a jump. Barely noticeable. Yeah. There was. Only when it's isolated, can you hear it? Oh, yeah. You can't hear it in America. Did you ever think you would leave in the...

Every time you get... Like, you don't tell the line. Someone needed to do the Michael McDonald's. Like, later on, I wanted to add that, but a lot of the DJs had just did it. They just did it anyway. They just did it. They made, it's a bunch of mixes that's out. Right.

When it goes into the chorus. Yeah. Both of us. It's, it sounds good, too. Or is that a per chorus? It might be the verse technically. I keep forgetting sort of the chorus. Yeah, I keep forgetting it's the chorus.

I was thinking maybe it's a pre-chorus. Don't forget about that bridge, that crazy bridge. That's unusable. That part of the song is absolutely unusual. Everyone hates that part of that. Michael McDonald, fight us. You should have left that part off. Oh, yeah.

Three don't say that. One should be enough. Oh, yeah. Put the record together. I put my drums up under it. We had a couple sounds that we added to it. Me and Greg Geisenhower, pads and roads and guitar.

Oh, who played guitar on this? Was that Greg? What's his name, Geisenhower? Yeah, Greg had did this right here. Greg, we're trying to give you your full. flowers. That's great. He's just mimic, he's mirroring the guitar playing on the track, which is originally done by Steve Lukather from Toto. You know what? That was, uh, that might have been Marlon. Marlon. Marlon is the name of the guitar? Marlon Williams. Yeah, okay.

Yeah, I think that might have been Marlon. Flowers to Marlon Williams. It's out of Greg and Marlon. Yeah. It's killing it. Yeah. Because you have that at the beginning of the tracks, you're not using the sample yet, but you're kind of alluding to the sample that's going to be coming. No, this was after it was done. No, I'm just saying that part we hear in the beginning of the song, right? Yeah. Intro, right? Yes, indeed.

Yes, indeed. One thing that we love to do on this show is to play the stems and also the vocals in their raw, untreated, you know, because you always hear a little bit more of the person. You know what I'm saying? Can you play us some of the vocals from the song? Let me ask you real quick, because when we were talking earlier, you said that you had looped the Michael McDonald's sample. You got playing over and over. And what happened first?

Did you come up with your verse and then call Nate? Because I love the story that you said you were doing this just in your apartment. Like you just, you called him Nate. You're like, I got a dope beat. Walk us through like, did you, did you write your verse and then call Nate? Did you hear this beat and then you had something called Nate? Like, what happened there? First thing I do is produce.

I do the music first and then say, you know, I'll be like, dang, this person to sound good on here. So Nate Dogg was my, that was my, you know, like Richard Pryor and Sidney Portiae. You know what I mean? So we was Batman and Robin. And that's when I called Nate over. And once he got there, you know, we'll smoke a joint. had some Hennessy, you know, just getting the vibe right. Yeah.

And Greg played a beat. So as soon as he started playing it, you know, we're just sitting there, you know, bobbing our heads. And, you know, next thing you know, it was like it was a clear black night. A clear white moon warm when she was on the streets trying to consume some skirts for the eve so I could get some phones rolling in my ride, chilling all alone. Get some phones. Phones is what I meant by that is I don't want to say. say it. No, no, no. Listen, we're going to get into all. Headphones. That's what I, that's what we call

headphones, but headphones, like headphones. Because I will tell you right now, there's somebody on Genius who has that word as funk, and I was like, that makes no sense. No, phone. Genius corrected. He says, trying to get some phones, not some funk. We will make sure that gets correct. Yeah, phones. And then Nate just started growing right out. Yeah. Yeah. Now, you said something. He said, He went off of me. He started writing. Okay. See, this is, okay, so he's going off of you.

Yeah. And it's a real back and forth. And then I go off of what he said in his last verse. You said something when we were talking to you that blew my mind. You said that your flow on this song is a freestyle. Is that true? Well, the intro, the first part. The first.

Because his, you couldn't do, it's like that improv game. It's like, finish my sentence, finish this story. Like, you couldn't freestyle. That would be almost asking. too much of Nate dog. I just kept going off of whatever. Yeah, whatever he said. I went first and then he went.

Mm-hmm. And then I went back and forth a few times? We did it four times. We did it for it. He did it twice. And every time he finished, I will listen to what he's saying and how he ended it. And that's what made me say.

So I hooks a left on 2-1 and Lou with some niggis some niggas shooting dice. So I said, let's do this. I jumped out the ride and said, what's up? Some niggas put some gats. So I said, I'm fucked. This was the dirty version. I love it.

