Daz Dillinger – “Rowtation” review

This is the 23rd solo LP & 3rd of 2025 from Long Beach, California rapper, producer & songwriter Daz Dillinger. Some of his cousins include Brandy & her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion, CMLL Mundial Femenil Campeon, RPW British Women’s Champion and the new ROH Women’s World Television Champion Mercedes Moné. He eventually signed to Death Row Records & became an original in-house producer under the guidance of it’s co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 20 more albums of his own with almost 3 decades of experience in the game. Retaliation, Revenge & Get Back 2 took it back to the essence of his debut earlier this summer and Retaliation, Revenge & Get Back 3 a couple months ago found some clarity regarding his complicated history with Tha Row. In preparation for Kurupt’s upcoming 7th album said to be fully produced by DJ Battlecat though, Dilly’s gonna make sure the west coast keeps him in Rowtation.

After the intro, “I’m Daz Dillinger” begins by properly reintroducing himself over a self-produced g-funk beat whereas “I’m a Dogg from Tha Dogg Pound” keeps that same vibe talking about coming up from the underground. The only single “DPGC” dabbles with trap maintaining the lowest prices ever when he touches the plug while “Indictment” soulfully looks for the line between the truth & divinity.

“Snitches” nears closer towards the end of Rowtation’s first half expressing his disdain for rats leading into “Fresh Outta Jail” talking about changing his fate now that he’s home from the penitentiary teaching the young shooters how to move right. “BangBang” once again takes the trap route instrumentally to spit that gangsta shit although I personally don’t care for the auto-tuned hook just before “Smokin’ on the Best” talks about the type of weed he stays puffin’.

As for “The Streets Will Miss You”, we have Daz reminiscing over a big homie of his who passed away while “When a Gangsta Loves a Woman” talks a out knowing when a G is lovestruck. “Superstition” fuses soul & g-funk speaking of chasing shadows regularly while “West Coast Legend” talks about his legacy over some synthesizers & hi-hats. The title track happens to be the actual song excluding the outro assuring that both coasts been known the deal with him.

Confirming in a recent interview with Da Inphamus Amadeuz that he’s no longer signed to Death Row as a solo artist because of him & Snoop getting into a catalog dispute, Daz Dillinger gears up to fully produce The LOX’s upcoming 5th full-length set to drop in 2026 by taking a more introspective approach conceptually for Rowtation exemplified with the inclusion of some of his family members throughout only hours following Mark Briscoe ending Kyle Fletcher’s reign as AEW TNT Champion & of course FTR defeating Brodido to become record 3-time AEW World Tag Team Champions & Samoa Joe becoming a 2-time AEW World Champion at Full Gear VII.

Score: 4/5

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Daz Dillinger – “Retaliation, Revenge & Get Back 3” review

Long Beach, California rapper, producer & songwriter Daz Dillinger releasing his 22nd solo LP. Some of his cousins include Brandy & her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion, CMLL Mundial Femenil Campeon and RPW British Women’s Champion Mercedes Moné. He eventually signed to Death Row Records & became an original in-house producer under the guidance of its co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 20 more LPs of his own with almost 3 decades of experience in the game. Retaliation, Revenge & Get Back 2 took it back to the essence of his debut earlier this summer & is looking to recapture that feeling once more.

“It’s Automatic” starts with a hybrid between trap, rap rock & gangsta rap talking about staying strapped wherever he goes whereas “We Shoot Bacc” continues to portray the gangsta lifestyle assuring he’ll ship the bullets right back to it’s original sender. “Initiation” welcomes all to a battlefield where loyalty is law & love is weakness prior to “B4 I Let Go” throws it back to the g-funk era talking about having the west behind him.

The gospel direction of “Better Get It Right” suits the theme of having to keep one’s composure & offering a slice of a man who’s lost it all while “Glock 19z & Caskets” gives off a vintage west coast vibe talking about keeping his Glock on him until he gets buried 6 feet day. “It’s a Murder Rap” finds himself ready to go complete 187 on the whole rap game leading into “Kidnap, Robbery & Homicide” breaking down criminal activity over a g-funk instrumental.

“I Can’t Fucc wit U” begins the 2nd half of the album with a shot at all these suckas who did it for the paper having the nerve of snitching on each other while “What U Really Want” talking about the people asking for something not getting shit outta him. “Get Money on a Bad Day” optimistically speaks of making a paycheck regardless of how his day’s going while “In My 64” serves as an ode to his impala.

