Everytime Warren G hooks a left on 21 and Lewis...

[SunZoo]

Lol i never really thought about how he wanted wings

This nikka tried to sign up for the Weapon X program after he got hemmed up

 

[PHamm]

'The next stop is the Eastsiiiiiiiiiide Moteeee...'

I always stop singing at that point cause my voice still can't go as Baritone as Nate Dogg

 

[MikeyC]

The Wikipedia article was


"On a cool, clear night (typical to Southern California) Warren G travels through his neighborhood, searching for women with whom he might initiate sexual intercourse. He has chosen to engage in this pursuit alone.

Nate Dogg, having just arrived in Long Beach, seeks Warren. Ironically, Nate passes a car full of women who are excited to see him. He insists to the women that there is no cause for excitement.

Warren makes a left at 21st Street and Lewis Ave, where he sees a group of young men enjoying a game of dice together. He parks his car and greets them. He is excited to find people to play with, but to his chagrin, he discovers they intend to relieve him of his material possessions. Once the hopeful thieves reveal their firearms, Warren realizes he is in a considerable predicament.

Meanwhile, Nate passes the women, as they are low on his list of priorities. His primary concern is locating Warren. After curtly casting away the strumpets (whose interest in Nate was such that they crashed their automobile), he serendipitously stumbles upon his friend, Warren G, being held up by the young miscreants.

Warren, unaware that Nate is surreptitiously observing the scene unfold, is in disbelief that he's being robbed. The perpetrators have taken jewelry and a name brand designer watch from Warren, who is so incredulous that he asks what else the robbers intend to steal. This is most likely a rhetorical question.

Observing these unfortunate proceedings, Nate realizes that he may have to use his firearm to deliver his friend from harm.

The tension crescendos as the robbers point their guns to Warren's head. Warren senses the gravity of his situation. He cannot believe the events unfolding could happen in his own neighborhood. As he imagines himself escaping in a surreal fashion, he catches a glimpse of his friend, Nate.

Nate has seventeen cartridges (sixteen residing in the pistol's magazine, with a solitary round placed in the chamber and ready to be fired) to expend on the group of robbers. Afterward, he generously shares the credit for neutralizing the situation with Warren, though it is clear that Nate did all of the difficult work. Putting congratulations aside, Nate quickly reminds himself that he has committed multiple homicides to save Warren before letting his friend know that there are females nearby if he wishes to fornicate with them.

Warren recalls that it was the promise of copulation that coaxed him away from his previous activities, and is thankful that Nate knows a way to satisfy these urges. Nate quickly finds the women who earlier crashed their car on Nate's account. He remarks to one that he is fond of her physical appeal. The woman, impressed by Nate's singing ability, asks that he and Warren allow her and her friends to share transportation. Soon, both friends are driving with automobiles full of women to the East Side Motel, presumably to consummate their flirtation in an orgy.

The third verse is more expository, with Warren and Nate explaining their G Funk musical style. Warren displays his bravado by daring anyone to approach the style. There follows a brief discussion of the genre's musicological features, with special care taken to point out that in said milieu the rhythm is not in fact the rhythm, as one might assume, but actually the bass. Similarly the bass serves a purpose closer to that which the treble would in more traditional musical forms. Nate displays his bravado by claiming that individuals with equivalent knowledge could not even attempt to approach his level of lyrical mastery. Nate goes on to note that if any third party smokes as he does, they would find themselves in a state of intoxication almost daily (from Nate's other works, it can be inferred that the substance referenced is marijuana). Nate concludes his delineation of the night by issuing a threat to "busters," suggesting that he and Warren will further "regulate" any potential incidents in the future (presumably by engaging their antagonists with small arms fire)."

 

[www.THUG.com]

How did Warren get away with all those L's on his own song?
How did Warren get away with throwing Nate a feature when Nate is the sole hero of the story?

 

[phatphuck]

It was his hood though

he said "i cant believe this happenin in my own town". so im assuming he's rolled up to a dice game and participated in the past without gettin jacked

 

[tuckgod]

'The next stop is the Eastsiiiiiiiiiide Moteeee...'

I always stop singing at that point cause my voice still can't go as Baritone as Nate Dogg

 

[Sound (∀√a) Maths]

Only on The Coli.

 

[Ghost Utmost]

Upon further reflection:

2016 this would not be an issue. Nate would simply call Warren G and Google Map his location. Didn't these niqqas have cell phones then..?

Nate and Warren is some cold blooded motherfukkers Breh. Nate bodies like six dudes, switches his mind back into freak mode in seconds, and just parlays at the Mo wit the freaks like nothin. Warren too. As shook as he was, turn right around and rap to some skirts. And who are these women? Niqqas sprays up the scene then turns to her "Oooh I like your size" and she is down.

And

I never understood how the rythm is the bass and the bass is the treble.

 

[DontEemTry]

They at least got the thots to the Eaaaaastsiiiiiide Mooootellllll!:

But what about their car? They just left that shyt broke down on the street?

 

[James Worthy]

But what about their car? They just left that shyt broke down on the street?

Cause Warren or Nate probably had some "Indo Smoke". Warren & Nate's shyt made Mista Grimm fly at a party nikka...like this....

Good weed will make you forget shyt like your car being broke down on the street:

 

[James Worthy]

The ORAL HISTORY OF WARREN G's "Regulate":

"Regulate": The Original Version

Warren G: I had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done "Regulate" in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.

"Do You See" was going to be the first single. But we couldn't get it cleared because the Bible Belt was tripping, because when I did it the first time, I had it go, "Do you see what I see? Do you hear what I hear?" [The melody follows Gloria Shayne Baker and Noél Regney's Christmas hymn "Do You Hear What I Hear?"]

