2001 (德瑞醫生專輯)

“2001”（有時被稱為The Chronic 2001、Chronic 2001、或The Chronic 2），是美國說唱歌手兼製作人德瑞醫生（Dr.Dre）的第二張錄音室專輯。它於1999年11月16日由新視鏡唱片發行，作為他1992年首張專輯“The Chronic”的後續專輯。唱片主要由德瑞醫生、Mel-Man及Lord Finesse製作，另外還有幾位客串演出的美國嘻哈歌手如The D.O.C.、Hittman、史努比狗狗、Kurupt、艾勒比、Eminem和已故的奈特·道格。“2001”表現出Dr.Dre繼第一張專輯“The Chronic”出版之後聲音的擴張，並且包含了暴力、濫交、吸毒、街頭幫派、性別和犯罪等匪幫說唱主題。
這張專輯在美國“公告牌二百強專輯榜”排行榜上排在第2位，第一週銷售了516,000張。它在排行榜上產生了三張單曲，並被RIAA認證為6白金。截至2015年8月，這張專輯在美國已售出7,800,000份。“2001”收到評論家普遍肯定的評論，其中許多人讚揚這張專輯，與此同時有些人認為歌詞令人反感。

**名稱**
“Chronic 2000”是新視鏡唱片的Dr. Dre最初考慮作為他第二張專輯的名稱，但是歌手Suge Knight率先採用了這個名稱並且用在他的專輯上，迫使Dr. Dre將名稱改為《2001》。

**背景**
在接受《紐約時報》採訪時，Dr. Dre談到了他錄製專輯的動機，在外人對他的製作和說唱能力產生疑慮之後，這個現象來自他自從“The Chronic”（1992）以來就沒有發行過獨唱錄音室專輯的事實。他不得不再次向粉絲和媒體證明自己。他表示：
這張專輯打算作為混音帶發行; 通過插曲和轉盤效果將曲目串聯起來，但後來改為像電影一樣形式製作。Dr. Dre說：“你聽到的一切都在計劃中。這是一部電影，但有著不同的情況。所以你會得到積累、感動的時刻與積極的時刻。你甚至會“Pause for Porno”。它擁有電影所有的一切。原文為：Everything you hear is planned. It's a movie, with different varieties of situations. So you've got buildups, touching moments, aggressive moments. You've even got a 'Pause for Porno.' It's got everything that a movie needs. ”談到他沒有為夜總會或電臺播放錄製專輯，並且他計劃專輯只是為了娛樂節目的滑稽表演，他評論說：“我不想發出任何信息或任何與此唱片有關的東西。我只是基本上做了硬核嘻哈，並嘗試添加一些黑色幽默在這裡。媒體很多時候都會採取這種做法，並在所有娛樂活動都是第一時間嘗試將其變成其他內容。你不應該太認真。原文為：“I'm not trying to send out any messages or anything with this record. I just basically do hard-core hip-hop and try to add a touch of dark comedy here and there. A lot of times the media just takes this and tries to make it into something else when it's all entertainment first. You shouldn't take it too seriously.””

**錄製**
專輯中標明Dr. Dre撰寫的一些歌詞，被注意到是由幾位代筆人撰寫。傳言Royce da 5'9"是一位參與代撰的人。 他被指出寫的是最後一首曲目"The Message"， 但是他的正式名稱或化名並沒有出現在專輯文案中。
, originally named "The Way I Be Pimpin'", was later retouched as "Xxplosive"; this version has Dr. Dre rapping penned verses by Royce and featured Royce's vocals on the chorus. Royce wrote several tracks such as "The Throne Is Mine" and "Stay in Your Place" which were later cut from the final track list. The tracks have been leaked later on several mixtapes, including Pretox.
The album's production expanded on that of The Chronic, with new, sparse beats and reduced use of samples which were prominent on his debut album. Co-producer Scott Storch talked of how Dr. Dre used his collaborators during recording sessions: "At the time, I saw Dr. Dre desperately needed something. He needed a fuel injection, and Dre utilized me as the nitrous oxide. He threw me into the mix, and I sort of tapped on a new flavor with my whole piano sound and the strings and orchestration. So I'd be on the keyboards, and Mike Elizondo was on the bass guitar, and Dre was on the drum machine." Josh Tyrangiel of 時代雜誌 has described the recording process which Dr. Dre employs, stating "Every Dre track begins the same way, with Dre behind a drum machine in a room full of trusted musicians. (They carry beepers. When he wants to work, they work.) He'll program a beat, then ask the musicians to play along; when Dre hears something he likes, he isolates the player and tells him how to refine the sound."