The song “Fucc Y’all” packs up Retaliation, Revenge & Get Back 3’s final leg with him giving a middle finger to the haters who don’t want him to shine & after the Beefy Loc skit, “We Gangsta” properly finishes up the RR&GB trilogy with a g-funk/gangsta rap outro talking making causing static on every block because of the environment he came from where the shots were always ringing loud.

Contrary to the reports a couple weeks ago claiming Daz Dillinger had fallen out with Snoop Dogg & that this was gonna be a whole project dissing him, he has since confirmed a couple days ago that isn’t the case & clarified his issues lie more with Death Row Records’ past when Suge Knight was at the helm of things & his own complicated history with the label instead of Snoop himself. Retaliation, Revenge & Get Back 3 feels more aggressive than Retaliation, Revenge & Get Back 2 was a few months earlier with the exception of him looking for closure instead of conflict.

Score: 4/5

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Daz Dillinger – “Retaliation, Revenge & Get Back 2” review

Daz Dillinger is a 52 year old rapper, producer & songwriter from Long Beach, California who happens to be the cousin of Brandy, her brother Ray J, WWE Hall of Famer Snoop Dogg & the current AEW tbs Champion and RPW British Women’s Champion Mercedes Moné set to face set to face the current CMLL Mundial Femenil Campeon Zeuxis at Grand Slam VI at Arena México this upcoming Wednesday & the current 4-time AEW Women’s World Champion Toni Storm at All In IV at Globe Life Field in Arlington, Texas next month. He eventually signed to Death Row Records & became an original in-house producer under the guidance of its co-founder Dr. Dre, forming Tha Dogg Pound with Kurupt not too long afterwards. Daz finally made his solo debut on ‘98 by putting out Retaliation, Revenge & Get Back on Death Row until departing rather quickly to put out 19 more LPs of his own with almost 3 decades of experience in the game. We just had the Dogg Pound Gangstaz make a return to form with W.A.W.G. (We All We Got) under Tha Row last spring & his 21st album looks to take it back to the essence of his own debut.

After the “Level 4 Yard Bizniz” intro, the first song “Death Row N’Matez” by Tha Dogg Pound featuring RBX & Soopafly was a funky west coast hardcore hip hop intro with all 4 of them justifiably showing off their status as O.G.s of The Untouchable west coast label whereas the soulful “Calculate the Time” talks about the chosen few who’re simply too cold. “West Coast is the Best Coast” boastfully represents the sunshine state to the fullest since hip hop’s a habit to him & after the “Get Down You Clown” interlude, “Set Trippin’” advises that those who ain’t from the same block as him to watch their step.

“Retaliation & Revenge” apocalyptically suggests you better not come around his parts or the city anymore bringing images of gang violence to life so he can back up the warning message he’s sending out just before “Get Bacc” lets y’all know the exact moment the guns start to blow reaffirming he’s always been with the gang life then, now & forever. “Start Bacc Bangin’” featuring a verse from the late Big Skye finds the 2 linking up for a modernized g-funk vibe flexing their Crip ties, but then “We Came to Play” featuring B-Legit goes for a traditional g-funk approach to dedicate itself to the playas.

Lil’ C-Style formerly of the LBC Crew joins Diggity Daz for “Switchin’ Lanez” working in more synthesizers so they can fondly recall the people in their lives who gave them a sack simply because they knew how hard both of them were hustlin’ until getting signed back in the day while “Like a Movie” by Tha Dogg Pound takes the trap route a little asking if you’re ready to do & comparing the way they live to a theatrical film. “Destiny” samples The Jackson 5 single of the same name standing tall because he was born for it while “On the Dead Homies” puts it all on the people in his life who aren’t with us today.

“The Reason” was a cloudy g-funk crossover breaking down why he’s been grinding with a purpose all this time while “Ask the Homie Daz” pulls from trap music again instrumentally to tell anyone who got questions for him to take them to someone else due to him having nothing for ya. “Chitty Chitty Bang Bang” dives into g-funk turf once again talking about the gangsta lifestyle he lived during his younger days & “Mentally Crazy” finishes Retaliation, Revenge & Get Back 2 with a powerful reflection on mental health explaining the stigma around that touchy subject makes it hard to reach out for help when it absolutely does.

It’s no secret a vast majority of Daz’ solo material since DPGC: U Know What I’m Throwin’ Up has been either received positively such as the So So Def Recordings-backed So So Gangsta & Dazamataz or left west coast heads divided in Matter of Dayz’ case. Retaliation, Revenge & Get Back 2 on the contrary makes for a worthy sequel to the album he broke out as a solo act with. His production takes cues from the west coast’s past & present, enlisting a more consistent guest list than The Adventures of Dilly tha Dogg exactly 6 months ago who perform on his same level rather than constantly being subpar.

