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.
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.
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, 新日本プロレス強い女子チャンピオン & 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 Flinstone 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.
Merkules is a 32 year old rapper from Surrey, British Columbia, Canada who began rhyming at age 15 under the name Merk Mikz. He later became Snak the Ripper’s hype man to get his career kickstarted over a decade ago, dropping a total of 7 albums & 3 EPs of his own since 2011 or so. Following the acquisition of Death Row Records by one of the label’s original artists & WWE Hall of Famer Snoop Dogg at the start of 2022, the very 1st artist to sign under the revived umbrella was Merkules & he’s brought C-Lance to produce a vast majority of his Death Row debut albeit his 8th studio LP.
The title track marks his introduction as a member of the untouchable Death Row with a drumless piano instrumental talking about feeling remorse after surviving a near-death experience or traumatic event when others perished whereas “Loser” takes the boom bap route instrumentally to discuss being a failure of a person. “Grew Up” was the only track that didn’t have C-Lance behind the boards & one of the only 5 skippers here, but then the acoustic-trap hybrid “Blast Off” runs from the past as if it’s erased.
“Mama Tried” keeps the downtuned guitars in the fold favoring more of a boom bap flare to the beat talking how his mother tried her best raising him leading into the g-funk influenced “Wassup” featuring NHale linking up with the son of an original from Tha Row & the late King of Hooks himself Nate Dogg refusing to fuck around since they’ve experienced the ups & downs. “Out Here” featuring Classified was a decently dusty chipmunk soul collab hustlin’ on the daily, but then “Glory to God” gets derailed by Dax’ corny ass dropping the worst guest verse on the whole thing.
Elements of rock & trap get blended once more on “Inside Out” admitting to that being exactly how he mentally feels at the moment & “On Guard” featuring Shaquille O’Neal heads for a cloudier direction so they can talk about bringing it to the doorsteps of anyone who wants beef with either of them. “Bawse” featuring Prof sees both MCs returning to the boom bap saying they the type to smack muhfuckas through the element of surprise while “Forgive Me” asks God to forgive him for all the sins he’s committed in his life up until this very moment in his career.
“Smoke To” featuring Afroman cloudily comes together for a dedication to all the stoners out there since 4/20’s coming up on Easter weekend & Day 2 of WrestleMania XLI just before “Pair of Chucks” featuring Daz Dillinger shows off the brand new kicks they copped over a predominately west coast-flavored instrumental. “Fight Music” featuring Brotha Lynch Hung & X-Raided shows the trio on the verge of being ready to throw hands while the crooning “All I Know” featuring Evil Ebenezer talks about the only thing they’re familiar of & knowing they gotta change.
Bizarre, Kuniva & Swifty McVay of prior D12 fame all join Merkules for the boom bap-tinged “Big Bad Bullies” refusing to fake the funk while “Assholes” featuring Chris Webby talks about always keeping ammo on them & only speaking practice when they shoot. “Safety Off” embraces a rap rock vibe only needing some kush & his wife beside him while “Deserve You” shows gratitude towards his ride-or-die chick.
“R.W.T.R. (Riding with the Reaper)” featuring B-Real chops up the soul samples again talking about driving around past midnight with Death beside them while “Mirrors” featuring Ricky Hil speaks of having conversations with mere reflections of themselves. “Championship Rings” brings October London on the hook to talk about coming from the bottom & “Runnin’ Away” featuring DIZZYISDEAD finishes Merk’s debut under the untouchable Death Row on some emo rap shit.
Starting the deluxe run, “Inside My Head” acoustically airs out those in his life who’ve become envious of his success while “Twisted” featuring Jelly Roll talks being sick to their stomachs & drinking alcohol to numb it. “LowKey” featuring Twista intensely shows off their chopper abilities & Merk keeping up with the Chicago vet while the Mobb-infused “Yeah Yeah Yeah” featuring Too $hort talks about another day in the lives of real ones.
“Time” passionately shows 0 tolerance for anyone tryna bring him down while “Voices” featuring Struggle Jennings talks about hearing shit inside their heads. “Homicide” featuring Bone Thugs-n-Harmony angrily warns a murder or 2 will take place if you fuck around with them while “6:00 News” featuring Chris Webby feels as if both of them are losing their minds getting shade from artists who are now washed & past their prime.
Caskey pops out to a lay a verse during “Revenge” so they can tell everyone to get the fuck out their faces & give them the space they need while “Better Myself” featuring Rittz tackles mental health talking about improving themselves as people & everything seeming like they’re drowning in the deep end. “Not Like You” featuring Hopsin reflects on everyone who’s told them that neither artist wouldn’t be in the positions they’re in currently while “In Your Feelings” talks about never falling off.
