Kurupt – “Tales from My Hood” review

Kurupt is a 53 year old MC, songwriter, actor & occasional producer from Philadelphia, Pennsylvania who relocated to Hawthorne, California to comprise 1/2 of Tha Dogg Pound with Daz Dillinger. He eventually made his double solo debut Kuruption! under A&M Records almost 3 decades earlier, following it up with a widely praised sophomore effort Tha Streetz Iz a Mutha & Space Boogie: Smoke Oddessey until dropping Against tha Grain through Death Row Records in tandem with MNRK Music Group to mixed reception. Same Day, Different Shit produced by Daz & his previous full-length Streetlights each left audiences further divided even if the latter helped launch Young Gotti’s own imprint Penagon Records, remaining on Tha Row now distributed by gamma. following Daz’s departure to have DJ Battlecat solely produce his 7th studio LP.

After the intro, Sneacc Attacc” featuring Charlie Bereal & WWE Hall of Famer Snoop Dogg begins spitting that gangsta shit over a g-funk instrumental whereas “Me N the Boyz” samples “Mothership Connection (Star Child)” by Parliament to talk about getting money. “Special” featuring Jane Handcock finds the pair getting romantic over a smooth beat while the summery “Mystic River” represents the D.P.G.C. even after Daz & Snoop fell out.

D Smoke & Snoop Dogg appear on “Wat U Do to Me” bringing back the g-funk vibes instrumentally to kick off the 2nd half of the album talking about him & his Death Row inmate being unable to fake how they do things but after “Love Letter” featuring Jane Handcock soulfully addresses the people in their lives who were made for them, “West Coast Muzik” once again shifts towards a g-funk direction representing the west coast hip hop scene altogether.

“Mindstate” featuring Ill Camille gets the Tales from My Hood’s final act going embracing a jazzier sound & some grown man subject matter Tha Kingpin’s delivering while “I Don’t Luv Her” featuring Akeem Ali & Soopafly brings the trio together so they can promise their soulmates that they’re not in love with anyone else over a g-funk beat. The closing track “Gunna” sends it all off suggesting for people to duck whenever he’s out in public.

Considering how much of a superiorly skilled performer Kurupt has always been on the microphone, I found myself being more excited for Tales from My Hood than I have been with Daz’s last few solo efforts & it sure enough makes up for Against tha Grain’s mediocrity by surpassing Tha Streetz Iz a Mutha to become Young Gotti’s finest hour by himself. DJ Battlecat’s g-funk production paired with one of the most underrated lyricists of all-time who also became 1/2 of the Gotti Mob & 1/4 of The HRSMN makes for possibly the strongest album Death Row’s dropped this year.

Score: 4/5

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Point 5ve – “Take a Look at Me Now” review

Point 5ve formerly known as Lil’ ½ Dead is a 51 year old singer/songwriter & former rapper from Los Angeles, California who dropped his full-length debut The Dead Has Arisen & the sophomore effort Steel on a Mission under Priority Records back in the mid-90s. He returned in 2012 for his 3rd album Dead Serious to generally more mixed reception compared to his major label output & over a decade later, WWE Hall of Famer Snoop Dogg has signed him to Death Row Records distributed by gamma. to reinvent himself for a new extended play stylistically departing from the g-funk sound in favor of an R&B direction.

“Grown Man Business” featuring October London on the remix finds the pair singing about maturity while the funky “Unseen Life” produced by Uncle Snoop explains half of his life is nothing more than a film to him. The title track ends the 1st half singing about not being the same as he was while “Now or Never” encourages to wing it & not look back. “Finish Line” describes a relationship falling apart & “Keep It Warm” featuring Kanobby finishes with a duet about companionship.

Dead Serious came out back when I was in high school & regardless of that still not holding up compared to Point 5ve’s earlier material back in the day, Take a Look at Me Now marks a welcoming celebration of this new era in his career. The production’s obviously much smoother than his earlier material & I’m sure some will find themselves disappointed with the lack of rapping on here, but I was pleasantly surprised to hear how well he could sing.

