The pantheon of great producers has led to some fantastic discussions, with many prominent names being tossed into the hat. Every so often, a case for Scott Storch will be made, though his inclusion in top-five discussions is surprisingly uncommon. A curious development, given his vast discography of hits and more importantly, his unparalleled musical aptitude. Lest we forget, Scott Storch is the piano man, a title he has taken to wearing like a badge of honor.

Though many producers have become capable keyboard players in their own right, Storch is a virtuoso by comparison. Originally dipping his toes in hip-hop as a piano player in The Roots, Storch honed his skills as a band member creating and reacting in real-time. No computers, simply instinct and technical prowess. Such skills are the type to ultimately prove invaluable, and before long Storch had developed a signature sound that would soon win over the legendary Dr. Dre.

When speaking to Storch about his work on Dr. Dre’s 2001, he explained those sessions ultimately paved the way for the early millennium Aftermath sound to develop. “I came in and had this weird ominous piano-driven sound. It was something I crafted living in the East Coast, and I brought it to the West Coast,” explains Storch. “Dr. Dre harnessed it He understood what to do with that and turned it into a new generation of West Coast music. It went from being Funkadelic, but still cool and dark, to a new orchestral type of thing.”

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Before long, Storch’s minor-key piano vibe became an integral component of Dr. Dre’s production. Between the years of 1999 and 2004, Storch was essentially the Doc’s right-hand man, anchoring his instrumentals with orchestral flair. It’s no secret that Storch laid down the now-iconic “Still D.R.E.” piano riff. But the contributions only continued. He co-produced and played on Eve’s “Let Me Blow Ya Mind.” He helped introduce G-Unit’s debut album Beg For Mercy with a co-production credit on “Poppin Them Thangs.” He helped compose the spooky trifecta of “Truck Volume,” “Break Ya Neck” and “Holla” off Busta Rhymes’ excellent Genesis project. Together with Dr. Dre, Storch helped bring a hard-hitting and unprecedented darkness to mainstream music, culminating in an era many still revere as Aftermath’s creative pinnacle.

While the nature of Dre and Storch’s in-studio dynamic isn’t exactly common knowledge, the collaborative nature of their relationship has been a sticking point for some critics. Despite the fact that Storch’s creativity and musical ability helped bring a new weapon into the Doc’s arsenal, some have argued that his co-production work isn’t as impressive as one handling lone responsibility. Nevermind that a frequently touted Top-5 contender, Kanye West, has been collaborating on instrumentals for years now. To those people, I would recommend factoring in a producer’s mind and vision for a more specific analysis. Where do they tend to go on a sonic level — which scales and soundscapes do they favor? Coming to such a conclusion is one of the most rewarding journeys a hip-hop head can take.

Storch’s work with Dre made his preference for the minor key very clear; after all, the man himself described his early musical stylings as “ominous.” Yet such a preference was clearly shared by Dre himself, albeit both tended to express it slightly differently. Storch seldom gravitated toward hopelessness like Dre, who exhibited such qualities across Eminem’s Relapseand haunting instrumentals like Busta Rhymes’ “Legend Of The Fall Off.” Instead, Storch seemed to gravitate toward a more anthemic direction, perhaps a testament to his growing repertoire of melodic collaborators. Where the Aftermath days found him working almost exclusively with rappers, some of his biggest solo hits came by way of Chris Brown’s “Run It,” Justin Timberlake’s “Cry Me A River” with Timbaland, and Beyonce’s Sean Paul-assisted “Baby Boy.” The aforementioned songs found Storch experimenting with new sounds, with the latter introducing Middle Eastern-inspired harmonies into his repertoire.

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In fact, that stylistic choice would go on to inform a few of his subsequent hip-hop hits, from Fat Joe’s “Lean Back” to Jadakiss’ “U Make Me Wanna” to 50 Cent’s back to back smut bangers “Candy Shop” and “Just A Lil Bit.” Even his percussion seemed to reflect this harmonic shift, with Storch seeming to favor more rhythmic drum arrangements than his former mentor. Having benefitted from a newfound mastery of the harmonic minor scale and an increasingly vast collection of synthesizers, there soon became a lush quality to Storch’s increasingly versatile production. One that helped him acquaint himself quite nicely with the R&B scene, with Mario’s timeless “Let Me Love You” serving as a prime example.