**Music**

**Production**
The album primarily featured co-production between Dr. Dre and Mel-Man and was generally well received by critics. AllMusic writer Stephen Thomas Erlewine noted that Dr. Dre had expanded on the G-funk beats on his previous album, The Chronic, and stated, "He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations" and went on to say, "Sonically, this is first-rate, straight-up gangsta."
Entertainment Weeklys Tom Sinclair depicted the album as "Chilly keyboard motifs gliding across gut-punching bass lines, strings and synths swooping in and out of the mix, naggingly familiar guitar licks providing visceral punctuation". NME described the production as "patented tectonic funk beats and mournful atmospherics". PopMatters praised the production, stating that "the hip-hop rhythms are catchy, sometimes in your face, sometimes subtle, but always a fine backdrop for the power of Dre's voice." Jon Pareles of The New York Times mentioned that the beats were "lean and immaculate, each one a pithy combination of beat, rap, melody and strategic silences".
The album marked the beginning of Dr. Dre's collaboration with keyboardist Scott Storch, who had previously worked with The Roots and is credited as a co-writer on several of 2001s tracks, including the hit single "Still D.R.E.". Storch would later go on to become a successful producer in his own right, and has been credited as a co-producer with Dr. Dre on some of his productions since.

**Lyrics**
The lyrics on the album received criticism and created some controversy. They include many themes associated with gangsta rap, such as violence, promiscuity, street gangs, drive-by shootings, crime and drug usage. Stephen Thomas Erlewine said that the only subject matter on the album was "violence, drugs, pussy, bitches, dope, guns, and gangsters" and that these themes have become repetitive and unchanged in the last ten years. Critics noted that Dr. Dre had differed from his effort to "clean-up his act" which he tried to establish with his 1996 single, "Been There, Done That" from Dr. Dre Presents...The Aftermath.
NME mentioned that the album was full of "pig-headed, punk-dicked, 'bitch'-dissing along with requisite dollops of ho-slapping violence, marijuana-addled bravado and penis-sucking wish fulfilment." Massey noted that the lyrics were overly explicit but praised his delivery and flow: "His rhymes are quick, his delivery laid back yet full of punch." The rhymes involve Dr. Dre's return to the forefront of hip hop, which is conveyed in the singles "Still D.R.E." and "Forgot About Dre". Many critics cited the last track, "The Message"; a song dedicated to Dr. Dre's deceased brother, as what the album could have been without the excessively explicit lyrics, with Massey calling it "downright beautiful" and "a classic of modern rap".

**Singles**
Three singles were released from the album: "Still D.R.E.", "Forgot About Dre" and "The Next Episode". Other tracks "Fuck You", "Let's Get High", "What's the Difference" and "Xxplosive" were not officially released as singles but received some radio airplay which resulted in them charting in the Hot R&B/Hip-Hop Singles & Tracks. "Still D.R.E." was released as the lead single in October 1999. It peaked at number 93 on the Billboard Hot 100, number 32 on the Hot R&B/Hip-Hop Singles & Tracks and reached number 11 on the Hot Rap Singles. It reached number six on the UK single charts in March 2000. The song was nominated at the 2000 Grammy Awards for Best Rap Performance by a Duo or Group, but lost to The Roots and Erykah Badu's "You Got Me".
"Forgot About Dre" was released as the second single in 2000 and like the previous single, it was a hit on multiple charts. It reached number 25 on the Billboard Hot 100, number 14 on the Hot R&B/Hip-Hop Singles & Tracks and number 3 on the Rhythmic Top 40. It reached number seven on the UK single charts in June 2000. The accompanying music video won the MTV Video Music Award for Best Rap Video in 2000. The song won Dr. Dre and Eminem Best Rap Performance by a Duo or Group at the 2001 Grammy Awards.
"The Next Episode" was released as the third and final single in 2000. It peaked at number 23 on the Billboard Hot 100, number 11 on the Hot R&B/Hip-Hop Singles & Tracks and number 2 on the Rhythmic Top 40. It peaked at number three on UK single charts in February 2001. It was nominated at the 2001 Grammy Awards for Best Rap Performance by a Duo or Group, but the award went to another single from the same album to Dr. Dre and Eminem for "Forgot About Dre".

