trey_stone's Full Review: Doggystyle [PA] [Digipak] by Snoop Doggy Dogg
To me, hip hop -- and really music in general -- is more about how you say something than what you're saying. And I'm not throwing that up simply as a defense of ignorant sh!t that happens to be rapped really well. I mean, think of someone like The Notorious B.I.G. "Ready to Die" is rightly regarded as a lyrical classic, but would those lyrics hit you as hard if Biggie's voice wasn't bad*ss? If he didn't have a flexible, authoritative flow? Exactly. The best rappers combine the best of both worlds. That being said, I'd rather listen to an emcee who's really good at rapping about nothing than a "lyrical miracle" who raps in the most boring way possible.
Now, I wouldn't say Snoop Dogg (or Snoop Doggy Dogg as he was known then) raps about nothing on his 1993 debut "Doggystyle." However, you can definitely see him as one of the key figures in early '90s who put the emphasis on flow over lyrics. Rapping about how dope you are and letting the style prove it.
Snoop's technique on this album really puts the difference between West and East Coast rap in the early/mid-'90s into focus. When it comes to the prominent East Coast aesthetic of the time, with certain exceptions (Biggie among 'em) most rappers used what I'd call a linear flow, not necessarily interacting with their beats a whole lot. Not to say they rhymed offbeat, just that the spare boom-bap production dominating East Coast rap put the focus on the emcee. Contrast this with Snoop's style on this album, where his rapping is a lot more melodic, there's plenty of pausing for emphasis, and he's constantly switching up his flow depending on the feel of the beat, in effect becoming another element of the music. Everyone's heard the argument that certain legitimately great gangsta rap's only enjoyed because of kids' "rebellious" fantasies, and sure it applies in some cases, but the "how you say it" is what's ignored when people try to lump everything into the same box.
That and how good the beats are. "Doggystyle" has classic Dr. Dre production, with the types of sonically intricate beats dude seems to've forgotten how to make these days. "Aint No Fun (If the Homies Cant Have None)" is probably the best example of how well-layered the best beats here are. There's a whistling synths, an insistent bassline and atmospheric background keyboards among other elements, but everything comes together perfectly. It's so infectious that you can't get mad at the misogyny in the lyrics. Although, maybe I've just been desensitized by other rap, but with the exception of Kurupt's guest verse I don't personally find the song all that misogynistic. Possibly cuz he's the only one who sounds at all mean-spirited.
Then of course there's "Gin and Juice," a classic party jam that gives you the first real taste of Snoop's serious emcee skills on the album. Dude sounds effortless bouncing off Dre's sleighbell percussion and whirring high-end synths here, and along with the fuzzed-out funk of "Who Am I (What's My Name)?" it's one of those songs that makes you feel like you're the sh!t just by listening to it. Same goes for "Gz and Hustlas," which combines a pounding piano loop with a serious drum break and Snoop's most confident flow on the album. The album's mellower tracks like "Tha Shiznit" and "Doggy Dogg World" work well too, both thanks to Dre's practically microscopic attention to sonic detail (little musical flourishes you might not notice right away are a big strength with the beats here) and Snoop bringing some laid-back flavor to match. Really, certain gangsta tropes aside, the overall lyrical vibe you get from this album is that Snoop is a chill dude who happens to be a f*cking good rapper. What separates it from a new-school rapper like 50 Cent's music, skill differential aside, is that the tone's way more lighthearted. Not to say Curtis doesn't have his share of party jams, but what sounds more suited for that atmosphere, "My Gun Go Off" or "Gin and Juice?" Yeah.
All that said, a few songs here don't quite hold up. "Serial Killa" and "For All My N*ggaz & B*tches" are relatively generic G-funk compared to Dre's best beats here, and "Pump Pump" sputters around without going anywhere, a total buzzkill after "Gz and Hustlas." And I kinda hold it more against a crappy song if it closes the album, so "Pump Pump" loses extra points. Otherwise though? "Doggystyle's" an essential party rap classic, no lame chants, dumbed-down rhymes or Casio synths involved. Good sh!t.
Great Music to Play While: Wondering whether another Snoop/Dr. Dre reunion would mean anything at this point given Dre's monochromatic recent output
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