If last night’s beat battle against the equally legendary Mannie Fresh proved anything, it’s that Storch is easily one of the game’s most versatile hitmakers. Between the years of 2004 and 2006, his run was among the most successful hip-hop has ever seen. It was certainly enough to yield him a substantial fortune, which went on to fuel a lavish lifestyle that would ultimately leave his friend collaborator Fat Joe awestruck at the sheer hedonism. And while reckless habits might have spelled his end under different circumstances, Storch is in the midst of a career renaissance, having recently worked with young stars like Russ, Post Malone, Trippie Redd, and Roddy Ricch. Few can say he isn’t adaptive, showing a willingness to meet an artist on their playing field, no matter their musical background — all while dazzling his fellow stoners with the blinding speed of his piano fingers. 

Though he’s widely regarded among the game’s greatest lyricists, Eminem has amassed a sizeable repertoire of production work during his lengthy tenure. Having worked with The Bass Brothers, Luis Resto, and of course the legendary Dr. Dre, Em’s willingness to learn the process kept his musicality honed behind the boards. A journey beginning with co-production on The Slim Shady LP, it wasn’t long before Em was laying down beats for Jay-Z, Nas, 50 Cent, G-Unit, The Game, Jadakiss, Redman, Lloyd Banks and more. 

Though the bulk of his instrumental work was reserved for his own material, Em’s unique sound and style made him an interesting producer to follow. Like his mentor Dre, Em’s inclinations veered toward the darker sound, though his instincts often skewed closer to mischievous. His creative relationship with Luis Resto, a guitarist and pianist, ensured those elements remained fixtures of Slim’s toolkit. In truth, it’s unclear how his vast production repertoire has been received in the greater hip-hop conversation. Yet given the volume of quality he’s laid down throughout the years, Em’s input deserves to be highlighted with a renewed sense of appreciation. 

Now, a little over a year removed from Eminem stepping into the producer’s chair on Kamikaze, here are his twenty-five best beats of all time.

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25. EMINEM – SOLDIER

One of Eminem’s biggest strengths as a producer is his ability to translate his emotions through music. His third studio album, 2002’s The Eminem Show found Em handling the majority of the production, his first leading turn in the director’s chair. Contextually speaking, the album served as an explanation; The Marshall Mathers LP told us what pissed him off, whereas TES highlighted why. The layers were unfolding before our eyes, and Em made sure to let his music speak accordingly. “Soldier,” the first part of the album’s thematic center, was an outlet for Marshall Mathers frustrations – not Slim Shady, but the man behind the curtain. With up-tempo and tense atmosphere, his melancholic melody suggests a sense of hopelessness. A testament to Em’s ability to reiterate his point in dual mediums, and one of the most personal beats of his career.

LISTEN: Eminem – Soldier

24. JADAKISS FT EMINEM, STYLES P, & SHEEK LOUCH – WELCOME TO D BLOCK

“Till I Collapse” made it abundantly clear that Eminem held Jadakiss in high regard, so their collaborative partnership in 2004 was hardly surprising. Given that Em spent that era on somewhat of a production tear, it seemed inevitable that he’d be lacing his first journey into D Block’s territory. Sonically, “Welcome To D Block” found Em operating in the headspace he’d carry into Obie’s Second Rounds On Me later that year. Sparse arrangements, bleak and angry in nature; a man bearing the scars of wars against Ja Rule and Benzino. Perhaps emboldened by D Block’s street pedigree, Em’s desolate Kiss Of Death banger retains his unique musical characteristics while still capturing the unfamiliar qualities of Jadakiss’ fabled home turf. 

LISTEN: Jadakiss ft. Eminem, Styles P, & Sheek Louch – Welcome To D Block

23. OBIE TRICE, EMINEM, & 50 CENT – LOVE ME

Perhaps an unconventional selection, 8 Mile’s “Love Me” remains one of the quintessential posse cuts in the Shady Records canon. Originally presented in a Kay Slay freestyle, Em took the original skeleton and expanded upon it. With a methodical and spooky arrangement, “Love Me” is simultaneously frantic and hypnotic; as Em appropriately puts it, it’s like “trying to smoke crack and go to sleep.” The drums are as simple as they come, barely-there kicks and a clockwork snare, a far cry from the instrumentation of today. Yet Em was always at his best when tailoring beats to his flows, and the ghostly drift of “Love Me” proved that less can most definitely be more. 

LISTEN: Obie Trice, Eminem, & 50 Cent – Love Me

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22. D12 – WHEN THE MUSIC STOPS 

A collaborative effort between Eminem and Kon Artis, currently known as Mr. Porter, “When The Music Stops” deserves due credit for bringing a harpsichord into the hip-hop fold. An instrument favored by Mads Mikkelsen’s Hannibal Lecter, the medieval-sounding contraption lays the foundation for one of The Eminem Show’s heaviest track. Driven by an unrelenting build, Em and Porter’s patience in sustaining the drop add additional weight to Slim’s verse. “When The Music Stops” feels particularly poignant as one of The Eminem Show’s darker tracks, a spiritual thematic successor to “The Way I Am.” Whether you appreciate Em’s musical instincts or not, nobody is crafting instrumentals quite like this.