**Commercial performance**
The album debuted at number 2 on the US Billboard 200, with first-week sales of 516,000 copies. It also entered at number one on Billboards Top R&B/Hip-Hop Albums chart. The album was successful in Canada, where it reached number 2 on the charts. The record was mildly successful in Europe, reaching number 4 in the United Kingdom, number 7 in Ireland, number 15 in France, number 17 in the Netherlands and number 26 in Norway. It peaked at number 11 on the New Zealand album chart. Closing out the year of 2000, the album was number 5 on the Billboard Top Albums and number one on the Billboard Top R&B/Hip-Hop Albums chart. It re-entered the charts in 2003, peaking on the UK Albums Top 75 at number 61 and on the Ireland Albums Top 75 at number 30. The album was certified six times Platinum by the Recording Industry Association of America (RIAA) on November 21, 2000. It is Dr. Dre's best selling album, as his previous album, The Chronic, was certified three times platinum. As of August 2015, the album has sold 7,800,000 copies in the United States.

**Critical reception**
2001 received generally positive reviews from critics. Stephen Thomas Erlewine of AllMusic stated, "2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character." Entertainment Weeklys Tom Sinclair praised the production, calling it "uncharacteristically sparse sound" from Dr. Dre and that it was as "addictive as it was back when over 3 million record buyers got hooked on The Chronic and Snoop Dogg's Dre-produced Doggystyle" and went on to commend Dr. Dre, stating, "If any rap producer deserves the title "composer", it's he." NME mentioned that Dr. Dre didn't expand the genre, but it was "powerful enough in parts, but not clever enough to give Will Smith the fear". PopMatters writer Chris Massey declared that "Musically, 2001 is about as close to brilliant as any one gangsta rap album might possibly get." Christopher John Farley of Time stated that "The beats are fresh and involving, and Dre's collaborations with Eminem and Snoop Dogg have ferocity and wit." Although he was ambivalent towards the album's subject matter and guest rappers, Greg Tate of Spin was pleasantly surprised by "the most memorable MC'ing on this album coming from Dre himself, Eminem notwithstanding" and stated, "Whatever one's opinion of the sexual politics and gun lust of Dre's canon, his ongoing commitment to formal excellence and sonic innovation in this art form may one day earn him a place next to George Clinton, if not Stevie Wonder, Duke Ellington, or Miles Davis."
In a negative review, Robert Christgau from The Village Voice found Dr. Dre's lyrics distastefully misogynistic, writing "it's a New Millennium, but he's Still S.L.I.M.E. ... For an hour, with time out for some memorable Eminem tracks, Dre degrades women every way he can think of, all of which involve his dick." Chicago Tribune critic Greg Kot said Dr. Dre's production boasted unique elements but "the endless gangsta babble, with its casual misogyny and flippant violence," sounded flagrantly trite. AllMusic's Erlewine spoke of how the number of guest rappers affected the album, and questioned his reasons for collaborating with "pedestrian rappers". He claimed that "the album suffers considerably as a result of these collaborations". Erlewine criticized the lyrics, which he said were repetitive and full of "gangsta clichés". Sinclair mentioned similar views of the lyrics, calling them "filthy", but noted "none of this should diminish Dre's achievement". NME spoke of how the lyrics were too explicit, stating, "As the graphic grooves stretch out, littered with gunfire, bombings and 'copters over Compton, and the bitch-beating baton is handed from Knock-Turnal to Kurupt, 2001 reaches gangsta-rap parody-level with too many tracks coming off like porno-Wu outtakes." Massey referred to the lyrics as a "caricature of an ethos rather than a reflection of any true prevailing beliefs."
In 2006, Hip Hop Connection ranked 2001 number 10 on its list of the 100 Best Albums (1995–2005) in hip hop. In a 2007's issue, XXL gave the album a retrospective rating of "XXL", their maximum score. In Rolling Stones The Immortals – The Greatest Artists of All Time, where Dr. Dre was listed at number 54, Kanye West talked of how the track "Xxplosive" inspired him: "'Xxplosive', off 2001, that's where I got my entire sound from—if you listen to the track, it's got a soul beat, but it's done with those heavy Dre drums. Listen to 'This Can't Be Life,' a track I did for Jay-Z's Dynasty album, and then listen to 'Xxplosive'. It's a direct bite."