Score: 4/5

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Snoop Dogg – “Iz It a Crime?” review

Here we have the 21st studio LP from Long Beach emcee, songwriter, media personality, actor, entrepreneur, record executive & WWE Hall of Famer Snoop Dogg. His 1993 debut Doggystyle produced his mentor Dr. Dre is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. He purchased Death Row Records from MNRK Music Group days ahead of the Super Bowl LVI halftime person hence why he’s B.o.D.R. (Bacc on Death Row) since. Missionary last winter drew mixed reception because of some delusional fans expecting it to be another Doggystyle, coming off the Altar Call compilation to ask Iz It a Crime?.

After the intro, the title track featuring October London on the hook samples “Is It a Crime?” by Sade asking how many out there are still living by the code whereas “Joy” crosses over soul & boom bap to talk about it being that time for him to fuck up the streets making a feast out of the crumbs he was given. “Unsung Heroes” works in some cool organ melodies responding to people criticizing him for his half hour DJ Snoopadelic set at the Crypto Ball in January when even I myself found that odd due to the video he shared on Instagram in 2017, but then “Sophisticated Crippin’” sampling Marvin Gaye courtesy of DJ Battlecat talking about his 3+ decade legacy.

“Can’t Wait” featuring LaRussell finds the pair linking up so they can get shit poppin’ together over a g-funk instrumental from Nottz just before “Can’t Get Enough” featuring Jane Handcock cooks up a smooth R&B & west coast hip hop duet portraying 2 lovers who’re quite obsessed with being in each other’s company. “Keep It Moving” brings the g-funk vibes back in the fold thanks to Rick Rock talking about never stop pushin’ leading into “Just the Way It Iz” featuring Wiz Khalifa teaming up on top of a moody Soopafly beat to not change shit in their lives.

Akeem Ali easily delivers the worst feature on the entire album during “You Want My All” kinda sounding like a Lil Wayne knockoff when I’m sure Uncle Snoop could’ve easily got Weezy himself on there if he wanted to while Charlie Bereal takes a shot at g-funk behind the boards on “What’s Hattnin’?” giving a shoutout to everyone who’s been with Tha Doggfather from the very jump. “Spot” reunites with Pharrell for a pop rap joint reminiscent of “Beautiful”or “Perfect” with a modern twist & “ShutYoBitchAssUp” disses Suge Knight.

“Cold Summer” switches it up with a synth-pop cut & the vocal performances predominantly sung by it’s own producer mR. pOrTeR formerly of D12 while “Snoop Will Make You Dance” returns to a g-funk direction for a good old fashioned west coast party anthem. “Life’s Journey” feels like a bit of a response to his daughter Chocc fresh off dropping her debut EP Journals to Johnny last winter & becoming a mother a few months ago while “Me N O.G. Snoop” featuring Sexyy Red still remaining one of the most polarizing, controversial & popular artists in hip hop today talks about their ties to the Crips & the Bloods respectively.

Getting the final leg of Iz It a Crime? started, “Let Me Love You” heads for a bit of a delicate boom bap approach instrumentally for a tribute to his wife of almost 3 decades Shante Taylor while “West Up” slides through with a g-funk love letter to the west coast asking why the fuck should he retire when the west justifiably dominated the previous year. “My Friend” featuring mR. pOrTeR unites both of them for a passionate remembrance of Snoop’s cousin Darryl Daniel passing away 10 months ago & “Live Life” ends by talking about his only advice being to love yourself getting what’s yours.

Uncle Snoop here’s trying to understand if it’s a felony for him to do the things he’s done, to take care of people, to love them & to be there for them due some of the things that he’s done & becoming speculation. My response to those questions is absolutely not, although many including myself found it hypocritical for him to post said IG video 8 years ago with the “Lavender 2” music video literally months later only to do that Crypto Ball DJ set. Iz It a Crime? top to bottom however feels reminiscent of B.o.D.R. (Bacc on Death Row) due to the way both albums feel heavily inspired by the older days in career from gangsta rap to boom bap, g-funk & pop rap.

Score: 3.5/5

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Snoop Dogg – “B.o.D.R. (Bacc on Death Row)” review

Snoop Dogg is a 50 year old rapper, songwriter, media personality, actor, entrepreneur & WWE Hall of Famer from Long Beach, California that any hip hop head should be familiar with. His 1993 debut album Doggystyle is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. The last we heard from Uncle Snoop was last 4/20 when he took it back to basics for From tha Streets 2 tha Suites but in light of his Super Bowl LVI halftime show performance this weekend & him purchasing Death Row Records from MNRK Music Group a couple days ago, he’s celebrating by dropping his 19th full-length album ahead of Mount Westmore’s debut in the winter.

