Calvin
“Snoop Dogg” Broadus is one of the most popular rap artists in
the entire goddamn galaxy. It's arguable that he's even all that
known for his actual music these days: the man has permeated pop
culture to such a degree that it's grown exceedingly difficult to
imagine a world without him in it. Snoop has successfully embraced
so many diverse business ventures that he could never pick up the
microphone again and still can leave behind a legacy, plus his
massive wealth, for his great-great-great grandchildren, which is
quite a feat for a guy who grew up struggling in Long Beach,
California and could have easily had it all taken away from him very
early in his career, had that whole “on trial for murder” thing
not worked out in his favor.
Obviously the man Snoop owes much of this to is Andre “Dr. Dre” Young, who discovered the guy and gave him a co-starring role on his own solo debut, The Chronic. But if you have to pad the article, as I do, there are two others who deserve some credit for making Calvin the man he is today. There's the (former) head of Death Row Records, Marion “Suge” Knight, who infamously bullied his way to the top of the Billboard charts with the fabled gangsta rap that hip hop heads didn't realize they deserved in the 1990s: without his incessant need to control every aspect of his label, up to and including altering songs and artistic visions just to service his own desires, Snoop wouldn't have had anyone to rebel against after the defection of his mentor (and label co-founder) Dr. Dre and the murder of his friend and labelmate 2Pac. (Nope, haven't quite forgotten about Pac yet. Sigh.)
The
other guy in this tale is Percy “Master P” Miller, who famously
gave Snoop a place to crash when he skipped out on his contractual
obligation to continue recording for Death Row. The various details
of how Percy managed to do this without being brutally murdered by
Suge Knight are still not widely known (I realize that he obviously
entered into some sort of deal with Suge, but whether Knight profited
off of Snoop's sales like Eazy-E did on Dre's after Dre left Ruthless
Records to form Death Row is beyond me), but the end result was three
full-length albums on No Limit Records that found Snoop Dogg facing
both the ups and the downs of his career, sometimes simultaneously.
As
I've written before, his first post-Death Row release, Da Game Is To
Be Sold, Not To Be Told was pretty much Snoop's take on the No Limit
formula: a packed-to-the-fucking-gills mess featuring cheap
instrumentals that took all of three minutes apiece to create, guest
spots galore (all filled by his new labelmates, since it seems that
every No Limit artist always appeared on every other No Limit
artist's projects), and a gaudy-as-shit album cover designed to
promote excess and tackiness. His follow-up, No Limit Top Dogg, was
more of a throwback to his earlier work: if the previous album was
Snoop's way of thanking Master P for letting him crash on his couch
while he worked out some shit, No Limit Top Dogg was Snoop purchasing
both the couch and the house, creating space for himself while Percy
moved into a much bigger mansion down the block. The No Limit
Influence was substantially subdued for No Limit Top Dogg, as Snoop
was given carte blanch to do whatever the hell he wanted in the
booth, and whatever the hell he wanted to do included getting Dr. Dre
and his Dogg Pound brethren back into the fold, so as to let his fans
know that he hadn't forgotten about what made him popular in the
first place.
Snoop's
final album for No Limit, Tha Last Meal, goes all out: in addition to
heavily resorting to the West Coast sound of the day to get his
thoughts across (Percy and his crew barely factor into the project),
he even commissioned album artwork from Darryl “Joe Cool” Daniel,
the same guy that designed the cover for Doggystyle, the man's
seminal debut that features “Gin & Juice”, a song that
everyone I know still fucking loves to this day. Tha Last Meal
doubles as the first album released on Snoop's own vanity label, Doggystyle
Records, signifying that it was time for Calvin to move on and take
control of his own destiny within our chosen genre. Which he
obviously has: you don't film music videos with the likes of PSY
unless you believe that you are in total control of your public
image.
As
I've mentioned before, I used to be a huge fan of Snoop Dogg (more so
back when he still went by Snoop Doggy Dogg), but he lost me around
the time he signed to No Limit Records. The music snob in me felt
that he made a terrible choice: had Snoop ended up on Def Jam or Loud
or something else even remotely respectable in my eyes, I may have
followed his career a bit more closely. I'm more familiar with Tha Last Meal than I was No Limit Top Dogg, but I still haven't bothered
to listen to the whole album until now. So I had better get to work,
as I just found out that I haven't written about Calvin Broadus in
about three fucking years, and that's no way to finish what I
started.