And then he started going, since he's hugging. I think that's so beautiful. You know, like, there are a couple of things that are happening in this song that I think making an absolute classic. You know, like I was saying earlier, like, you can put two rappers on a song, but, like, half the time, they're sending each other a verse. They're not in the studio together.

It's not a real duet. Yeah. This felt like a duet. And it's like a very unique duet in the since it's like, it's two bras having quite possibly the single worst night of their lives. But they somehow rally and pull it through. It's not a fun story that you're telling you. But it has, I mean, like, if these are our protagonists, it does have a happy ending.

I mean, like, you say some brothers shooting dice, I said, let's do this. I jumped out the ride and said, what's up? You know, like, to this day, I have never asked to join the dice game of strangers based on your experience. I'm like, that is clearly. You don't want to just jump in a dice game. You're doing a public service. You guys don't want to jump just jump in a dice game. If it is, it's got to be guys that you know.

You don't want to jump on a dice game. It turns so quickly. You say, let's do this. And then suddenly, like, what turns so quickly? Why did they pull some get? Yeah. Did that ever happen to you? Because you, you, you, well, no, it's guys that I know that it did happen to.

You know what I mean? So I was, I was telling the story from something that I, yeah, from their perspective. but I was there, but I couldn't do anything. Because I didn't have nothing. You know, these dudes got guns. Yeah. I ain't got a gun. I can't just, I don't have no gun.

I ain't got nothing. Right. So it's like, what can I do? But get killed going out there trying to do them something. But I also think it's interesting for the point of view that like usually in, and this comes out even more later in the lyrics, you're kind of presenting a very vulnerable story. You know what I mean?

Like usually in hip-hop, it's like, you know, I have the power. I have the control of the situation. You're like, no, like, I'm getting jacked. Yeah. I'm breaking myself. Yeah. I can't believe they're taking Warren's wealth. I'm getting jacked.

I'm breaking myself. I can't believe. They taking Warren's wealth. They took my rings. They took my Rolex. I looked at the nigger said, damn, what's next? And this is that one time, we're not going to talk about the ending yet. This is that one time where it's like, I'm the rapper.

I'm bringing this to you. But you know what? they got the better of me. Yeah. You know what I'm saying? Like I'm breaking myself. It can't win them all. No, I love that.

I think that's one of the reasons. Vulnerability. Why, yes, I think that's one of the reasons why this song is so belowed because it's not machismo, I should say, for the full three and a half minutes. Like, no, like he's, you're giving a story. You've set up a problem that we have to now then solve. Yeah. Yes, indeed.

And the cold thing about it is we didn't even have a hook. Yeah, there's not really a chorus per se. There's no real hook. No hook. You have, you do, to be fair, Nate's melody is kind of, it's kind of a hook. I don't know, is it,

is it, the instrumental. You can argue what it is. Maybe the melody, that's true. We left it open for people's imagination. Like, after we told the story that we told, it would leave people like, damn. They're thinking like, what's going to happen next.

You're so drawn into what's happened, the storytelling, that you don't need regulate. There's no like chorus with election. You should write that. Regulite, regularity. Everybody, regulate. You're taking my wealth.

I'm bringing myself. French Knight are here. B-52s, I hope you all are listening. The whole song for you right there. You're welcome. Warren, he's like, how do I end up next of these two times? That's all good. They took my rings.

They took my Rolex. I looked at the brothers. said, damn, what's next? One thing that's really interesting to me about this period of hip hop is that y'all would record a whole other version of the song with no swearing. Like, because, you know, like, when I would hear on the radio, it would be like, I looked at the brother said,

damn, what's that? I can't believe I'm doing a Warren G. Dang, you're so good. That is my French-Snyder. Well, I had to make it where, I mean, we used to do that. We would go back and re-record and do the radio version. Right. But I said to myself, you know what, I'm going to stop all of that and just every record I do, most of the records that I do, I'm going to do them where they clean already.

So I don't have to come back. Do the clean first. Yeah. Come back. You know what I like, and I've said this on previous episodes, I love, I typically like the radio version, not because I'm like a goody two shoes, even though I kind of get my own way. I like, I like it because a lot of times y'all will, like, paint a more complete picture. You know, like if you can't, you know, put, you know, motherfucking or something like that. in there, you'll put something like,

I always come back to that snoop line, a nickel-plated. You know what I mean? And to me, I can see more of the visual imagery. I'm just saying sometimes those clean versions... Yes, indeed. By putting more restrictions on you, it actually forces the artist to create something even more beautiful. Yes.