“Woodstock ‘99” calls for everyone to go crazier than the festival that took place during the summer of 1999 & making it the best night of everyone’s lives while “Nerves” talks about him partying until it hurts as well as having blisters on his fingers because of blowing money. “Need Me Now” featuring Benny the Butcher observes those in their lives who respectively need them more than ever while “In My Sleep” featuring The Game rides around the city looking lavish.
Keeping the extra freshness going, “Hollywood Hills” lets everyone know where he can be found now that he’s signed to one of the absolute most notorious record labels in the entire music industry while “I’m Here” explains that he only fears God realistically. “Inferno” confesses to trippin’ as of late & simultaneously feeling larger than ever as an artistic while “The Title” asks what you’d expect after crossin’ a psycho like him.
“C’est la Vie” talks about the problems getting bigger as a result of the money growing & it hitting differently since he came form the bottom while “Pat Stay Forever” profoundly remembers the late battle rap standout Pat Stay. “DNA” featuring Conway the Machine talks about sleepless nights getting them to where they are in 2025 while “Do This to You” cautions of bodies dropping if you get too cocky around him.
Millyz makes the first of 2 appearances with “Nauseous” remembering when others said they wouldn’t be shit & them basically being afraid of the success coming their way while “Commas” talks about having a lot of problems & wanting to stack his paper even higher. “Cigarette” will be more enjoyable to anyone who enjoys smoking them even if I don’t since I don’t fuck with tobacco while “Still Him” talks about the hunger remaining inside himself.
“Distant” apologizes for not being as intimate as he usually is citing the reasoning for him suffering mentally & avoiding facing the fuck-ups he caused while “Middle of Nowhere” talks about being unsure as to where to go & feeling scared in the mental prison he’s inside of. “Run Away” featuring Phix contains a genuine theme of escapism even if Phix always stood out as being equally corny as Dax in my opinion that much for me personally while “Ha Ha Ha” gives a shot at trying to make more uptempo stuff.
As for “My Shoes”, we have Merkules talking about feeling unstoppable because of his Godly flow while “Ups & Downs” delves down the basement feeling worthless at rock bottom & seeing change soon as he accepted his flaws. “The West” gives even more flowers to the sunshine state shifting in favor of g-funk once more while the soulful boom bap crossover “Good Kid” looks back on not causing trouble during his childhood.
“No Favours” dismisses the notion of anyone doing him any favors since he doesn’t want to self destruct & wondering where everything went wrong in his life while “Lights Camera Action” exuberantly clarifies his success not happening overnight. “Give Me a $ign” talks about not trying to break & finding new ways of numbing his pain because there’s only being so much he can take while “10 Toes” promises to stay on top for eternity.
The longest reigning 2-time JCW World Juggalo Tag Team Champions the Insane Clown Posse showing up during the Shaggytheairhead-laced “Swish” only makes sense making way for Merk, the shortest reigning JCW World Juggalo Heavyweight Champion Shaggy 2 Dope & the JCW Commissioner Violent J to tell these bitches they only mad since their girls plays both artists’ music while “Fill My Cup” gives a nod to anyone who’s going through hard times in their lives at this current moment. “Never Come Down” featuring Millyz talks being up way too high prolifically & never imagining they’d be making goodbyes while “Switch Lanes” pokes fun at other artists who’re bitch made.
“No Hooks” talks about the Death Row logo justifiably showing everyone who’s been paying attention to him in recent memory exactly who the fuck he rolls with while “Cory & Trevor” featuring Lil Windex of all fucking people likens themselves to both characters from Trailer Park Boys on Netflix. “Momma We Made It” publicly & assures his mother he’s finally become a successful artist in a heartfelt full circle moment & the final bonus track “Ego Intervention” comes off as more of a therapy session than a diss.
My introduction to Merk personally came right when he had a verse on the Tech N9ne album ENTERFEAR a month following the start of the COVID-19 lockdowns & all 24 songs on the final version of his Death Row debut combined with 46 outtakes that were left on the cutting room floor turned out to be better than I would’ve thought. C-Lance nails it at making Survivor’s Guilt the most well-produced offering in Merkules’ discography, giving more than enough room for him & most of the guests to enhance the enjoyability.
