Music Video
The music video was shot on location in Los Angeles on Slauson Avenue and was directed by Dr. Dre. It is the second lowrider cult video of Dre's cinematographer "walk of life" that was nominated for a MTV Video Music Award for Best Rap Video in the same year. The video begins with Dre, in his home watching the $20 Dollar Sack Pyramid, a track skit from the album shown as a game show in the video, taking a phone call and being invited to a Parliament concert. He then heads out in his lowrider and the song begins. Many helicopter-view camshots of the super-highways of Compton follow, some cuts of Snoop, a car-jacking scene, and various footage of Dre picking up girls, all of which leads to a street party outside the concert venue. Ice Cube makes a cameo appearance, walking out from a women's bathroom saying "Damn right it was a good day" referring to his 1992 solo single, and also officially squashing the beef between Dre and Cube which had existed since Cube left N.W.A. Dr. Dre also refers to the CPT on this single and this album, an abbreviation of Compton, the city in which he is from in California. Fellow Death Row rapper The Lady of Rage also appears briefly in a cameo scene. The final shots of the video feature footage from Parliament and Funkadelic's 1976 earth tour, shots include Starchild flying on wires with the bop gun, the band singing "Mothership Connection", which Let Me Ride samples, and concludes with George Clinton departing into the Mothership with a plume of smoke, upon which Dre's face is superimposed. Dre's step-brother and rapper Warren G make a cameo appearance along with rapper The D.O.C. and Producer Bonita "Bo" Money.
Read more about this topic: Let Me Ride
Famous quotes containing the words music and/or video:
“Your remark that clams will lie quiet if music be played to them, was superfluous—entirely superfluous.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)