
Shook Ones Part II
Havoc built the beat in his Queensbridge bedroom from a slowed Herbie Hancock piano figure and a Daly-Wilson drum break.

Havoc built the beat in his Queensbridge bedroom from a slowed Herbie Hancock piano figure and a Daly-Wilson drum break.
Richards cut the acoustic into a Philips cassette recorder until it distorted, Watts drumming on a 1930s toy kit.

Warren G looped four bars of Michael McDonald in a Long Beach bedroom, and Nate Dogg sang his half.

Chucky Thompson looped Phil Collins, and Nas rises from a murmur to a roar and back, verse after verse.
Ice Cube wrote it for a New York group who walked out; Dre pushed Eazy-E to rap it himself.

Nas was twenty and already writing memoir here, over DJ Premier's loop of a Reuben Wilson organ.

An Ini Kamoze sample under it, Stephen Marley at the desk, and verses answering the postcard version of Jamaica.

Hi-Tek loops Boogie Down Productions while Mos Def and Kweli revive KRS-One's demand that the violence stop.

Predator-era Cube with Das EFX in tow; the remix rode the Message beat to number one R&B.

Muggs looped Lowell Fulson's 1967 "Tramp" for the guitar and bass, and B-Real's nasal whine arrived fully formed.
DJ U-Neek's beat, Shatasha Williams on the hook, and the harmonized Cleveland flow Eazy-E had to be talked into releasing.

50 Cent wrote the chorus, liked it enough to take a verse, and Dre's beat carried Compton nationwide.

Ice Cube, Mack 10 and WC trading verses, from a debut album that reached number two and went platinum.
Marley Marl looped an Eddie Kendricks record; Ace, co-producing his own debut, made Brooklyn sound like a place to watch.