Milestones: No One Can Do It Better by The D.O.C.
The protegé of Dr. Dre released a hip-hop masterpiece in 1989 before a car accident changed his career trajectory.
Tracy Lynn Curry’s birthplace, Dallas, Texas, served as the foundation for his early life and artistic development. The Fila Fresh Crew, a group he joined under the name Doc-T, recorded numerous songs with Dr. Dre, whom they met during his visit to Dallas to DJ. Dr. Dre produced many of these tracks, including The D.O.C.’s solo effort “Tuffest Man Alive,” which eventually appeared on the 1987 album N.W.A and the Posse. Following the Fila Fresh Crew’s disbandment, The D.O.C. relocated to Los Angeles and continued collaborating with Dre and N.W.A.
Their partnership led to The D.O.C. writing verses for Dre and Eazy-E’s iconic 1988 albums, Straight Outta Compton and Eazy-Duz-It. Witnessing the group’s success sparked The D.O.C.’s desire for individual recognition. He released his debut album, No One Can Do It Better, showcasing a unique style distinct from his Southern California peers. The D.O.C. drew inspiration from influential artists such as Run-DMC, Rakim, and Public Enemy.
No One Can Do It Better featured elaborate production courtesy of Dr. Dre, which blended densely packed samples, bridges, and breakdowns. Dr. Dre also opted to reimagine classic breaks and funk tracks using an in-house band, adding an extra layer of depth to select songs. With No One Can Do It Better, The D.O.C. established himself as an accomplished lyricist, demonstrating an unwavering dedication to his craft.
“It’s Funky Enough” catapulted The D.O.C. onto the national scene. The song’s infectious beat, a reinterpretation of Foster Sylvers’ “Misdemeanor,” was elevated by The D.O.C.’s rendition of heavily-effected dancehall patois throughout its four verses. Upon first hearing the beat, The D.O.C. recalled, it sounded distinctly Jamaican, prompting him to adopt an improvised rap style reminiscent of dancehall chatting.
Through No One Can Do It Better, The D.O.C. dissected his relentless pursuit of greatness, suggesting that his debut was comprised mainly of unstructured freestyles focused on affirming his artistic merit. Despite this seemingly straightforward approach, numerous tracks reveal a quest for authenticity and innovation in hip-hop’s evolving lyrical landscape.
Dr. Dre’s vision for “The Formula” was brought to life by The D.O.C.’s effortless flow and lyrical bombs over a Marvin Gaye sample. This track showcases The D.O.C. as a masterful emcee, with his smooth delivery and clever wordplay making it one of the best songs of the era. Based on Gaye’s “Inner City Blues (Make Me Wanna Holler)” from the 1971 classic What’s Going On, the beat is a prime example of Dre’s exceptional production skills.
On the album’s title track, The D.O.C.’s no-nonsense style shines over a laid-back beat, with live instrumentation that elevates the song to new heights. The turntable work on the chorus adds an extra layer of depth, and The D.O.C.’s second verse is a standout, with interlocking lines that showcase his storytelling ability. He raps, “Knowledge is the key, and hard work is the fee/For me to be the great at the start and remain to be/A threat, ’til the opposition is warned/Taking as long as a song, cause I was born /With instincts to kill, a grave mentality/Over the edge and you say you want to battle me?/At your own risk, approach and be hosted/And in the end you may win or be roasted.”
Throughout the album, The D.O.C. highlights his partnership with Dre, acknowledging the crucial role his producer played in the album’s success. Tracks such as “The D.O.C. and The Doctor” and “Let the Bass Go” demonstrate this collaboration, with The D.O.C. rhyming over samples from Isaac Hayes’ “No Name Bar” on the latter. His leisurely flow on “Let the Bass Go” adds a new dimension to the song, showcasing his versatility as an emcee.
Meanwhile, “Mind Blowin’” exemplifies The D.O.C.’s approach to lyrical content, with his creative wordplay and effortless delivery making it a compelling listen. As he raps on “The Formula,” “Creative, so I’ll never be regarded as a regular/More than just a little bit better than my competitors/You should never underestimate the fashion/I hold for the stage whether I’m cooling or thrashing,” it’s clear that The D.O.C. is an emcee’s emcee, with a unique style that sets him apart from his peers.
Tragic circumstances intervened shortly after No One Can Do It Better was released, nearly costing The D.O.C. his career and life. A car accident left him with severe injuries, including damaged vocal chords that almost silenced him permanently. Despite the setback, The D.O.C. continued to contribute to the N.W.A crew, writing lyrics for Dre and Eazy while lending his gravelly voice to skits.
Fast-paced raps are a staple of The D.O.C.’s style, and he delivers them with ease on tracks like “Lend Me an Ear” and “Whirlwind Pyramid.” Dre’s complex production of “Lend Me an Ear” provides a fitting backdrop for The D.O.C.’s rapid-fire flow. On “Whirlwind Pyramid,” The D.O.C. keeps pace with the frenzied beat, never faltering or losing his footing.
The album’s sole misstep is “Beautiful But Deadly,” a rock-influenced track that fails to live up to its potential. Despite featuring a replaying of Funkadelic’s “Cosmic Slop” guitar riff and extensive solo work by Stan “The Guitar Man” Jones, the song’s reinterpretation falls flat.
On “The Grand Finale,” The D.O.C. is joined by Ice Cube, MC Ren, and Eazy-E, bringing the album to a close with a collaborative effort. The track features expertly replayed elements of Parliament’s “Chocolate City,” and each emcee shines with their respective verses. Cube’s opening verse is particularly notable.
“My medley is deadly as a pin in a hand grenade
5 seconds before you get played
You can’t throw me; I guess you’ll blow up
Ever see a sucker scattered? It’d make you throw up.”
The D.O.C. also played a crucial role in creating Future Shock Records, Dre’s imprint that preceded Death Row Records—his contributions to the N.W.A crew continued even after the group disbanded, solidifying his position as a vital part of the collective. The title “Grand Finale” is fitting, as the track serves as a culmination of the album’s energy and creativity. With its driving beat and memorable hooks, it’s a satisfying conclusion to No One Can Do It Better.