1.
INTRO
Um,
was there really a reason to waste Dr. Dre's production on this
inessential rap album intro? Not only is there no rapping, it also
doesn't serve to remind fans of their previous work together on Death
Row. The fuck, man?
2.
HENNESSEY N BUDDAH (FEAT. KOKANE)
At
least Dre rectifies that last mistake by also producing the first
actual song on Tha Last Meal, an enjoyable mission statement that
finds Calvin re-exerting his dominance in the rap game (I could have
written “pop culture” instead of “rap game” and that sentence
still would have been completely accurate, and you know this) with
verses, a sing-songy hook, and another chorus entirely, from guest
star Kokane, that bookends the track. Snoop cribs from the KRS-One
playbook for both the intro and outro to this song, running through a
list of famous friends as though the audience was asking for
clarification of his social status, but other than that unnecessary
bit, this was a pretty good way to start things off. Dre's beat also
sounds entertainingly elastic, which was a nice touch. (Dre also mixed a lot of the tracks on Tha Last Meal, so he had a bit more input in how this project sounds than you might have realized.)
3.
SNOOP DOGG (WHAT'S MY NAME PT. 2) (FEAT. TIMBALAND)
Snoop
Dogg wouldn't have been my first choice for an artist to rhyme over a
Timbaland beat, but given Timbo's high profile at the time (that
dude's been pretty popular for quite a while now, huh?), it's not
surprising. Having both Dr. Dre and Timbaland produce on Tha Last Meal must have made this the most expensive No Limit Records project
ever fucking released. Anyway, Snoop takes Timbo's bland-to-okay
beat and turns in a sequel to one of his early Death Row solo shots,
but while the end result is at least better than Da Game Is To Be
Sold, Not To Be Told's “Gin & Juice II”, this was still
plenty boring. Snoop sounds uninterested, the hook is apathetic, and
there is really no reason for anyone to ever want to listen to this
shit. So of course it was a single. Obviously.
4.
TRUE LIES (FEAT. KOKANE)
Snoop
front-loads Tha Last Meal with A-list production, which worries me, since there's still fifteen tracks left to run through.
Our host uses Dre's simple instrumental to comment on the lies
people will tell in order to function, even underscoring all of this
with an extended sound bite from former President Bill Clinton taken
from around the time of the Monica Lewinsky scandal. As expected,
Snoop fails to stay on topic, which disrupts the overall flow of the
track, but it didn't seem that he had all that much to say about this
subject anyway. Guest star Kokane lends another hook, but “True
Lies” is easily forgettable, so that shit doesn't even matter in
the long run.
5.
WRONG IDEA (FEAT. BAD AZZ, KOKANE, & LIL' HALF DEAD)
Our
host performs on the hook and lends a verse, but “Wrong Idea”
never really feels like it's his song, a fact that makes more sense
when you learn that guest star Bad Azz actually released this as his
own single while promoting his own sophomore project, Personal
Business. Jelly Roll's production is West Coast to a fault: it
sounds so lazy that he may as well have affixed the Hollywood sign to
the beat itself. Snoop, Bad Azz, Lil' Half Dead, and Kokane don't
fare any better: they've all done better work throwing up their
respective sets and owning their California love. I can't imagine
this track as being well-liked, which means it was probably a massive
hit that somehow slipped past me. Oh well.
6.
GO AWAY (FEAT. KOKANE)
The
Keith Clizark / Meech Wells beat is pretty good, and our host is as
entertaining as he usually can be, but there's one thing keeping “Go
Away” from being a truly good song, and that is the repetition of
the entire first verse as the third verse. This tactic works
in other musical genres, but in hip hop, which is dependent on its
words, this approach comes across as really fucking lazy. Which is
too bad, because aside from that miscalculation, “Go Away” isn't
half bad. A shame.
7.
SET IT OFF (FEAT. MC REN, THE LADY OF RAGE, ICE CUBE, NATE DOGG,
KURUPT, & TIMBALAND)
Timbaland's
other beat for Tha Last Meal is a much catchier monster that helps
“Set It Off” become the best song on the entire fucking project,
although it earns that title based on the strength of its guest list
alone. MC Ren, who kicks things off, even delivers an opening that
ranks as one of the most memorable in the history of our chosen
genre, if not just for me alone: “Here come the villain again, grab
your ho and get the fuck outta town”. I'm sure Timbo never thought
that he would get the chance to score an N.W.A track, and he still
hasn't, but “Set It Off” is the closest we'll ever come these
days. Unfortunately, Cube only lends a hook, rendered useless when
the late Nate Dogg starts crooning a chorus of his own, and Kurupt
only ad-libs at the very end, but Ren, Rage (who wasn't even signed to a label at this time, as evidenced by the confusion surrounding her appearance in the liner notes), and Snoop sound
invigorated and turn in killer verses as though they were excited as
fuck to work together. It's weird that this collaboration never lead
to anything aside from this one song. But this one song? Pretty
fucking great.