LISTEN: D12 – When The Music Stops

21. XZIBIT FT EMINEM – DON’T APPROACH ME

Still gaining his foothold as a producer, one of Em’s formative tracks was “Don’t Approach Me” off Xzibit’s Restless. His fourth official collaboration with X, Em allowed his myriad frustrations to bleed into the beat. An explosive therapy session, Em’s somber beat included one of his eventual staples — the muted guitar riff — as well as his best imitation of Dr. Dre’s signature percussion. What makes this track stand out is its minimalist nature, complimenting the cadence and effortless flow of both emcees. The harmonic elements present arrive exactly when each verse calls for it, culminating in a cinematic synth string to drive home their sorrow. Also, bonus points for being one of Eminem’s first beats outside of his immediate Shady/Aftermath umbrella. 

LISTEN: Xzibit Ft. Eminem – Don’t Approach Me

20. OBIE TRICE – AVERAGE MAN

In the run leading up to Obie Trice’s debut album Cheers, the musical chemistry between Em and his newest protege was still finding its footing. While tracks like “Rap Name” found Em implementing his own stylistic inclinations onto Obie, it was unclear how Em might soundtrack an entire project from the Detroit lyricist. Come “Average Man,” the introductory cut off Cheers, it soon became clear. The guitars came out in a badass arpeggio, encouraged by the recurring presence of gothic keystrokes. Though he never quite adopted a production tag, Em’s trademark strings make an appearance for added emphasis. Occasionally prone to cartoonish violence, “Average Man” revealed a maturity in Em’s production; some might even consider 2003 to be his beat-making prime.

LISTEN: Obie Trice – Average Man

19. NAS – THE CROSS

In a bonafide hip-hop tragedy, a rapped Nas and Eminem collaboration never manifested; it’s said that Nas reached out for Eminem to rap on “Daughters,” but Em felt he had already covered that ground. “The Cross” is the next best thing. Yet another co-sign from a GOAT tier lyricist, Nas stepped firmly from his comfort zone on the Em-laced God’s Son track. In some ways, it feels like a cousin to “Moment Of Clarity,” boasting a similar tempo and production. Fuelled by an ascending piano riff and emphatic brass hits, “The Cross” succeeds in giving Nas ample pockets to flow. Striking a tone of melancholic martyrdom, Em’s production brought out a powerful performance from Jones, one in which his frustrations were coaxed out and encouraged.

LISTEN: Nas- The Cross

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18. D12 – GIT UP

Though D12 World arrived during the height of Eminem’s battle with addiction, the album was not without its bright points. One such high would set the project ablaze, the introductory “Git Up.” A detion from Em’s expected percussive pattern, his chosen groove encourages unconventional flow-schemes; he himself opts for a robotic delivery, exposing the depth of his nursery-rhyme appreciation. Perhaps he designed the instrumental for that very reason. In true Shady fashion, the progression is dark, the atmosphere ominous. One of the hardest tracks he’s ever laid down, complete with his most intricately arranged percussion. 

LISTEN: D12 – Git Up

17. D12 – AMERICAN PSYCHO

While Em’s hand for production was tried on The Marshall Mathers LP, he truly came into his own on 2001’s Devil’s Night. The first of two D12 albums found Eminem stepping into the producer’s chair; revisiting it showcases some of his musical habits being formed. Though many are quick to praise “Fight Music” as the opus, “American Psycho” edges it out through sheer atmosphere. A full-scale horrorcore masterpiece, the track finds Em laying down a chilling instrumental befitting of the macabre lyrical subject matter. A song that features Bizarre devouring a miscarried fetus needs an appropriate beat. Speaking with HNHH in 2015, Swift McVay went so far as to call “American Psycho” his favorite Devil’s Night track. “When I heard Em’s verse, Kon Artis, Biz’s verse, I went off the roof,” he reflects. “It gave me chills…That was one of the songs I couldn’t wait for the audience to hear.”

LISTEN: D12 – American Psycho

16. EMINEM – SUPERMAN

Though songs “for the ladies” have often been thrust upon many an unsuspecting major-label studio album, Eminem has always bucked the trend in his own unique way. As “Steve Berman” once cautioned on The Marshall Mathers LP, the bulk of Slim’s content centered around “homosexuals and Vicodin.” And yet here he was crafting a bawdy sex jam, boldly likening himself to the Man Of Steel leaping “tall hoes in a single bound.” Aside from subverting expectations on a character level, “Superman’s” beat remained entrenched in Em’s wheelhouse, with western-style guitar arpeggios and a triumphant main theme. Nor does the anthem stagnate, with new elements entering into the mix as the (nearly) six-minute opus soars to its smug and satisfied post-coital climax.

