Sublime

Ben Kenney, who was playing guitar with us before he decamped for Incubus, was there with me,

“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)

Dischner is the only Paradise City member who naturally looks like a GNR doppelgänger. He’s also the guy who makes the trains run on time; he handles the money, coordinates the schedules, and generally keeps his bandmates from killing each other. All of these guys are friendly, but Dischner is the most relentlessly nice. He’s also mind-blowingly id

But then there were the midlevel names, the singers and groups that had a strong following but weren’t moving fast-food-franchise numbers of units. At that point, Dr. Dre intervened and told Jimmy Iovine, the head of Interscope, which acts he thought were cool and should be kept on. He pointed the fickle finger of fate at Talib Kweli, at Mos Def, a

The album opened up with a tribute to Dilla, “Dilltastic Vol Won(derful),” which sampled Slum Village.