8.
STACEY ADAMS (FEAT. KOKANE)
Snoop's
pimp tales, on which he sounds so passive about the entire process,
never goes much of anywhere in the first place, so when our host
interrupts his own proceedings by having the fictional WBALLS radio
station take over the back half of the track, it's a welcome
diversion, albeit one that also never goes much of anywhere. (Also,
the actual call letters WBALLS are never used, although the
implication is very clear (an intellectual property argument with
Suge Knight and Death Row Records, maybe?), and I stand by my
assertion that someone dropped the ball by not offering Snoop his
very own satellite radio station.) DJ Battlecat's beat is bland,
Kokane's singing is limited to one sentence repeated to death, and
Calvin sounds like he just can't wait to get to the next song. So it
goes.
9.
LAY LOW (FEAT. NATE DOGG, BUTCH CASSIDY, THA EASTSIDAZ, MASTER P, &
DR. DRE)
After
a quick, unnecessary Dr. Dre voicemail interlude, Tha Last Meal
launches into a posse cut that served as what I thought was the project's second single, but is apparently the third, at least according to Wikipedia. Andre's instrumental is the best of the ones he lent to
Snoop, and Calvin sounds great, actually giving a shit about his
delivery. Both crooners on here, Butch Cassidy and the late, great
Nathaniel Dogg, add to the overall experience, but I do wish Snoop
used “Lay Low” as more than just a showcase for his Eastsidaz
weed carriers and as an excuse to work his label boss Master P onto a
Dr. Dre prescription. Percy, predictably, sounds awful over the most
expensive beat he will ever have the pleasure of pillaging. But the
rest of “Lay Low” still connects today.
10.
BRING IT ON (FEAT. SUGA FREE & KOKANE)
I
have it on good authority that Snoop picked up Kokane at a bulk rate,
as there is no other reason why the dude would show up so goddamn
often on Tha Last Meal. I don't know how Jelly Roll, a producer I'm
fairly indifferent to but sometimes turns in nice work, managed to
craft a West Coast beat that sounds instantly tired, but he's done,
by gum, and Snoop, pimp-slash-rapper-slash-pimp Suga Free, and Kokane
all sound relatively bored over the results. The bars themselves are
decent, and Suga Free gets in a nice dirty joke, but overall this
just wasn't what anyone wanted.
11.
GAME COURT (SKIT) (FEAT. MAC MINISTER)
It
sure was nice of Snoop to work in a bathroom break at the halfway
point of an already-exhausting album. I should send him a fruit
basket or something as a show of thanks.
12.
ISSUES
Aside
from the obvious reference to the then-current year during the track
itself, this one-verse wonder sounds as though it could just as
easily have been recorded during the Doggystyle era, as Calvin mixes
his youthful enthusiasm with, for lack of a better, more proper word,
swag to turn in a track where all he does is speak the truth (except
for when he doesn't). Over Meech Wells's flexible instrumental,
Snoop talks himself up while, surprisingly, touching on the breakup
of Tha Dogg Pound, which, you may have forgotten, was a bigger deal
back in 2000, with Kurupt even defecting back to Death Row Records
for a spell. A nice hidden gem that doesn't take up too much of
one's day.
13.
BRAKE FLUID (BIIITTCH PUMP YO BRAKES) (FEAT. KOKANE)
I've
always liked Scott Storch's beat on here, as it sounds like something
that could have seamlessly slid onto Tha Dogg Pound's Dogg Food
(aside from the whole “not produced by Dat N---a Daz” thing,
anyway). But I've also always felt that Snoop Dogg was not the right
man to tackle it: our host squanders the instrumental by talking
about the various women in his life and how he disrespects pretty
much all of them (because, sadly, this is hip hop's way). Kokane's
hook is kind of goofy, but all in all, this track was a waste of time
for all parties involved. And why the hell was this shit more than
five minutes long?
