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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 »
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