Score: 3.5/5

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Tonio Armani – “Outside for the Summer” review

Columbus, Georgia singer/songwriter Tonio Armani enlisting Atlanta producer, DJ, rapper, record executive, entrepreneur & crunk progenitor Lil Jon to produce his brand new extended play. Dropping his full-length studio debut Love & Relationships along with the sophomore effort The Soul Train in 2019, he would go on to release Believe the following year & WWE Hall of Famer Snoop Dogg would sign him to Death Row Records distributed by gamma. following Intimacy. Making his debut for the label, it’s only right he steps Outside for the Summer.

The Ying Yang Twins appear on the intro “B.O.B. (Big Ole Butt)” joining forces over a vibrant beat so all 3 of them can talk about their love of women who have cake whereas “Walk That Line” instrumentally goes for more of a crunk&B vibe to describe a woman that he can’t seem to get enough of. “Donkey” soulfully sings about wanting all the ladies to get on down to the dance floor leading into “Line Dancer” ending the 1st leg of EP with a carefree R&B jam recalling this woman giving him a show.

“Temptation” gets the 2nd half going singing about a temptress trying to seduce Tonio when he’s already in a relationship & after “That’s My “Lady” soulfully dedicates itself to his soulmate he was referring to earlier, “Jam with Us” sings to those who’re unable to party with him that they can’t do so at all if that’s the case. “Bad Mamma” featuring Snoop Dogg finds the pair talking about women who’re well put together & the closing track “Superman Lover” featuring Nila Milan sends it all off with a laidback R&B duet with a summertime feeling to it.

Looking to celebrate his Georgian roots for our country’s semiquincentennial, Tonio Armani enlists a founding father of the crunk subgenre of hip hop to produce Outside for the Summer since he helped make some crunk&b hits back in the 2000s & would consider it to be gratifying debut for Tha Row as well as Tonio’s finest statement yet. He’s passionately honoring the people who made him the man he become today & Lil Jon’s production is more R&B-oriented compared to LaRussell’s 32nd EP Something’s in the Water.

Score: 4/5

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Snoop Dogg – “10 ‘Til Midnight” review

This is the 22nd studio LP from Long Beach, California 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 performance hence why he’s been B.o.D.R. (Bacc on Death Row) since & partnered with gamma. for their ongoing distribution deal. Missionary drew mixed reception because of some delusional fans expecting it to be another Doggystyle, coming off Iz It a Crime? to drop 10 ‘Til Midnight.

“Step” produced by Swizz Beatz kicks things off on a funky note looking to shut down every party he pulls up to whereas “Lied 2 U” goes for a melodic vibe thanks to Pharrell throwing it back to the BUSH era prior to my high school graduation singing about an unfaithful man. “Slid Off” gets back on his gangsta shit for a self-produced lead single & after the “Daddy Rich” interlude, “Stop Counting My Poccets” works in a summery west coast instrumental from Nottz to talk about having $100M in his bank account.

As for “O.G. to B.G.”, we have Uncle Snoop giving the world some game over a g-funk beat leading into “Dogg Wattup Doe?” solely letting Peezy handle the verses to represent the 313 instrumentally fusing elements of cloud rap & jazz rap. “Leave That Dogg Alone” gets the 2nd half going carrying over the cloudiness talking about peasants trying to knock down King Kong while “Pop My Shit” featuring Trinidad Jame$ teams up for a decent gangsta rap joint with a trunk-knocking Young Fyre beat.

“17 Rules” brings back the feel good atmosphere talking about a homie who done lost his mind while “Bread Under the Bed” jumps over a Rick Rock instrumental to tell us where he keeps his money. “No Ticcet Needed” smoothens things out courtesy of both Soopafly & Erick Sermon looking to have a good time but once “Long Beachin’” shouts out the city that made Snoop who he is, “Q.T.S.A.M.Y.A.H.” featuring October London soulfully ends with both of them clarifying that you gotta earn respect & the crown if anyone wants either of them.