14.
READY 2 RYDE (FEAT. EVE)
Just
because Kurupt was having problems with DMX doesn't mean that all of
his friends also had beef, as evidenced by Snoop's Scott
Storch-produced collaboration with Eve, the first (and possibly only,
unless I'm remembering this wrong) lady of the Ruff Ryders camp.
Well, that, and the fact that Eve was actually signed to Dr. Dre's
Aftermath label first, so it was inevitable that she and Calvin would
eventually cross paths, possibly at the office Christmas party or
something. Storch's beat isn't bad, and as Eve is one of the more
engaging female emcees out there, her back-and-forth with Snoop
(which, thank fuck, does not cover the well-worn “battle of the
sexes” territory) is entertaining enough. The track as a whole
isn't quite ready for prime time, but it wasn't objectionable.
15.
LOOSEN' CONTROL (FEAT. BUTCH CASSIDY)
Soopafly's
production aside, meh.
16.
I CAN'T SWIM
When
I first read through the album credits, for a split second, I thought
co-producer Casey Wilson was the same actress from the late, fucking
great TV show Happy Endings. I'm just kidding, but would that have
made this shit far more interesting? Although I do have to give
Snoop credit for choosing to rhyme over such an unorthodox-ish beat.
Said credit is then revoked when he chooses to rap in the guise of a
woman. It isn't
Nas-performing-as-”Scarlett”-on-two-tracks-off-of-Street's
Disciple creepy, but it was still skippable.
17.
LEAVE ME ALONE
Snoop's
flow has always lent itself well to actual sung vocals, but “Leave
Me Alone” (sadly, not a cover of the Michael Jackson standard) is
one of the few instances in his career where he essentially sings a
rap song. This may suit him slightly better than, say, a Nelly or an
Auto-Tuned Kanye West, but this track still didn't quite work for me.
18.
BACK UP OFF ME (FEAT. MR. MAGIC & MASTER P)
Master
Percy, making his second appearance, and the late Mr. Magic are the
only two members of the No Limit roster to strongarm their way into
cameos on Tha Last Meal, making it incredibly clear to everyone
involved that Calvin was pretty much done with the label at this
point, and the (really tiny) tank logo on the back cover was but a
mere legal formality. Thanks to Carlos Stephen (of Beats By The
Pound, just in case you didn't think that team would sneak on here
somehow) and his beat, “Back Up Off Me” is also the most No
Limit-esque track on here, as it is a spiritual cousin to C-Murder's
Snoop-and-Mr. Magic-featured “Down 4 My N----z”. Percy sounds,
well, you've already guessed, and Mr. Magic comes across as a more
coherent Mystikal, which is an odd choice, since Mystikal had left No
Limit just one year prior, but whatever, maybe he missed him. The
song isn't awful, but the most memorable bit arrives at the end, when
Master P acknowledges that Snoop has fulfilled the terms of his
contract and wishes him well in the future, all while speaking in an
ill-advised Tony Montana-ish accent. Still, it was awfully nice for
Percy to give Calvin final cut, even though that meant his own label
got much of the shaft.
19.
Y'ALL GONE MISS ME (FEAT. KOKANE)
Tha Last Meal ends (finally!) with “Y'all Gone Miss Me”, a fitting
conclusion to this particular era of Calvin's career. Scott Storch's
instrumental is reflective and serious, which lends snoop an air of
genuine sincerity when he thanks Percy for the opportunity, as he
walks away from No Limit without burning even the smallest of bridges
(which is far from what he did with Death Row, but that's a story for
another day). Kokane puts in his final guest appearance of the
evening, his voice cracking just a tad bit while expressing Snoop's
sentiments in a way Snoop himself can't quite do. Obviously, that
song title could be directed at everyone else within our chosen
genre, as well, given how much of an impact Snoop Dogg has made in
hip hop. A pretty good way to end it all, I suppose.
THE
LAST WORD: Tha Last Meal works as a decent swan song to Snoop Dogg's
No Limit era, mostly because the guy gets all nostalgic and
sentimental and shit at the very end, but up until that point, this
was yet another overlong album with no real focus. One of Snoop's
biggest problems is that he doesn't really know how to quit while
he's ahead: hell, there are tracks on Doggystyle that outright suck,
too. He's friendly and will pass the microphone to pretty much
anyone with a pulse, but there are only so many ways for him to relay
the same messages, and as of Tha Last Meal, he hadn't quite figured
out any new tricks. There are a few outright bangers on here (his
collaborations with half of N.W.A. and “Lay Low” stand out for
obvious reasons), but they aren't enough justification to spend money
on the actual album. Hell, that's what iTunes is for. You can pick
up those two songs and leave the rest of this alone, and you won't
feel like you missed out on much.
