while "Let Me Ride" won a Grammy. "Bitches Ain't Shit," while similarly musical, was "gruff" and "sinister" and yet comedic, a gonzo style. Album recording, across nine months in 1992, began in Calabasas, California, in Dre's house—which in late June sustained severe fire damage—but mainly occurred in the City of Los Angeles section Hollywood at the studio Galaxy Sound, owned by SOLAR Records' owner Dick Griffey. Its audio console was advanced, yet its neighborhood had was suffering urban decay, and from late April to early May was beset by the L.A. riots. Guest rapper and studio fixture Kurupt questioned "what kind of album The Chronic would have been without the riots." Recording, he says, "was coming from the middle of it all." In any case, "Bitches Ain't Shit" was among "the most hard-hitting songs on The Chronic." For the album's 2001 reissue, the song was added to the track list as a proper song, unlike in 1992, where it was included as a hidden track on the album. Instruments Synthesis In the album's 1992 issue, after the final listed track, "The Roach," subtitled "The Chronic Outro," is a long silence. Opening the truly final but unlisted track, Snoop intones, a capella, "Bitches ain't shit but hos and tricks"—the hook's first line, spanning the four metrical beats that occur during one bar—trailed by a breakbeat, spanning the second bar, from the band Trouble Funk's 1982 hit "Let's Get Small." Then opening, to loop once per bar, is the rhythm section—a cymbal strike solely on the one count or the primary downbeat, which also meets a kick drum's bassy thump that returns aflutter, syncopating offbeat, between a snare drum's lively taps, steady, syncopating backbeat, namely, on the two count and the four count, while a bass guitar's grooving bass line, a riff that is the replayed start of Funkadelic's 1976 song "Adolescent Funk," spans the bar—while both backbeats also meet a chord perhaps on synthesized keys. Simultaneously, an eerie, highpitched whine or ring, a type of motif called "the funky worm" and created on a Moog synthesizer—a keyboard that can synthesize bass, too—manifests while Snoop, restarting from its first line, raps the full hook. It has four lines, each a bar. As he restarts the full hook, a sample emerges—to recur often in the song—from New York City rapper MC Shan's 1986 hit "The Bridge." Starting the 11th bar is Dre's verse.