There are a couple singles teased for 10 ‘Til Midnight that didn’t make the final version of it & I wanted to still go over them because I thought they were worth mentioning. “High Life” featuring Tha Twinz & Young Sagg was my favorite of the 2 although I would’ve liked it a lot more minus Young Sagg’s verse, continuing to put it down for the LBC decades later. “Heart in Need of a Hug”on the contrary has potential to become amongst the worst songs dude has ever made, which is more embarrassing of an R&B attempt than “Lied 2 U”.

B.o.D.R. (Bacc on Death Row) & Iz it a Crime? both reminded us that Snoop Dogg doesn’t need new tricks on songs breathing new life into vintage g-funk grooves so if you enjoyed those albums like I did, you’re kinda already know what you’re getting yourself into with 10 ‘Til Midnight. It’s admirably shorter than its predecessor last spring & there’s more consistency within the production than his last one, although hearing him over different sounds from beatsmiths he hasn’t worked with yet would be refreshing.

Score: 3.5/5

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October London – “For You, My Love” review

This is the 7th EP from South Bend, Indiana singer/songwriter & producer October London. starting out in 2013 off his debut EP The Introduction & both installments of the Color Blind series, he eventually caught the attention of Long Beach icon & WWE Hall of Famer Snoop Dogg by signing to Doggystyle Records for his 4th EP Please Leave a Message before moving over to Death Row Records not too long after Snoop bought the label he started out at. October has since released his first 2 albums & a couple more EPs through the revived west coast powerhouse with Crypto Winter, Technicolor, The Rebirth of Marvin & The Greatest Gift. His last LP October Nights refined his soulful contemporary R&B style & has dropped off For You, My Love to begin the final month of 2025.

“Christmas Gift” starts by singing over a drumless self-produced instrumental eager to kiss the love his life by the tree & after “Naughty List” works in some jazzy pianos wanting this chick to put him on her list, “Rudolph Guide Me Home” sings for the Red Nosed Reindeer to lead him back to the crib so he can see his woman. “Where You’ll Go for Christmas” hopes she winds up in his arms this holiday season. “Happy Holidays My Love” pulls from jazz music a bit singing that he was his lover for Christmas & “Frisky on Christmas” finishes with a 3 minute holiday experience.

I’ve already made it clear a couple times in the past by now that Christmas projects generally tend to be hit or miss for me, but I didn’t mind what October London was going for throughout For You, My Love because it’s a slight improvement over The Greatest Gift roughly 25 weeks ago. I commend him for penning the whole thing by himself & focusing more as a producer than he did on October Nights, celebrating the most wonderful time of the year better than he has previously.

Score: 3/5

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D Smoke – “Wake Up Supa” review

This is the 4th studio LP & Death Row Records debut from Inglewood, California emcee/producer D Smoke. The older brother of R&B singer/Top Dawg Entertainment signee SiR, he made his full-length debut in almost 2 decades ago with Producer of the Year & re-emerged in 2019 off his debut EP Inglewood High & the Grammy nominated sophomore effort Black Habits. His last album Wars & Wonders broke down what it was like for him growing up in the City of Champions & has returned almost 4 years later for Wake Up Supa.

The title track with co-production from Terrace Martin drumlessly talks about people not listening to correction & shining when it comes to connection whereas “Na Na Na” featuring LaRussell finds the pair feeling like no one can tell them shit over an instrumental from both Larrance Dopson of 1500 or Nothin’ & Turbo. “No Passes” works in a heavy sample courtesy of Mike & Keys to drop some gas on these bitch asses leading into “Chin Up” talking about not letting anyone smaller than him outbox him.

“Fire” moves forward with a self-produced reflection on choosing a path different from the bloods & crips just before “Biscuits” featuring Nana & WWE Hall of Famer Snoop Dogg asking God for Him to bless their visions & carry them from insanity. “Count Cha Blessings” featuring Jane Handcock takes a smoother approach instrumentally talking about focusing on the Ws more than the Ls while “Energized” refuses to let anyone steal his energy & dismiss them in the coldest fashion.