LISTEN: Eminem – Superman 

15. EMINEM – WITHOUT ME

There are distinct advantages to self-producing. For starters, it allows an artist to add another layer of expression to their track, to enhance their desired sense of character. For Eminem circa 2002, coming off the back-to-back tandem of The Marshall Mathers LP and the grotesquely goofy Devil’s Night, “Without Me” was not without an aura of mystery. The first glance at a man ready to expand on his own narrative, The Eminem Show’s lead single served as Eminem’s informal introduction to his new sound. Cartoonish synthesizers ooze in a slick disco loop, embellished by occasional bursts of Rhodes riffs and sultry sax. On a rhythmic level, the drums and bass form a perfect marriage of danceability, keeping momentum with Em’s steroid-infused mischief bars. In some ways, it covers the same ground as “The Real Slim Shady,” albeit with less unease; on this go-around, Em isn’t shaking his fist at those above him, but rather spitting from the balcony on those below. While “Without Me” might not be your cup of tea, the sheer impact it would go on to have on his production moving forward reserves it a place within this list.

LISTEN: Eminem – Without Me

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14. EMINEM – TILL I COLLAPSE

A solid introduction can often go unsung. It’s rare to see a hip-hop track begin with thirty-seconds of uninterrupted music. On “Till I Collapse,” Em’s main themes are foreshadowed in the opening segment, only to be later enhanced by militant percussion and chugging electric guitars. The brilliance of Em’s earlier guitar-based work is in its subtlety, eschewing rock-rap traditions by using them as complementary ingredients. Multi-instrumentalist Luis Resto deserves due praise, one of Em’s chief collaborators behind the boards. Together, they crafted The Eminem Show’s definitive track, a late-game adrenaline shot that has yet to wear off. 

LISTEN: Eminem – Till I Collapse

13. EMINEM – LOSE YOURSELF

It’s impossible to deny the impact of “Lose Yourself.” Not only did the 8 Mile Soundtrack’s lead single net Slim an Oscar, it went on to galvanize his status into a full-blown cultural icon complete with parental approval. On a production level, “Lose Yourself” found Eminem exploring groundwork laid by “Sing For The Moment,” a clever reimagining of rock-and-roll’s expected elements and qualities. Rather than repurposing an Aerosmith sample, he, Jeff Bass, and Luis Resto crafted a tense and melancholic original arrangement, tailored to mirror the emotional ebb-and-flow of Em’s lyricism. Barely restrained electric guitars mirrored boiling blood, while soft piano flourishes captured vulnerability. Though it would be one of Em’s earliest forays into “rock-rap” territory, it would likewise be one of his most sophisticated. 

LISTEN: Eminem – Lose Yourself

12. D12 – PURPLE PILLS

It’s difficult to talk about Eminem’s production without dipping a toe into the cartoonish. One has to wonder whether there would be a “Without Me” without D12’s lead single “Purple Pills.” Where the former is more overtly playful, there’s something sinister bubbling beneath the latter’s hallucinogenic synthesizers. Evocative of the laced drug trips the Dirty Dozen hazily recounts, “Purple Pills” goes so far as to implement a harmonica solo in its closing moments. And this isn’t a mere fragment – it’s a full-blown minute of pure harmonica bliss. Shout out to Ray Gale for that one. Before you cry afoul that “Purple Pills” was placed higher than “Lose Yourself,” consider the circumstances surrounding its release. Not only did he have to spark immediate public interest in his loyal crew, but he also had to provide a musical canvas befitting of their outlandish modus operandi. And damned if the resulting acid-trip through Dali’s Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening didn’t succeed in nailing that rare bird double homicide. 

LISTEN: D12 – Purple Pills

11. 50 CENT – I’M SUPPOSED TO DIE TONIGHT

50 Cent has always been a threatening force on wax. A dominant presence in gangster rap, prone to doling out beatings and drawing the firearm without remorse. When he teamed up with Eminem, however, his proclivities toward violence developed an additional layer. Spurred by Em’s inclinations toward the haunting, a quality that he shares with mentor Dr. Dre, Fif found himself veering into existential territory going so far as to deem himself “Satan’s Angel” on “I’m Supposed To Die Tonight.” Urgent despite its dirge-like pace, this early The Massacre highlight is tense enough to maintain chills for its duration. Another instance in which Em takes nursery rhyme qualities and injects them with a syringe of nightmare fuel. 