-Max
RELATED POSTS:
Catch up with Snoop by clicking here.
Oh, you're still here? Okay then.
My Gut Reaction: Snoop Dogg - Dead Man Walkin' (October 31, 2000)
Now
even though Suge Knight willingly gave up Snoop in his deal with
Master P, nobody really expected him to not be a dick about it. To that end, Suge compiled and released Dead Man Walkin', a
collection of songs Snoop recorded during his tenure at Death Row
Records that never saw the light of day for whatever reason (probably
because they all suck? What, too soon?). Over the course of twelve
tracks, the project found Calvin treading much of the same water as
he had throughout his career, but with beats coming from the likes of
Daz Dillinger, among others who he worked with prior to his big move
to New Orleans, which should have made this a somewhat interesting
throwaway, to say the least.
A
lot of labels pull this kind of sneaky shit, so Dead Man Walkin's
existence came as no surprise to anyone who followed hip
hop. Snoop was on Death Row for quite a while: of course not every
song he ever recorded would have been released. And this compilation
hit store shelves a few months before Tha Last Meal, an approach
intended to steal the focus away from Tha Last Meal and possibly make
a few bucks from unsuspecting patrons who apparently didn't know how
to fucking read. Again, though, this shit happens a lot. Suge had
even done it before, releasing a glorified label sampler called
Chronic 2000 just to fuck with his former friend Dr. Dre, who had
been promising an album called The Chronic 2000 for years before this
shit caused him to switch up his plan and change his then-upcoming
project's name to 2001, which, of course, you two are obviously more
familiar with. (I'm actually surprised Suge hasn't tried to release
an album called Detox, to be honest: it seems like the kind of petty
shit he would be into.)
But
the real dick move came when Tha Last Meal leaked to the Interweb, as
all albums eventually do (and rap albums substantially so). Suge
had a website commissioned that asked Snoop's fans to decide which of
the two competing projects was the better one, but while it only
offered streams of the tracks on Dead Man Walkin', it offered an
illegal download of Tha Last Meal, so as to take away Snoop's sales,
because duh. Considering that this was, as I mentioned in the last
sentence, illegal, the site didn't last for very long, and apparently
Calvin's fanbase was conditioned at this point to not trust anything
with Suge Knight's name attached to it, so sales of Tha Last Meal
weren't really affected all that much. And most of you two may be
aware of this album's existence, but you never bothered to seek it
out because you were convinced that it had to suck, right?
Let's
find out together!
1. MAY I (FEAT. LIL' MALIK)
Eschewing
formalities of any kind (as unauthorized compilations tend to do),
Dead Man Walkin' kicks off with our “host” seemingly
mid-conversation, which doesn't bode well for the song quality of
relative complete-ness of any of the tracks on this shit. Soopafly's
beat sounds insufficient, but Snoop has rhymed over worse. Speaking
of Snoop, he sounds as confident and cocky as ever, even though this
song is the very definition of “aimless”, going so far as to
include a hook that is wholly disconnected from the rest of this
world. Then again, most of Snoop's songs consist of shit-talking and
vague threats, just like all good rap music (and a lot of bad rap
music), so it isn't that difficult to imagine a Snoop fan liking this
song. A bit hollow, though.
2.
C-WALKIN
This
Myrion and Big Hutch beat is among the most minimalist Snoop has ever
performed over. (The Beats By The Pound instrumentals from Da Game
Is To Be Sold, Not To Be Told weren't “minimalist” as much as
“cheap”.) At least until the hook kicks in, which reinforces our
host's respect for the West Coast gang culture that he grew up
within. He tries to play diplomat by mentioning both Crips and
Bloods, but that's just ridiculous, considering the actual name of
the song: even your grandmother would be able to decipher where Snoop
Lion's set-claiming loyalty lies. Our host's storytelling abilities
is one of his unsung strengths, and he uses it to his advantage on
here, making this an interesting excursion into a neighborhood you
may not want to visit late at night.
3.