**曲目列表**
名單改編自唱片套上的說明文字
所有歌曲由Dr. Dre和Mel-Man製作，除了《The Message》由Lord Finesse製作。
備註
*〈The Watcher〉包含了Eminem和Knoc-Turn'al的額外的聲樂部份
*〈What's the Difference〉包含了Phish的額外的聲樂部份
*〈The Next Episode〉包含了Kurupt和Nate Dogg的額外的聲樂部份
*〈Some L.A. Niggaz〉包含了Hittman的客串聲樂部份
*〈The Message〉包含了Tommy Chong隱藏的聲樂部分
旋律參考
*〈Lolo (Intro)〉包含了James A. Moorer演唱的《Deep Note》之片段
*〈Big Ego's〉參考了John Barry和Love Don't Live Here Anymore以及Rose Royce演唱的"Theme from The Persuaders!" 。
*〈Xxplosive〉參考了Isaac Hayes演唱的"Bumpy's Lament"並且插入了Snoop Dogg演唱的"Ain't No Fun (If the Homies Can't Have None)"。
*〈What's the Difference?〉包含Charles Aznavour演唱的《Parce Que Tu Crois》之片段。
*〈Bar One (Skit)〉包含Cannonball Adderley演唱的《Poundin》之片段。
*〈Light Speed〉參考了Boogie Down Productions演唱的"I'm Still #1" 。
*〈Forgot About Dre〉參考了No Doubt演唱的"The Climb"。
*〈The Next Episode〉包含了David Axelrod演唱的"The Edge"之中可替換元素。
*〈Let's Get High〉參考了The Fatback Band和"High"演唱的"Backstrokin'"。
*〈Bitch Niggaz〉參考了Audio Two演唱的"Top Billin'"。
*〈The Car Bomb (Skit)〉包含Sun演唱的《Time Is Passing》之片段。
*〈Murder Ink〉包含John Carpenter演唱的《Halloween Theme》及Ini Kamoze演唱的《Here Comes the Hotstepper》之片段。
*〈Ed-Ucation (Skit)〉參考了Franck Pourcel演唱的"Diamonds Are Forever"。
*〈Housewife〉插入了Dr. Dre演唱的"Bitches Ain't Shit"。

**製作人員**
 Dr. Dre – 執行製片人，演唱，製作人，混音師- Mel-Man – 表演者，製片人，貝斯- Lord Finesse – 製片人- Eminem – 表演者，聲樂部份，撰寫人- Snoop Dogg – 表演者，聲樂部份- Hittman – 演唱，撰寫人- Xzibit – 演唱- Kurupt – 演唱，聲樂部份- Ms. Roq – 演唱- Devin the Dude – 演唱，聲樂部份- Nate Dogg – 演唱- Six-Two – 演唱- Royce da 5'9" – 撰寫人- MC Ren – 聲樂部份- Tommy Chong – 聲樂部份- Knoc-turn'al – 演唱，聲樂部份- Defari – 演唱- Time Bomb – 演唱- King Tee – 演唱- Kokane – 演唱- Mary J. Blige – 演唱- Rell – 演唱- Jake Steed – 演唱- Eddie Griffin – 演唱- Charis Henry – 彙總概念，演唱- The D.O.C. – 作家，聲樂部份- Ian Sanchez – 演唱- Colin Wolfe – 貝斯- Mike Elizondo – 貝斯- Preston Crumo – 貝斯- Sean Cruse – 吉他- Camara Kambon – 鍵盤- Scott Storch – 鍵盤- Jason Hann – 打擊樂器- Taku Hirano – 打擊樂器- DJ Pen – 刮擦樂器- Larry Chatman – 生產經理- Kirdis G. Tucker – 善後產品經理- Charles "Big Chuck" Stanton – A＆R總監- Mike Lynn – A＆R總監- Damon "Bing" Chatman – 善後項目協調員- Michelle Thomas – 新視鏡唱片產品經理- Andrew Van Meter – 新視鏡唱片製作協調員- Ekaterina Kenney – 新視鏡唱片攝影協調員- Richard "Segal" Huredia – 彙總攝影師，工程師- Brian "Big Bass" Gardner – 母帶處理- Paul Foley – 專輯編輯- Stan Musilik – 攝影師- Donn Thompson – 攝影師- Jason Clark – 藝術總監，設計師- Jay-Z – 撰寫人

**排行榜**

**周榜**

**年終榜**

**十年榜單**

**銷量**

**註釋**

**參考資料 ==