“Still Smokin’” is a short but sweet g-funk opener produced by DJ Battlecat talking about being back up in this motherfucker whereas “Gun Smoke” follows it up with Hi-Tek mixing that vintage west coast sound with some trap undertones kicking it off top for nearly 2-minutes. “Coming Back” featuring October London has a bit of a Parliament-Funkadelic/Zapp influence to it continuing to elaborate on his return just before “Sandwich Bag” speaks on his hustler life over a stripped-back back beat from Bink!.

Meanwhile on “Conflicted”, we have Nas joining Snoop on top of a weary Hit-Boy instrumental pondering who’s against them if God’s for them leading into “Bad Bitch” which has a rubbery bass-line & pays tribute to all the bad bitches. “Doggystylin’” finds Soopafly works in some dramatic choir vocals flexing like the old days, but then “Crip Ya Enthusiasm” awkwardly samples the Curb Ya Enthusiasm” theme song with the help of DJ Green Lantern spitting that street life.

T.I. comes into the picture for the powerful “Gotta Keep Pushing” encouraging to move forward despite all setbacks while “House I Built” jumps on top of an spacious instrumental talking about doing shit his way. “Outside the Box” returns to the g-funk sound down to the Nate Dogg hook shouting out their Day Oners & as for “Jersey in the Rafters”, he & The Game go into boom bap turf thanks to Trevor Lawrence Jr. taking shots at those who say they lost it.

I like the chipmunk soul feel of “Pop Pop” even though DaBaby’s performances are just garish in comparison to Snoop’s, but then “Catch a Vibe” comes through with a cloudy summertime anthem. “It’s in the Air” finds Nottz weaving in some gospel influences as he & Uncle Murda detail the gangsta lives while the track “We Don’t Gotta Worry No More” with Wiz Khalifa mixes a vocal sample with some hi-hats provided by Don Cannon talking about the pain they come from. The final song “Get This Dick” of course serves as a forced sex tune with some R&B undertones & “Snoopy Don’t Go” ends the album with a melodic outro.

If anyone else enjoyed From tha Streets 2 tha Suites as much as I did, then you’re gonna love B.o.D.R. (Bacc on Death Row) just as much if not even more. Much like the previous album, it’s basically Snoop taking it all back to his roots except this time he’s really getting deeper in it. Looking forward to his halftime show performance this weekend.

Score: 4/5

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Snoop Dogg – “From tha Streets 2 tha Suites” review

This is the 18th full-length album from Long Beach icon & WWE Hall of Famer Snoop Dogg. His 1993 debut Doggystyle is widely regarded as a west coast essential, but his output since has been hit or miss whether it be Tha Last Meal & Tha Blue Carpet Treatment almost reaching the same caliber of his debut or Da Game is to be Sold, Not to be Told & Bible of Love falling flat on their faces. Uncle Snoop’s previous outing I Wanna Thank Me came out a couple summers ago & that was a decent listen but after dropping a small handful of singles throughout last year, it’s only right for one of hip hop’s notorious tokers to take listeners From tha Streets 2 tha Suites on stoners’ favorite holiday.

“CEO” jumps on a hyphy beat from Rick Rock as he shows off his longevity in the rap fame while the next song “Roaches in My Ashtray” returns to his g-funk roots with lyrics about getting high of course. “Gang Signs” taps in Mozzy to reminisce on their life as Bloods & Crips respectively over a spacious, bass-heavy instrumental prior to “Talk Dat Shit to Me” responding to Eminem’s jab on “Zeus” as he goes back on the g-funk tip with the help of DJ Battlecat.

As for “Sittin’ on Blades”, we dive into boom bap territory is as Snoop is singing from beginning to end with heavy talk-box usage à la Roger Troutman while “Say It Witcha Booty” is an awkward attempt at making a strip club theme. Larry June appears on “Get Your Bread Up” for a Bay Area-influence money anthem & Tha Eastsidaz make an unexpected return on “Fetty in the Bag” to talk about being amplified over some synths & hand-claps.

“Look Around” produced by Nottz gets taken straight from Tha Blue Carpet Treatment Mixtape back in 2006 & it still sounds as gangsta as it did 15 years ago when the world had initially heard it for the very 1st time until the closer “Left My Weed” featuring Devin the Dude comes off as a more seductive cut that I find myself reluctant towards in terms of it finishing the celebratory 4/20 offering.