HEAD DOCTOR (FEAT. RAPHAEL SAADIQ & SWOOP G)
A
different collaboration with R&B stalwart Raphael Saadiq
(formerly of Tony! Toni! Toné!),
“Midnight Love”, is one of my favorite “lost” (read:
two-second Google searchable) Snoop Dogg tracks from his Death Row
days: to this day I have no idea why it was never officially released
(except for on some Death Row greatest hits compilation). It
definitely eclipses their other collaborative effort of the time,
“Head Doctor”, on which Saadiq is such a nonfactor that I forgot
he was even a guest on here. His vocals don't line up at all with
the rest of this ode to the blowjob (which, ridiculously, had a video
commissioned for it before Snoop defected: I believe it may be
available on the DVD for the short film Murder Was The Case, and it
appears uncensored, because boobs), but Snoop and guest rapper Swoop
G do their best to make with the filthy sex talk and misogyny while
trying not to completely alienate the female audience. Kind of dull,
actually.
4.
HIT ROCKS
A
surprisingly interesting, old-school-tinged DJ Pooh / Snoop beat
(coupled with some weak scratching that was probably recorded by your
three-year-old nephew, who really does need to stay in his lane
already) accompanies Calvin's shit-talking, which holds up fairly
well, since Snoop's bullshitting transcends eras. Besides, it's not
like he's dating himself by dropping highly specific time-sensitive
references into his bars or anything. Kind of corny (Snoop doesn't
really excel when he tackles monologues at the end of his
performances), but actually kind of entertaining, too. Weird. Could
have used a better title.
5.
TOMMY BOY (FEAT. DAZ DILLINGER)
Snoop
and Daz's ode to the defunct hip hop record label. Just kidding, but
if you squint your eyes and tilt your head to the side like you just
saw some probably-tits in a scrambled porno on your television screen
(which doesn't happen anymore, that's what the Interweb is for, so I
don't know why I just made that comparison except to significantly
date myself), you could treat this track as a cautionary tale against
signing with Tommy Boy Records. Or as yet another gang tale, I don't
care. The Daz beat is simple but sounds unpolished (which isn't a
shock, given the rest of the project so far), but it was alright, I
guess. My beef is with the actual verses, which are so
mind-numbingly dull that they make gang-banging and pimping sound
like the most boring hobbies a man can have. And what the shit was
with Snoop's “Southern” accent at the beginning?
6.
CHANGE GONE COME
It
takes approximately ninety-seven goddamn motherfucking hours for the
song to actually start, but when it finally does, you'll be attacked
by a surprisingly (because Dead Man Walkin' was pretty much a
throwaway-slash-middle finger, mind you) dope beat (credited to L.T.
Hutton, Soopafly, and our host) that damn near overrides the other
iffy elements of “Change Gone Come”, namely the sing vocals, all
of which sound flat. Snoop himself is okay, I guess, but he's
drowned out by the instrumental on more than one occasion, and there
really isn't anything on here that could justify the song's inclusion
on any actual album. Still, that beat, though.
7.
TOO BLACK
The
dialogue sample played at the beginning implies that “Too Black”
is going to be a socio-political critique, or at the very least a
discussion of race. Shit, the very title “Too Black” lends
itself to that much. Guess what? We're all wrong: this song is all
about coffee and is yet another exercise in shit-talking and
microphone dominance and isn't about coffee at all, so I'm fairly
sure Suge and producer L.T. Hutton (who turned in a rather funky beat
on here, with an assist from our host) added all that extra shit in
post. Calvin's lackadaisical flow is turned up to eleven on here, as
his bars sound as though they were mumbled out of his piehole while
he was stoned out of his fucking mind, and they're a bit too lazy to
mesh well with the music. But not everything can be Doggystyle, I
suppose.
8.
GANGSTA WALK (FEAT. DAZ DILLINGER & KURUPT (because they couldn't
be credited as just 'Tha Dogg Pound' on the back cover? What the
fuck?))
Calvin
renews his membership with Tha Dogg Pound for the disjointed mess
that is “Gangsta Walk”. I'm thinking that Snoop was really
fucking annoyed that Daz and Kurupt had been forced to increase their
annual dues for economic reasons, and he took it out on the duo
passive-aggressively by recording this horseshit with them. At
least, that's one explanation: another would be that this is merely
another boring song in the back catalog of Snoop Dogg that never saw
the light of day because it sucks. I'm certainly hoping that there
aren't any rappers that deliberately decide to record bland, boring
songs, anyway. Daz's beat was one-note and meh, and all three
collaborators sound like they want nothing more to do with one
another, regardless of the actual words coming out of their mouths,
which helps Snoop's comments on Tha Last Meal hit a bit closer to
home. Groan.