And that's exactly what I started doing. You know, still a lot of artists that still just go all out and just get that day. But then they're like, dang, I don't want to go back and do the radio version. Get smart. It's so interesting. We often hear how, like, vocals on singers have to be doubled up. Here, I can, we can obviously hear when you've chosen to double up your vocals and when you've decided to leave it.

Do you have a guiding philosophy on that? Like, when to double, when to leave plain? It was like a part that just needed to be emphasized more if I had wings out. would fly. Because my thought was, if I had wings, I would fly, I'm trying to get the hell out of it during this situation that I'm in. So, by the way, if I had wings, I would fly. They got guns to my head. I think I'm going down. I can't believe it's happening in my own time. If I had wings, I would fly. Let me contemplate. I glanced in the cut and I see my homie, Nate. By the way, I love that line because, you know, some people might be like, he took a part of Michael Vidal and looped it. Uh, you know,

that's not the same as like DJ Premier who'll take like this snippet and that snippet and blah blah blah. But what I think people don't often realize about this song, it's like just something like if I had wings, I would fly that part. That's not interpolation. That's something that came out of your brain and you absolutely put that in there. You know what I'm saying?

Like there's so much originality and things that are 100% original to you and to Nate Dogg and Greg your engineer that I feel like people people need to give you those flowers based on that. know what I mean? Because there's a lot of original stuff going in.

I mean, I did that. You got to be original. That's, you know, like today, I'd be kind of going back and forth with some of the younger guys. And I told them, we had to be something and sound different from what this artists or that artist today, a lot of artists kind of do the same style, sounding the same, using the same effects and all that. Same effects, same slang. Yeah. All right, well, we've got to hear some of Nate's isolated vocals. Yes.

And I'm so excited for this after 30 years of knowing this song. Let's listen. Well, here's Nate right here. Just hit the east side of the LBC on our mission trying to find Mr. Warren G. Sing a car full of girls. Ain't no need to tweak. All of you holes know what's up with two and three. And you're hearing it in the room and it's just smooth right off the bat.

There's no auto tune needed. Since these holes peep in me, I'm going glide and swerve. These bitches looking so ho. They straight hit the curb They got my homie hemmed up And they all around Can't none of them see him if they go Went straight pound for pound

The niggas talking big shit Before they start to clown I best pull out my strap And laid him busters down Such a distinctive flow and sound And when you don't hear all the effects on it I swear to God It's something about

You hear their age Like that sounds like a very young man to me Yes indeed In a way it doesn't on just the natural On the song the way it's played With compression and all the effects And the music and that's a good a young dude.

Oh, yeah. Oh, yeah. He's a great singer, too. Oh, yeah. Did he come up with, he came up with that melody that first time around, or did you try a few melodies? Yeah, he came, he fed off of me. I got a car full of holes and it's going real swell.

The next stop is the East Side Motel. Wow, singing, hey. Was the Eastside Motel a real place? Yeah. It was a call the Eastside Motel. East Side Motel? It was called the Alamo. Oh.

Yeah. But it's the East. No, no, it's the East Side Hotel because it's... Y'all called it that side motel. Yeah, it was the East, that's the East Side Hotel. That was a spot. I feel like Nate Dogg is really good at compartmentalizing because at least according to the story, he showed up, he saved his best friend.

He killed people, but now he's flipping back into freak mode. Back into continuing where we left off. Didn't miss a step. Didn't miss himself. Me, I probably had to take a couple of weeks to think about the ramifications about it. But that's just me. That's not name. Oh, yeah.

That's not Nathaniel Hale. His name was really Nathaniel Hill? Yeah, Nathaniel Hale. So between Nathaniel Hale and Warren G. Harding, there are a lot of famous Americans. Oh, yeah. I can see why you went by Warren G. And Warren Buffett. Hey.

Warren Beatty. Yeah, there it is. Liz Warren. Oh, yeah. Warren Buffet. show me some of those tactics, man. Yeah, man. Berkshire has it.

Yes, indeed. That's what you need to get in studio with. I would love. He pays. Yeah, and you do know that. Or if I might be like, oh, hey, I'll pay you back. You're like, you're paying now, sir. Come over here, sir.

And this right here, this is the Bob James sample. I was going to ask you about this. Let's hear. No. Okay. Quick nerd question, producer to producer. In the original, I think it's like in one channel is the melody. And in the other channel, there's this kind of funny sounding synth chord.

Did you isolate the channel and did you took out the right side? Is that how you got that? I just did it however it came out. Just however. Because I knew what I wanted. You heard it? There was. You liked it.