Lucky Daye joins Smoke on the soulful “Frequency” talking about needing love, support & encouragement along with asking why they keep getting declined whilst seeking a silver lining while “Jackie’s Triumph” strips the drums again so he can tap into his storytelling abilities lyrically. “Stomp” featuring Miles Minnick continues the sampling to talk about stepping on Satan while “Proud of You” produced by DJ Battlecat tells the individual it was written towards that he’s been watching them & that he’s pleased of them.

“Good Morning” nears the conclusion of the LP by stating that he doesn’t think anything will get the attention of those sleeping on him if Wake Up Supa doesn’t & the final song “So Good” ends the Rhythm + Flow season 1 winner’s inaugural release through Tha Row with a funky drumless outro talking about looking around & refraining whenever he feels like complaining because he’s ok as long as he’s still alive.

If you preferred Black Habits over Wars & Wonders by a slight margin like the majority of people, you’re probably gonna like D Smoke’s highly anticipated debut under Death Row Records as much if not more coming exactly 2 years since he became the 4th artist to sign with the most controversial record label in history’s current incarnation. Primarily because I feel like the conscious hip hop & R&B fusions that made him break out a month prior to the beginning of the COVID-19 pandemic are being purified as he opens a window to his self-aware perspective.

Score: 4/5

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Jane Handcock – “It’s Not Me, It’s You” review

Oakland, California singer/songwriter Jane Handcock releasing a sophomore effort after teasing it with a few singles. A member of MacArthur Maze, she introduced herself in the beginning of 2016 off her debut EP Truth Be Told followed by Where’s Jane? as well as Where’s Jane 1.5 & Summer Type Flow. Making her way onto the radar of WWE Hall of Famer Snoop Dogg through Fa Real, she joined Death Row Records now distributed by gamma. for her debut album W.o.W. (World of Women) & is returning almost 2 years since Blvck Saturday with It’s Not Me, It’s You.

After the intro, the first song “Use Me” opens with a boom bap/neo soul crossover produced by Soopafly feeling like she has a genuine connection with this man instead of gold digging whereas “Sorry” swaps out the boom bap elements to throw a hint of rock in the picture apologizing for saying shit she didn’t mean. “Same Ol’ Love” colorfully sings about needing her lover from beginning to end while “You” featuring BJ the Chicago Kid gets together for a jazzy & soulful duet glad to be surrounding each other.

“For the Views” goes for a tenser direction in terms of sound singing about seeing truth & lies just before the funky “Stare at Me” featuring Anderson .Paak finds the pair taking it uptown & running it back downtown. “Stingy” smoothly asks for her lover to save all his love for her wanting him all to herself leading into “Can’t Let Go” after an interlude slickly add singing about being unable to get this man off her mind.

As for “Niraj”, we have Jane over some guitars from Charlie Bereal suggesting that this heartbreaker she knows plausibly needing love while “Smile” serves as a 90 second ode to happiness. “Good ta Me” puts her versatility on the forefront rapping & singing about her desires to give this man everything he wants over a Hit-Boy beat, but then “That’s All I Need” talks about only requiring love over a guitar & finger snaps. “Blowing Wind Around” closes the LP by favoring of rising in love rather than falling in it.

Jane uses It’s Not Me, It’s You as an opportunity to look at herself in all attributes to get the good, bad & ugly parts of her story out there in addition to strengthening Tha Row’s revived R&B division. Unlike the recent October London album October Nights basing itself around soul & contemporary R&B or Charlie Bereal’s debut for the label Walk with the Father throwing it back to the days of 70s smooth soul, MacArthur Maze’s biggest member diversifies from them shifting towards neo-soul mostly.

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 performance 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? fresh off gamma. signing a distribution deal with Tha Row.

