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Warren G and Snoop Dogg were childhood friends growing up in Long Beach, California. “People tried to sue and other artists a thousand times on my 'behalf,’” Clinton said to Huck Magazine, “not me.” The unmatched quality of P-Funk music and the lack of legal barriers preventing its use made it a sample gold mine when hip hop came on to the scene. While other artists were resistant to the rise of sampling and hip hop, Clinton saw it as a way for his music live on, and allowed his samples to be used at a low cost.

It also so happened that George Clinton was extraordinarily lenient when it came to permitting samples of his music in hip hop. It’s what their parents listened to, along with artists like Curtis Mayfield, Marvin Gaye, and The Isley Brothers, who all later showed up as samples on G-Funk songs. Dre, Snoop Dogg, Warren G and Nate Dogg grew up on. Dre’s G-Funk classic “Let Me Ride,” as a response to the police brutality faced by Rodney King and the resulting 1992 Los Angeles Riots.

The lyrics and music of “Mothership Connection” were later sampled for Dr. The Mothership is an actual physical spaceship prop that descended upon the P-Funk stage during concerts, and can now be viewed at the National Museum of African American History and Culture in Washington, D.C. “We had put black people in situations nobody ever thought they would be in, like the White House,” George Clinton told The Cleveland Scene, “I figured another place you wouldn't think black people would be was in outer space.” Parliament’s 1975 song “Mothership Connection (Star Child)” reimagined the black liberation spiritual “Swing Down Sweet Chariot (Stop and Let Me Ride)” as a futuristic odyssey, presenting the band’s UFO Mothership as the chariot to carry away black people to freedom. In fact, P-Funk had a whole space-themed AfroFuturist mythology – one that envisioned outer space and technology as the future for the advancement of black people. The result was a far-out mix of sounds fit for an intergalactic party on Mars. Mixing all the eras of funk into one sound, P-Funk combined the iconic bass lines of James Brown’s bassist Bootsy Collins, the wild electric guitar effects of 60s psych-rock, the uplifting vocal harmonies of gospel and doo-wop, and the electronic disco synthesizers of legendary keyboardist Bernie Worrell. Starting as a doo-wop group in the 50s, Parliament continued as a Motown soul band through the 60s, before emerging as a Jimi Hendrix-inspired psychedelic funk ensemble in the 70s. The name G-Funk was an adaptation of P-Funk, the style of Psychedelic Funk developed by George Clinton and his band Parliament-Funkadelic in the 1970s. Dre, Snoop Dogg, Warren G, and Nate Dogg as certified music legends.

The accessible yet undeniably hard sound of G-Funk helped make hip hop a worldwide phenomenon, and secured the status of innovators Dr. Dre simmered things down to 90 beats per minute and used melodic soul samples, groovy bass, and chilled out bars. While Public Enemy assaulted you with dissonant siren sound effects, industrial noise and yelled-out rapping at 115 beats per minute, Dr. sunset with palm trees swaying in the breeze. West Coast G-Funk on the other hand was easy-going and laid back, like cruising into the L.A.

East Coast hip hop reflected life in New York City: fast-paced, loud, chaotic, like running to catch the subway while cars honked at each other in the busy streets. G-Funk, short for Gangsta Funk, took the hard-hitting beats of East Coast pioneers like Public Enemy, Ice-T, and Run-D.M.C., and smoothed out their edges by sampling the great soul and funk artists of the previous generation. If there's one sound that defined West Coast hip hop in the 90s, it was G-Funk. “Free your mind and your ass will follow” ― George Clinton With the recent release of YouTube’s documentary "G Funk," it’s as good of a time as ever to trace the history of the West Coast sound that ruled the world throughout the 90s and set the stage for hip hop as we know it today.