Okay. But that is a Bob James. Bob James sample. I got it cleared. It was a lot. Oh, you got it clear. Did you pay a flat fee? because I noticed his name's not in the publishing, in the writing credits.

Dev Jam, they took care of all of that stuff. Even with the Michael McDonald's sample, they took care of it. It was cool. And the cool thing about it is that the Doobie Brothers and Michael McDonald, they didn't try to take all the publishing. I got 25% of the record. Nate and DeFro had 25%. The Doobie Brothers had 25% of Michael.

Michael McDonald that 25%. So the one record changed a lot of lives and a lot of guys getting checked still. You know, they still getting some, you know, and it helped Michael McDonald when he do that record, everybody know it now. As far as like the younger people who may not know him, but when they hear it and they're like, damn, that's where he got that from. You know what I mean? Has he personally shown you a lot of love?

Man, super love. He had a show at Pachanga, the casino. So me and my wife jumped in the car. I was like, I gotta go. I gotta go. Because this is, he's in California and he's not too far from us. It's gonna take us about an hour and a half or so, but we're gone. So we hopped in the car, me and my wife went.

I hope when you jumped out of the car, you didn't say, what's up? No, no, no, no, no, no, no. No, I went right. We went and paid, got in, and I made sure I paid to get right in the front. So I seen some of his folks, I got there early too, so before it started. So I seen a guy walking, I said, hey, what's up, man? It's Warren G. Can you tell Michael that I'm, Michael McDonald that I'm here? And I want to meet him.

But I have met him before. We bumped heads in New York and Jess was like, hey, hey, and you know, we had keeping it moving. But this was like, where he was like, you know, I really want to thank you. for redoing my music, you know, and my son, he loves your version better than mine. And so we had a good time. I got it on film. I filmed us.

I got to find it in my phone. But we had a really good conversation. And, you know, he's, I'm going to just say it, you know, like we say in the hood, he's the home boy now. Yes, indeed. By the way, you put some money in his pocket. Yes, indeed. Yes, indeed.

Actually, I wanted to ask you about that, because in the public, you know, It's interesting what you're telling me, which we believe, because you're on the ground floor of getting these royalty checks for 30 years. But in the public records, what's interesting is Michael McDonald is not included in the publishing. It's actually what the records show is 25% you, 25% Natog. But the other 50% interestingly is Lieber and Stoller. Well, tell us the story behind that. Libre and Stor just really quickly for our listeners. That might be. They wrote nothing but a hound dog among others. There are big Elvis songwriters, Big Mama Thornton originally did that song, of course. Well, the Duby Brothers, well, at first, Lieber and Stoller wasn't in there, but it was the Duby Brothers and then it was Michael McDonald. That's interesting. So I think what may have happened, because Michael McDonald's keep forgetting, it turns out,

is actually an interpolation of this song. I keep forgetting you don't love me no more. Keep forgetting, you don't want me. The original song is called I Keep Forgetting, and it's recorded by Elvis. Another version is by Chuck Jackson, 1962. Damn, I didn't even know that. Bliber and Sola wrote that song,

and maybe what happened along the way is Michael McDonald's, I Keep Forgetting, which, now that you've heard them, have some similarities to them. They must have, their estates or somebody, their publishers must have gone in and said, we want this song, the Michael McDonald. And because that song is sampled in your song, they went after that other 50%, which again, according to the public records, they now get paid on.

I hope my estate is really, you know, out there like that. Looking out for you? Oh, yeah. Let us know because you're on the ground with the real checks getting set. Yes and day. Yes and day. You know, I want to ask you right now because I think what you're getting towards is the G-Funk was like a brand-new approach in a lot of ways. And, you know, the G-Funk era.

The G-Funk era. So who do you think invented G-Funk? Is it you? Is it, is it Drey? I heard one person say they think it's above the law. Above the law. Actually, they took me in, took me in. And that's when I became a part of G-Funk.

But what I did within the G-Funk is I created my own sound. Within the G-Funk. And I called that, well, Warren G-Funk, you know. G's literally in your name. It's literally on your chest right there, on your chain, right? Yes, indeed. There it is. It is G-Funk, but I created my own part of G-Funk,

and I made it a different sound, and I made it worldwide. Your G-Funk is not- To where now people call it a genre. Absolutely. Another good G-word. It's probably my favorite, you know, like two short says, What's your favorite word? I used to literally scream out, genre!

Because I thought it was a call and response. I did. That's a true story. I used to yell at genre. Genre. I know what you're supposed to yell with two shorts. It sounds like it's in France somewhere. Genre. Genre.