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” featuring a hook from Tonio Armani 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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Death Row Records – “Altar Call” review

Death Row Records is the infamous west coast hip hop record label based in Beverly Hills, California founded by Dr. Dre, Suge Knight, The D.O.C., Dick Griffey & Harry-O. A dominant force in the sunshine state during the early & mid 90s, the label began to decline due to Dre departing for starting up Aftermath Entertainment in addition to Master P fresh off his AEW Dynamite appearance during The Opps’ celebration as the new AEW World Trios Champions this past week signing WWE Hall of Famer Snoop Dogg to No Limit Records & of course 2Pac’s murder currently investigating to see if disgraced Bad Boy Entertainment founder Puff Daddy a.k.a. P. Diddy or Diddy was involved in ahead of his upcoming sex trafficking trial. Snoop would buy Tha Row from MNRK Music Group the week of his Super Bowl LVI halftime show performance & has cleaned the label up by reviving it from the gamma. distribution deal to signing O.G.s like Tha Dogg Pound & Danny Boy or newcomers such as Merkules & D Smoke. Commemorating what would’ve been Snoop’s mother Beverly Tate’s 74th birthday, Death Row is releasing their 10th compilation album as a sequel to the RCA Records-backed Bible of Love.

“Mother I Miss You” by John P. Kee is this self-produced gospel intro dedicated to Snoop’s late mother whereas “No Backsliding” by Michael Bereal continues the Sunday Service thanks to his brother Charlie behind the boards singing about being too blessed to be stressed. “You Can Win” by Flintstone & Lisa Santa Cruz brings the duo together over a DJ Green Lantern instrumental promising victory if you keep your hands to the sky while “Redeemed” by Jane Handcock & Kanobby finds them achieving redemption over a Soopafly beat.

Curt Chambers makes his plea to God over some churchy choir vocals & organs for “Ready, Willing, Able” declaring his willingness to depend on the higher power just before “Been to Good to Me” by Flintstone sings about how great the Lord has been to them over a slow Mike & Keys instrumental. “Won’t He Do It” by Jazze Pha blends gospel & trap talking about putting God above everything always leading into “Grandma’s Hands” by Jamie Foxx acoustically remembers his grandmother.

“Help Me Jesus” introduces The Death Row Choir calling for the Son of Christ himself to help them during the hard times they’re going through while “Just Believe” by Jane Handcock mixes some organs & synthesizers singing about one having a lot on their mind with difficulty trying to find happiness. “Grace & Mercy” by Charlie Bereal gives off the Curtis Mayfield flare he’s known for asking for those 2 things respectively, but then “Like I Know God” by October London sings over pianos about not knowing God the way he does.

Uncle Snoop himself joins Charlie & Reo Varnardo whose daughter is the current AEW tbs Champion, 新日本プロレス STRONG女子チャンピオン & RPW British Women’s Champion Mercedes Moné on the gospel rap hybrid “Brand New” feeling reborn while “Call His Name” by Camille Grisby encourages to call for God & Jesus’ names whenever you’re lonely. “A Still Mind” by mR. pOrTeR formerly of D12 with Robert Glasper on piano confidently declares he’s got his feet set on the ground while “Never Failed Me Yet” by Mali Music sings about God never failing them.

“Yes” by Laura Wilson Johnson passionately gives in to the ways & will of the higher power while “Good Day” by Point 5ve formerly Lil’ ½ Dead has a funkier soul approach keeping their peace of mind when it’s all said & done. “Done” by Charlie Bereal & Mali Music acoustically admits they don’t know what to do without God while “He is God” by Michael Bereal sings about healing when wounded. “Make Time” by Flintstone ends by smoothly asking if time can be made for.

My expectations for Altar Call were pretty low since Bible of Love wasn’t that good at all in my respectful opinion & the sequel surprisingly reflects on Beverly teaching Snoop to use his voice & his platform to spread love & heal the world similarly to his 2013 pop reggae album Reincarnated produced by Major Lazer back when I was a sophomore in high school. Some interesting names pop up during the production credits & the list of performers are stronger than they were 7 years ago.

Score: 3.5/5

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