Regardless of some older cuts making it feel more like a mixtape due to their resurging presence, this has gotta be the best Snoop Dogg album I’ve heard since Coolaid. I like the fact that he didn’t overload it like he did on I Wanna Thank Me & how it primarily takes listeners back to the g-funk sounds that skyrocketed him from an up-&-comer signing with Tha Row to the entrepreneur he has become in light of his 50th birthday in 6 months.

Score: 3.5/5

Snoop Dogg – “I Wanna Thank Me” review

Snoop Dogg is a Long Beach, California icon that really doesn’t need a proper introduction at this point. We all should know by now that he solidified himself as such with his heavy contributions to his mentor Dr. Dre’s seminal 1992 solo debut The Chronic along with his own equally groundbreaking debut album Doggystyle the following year. Then came the infamous murder charges Snoop faced in the mid-90s, of which he was later acquitted of. He would then come back with his sophomore album Tha Doggfather, but would leave Death Row Records not too long after it came out & would go on to release a trilogy of albums with No Limit Records. My personal favorite of them being Tha Last Meal. When his time with the tank came to an end, Snoop would form his own label Doggystyle Records & would go hopping to one major distributor after another to release 11 more albums. This includes an album under a joint venture with Priority Records/Capitol Records, a trilogy with Geffen Records (the first of which being in association with Star Trak Entertainment), 2 albums with just Priority themselves, a reggae album with his wife’s imprint Boss Lady Entertainment in conjunction with Mad Decent/VICE Music/RCA Records in 2013 & a synth-funk album with i am OTHER Entertainment/Columbia Records in 2015 produced by longtime collaborators The Neptunes. However since 2017, he’s mostly been rebuilding his Doggystyle label with the independent powerhouse EMPIRE Distribution backing him up with the exception of a gospel album being released by RCA Records last March. And with the recent addition to the Hollywood Walk of Fame, the WWE Hall of Famer is celebrating with his 17th full-length album.

“What U Talkin’ Bout?” speaks on doing things his way over an electro-influenced instrumental whereas “So Misinformed” ponders the legacy of slavery & it’s corresponding diaspora over a laidback beat from DJ Battlecat. “Let Bygones Be Bygones” recalls his Death Row days with bittersweet pride over a g-funk beat leading into “1 Blood, 1 Cuzz” pays tribute to the late Nipsey Hu$$le over yet another Battlecat instrumental that recaptures Snoop’s g-funk roots.

As for “Countdown”, we have Uncle Snoop getting on his Crip shit over a prominent Ohio Players sample that Swizz Beatz laces just before “I C Your Bullshit” looks to rattle the trunks of every car blasting it talking about looking past all the cap coming his way. “Turn Me On” featuring Chris Brown is sappy lust tune with a bouncy Jazze Pha beat while “Blue Face Hunnids” talks about gangbanging over a nocturnal DJ Mustard instrumental

“New Booty” smoothly spits some game to all the new Crips while “Take Me Away” featuring Wiz Khalifa is of course a weed anthem as Russ provides a generic beat & an annoying hook. “Do It When I’m In It” with Ozuna & Slim Jxmmi sees the 3 getting raunchy over a Latin-influenced beat while“1st Place” gets victorious over a spacious DJ Green Lantern beat.

Moving on from there, “Focused” samples “Focus” by H.E.R. talking about feeling concentrated while “Rise to the Top” with Swizz Beatz & Trey Songz sees the 3 talking about maintaining successful over a mellow instrumental. “Wintertime in June” featuring the late Nate Dogg sees the 2 talking about past relationships over a colorful Fredwreck instrumental & after the “Doo Wop Thank Me” interlude, the song “Main Phone” with Rick Rock sees the 2 talking about money over a hyphy beat.

“Do You Like I Do” featuring Lil Duval is a weird attempt at reviving new jack swing while the song “I’ve Been Looking For You” is a soothing synth-funk cut. “Little Square UBitchU” with Anitta disses an unnamed punk over a Middle Eastern influenced beat while “Ventilation” with Azjah & $tupid Young is essentially the musical equivalent of Steve Buscemi dressing up as a teenager on 30 Rock. The title track at finishes the project reflects on his his accomplishments over yet another g-funk beat from Battlecat.

As a whole, this was a decent body of work focusing on Snoop’s legacy in the midst of him entering his 4th decade in show business & it lived up to my expectations of at least surpassing Bible of Love in terms of quality. I appreciate how he tried to be eclectic trying to make something for everybody with a retrospective theme on 1 hand & on the other, it didn’t need to be 75 minutes long & there are only slightly more hits than there are misses in an hour & 15 minutes.

Score: 3/5