For "Regulate," I was at home, and I came up with it. I was listening to Michael McDonald's "I Keep Forgettin'." It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good. I had the sample and was, like, "It would be so different to do a hip-hop song over this."

Then I had to sit on it a couple of days just to see what else I needed to add to it. That's when all the other parts came, as far as looking at the movie Young Guns and sampling that part. I was looking at the movie one day and I heard the part where [Casey Siemaszko, the actor who played historical outlaw Charley Bowdre] says, "We work in this town as regulators. We regulate any stealing of this property. But you can't be any geek off the street. You gotta handle the steel, you know what I mean, earn your keep." I heard that shyt, and I lost it! I said, "Oh my god! I have got to put this shyt on this song! I don't care if they don't let me use it. I'm a put it on anyway."

Greg Geitzenauer (Engineer): We went out and rented the movie, and we took his MPC out into his living room and hooked the VHS up to the MPC so we could get that sample recorded into the MPC and put it on the track. Something that was very new was the advent of being able to record at home digitally, pretty cheaply, and it was with these VHS-based 8-track digital recorders called ADATs [Alessis Digital Audio Tape]. I think he went down to Guitar Center or something like that and got a console and some microphone preamps, some mics, some speaker monitors, the ADATs and some cabling. I went to his place and got that all hooked up. He had been making beats and saving them. So he had a couple of things he wanted to get recorded right away once the home studio was set up.

He had Nate come by to just hang out and see if they would come up with anything. He played that beat for Nate and Nate liked it right away. So they both just started simultaneously writing things for it. It happened really quickly, and this is all just in Warren's apartment.

Warren G: Doing the song together, we wanted to go back and forth like how Snoop and Dre did it with "Nuthin' But a G Thang." Like Run-DMC, the way they went back and forth. What I did, I wrote the first four bars, and I was like, "Okay, Nate, you write four bars." And I was like, "Okay, I'm a write four more bars." And I'm like, "Okay, Nate, go on, you do four more bars." So we did it until we got to sixteen. Then, we didn't have a hook, but the record sample was banging so hard, well, we didn't need a god-darn hook. Let's just go.

Geitzenauer: Because he hadn't yet done the whistling – you know, he found the sample of the whistling that goes on in the chorus – there wasn't really anything figured out for the chorus, I just thought I would play a couple of keyboard sounds so that something different was happening during the chorus. And so I just found on one of his keyboards that he had a string sound. There's this kind of low string sound that you hear in the chorus.

Then there's this little organ lick that happens at the end of every fourth bar; it only happens twice in every chorus. It's just a little Hammond organ-type lick. If you listen to the song, once you get to the first chorus, at the very end of the chorus, right before the next verse starts, you hear this little lick. It goes d-d-d-da-da. It was a stock sound from a synthesizer – a Yamaha SY77 or something like that. The string part came from that keyboard, too.

Then this sort of Minimoog sound during the Young Guns sample, just this sort of classic Minimoog sweep keyboard sound. We came up with that a little bit later. That was maybe one of the last things that was added.

Warren G: He put it on there when he was mixing, 'cause I wasn't there when he was mixing it. At first, I was like, what the fukk is that? And then after I listened to it, I was just like, okay, let's keep it.

Stewart: That shyt blew my mind. I was at Track Studio over in North Hollywood, and it was just like, the back-and-forth thing with him and Nate. It's one of the only pop songs that doesn't have a vocal hook. That "regulators, mount 'em"? That's only in the beginning. It's that melody, that whistle and all that.


"Regulate": the Radio-Friendly Version

Geitzenauer: Once it was decided that, yeah, everybody likes this, let's do it for real, we set up at a real studio, a commercial studio in North Hollywood, and re-recorded the vocals. Somebody at either Death Row or Def Jam, maybe Chris Lighty from Def Jam said, "Can we come up with something that's less explicit? As explicit as it is, we can't get any airplay for this. We'll just have to be bleeping out so much of it." So I think at one point, once we were set up at the commercial studio, they recorded what they thought would be a clean version. That was the one that ultimately went on the album.

Warren G: When we did the first version, it was just straight up explicit with a lot of cuss words: "motherfukkers" and shyt like that. We had to go back in and re-do the vocals and make it radio-friendly. That was something that was required because, by then, the record had caught a nice buzz, and the world wanted it.

Geitzenauer: It's not like, oh, the original version is this fantastic boss version that's the best thing ever. It was more of a work-in-progress. Warren probably has it somewhere.

Warren G: I mean, the first version we did, it was probably a little different, more tough words and stuff. I don't have that version, but Greg might have it. You should ask him if he got it. If he got it, he need to go on and send it to me.


Read more: Warren G and Nate Dogg's 'Regulate': The Oral History of a Hip-Hop Classic

 

[big bun]

why have i never put it together that this was his fukkin fault?

you just gone pull up on a random dice game


"hey guys whatsup, room for one more?"

This. This. This. I've been asking myself that question for 22 years, breh.

How the FUKK you just going to hop out the car on some knee grows you don't know talmbout, "Wassup, fellas? What's the fade?" like it was all good?

 

[TheObserver]

 

[Mac Casper]

If this was a Dr. Dre song it would've went like this

First the perps approach Dre. Dre sees them and recognizes a potential threat but is unphased as he know his G powers outweigh theirs

As they approach him trying to rob him he lays them out with a super uppercut

 

[OnlyInCalifornia]

I never understood how the rythm is the bass and the bass is the treble.

This is an underrated question that not even Warren can answer.