9.
COUNTY BLUES (FEAT. KEVIN VERNADO)
For
the most part, Snoop sticks with a singular theme for “County
Blues”, an audio travelogue describing the fun times that can be
had while on an iron vacation. Calvin sounds sober and unmoved,
desensitized to all of the insanity going on around him, as he
explains to the listener why they really and truly don't want to go
to prison without ever specifically telling anyone to change their
ways (rappers aren't always that good with the follow-through).
Snoop's tone is akin to reading from a grocery list, and his lack of
engagement tanks the song, which had an interesting blues-y feel,
thanks to the Big Hutch and Daz beat, and probably the song title
itself. Oh well.
10.
I WILL SURVIVE (FEAT. KEVIN VERNADO, KURUPT, & TECHNIEC)
Snoop
Dogg's cover of the Gloria Gaynor hit bravely discards the lyrics,
music, and general theme of the original in favor of a composition
that showcases lesser-known artists Kevin Vernado and Techniec, for
the most part. Kurupt chimes in for a bit, and Calvin does
contribute some verses (and a bar that I recognized from the hook of
Doggystyle's “Serial Killa”, which has now just dumbfounded me,
as it would seem that Dr. Dre sampled the line from “I Will
Survive” but this song (probably) didn't exist when “Serial
Killa” was recorded and wow my head just exploded), but this track
is really the Kev and Tech show. For the record, they sound alright
over Soopafly's minimal beat, but the song itself isn't all that
special.
11.
MY FAVORITE COLOR
So
what is Snoop's favorite color? Blue, due to his allegiance with the
Crips? Green, as in the color of money and (most) weed? Black, as
in the color of his true love's hair? Or none of these, because the
words “My Favorite Color” are never fucking mentioned once? I'll
let you two guess. But you should probably listen to the song before
doing so, because you'll be wrong otherwise, as our host uses this
track to actually get a bit serious.
12.
ME AND MY DOGGZ (FEAT. TECHNIEC)
Calvin
is buried underneath the L.T. Hutton beat on this, the final song on
Dead Man Walkin'. Indeed, you can barely hear his vocals at the
beginning of the actual song (not counting the film sample that opens
the track). This ode to Snoop's many friends meets our host's
requirement to include the word “dogg” in at least one song title
per project, but it's a fucking poor way to end said project.
Whoever sequenced this shit should be punched in the dick. That's
all I got.
THE
LAST WORD: So yeah, Dead Man Walkin' isn't very good, but you knew
that already, because compilations made up of tracks left on the
cutting-room floor for a reason tend to not make for entertaining
listens. There are a couple of good ideas sprinkled throughout, and
with some more love and care, Snoop could have potentially turned a
few of these songs into, if not winners, at least things you wouldn't
want to skip past right away. But the circumstances surrounding the
release of Dead Man Walkin' are too sketchy to ignore: thankfully,
only “Hit Rocks” is worth hearing, if not just the once. Just to
support Snoop alone, you should ignore this shit, but if you must
hear it, a burn is sufficient, because, well, do you really feel like
giving Suge another dime?
-Max
RELATED POSTS:
You can still catch up with Snoop by clicking here. Nothing's changed.
Well, actually the person everybody should be thanking for early Death Row classic albums such as Doggystyle should be Vanilla Ice since his extorted money was used by Suge Knight to fund those projects. Hah!
ReplyDeleteWow that double treat was unexpected nice one bros!
ReplyDeleteI like about half of the songs on here. The fact that Snoop improved artistically after every No Limit Release is a testament that he was definitely in this rap shit for the long haul, literally any other rapper releasing a piece of shit like Snoop's third album would have been career selfdestruction for them.
ReplyDeleteMax, you gotta review Gibb's and Madlib's "Piñata". There's something special in that album.
ReplyDeleteMe likey double review
ReplyDeleteThanks for the review Max. I actually think the next two Snoop albums improve on this one. (Then the ones after that start falling off.) I hope you'll get to them eventually.
ReplyDeleteWhat do you think about the newest one as Snoopzilla.
DeleteMost of Snoop's verses on "I Will Survive" were also used on his Slick Rick collabo "Unify" from that Kid Kapri album.
ReplyDelete