LISTEN: 50 Cent – I’m Supposed To Die Tonight

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10. 2PAC & THE NOTORIOUS B.I.G – RUNNIN (DYING TO LIVE)

Before winning over Afeni Shakur with a handwritten request to produce her son’s posthumous album Loyal To Tha Game, Eminem laid the backdrop for a collaboration between 2Pac and The Notorious B.I.G. Aside from the legendary pedigree, “Runnin” manages to sound sonically appropriate to both artists, neither of whom strayed from darker music. A pitched up flip of Edgar Winter’s “Dying To Live” anchors the song with a vain sense of hope, only to be subsequently eroded by Em’s goonish strings. The influence of Dr. Dre bleeds through “Runnin,” though Eminem’s general ear for chord progressions and preferred sounds ground him in his own distinct realm. 

LISTEN: 2Pac & The Notorious B.I.G. – Runnin (Dyin To Live)

9. EMINEM, OBIE TRICE, & DMX – GO TO SLEEP

Like Dre, the man from which he likely learned several tricks of the trade, Em has never shied away from the horror genre. And while some of his earlier material found him donning the killer’s overalls, his anger would occasionally run beyond the conceptual. That would prove the case on “Go To Sleep,” a collaboration with DMX and Obie Trice penned in the midst of the Ja Rule & Benzino feud. It’s no wonder he pulled out medieval instruments for the torture session; both church organs and the harpsichord are dusted off. The end result was one of Em’s most aggressive beats, a quality reflected in his and X’s rabid performances; Obie was always content to play the restraint, calculated killer with the ridiculous vocabulary.

LISTEN: Eminem, Obie Trice, & DMX – Go To Sleep

8. JAY-Z – MOMENT OF CLARITY

“I made beats for Jay-Z for free, page me,” flexed Eminem, on a freestyle circa 2003. And that he did, with “Moment Of Clarity” earning a spot on Jay’s retirement lap The Black Album. An extra-special feat, considering that Jay was tailoring the entire project around the work of his favorite producers. The prestige alone earns “Moment” a spot on this list, especially given the infrequency with which Em blesses outsiders; the pedigree of those seeking his production, from Redman, Nas, and Jay, should inherently put credit on his name. In essence, “Moment Of Clarity” features a straightforward synth riff and a varied take on boom-bap drums. It’s the sounds themselves that reveal Em’s meticulous ear, transforming something simple into something memorable.

LISTEN: Jay-Z – Moment Of Clarity

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7. EMINEM – MOCKINGBIRD

Where Em’s affinity for lullabies is generally used in the name of evil, “Mockingbird” marks a detion from the expected. Marking the emotional centerpiece of Encore, Em’s homage to his daughter Hailie Jade makes for a compelling journey even without the lyrics. Driven by a lovely piano line and the occasional string section, “Mockingbird” pulls at the heartstrings without diving into sentimentality. Once again, Eminem and Luis Resto strike gold with simplicity, crafting a strong melody and allowing it to paint a stirring portrait. At once sad and regretful, loving and triumphant, Em’s reflection on fatherhood is one of the most revealing tracks of his career. 

LISTEN: Eminem – Mockingbird 

6. LLOYD BANKS – TILL THE END

Though never officially signed to Shady, Eminem’s touch was certainly felt on Lloyd Banks’ debut The Hunger For More. Producing three of the albums highlight tracks, Em made sure to bless Banks with one of the most haunting beats of his career. To make a distinction, “Till The End” resonates through wistfulness rather than menace. The air of tragedy having struck, the fallout that only comes with time. A soft, lullaby-esque piano riff is the main backdrop, a staple of Eminem and Luis Resto’s modus operandi. Subtly arranged with hints of underlying trauma, “Till The End” is a cinematic addition to Em’s production discography.

LISTEN: Lloyd Banks – Till The End

5. EMINEM – THE WAY I AM

A monumental moment in Eminem’s journey behind the boards, “The Way I Am” was the first beat he ever crafted on his lonesome. Em has always thrived producing for himself; it allows him to best express his highly conceptual songs, capturing whatever emotion might be the driving force. Here, it’s none other than sheer frustration, appropriately mirrored by a maddening loop of delayed piano. Hallmarks of Eminem’s ever-building toolkit are present: slightly overdriven guitars, minor-key riffs, shuffling hi-hats, and subtle gothic accouterments. A simple arrangement in theory, “The Way I Am” succeeds as a direct reflection of a man at his most embroiled. Not to mention, it marked his introduction into the game as a multitalented force, which in itself gives this Marshall Mathers LP highlight extra gravitas. 

