THE D.O.C.
Sep 1, 2003 12:00 PM, By Brolin Winning
In the music biz, terms like classic and legendary get tossed around a lot. Music journalism is based on hype, something that can make or break an artist no matter how talented — or talentless — they may be. Another oft-used adjective, especially in hip-hop, is slept-on, which refers to something that deserves far more recognition and props but, for whatever reason, slips through the cracks. Adding to this situation is the genre's notoriously fickle audience and the abbreviated careers of many MCs: In most other types of music, you can put out records for 10 or 20 years and still maintain your fans. In the rap game, many cats don't even make it to a third album, and countless true pioneers are forgotten or dismissed by the next generation. Enter The D.O.C.
Growing up in West Dallas in the '80s, a young D.O.C. (born Tracy Curry) got his start with a group called Fila Fresh Crew. The group did shows around its neighborhood and then, through mutual friends, hooked up with budding superproducer Dr. Dre, who had recently parted ways with World Class Wreckin' Cru. N.W.A. was just getting off the ground, and Fila Fresh appeared alongside the group on its first official record, N.W.A. and the Posse (Ruthless, 1987). Soon after, The D.O.C. left Texas and relocated to Los Angeles, where he continued to work with Dre, becoming an unofficial member of the world's most controversial rhyme squad.
A genius with the pen and pad, The D.O.C. soon began writing rhymes for Dre, Eazy-E and MC Ren. (Ice Cube wrote his own.) Much of the lyrics on both Eazy-Duz-It (Ruthless, 1988) and Straight Outta Compton (Ruthless, 1988) were written entirely by The D.O.C. In 1989, following the unprecedented success of Compton, The D.O.C. released his undeniably fresh debut album, No One Can Do It Better (Ruthless). Produced entirely by Dre, the aptly titled record lit up speakers from coast to coast, spawning hit singles such as “It's Funky Enough” and “Formula.” In contrast to N.W.A.'s hyperviolent steez, No One took things back to the essence, with quick-tongued, clever bravado set to upbeat, extremely funky production. The LP easily went Gold, and the 19-year-old mic destroyer was on the fast track to superstardom — until fate threw him a curveball that would drastically alter his career.
Driving home late one night on a dark stretch of California freeway, The D.O.C. lost control of his vehicle, leading to a horrendous accident. With the car completely totaled, The D.O.C. managed to escape with his life. Unfortunately, the impact crushed his larynx, forever transforming his voice into a twisted, raspy growl and derailing plans for a national tour.
Battered but undaunted, The D.O.C. went back to work writing for N.W.A., contributing more dope rhymes for both 100 Miles and Runnin' (Ruthless, 1990) and Niggaz4life (Ruthless, 1991). Although N.W.A. had sold millions of records and paved the way for a gangsta-rap revolution, its label, Ruthless Records (run by Eazy and Jerry Heller), had been jerking them out of money for years. Despite Dre making all of N.W.A.'s beats and The D.O.C. penning many of its lyrics, both parties got shafted on publishing rights and both left the label angry and ready for revenge. But they would soon get a fresh start with a brand-new label: Death Row Records.
At Death Row, The D.O.C. continued to ghostwrite for Dre and helped to mentor star-in-the-making Snoop Doggy Dogg. But while The Chronic (Death Row, 1992) burned up the charts and kick-started the G-Funk era, The D.O.C. began to get frustrated by his lack of exposure. Although he guested on the skit “The $20 Sack Pyramid” and appeared in several videos, he felt slighted by his background role and was anxious to put out another solo album. But given Snoop, Tha Dogg Pound and various other projects, The D.O.C. and his shredded voice were not exactly Dre's top priority. To make matters worse, the Row's unorthodox and often shady business tactics (read: Suge Knight) failed to compensate him appropriately, forcing The D.O.C. to leave yet another label — and sever ties with his longtime friend and producer.
Depressed and disillusioned, he took some time off from the rap game and admittedly got wrapped up in drugs and drinking, trying to forget about the heartless industry that had cast him aside. But in 1996, The D.O.C. finally released his sophomore album, Helter Skelter (Giant). Unfortunately, with little promotion and no beats from Dre, the record flopped. Despite the underwhelming response, The D.O.C. was happy to be recording again and eventually reconciled with Dr. Dre, contributing lyrics for 2001 (Aftermath, 1999). He also initiated the establishment of his own record label, Silverback Entertainment, signing new talent from his Texan home turf. Earlier this year, Silverback released a brand-new LP titled Deuce, which, though it features The D.O.C., is a compilation showcasing young Texas artists such as 6Two, Uptight and Cadillac Seville. His old-school homies — including Ice Cube, Snoop, MC Ren and Nate Dogg — also represent.
After more than 15 years in the game, The D.O.C. is a survivor. He has escaped two crumbling rap empires and a high-speed collision. He has contributed to several of the most influential hip-hop albums released, and his debut is still considered one of the best ever. In spite of physical and financial setbacks, The D.O.C. perseveres, staying positive, active and focused on building his label and educating young artists. He plans to record one last record under his own name, then work solely on producing and expanding his business. He may never get the widespread recognition attained by many of his cohorts, but if there's one thing he should get, it's respect.
Acceptable Use Policy blog comments powered by Disqus
| Want to use this article? Click here for options! |  |