They're like, kick the nerd out of the party. But you can't because I was DJ in the party. So now we want to talk about the legacy of the song, Regulated. It plays a big role in your life. It helps to get you sign. It's a big hit. It sells this soundtrack. It leads to.

your solo album, which just does big numbers. You know, I'm talking about, and it's a great album, by the way. Like, we haven't really dove into the second single, this DJ, which I could do a whole another episode of this podcast about. Great song. I also want to just call out the song Super Soul Sis. To this day, I was driving through Englewood literally yesterday, and I was like, I feel like here in Super Soul Sis.

I think it's one of those album cuts. that maybe not all of our listeners know, but I would ask them to go back and listen to Super Solis. A dooppa, the land cruising trooper, Dick Shack's at time. They hang on my rhyme like Mr. Cooper. You produced that song.

Yes, indeed. And who's the lady rapper? That's Josh Skills. Yeah, met her at Cal State. Cal State Long Beach. There was something in the water at Cal State because that song, her flow is great. That's a great song.

Yeah. She was actually in a cipher, and I just heard. heard her and I asked her, I said, I'm working on my album and I want you to get down. And I played the beat for her right there out of my car and left her a tape. And then I told her, go ahead and write and let me know when you're done. So she hurried up and not hurried up, but hit me a couple days later. I had the studio time booked.

She came in. And I knew it was a banger when she started off. And she said, well, it's the super, the duper. Land Cruze and Trooper? I was like, oh, you're like, God. I chose correctly. Yes, indeed. All right.

Well, Warren, what do you think is the legacy of regulate? Cords, strings, we brings, melody. G-Funk, where rhythm is life and life is rhythm. We did have one question. You say, the rhythm is the bass and the bass is the treble. Please. Well, Nate, Nate said that part, rhythm is the bass in the bass. I need a little help understanding this.

Well, that was Nate. Yeah, y'all were free-trial. Yeah, he might have freestyle at that part right there. But he may have been talking about his voice, though. Oh, wow. The rhythm is the bass is the treble. See, you try to do the lip quiver. He's got the vibrato.

No, he's got the distinctive. But I'm talking about his lip was like, I think it makes it happen. I think. Nate E. I think about y'all's singing. I's commercial, which he was in profile. We saw that commercial. And he was like, went to the corner store.

You know what I'm looking for. Say, eyes. And like everybody I know who tried to sing because I was in an cappella group at the time, we all tried to get that little left. It's the whole chin, actually. Yeah, it's the whole thing. Just hit the corner store. You know what I'm looking for.

That's from the church. I was going to ask. That seems like a church thing. Yes, indeed. That's from the church. Because he's saying in church. Yeah, his mother is really good. That's who taught him, his mother. But I really appreciate the fact that you like some of the artists of today.

You're not one of these people who's like, oh, man, these artists today suck. We were the only good generation. I like Loerella, sexy red, Lotto, 21 Savage, Megan Estabian. She name checks you on a recent song. Yeah, yeah, that was dope. that's the second time she done something that like a shot at to me not at me but a shot to me because she did a regulate freestyle oh that's right on my yeah yeah that was dope you know and honestly I feel like she might be listening to the

podcast so Megan if you're listening we got Warren's contact yes indeed yes indeed let's build this this yeah challenge she'll sound really good up under some up under my music period Guarantee. That sounds great. Warren G, thank you so much for joining us today on one song. Where can people find you on social media? You can find me at Warren G on Instagram, Warren G on Facebook, Warren G on TikTok,

just Warren G, a regulator on X and warringy.com. And if they want to hear, if you guys want to hear the first single, the new single I got out called, Let Me Breathe, that's a really great record. too, and this bridge and the gap record with the new generation combined with my era. Yeah. And we need more of that. Yes, indeed.

Thank you so much, sir. Man, thank you guys for having me. It's been a pleasure. Thank you guys for having me. As always, you can fight us on Instagram and TikTok. You can find me on Instagram at Diallo, D-I-A-L-O-O, and on TikTok at DiL-O-R-O-R-W. And you can find me on Instagram at Luxury, L-X-X-U-X-Y. And on TikTok at Luxury-X-X.

You can also watch full episodes of One Song on YouTube now. Just search for One Song podcast, and we'd love it if you'd like and subscribe. Luxury, help us in this thing. I'm producer, DJ, songwriter, and musicologist, Luxury. And I'm actor, writer, director, and sometimes DJ Diallo Roel. And this is One Song. We'll see you next time.