LISTEN: Eminem – The Way I Am

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4. OBIE TRICE, LLOYD BANKS, EMINEM & 50 CENT – WE ALL DIE ONE DAY

One must envy a fly on the wall in this particular studio session. A Shady Records posse cut fueled by piss and vinegar, violent cockiness, and the swagger of those sitting atop the rap game, “We All Die One Day” may very well be the hardest track in Eminem’s discography, period. Encapsulating both their disdain for their opponents and their pride in their own dominance, Em, G-Unit, and Obie Trice absolutely obliterate a merciless beat from the Shady ringleader. As he is wont to do, Em keeps his percussion relatively simple, kicking up the intensity with a deep, slightly distorted synthesizer. The main melody unfolds with a descending minor scale reaching its natural conclusion, almost playful in its simplicity. Yet there are no games being played here. This beat encourages aggression from all participants, who are happy to oblige.

LISTEN: Obie Trice, Lloyd Banks, Eminem, 50 Cent – We All Die One Day

3. EMINEM – STAN

One of the earliest Eminem beats to incorporate a sample, the 45 King collaboration “Stan” remains one of Slim’s most enduring musical moments. A detion from his sound of the time, acoustic guitar chords and a bittersweet bassline unite, only hinting at the depravity to come. Those familiar with the Dido song from which the hook is taken might recognize her track’s progression into a major key lift. Em and the 45 King swerve that direction entirely. There’s something self-fulfilling about the “Stan” instrumental; a progression that doesn’t quite commit to melancholy, keeping the fainted hint of optimism alive. The concept of an obsessive fan driven to madness might have teetered on comedic in a lesser writer’s hands. Yet thanks to Slim and King’s masterfully crafted beat, the tragic story is imbued with the power it deserves. 

LISTEN: Eminem – Stan

2. 50 CENT & EMINEM – PATIENTLY WAITING

“Patiently Waiting” is the embodiment of the killer from Relapse tiptoeing to your doorstep. Where pizzicato strings can sound almost whimsical in the right hands, Em flips them on their heads, creating an atmosphere of simmering tension closer to the opening dissonance of a horror movie. A recurring, deeper element reminiscent of a muted guitar keeps the pace lively, as occasional slow-burning synth strings creep into the mix. Prior to its release, the sample size of 50 Cent’s Eminem-laced songs remained too small to draw any conclusions. After “Patiently Waiting,” however, immediate musical chemistry was forged. With many still touting Get Rich Or Die Tryin as a classic, it’s likely they’d have much to say about its legendary third track.

LISTEN: 50 Cent & Eminem – Patiently Waiting

1. JAY-Z & EMINEM – RENEGADE

Curiously enough, Jay-Z’s Blueprint did not include a single guest appearance, save for a lone contribution from Slim Shady. Emerging at a time in which Em was public enemy number one, “Renegade” came equipped with an inherent sense of urgency. At the helm were Em and frequent Shady collaborator DJ Head, who conjured up a haunting beat complete with several signature staples: gothic choirs, minor-key piano arpeggios, a slick bassline. A noted departure from Blueprint’s sonic aesthetic thus far, “Renegade” proved to be new territory for the Jigga Man, who ably bodied the beat. More importantly, it made for the first collaboration between the rappers, a relationship that would ultimately secure Marshall a placement on Jay’s exclusive “retirement” send-off.

LISTEN: Jay-Z & Eminem – Renegade

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There’s an inherent sense of intimidation that arises when a producer of Dr. Dre’s caliber sits behind the boards.  his reputation as a perfectionist is well documented. Known for honing in on everything from frequencies to cadential delivery, there’s nothing that eludes the Good Doctor’s storied ear. Not only is he a master in the art of arrangement, but he’s also one of the game’s most capable recording engineers. Drums hit harder. Haunting pianos sit comfortably in a mix. Space can be truly felt. 

Painstaking it may be for the underprepared, Dre’s borderline alchemical formula has worked wonders time and again. His name has been attached to countless hit singles, many of which stand as enduring classics. You’d be hard-pressed to find a hip-hop fan, casual or otherwise, who doesn’t hold at least one Dr. Dre production close to heart. And yet, despite ushering in several of the game’s biggest names — be it Snoop Dogg, Eminem, 50 Cent, or The Game– there’s a certain aura of elusiveness surrounding him. 

