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In the United States, the album peaked at number 6 and earned a platinum record for more than one million copies sold. Dre Presents: The Aftermath entered the German charts at number 94 on Januand left the Top 100 the following week. Wilson, Jr., Floyd Howard, and Glen MosleyĬassandra McCowan, Mike Lynn, Flossy P, and Stu-B-DooĬassandra McCowan, Jheryl Lockhart and RCĭr. Dre and Scarface as Group TherapyĮwart A. and The Aftermath in white.ī-Real, KRS-One, Nas, RBX, Dr. At the top and bottom of the picture are the words Dr. The album cover is in orange-red tones and shows an atomic bomb explosion. Other productions come from various music producers, including Mel-Man, Bud'da and Stu-B-Doo. He himself was involved in the production of seven instrumentals. Dre acted as executive producer on the album. Other musicians involved are RC, Sid McCoy, D-Ruff, Hands-On, Mel-Man, Kim Summerson, Cassandra McCowan, Mike Lynn, Flossy P, Stu-B-Doo, Maurice Wilcher, Nicole Johnson, Jheryl Lockhart, Who ' z Who, Sharief and Nowl.ĭr.
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In addition, the singer Roger Troutman appears on a track and the rapper King Tee also has an appearance. The song East Coast / West Coast Killas is a collaboration with rappers B-Real, KRS-One, Nas, RBX and Scarface. Dre, who can be heard on four songs, many other, mostly unknown, artists are represented on the soundtrack. Still, no matter how much fun you may have, it's hard not to shake the feeling that this is cheap, not lasting, fun.In addition to Dr.
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After a full decade of this, it takes real effort to get outraged at this stuff, so chances are, you'll shut out the words and groove along since, sonically, this is first-rate, straight-up gangsta. Song after song, there's a never-ending litany of violence, drugs, pussy, bitches, dope, guns, and gangsters. Scratch that, it's über-gangsta, blown up so large that it feels like a parody. That's the major problem with 2001: lyrically and thematically, it's nothing but gangsta clichés. The only difference is, there's pleasure in hearing Snoop's style, while the rest sound staid. Out of all the other rappers on 2001, only Snoop and Eminem - Dre's two great protégés - have character and while Eminem's jokiness still is unpredictable, Snoop sounds nearly as tired as the second-rate rappers. If only the same could be said about the rappers! Why does a producer as original as Dre work with such pedestrian rappers? Perhaps it's to ensure his control over the project, or to mask his own shortcomings as an MC, but the album suffers considerably as a result. Padded out to 22 tracks, 2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character. He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations. It suggested that 2001 wouldn't simply be recycled Chronic, and, musically speaking, that's more or less true. Dre was anything but passé, thereby raising expectations for 2001, the long-anticipated sequel to The Chronic. The Slim Shady LP announced not only Eminem's arrival, but it established that his producer Dr.