The Men Behind The Man (ii): Part 2: Stu-B-Doo

Stu-B-Doo aka Stuart Bullard is probably the biggest influence on Dr Dre’s sound from 1994 to present.

Dr Dre wanted to move away from the g-funk sound that had been imitated by producers all over the world,while Dre was at Deathrow Records.

When Dre was trying to set up Aftermath/Interscope , he and Jimmy Iovine set out to search for the best musicians they could find. Some of these musicians were respected composers such as Camara Kambon (who I will talk about in another post) and Stephen “Bud’da” Anderson.

In 1994, Stuart Bullard signed an exclusive production deal with Aftermath/Interscope. A talented composer and musician in his own right, Bullard learnt the violin at age 5.  He was the youngest member of Ozanam Strings Orchestra  , touring with the Classical and Rhythmic section of Pittsburgh Symphony. Bullard would go on to learn the drums, piano, bass guitar, and trumpet at age 10.

What is unknown is that the current Aftermath sound is actually a development of the “Pittsburgh sound”.

The Pittsburgh sound is a fusion of orchestral and classical music with hip hop and r’n’b. Street Scholars, Sam Sneed, Mel-Man and Stu-B-Doo were behind this movement. All of them were signed to Aftermath by Iovine and Dre at one point in their careers.

Bullard was the secret weapon at Aftermath. He composed orchestras while Dre mixed and guided the overall production. Bullard would routinely play several instruments while in the studio as you can hear on the tracks below.

Keep Their Heads Ringin’: (Bullard on Keyboards)

California Love is an interpolation of Joe Cocker’s Woman to Woman. Bullard composed his orchestra to replay the song and is featured in it himself.

Rasassination is an interpolation of Shaft in Africa . Once again, the record is produced by Bullard, with his orchestra replaying the song.  The track sounds like it belongs in the MGM Casino.

Ghetto Fabolous is another Bullard contribution with Dre. Many of beats Bullard worked on are closer to opera and classical music than hip hop, like East Coast Killas/West Coast Killas.

Bullard left Aftermath in 1999 create music for theme parks such as Terminator 2 3D, Jurassic Park the Ride for Universal Studios Florida/Hollywood etc. and  The Mask 3D in Barcelona Spain. His foundations are still there in the present Aftermath sound.

About Harlem World

the BAWSE *ross grunt*

Posted on January 29, 2010, in Uncategorized. Bookmark the permalink. 16 Comments.

  1. I used to play with the Ozanam Strings too back in the early 70s.

    Get at Me…

    Looking for others.


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