In reality, Dre has been prolific for over thirty years. Since first arriving on the scene in the late eighties, he has assembled a truly massive discography, working with no shortage of artists from the West Coast and a few notable East Coast emcees. With such a vast repertoire of tracks to his name, many of the more obscure cuts might remain under the radar to the younger fan. Now, on the first day of a brand new decade, it’s time to celebrate the lesser-known bangers. We’ve previously examined Dr. Dre’s most haunting beats. We’ve done his Death Row-era classics. It’s time for the deep dive. 

The following is in no particular order.

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Hittman ft. Dr. Dre & Knoc-Turn’al – Bloww

When Dr. Dre first connected with Bronson rapper Hittman, the objective was to groom a rapper called “Lil Homie,” who was meant to act as the Doc’s sidekick on wax; Hitt confirmed as much when we spoke for our retrospective on 2001. The creative partnership proved fruitful beyond expectation, and Hitt ultimately landed on ten of the project’s tracks. Sadly, the dynamic ultimately faded, and Hittman’s anticipated Aftermath debut found itself shelved; the only officially released relics were a sample of “Last Dayz,” as seen in the “Forgot About Dre” video. Years later, Hitt would go on to release the project independently, with Dre handling four of the instrumentals. One of the highlights arrives courtesy of “Bloww,” a track that sounds like a holdover from the 2001 sessions. Patient basslines and somber pianos suggest the involvement of Elizondo and Storch, a spiritual successor to the elite 2001 duet “Big Egos.” 

LISTEN: Hittman ft. Dr. Dre & Knoc-Turn’al – Bloww

King T – Da’Kron

Though King T’s Thy Kingdom Come album ultimately fell victim to Dr. Dre’s fabled perfectionism, the 1998 album was eventually released in a staggered fashion. Laying seven of the project’s eighteen tracks, Dre’s fingerprints can be felt throughout, his musical instincts sitting somewhere between Dr. Dre Presents…Aftermath, The Firm, and 2001. An east-coast-inspired guitar lick pairs nicely with Dre’s crisp drum and bass, the perfect backdrop for the effortless T to administer flow on. In truth, it was hard to decide between “Da’Kron” and fellow album cut “Where’s T,” with the former gaining the edge through its subversion of Dre’s expected sound. Either way, it’s a shame the project was never given an official release, as a full-scale partnership between two West Coast legends would have been one for the books.

LISTEN: King T – Da’Kron

Royce Da 5’9″ – The Throne Is Mine

Airtight though his sound may be, there’s something refreshing about Dre on his underground tip. Evidently, one of his rawest cuts arrives courtesy of a young Royce Da 5’9″, who found himself invited to the 2001 recording sessions at Eminem’s behest. Though he ultimately secured a writing placement on “The Message,” one of Royce’s most interesting contributions to the cause was “The Throne Is Mine,” an unreleased song that found Dre exploring some unexpected sounds. “We got you surrounded, the Chronic 2000” raps Royce, over Dre’s deftly-plucked guitar arpeggio and ominous choirs. While the unmixed variant is all we’ve got, the low-fi vibe gives the track a welcome backpacker aesthetic, leaving us wondering his this one might have been worked into Dre’s sophomore classic.

LISTEN: Royce Da 5’9″ – The Throne Is Mine

Knoc-Turn’al – Str8 West Coast 

In the early millennium, Dre seemed ready and willing to set his sights on both Eminem and Knoc-Turn’al, two chief contributors to the 2001 recording sessions. Unfortunately, Knoc’s debut album Knoc’s Landing found itself plagued by piracy and shelved as a result; in response, the Long Beach rapper released an EP of the same name, which included a pair of Dr. Dre produced album leftovers (as well as a strange rock-inspired beat from a young Kanye West): “The Knoc” and “Str8 West Coast Remix.” And while the remix is badass in its own right, there’s something special about the Knoc-centric original, as he floats ghostlike over an elite Dre banger. Picking up where hard-hitting piano beats like “Ackrite” left off, Dre slowly introduces new instrumental elements into the fold; by the chorus hits, his signature ear for darkness is revealed through a subtle minor-key progression. 

LISTEN: Knoc-Turn’al – Str8 West Coast

Eve ft. Styles P – That’s What It Is

Though Eve would never release a full album on Aftermath, the Ruff Ryders first lady and the Doc laid down their fair share of excellent collaborations. And while Scorpion’s “Let Me Blow Ya Mind” is far from a deep cut, the album’s second Dre collaboration “That’s What It Is” marks an uncelebrated milestone in hip-hop history. Which is to say, one of two unions between The Lox, herein represented by Styles P, and Dr. Dre. Off the rip, “That’s What It Is” gains momentum through its no-nonsense opening bars, which finds Eve taking to Dre’s demented orchestra with head-nodding precision. Picking up where she left off is the unapologetically G’d up Styles, who opts for a drawn-out rhyme scheme lined with violent bars. Simple in a sense, yet effective, clinically mixed, and immediate in true Dre fashion.

