Evolution (n): a process of change in a certain direction.
Often, reviews of major releases tend to focus (in my opinion unnecessarily) on whether or not the artist has “grown” or “matured” since his last previous album. Snoop Dogg is a beast, plain and simple. He can’t possibly grow into a bigger beast, any more than he could grow into a smaller beast. A beast is a beast is a beast – even if the beast has been dormant at times.
What Snoop has done over the years is evolve from a beast into a true artist. This album proves that start to finish. First of all, there’s 21 tracks. That’s a lot of songs, and each one is artistically distinct from the others. That in itself is a major accomplishment, considering the fact that Snoop Dogg has been establishing his brand of Dogg-music for well over a decade.

”Think About It” is a rapid-fire, don’t blink or you’ll miss it wonderful introduction to a long, long stroll through the mind of Calvin Broadus. “That’s That” (f. R. Kelly) is an easy anthem about, well, ahh… ok that’s not the point, -one of those beats that makes a Midwest guy like me almost want to learn to Crip walk. Almost. Speaking of beats, “Candy” is equally as sick, this time courtesy of an ill Diggable Planets sample and booming 808’s made for cruising in Cali. E-40 leads it off with his usually quirky vibe and Snoop comes in family style, tossing around metaphors about different types of candy. He pauses only to introduce Mc Eiht. Daz hops on just for fun, and the result is a wonderful little west coast party. My jaw dropped when Snoop ended it off with an uncharacteristic “holla.”

”Get a Light” is a Timbo trip through the jungle and features Damian Marley, but unfortunately the two don’t match. “Gangbangin’ 101” is tried-and-true west coast gangsta music. The beat is slightly slipped, which gives the track a real cali-weed feel. The Game stars on this one, with two verses about the glamorous side of gang affiliation. “Boss’ Life” and “I Wanna Fuck You” both feature Akon, but only the former features the hard-hitting Snoop D-O-double G that we’ve all come to know and love. The song is well-put together by the Doc; a perfect blend of Hip Hop and R&B that shows that it can be done right.

”LAX” technically features Ice Cube, but both Snoop, Cube and the sleepy beat are overshadowed by a wonderful B.I.G. and Puff Daddy sample from “Goin’ Back To Cali.” “10 Lil’ Crips” is really only notable for the gritty Neptunes instrumental, and “Round Here” has Snoop doing a great 50 Cent impression, singing an extended hook and much of the verse as well, all over Dre’s incredible Dido-sampled beat. “A Bitch I Knew” is the latest chronology of previous sexual exploits, no doubt inspired by Too $hort. And in case you’re wondering, yes, there is the obligatory “Vanessa/ undress-her” rhyme. But more importantly, the beat is absolutely vicious, something out of the early 90’s.

”Like This” is like, not good. The production reminded me of being in a hotel ballroom and hearing a wedding reception through the walls. “Which One of You” is just as not good, this time some guy named Nine Inch Dix meanders his way through an irritating, quirky ’Tunes beat. On the other hand “Psst!” has a lot going on. There’s several allusions to pop hits (which is fun) including Pussycat Dolls mega-hit “Don’t Cha” and T.I’s “Why You Wanna.” And there’s the constantly switching 808 beat, not to mention Jamie Foxx singing a sassy hook. Continued on page 2 »