“’I don’t wanna talk to that guy,’ Jimmy told the secretary. I was shocked. Gerardo, with his ‘Rico Suave’ song, made stupid money for Jimmy, back when Interscope was on shaky ground. That should have been my first lesson that it was never about personal relationships around there. Just business.

My second lesson was what went down next. Jimmy fielded a series of phone calls with abrupt put-downs. In a nutshell, each query got answered with the equivalent of a gruff, ‘Hell, naw!’

I asked Jimmy what he would do if one of the Interscope staff had talked to him like that.

‘I’d give him a raise,’ Jimmy said.

‘Give him a raise?’ I asked out of confusion.

‘Yes, a big raise and then I’d encourage him to buy a big house. Then after he was fully committed financially, I’d demote him.

I was starting to get the picture.

‘Because after that,’ Jimmy continued, ‘his family life would be fucked up. His pussy would be ruined. Everything. Yep, I’d give him a raise.’” – pgs 152-153

DX: There have been numerous rumors about Dre not producing his own music. You were there when some of the greatest songs in Hip Hop were made. What’s the real deal?
BW: Dre is a hell of a producer and a mixer. A cat could do a couple of sounds inside of a beat and Dre could come and change the whole thing around and make it sound phenomenal.

Mel Man is phenomenal on the drum machine, their fallout wasn’t really about music, it was about money. Mel and all of us were like family. We did everything together. Mel had gotten pretty low on his funds and he had just felt Dre should give him some money. Dre didn’t give him what he wanted and the fallout started from there until Mel rolled off with Big Chuck. Mel thought that when he bounced with Big Chuck that he’d be able to come back to Aftermath. We know Dre said that he and Mel Man wouldn’t work together again. Recently, Mel has been back working with Dre for the last three or four months.

Dre’s biggest problem is his communication skills. Dre was the good guy, I was the bad guy. He’s not going to tell you bad shit.

DX: So how often did you have to tell people who wanted a beat from Dre “No”?
BW: All the time man. From Madonna to Michael Jackson. Dre would rather work with a new artist than an old established artist. Dre is not going to have Madonna or Michael Jackson tell him, “I don’t like that, give me another beat.” Michael Jackson didn’t get any beats for one simple reason: If you can’t roll with Dre and go kick it, then we can’t do no music. I would have to tell everyone no. Sometimes I would hike the price up to a million dollars and they would say, “Let me talk to my people and get back,” and I would sit there and go "Oh no…they aren't really thinking about paying that are they?’”

Dre never really charged like that. If he liked you, Dre didn’t charge you like that. Look what he did for Xzibit [Man Vs. Machine]. He didn’t have to executive produce his album when he was on Loud Records. But he liked his whole vibe and what he was doing.

Part 3 reveals why the Rakim and Dr. Dre relationship didn't work out, Al Sharpton's role in the 50 Cent/Game beef, why Game and 50 had problems in the first place, why Bruce left Dr. Dre and if Detox is EVER going to be released. [click to read]