LISTEN:Eve ft Styles P – That’s What It Is

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Warren G – Lookin’ At You

There’s no denying that Dr. Dre loves his smut. Aside from delivering hyper-sexualized solo material, Dre has always been a wingman to those within his circle. In 2001, Warren G dropped off The Return Of The Regulator, featuring a single beat from his stepbrother Dre. Naturally, “Lookin’ At You” was released as the lead single, driven by an instrumental that’s simultaneously dark and seductive at the same time. With an ever-so-menacing piano progression dominating the backdrop, Warren’s tale of courtship, seduction, and a sealed-deal is premium gentleman’s club material. Warren G cruises over the beat with confidence, spitting game in an understated fashion — especially compared to his bro’s more rambunctious approach to one-night-courtship. On that note…

LISTEN: Warren G – Lookin’ At You

Dr. Dre & DJ Quik – Put It On Me

Cut from the same cloth as the equally X-rated “Bad Intentions,” Dr. Dre’s first and only collaboration with DJ Quik arrived heavy on lyrical pornography. The musical equivalent to a late-night jaunt at a neon-drenched no-tell motel, “Put It On Me” once again found Dre laying down a dark piano-driven banger, enhanced by a melodic guitar arpeggio and slinking bassline. Speaking about the track’s creation, Knoc-Turn’al explained that he helped bring Dre and Quik together in the first place, revealing that Dre employed the songwriting responsibilities to him. “Dre was like don’t let this n***a rip me,” laughed Knoc. “Quik’s style is cold. It was a challenge for me to try and match his style. Try to match the same intensity and same cleverness that Quik has.” Luckily, everyone involved in the creation of “Put It On Me” delivered — it sounds exactly what a link-up between two West Coast legends should.

LISTEN: Dr. Dre & DJ Quik – Put It On Me

Raekwon ft. Lyfe Jennings – Catalina 

Is it fair to deem Raekwon’s masterpiece “Catalina,” drawn from 2009’s classic Only Built 4 Cuban Linx 2, a deep cut? In the sense that it often remains omitted from discourse surrounding Dre’s best work, it seems fair to highlight this cocaine-fuelled gem. For the first time since linking with The Firm in 1997, Dre found himself exploring motifs closer to Scarface than Boyz N The Hood, soundtracking full-blown mafioso rap in luxurious fashion. While previous classics like “Phone Tap” have long surpassed the Deep Cut status (many name it among Dre’s finest instrumentals), “Catalina” found Dre testing himself in an exciting fashion, lacing distinctive instrumentals for one of the best lyricists of all time in Raekwon. The end result is one of the most surprising beats in Dre’s career, a breath of fresh air, the equivalent to Tony Montana on a leather chair.

LISTEN: Raekwon – Catalina ft. “Lyff Jennings”

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Mack 10 – Hate In Yo Eyes

Who would have guessed that a flip on the disco classic “Stayin’ Alive” would go so hard? That’s Dre’s vision at work, drawing inspiration from the most unexpected sources. Linking up with the Westside Connection OG Mack 10 for one of their rare collaborations (the other being Ras Kass’ “Ghetto Fabolous“), Dre laid the foundation with a twanging guitar loop, effective bass work, and eerie atmospheric transitions. Unsurprisingly, “Hate In Yo Eyes” served as the lead single for Bang Or Ball, because if you have a Dre beat, you release it to the public as quickly as possible. Arriving during an era in which Dre was in the midst of perfecting a new musical formula, this strange and hypnotizing instrumental marked a cool departure for the legendary producer. The Bee Gees would be proud.

LISTEN: Mack 10 – Hate In Yo Eyes

Busta Rhymes – Truck Volume

“Truck Volume” is the sonic equivalent to a haunted video game cartridge. Arriving in tandem with “Break Ya Neck” and the spooky “Holla,” Dre’s trilogy of beats for Busta Rhyme’s Genesis stand among his most intriguing work of the early millennium. There’s something medieval in essence about the eighth track on Busta’s low-key classic, a meticulous blend of synthesizers, organs, descending basslines. In other words, madness befitting of New York’s self-declared Goliath. More than anything, “Truck Volume” reveals the brilliance of Dre’s engineering; lesser hands might have fumbled such a layered and dynamic instrumental, yet the final result hits hard enough to earn its name. 

LISTEN: Busta Rhymes – Truck Volume

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