Pasadena, California singer/songwriter, producer & multi-instrumentalist Charlie Bereal returning after almost 6 years to release his 3rd album. Formerly a member of The Soul Seekers, he would later depart the gospel group in 2017 to make a name for himself putting out the full-length solo debut Testimony independently followed by the Coalmine Records-backed sophomore effort 11-11-11 couple years later. His biggest breakthrough however came when WWE Hall of Famer Snoop Dogg signed him to Death Row Records last summer now distributed by gamma. & wants everyone to Walk with the Father.
“Hope” begins his Death Row debut showing a heavy Curtis Mayfield influence keeping his head up to the sky remaining hopeful after Donald Trump’s 2nd inauguration earlier this week whereas “Some People” sings to take someone, share with them & building their own together. The self-produced “Never Gonna Take Away My Love” pays homages to The Delfonics promising that his love cannot be stolen from him, but then “The Greatest” pulls inspiration from The Stylistics assuring it’s all for the best.
Moving on from there, “My Only One” comes to the realization that he’s finally ready to settle down with the woman of his life crooning on top of these horns leading into the title track going for a Curtis Mayfield/Marvin Gaye vibe singing about how hard it is in Los Angeles & the ongoing wildfires in the SoCal area surely aren’t helping unfortunately. “Energy” featuring JMo & the Greats goes for a soulful funk rock direction instrumentally admiring one another’s vitality or power prior to “Wherever You Are” singing about a woman who’ll always be in Charlie’s heart going forward.
“Jack Move” starts the final leg of Walk with the Father crooning for his lover to give their heart to him while “Don’t Want to Get Up” brings back the funk once again to sing about trusting the process. The song “Toxic Love” soulfully asks why the love he has with the woman he has specifically in mind here is as harmful as it is while the penultimate track “Keep It Pushing” tells anyone listening who’s going through some shit to move forward since you only have 1 life. The funky closer “Come Go with Me” lastly ends the LP encouraging everyone to join him in being free.
Walk with the Father continues to strengthen the R&B side of Death Row Records following October London’s latest album October Nights a few months ago & Chocc’s debut EP Journals to Johnny a week preceding her father reuniting with his mentor Dr. Dre on Missionary by throwing it back to the days of 70s music giving flowers to those in the genre who paved the way & mixing elements of R&B’s present in too. Charlie does his preacher father’s memory justice recruiting Josef Leimberg to help him make the album his dad always wanted him to make before he passed away.
Long Beach emcee, songwriter, media personality, actor, entrepreneur, record executive & WWE Hall of Famer Snoop Dogg reuniting with his mentor Dr. Dre for the 20th studio LP in his discography. 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. He purchased Death Row Records from MNRK Music Group days ahead of the Super Bowl LVI halftime person hence why he’sbeen B.o.D.R. (Bacc on Death Row) since, so it’s completely understandable that he & Dre are finally putting out Missionary through a historic joint deal between Death Row & Aftermath Entertainment/Interscope Records.
After the “Fore Play” intro by BJ the Chicago Kid, the first song “Shangri La” samples “Stakes is High” by De La Soul with the help of Sam Sneed talking about the time coming to start trouble whereas “Outta da Blue” featuring Dr. Dre goes back-&-forth with each other on the mic over Dre, BoogzDaBeast, Dem Jointz & FNZ sampling both “Saturday Night” by Schoolly D & “Scratchin’” by Magic Disco Machine. “Hard Knocks” finds Dre & Focus… flipping “Another Brick in the Wall” by Pink Floyd to talk about taking the long way, but then the pop rap/neo soul crossover “Gorgeous” co-produced by Blu2th & Fredwreck doing the wildest shit at 6am.
“Last Dance with Mary Jane” featuring Jelly Roll heavily samples “Mary Jane’s Last Dance” by Tom Petty suggesting to not even bother asking them giving up smoking weed just before “Thank You” aggressively talks about Uncle Snoop thanking everyone listening for letting him be himself. “Pressure” takes a funkier route instrumentally addressing the pussies getting frisky soon as the Dogg gets let out leading into the worst single “Another Part of Me” featuring Sting sampling “Message in a Bottle” by The Police to talk about both of them keeping money on their mind.
Method Man joins Snoop on “Skyscrapers” going for a triumphant flare altogether telling the young black entrepreneurs to turn their cap into capitalism stackin’ their bread high ahead of the groovy “Fire” referencing Amazon founder Jeff Bezos and WWE Hall of Famer, the shortest reigning WWE Champion & former WWE Tag Team Champion André the Giant. “Gunz N Smoke” featuring Eminem & 50 Cent flips “Dead Wrong” by The Notorious B.I.G. also featuring Eminem flexing their street ties in Long Beach, Detroit & New York respectively while “Sticcy Situation” shows a brand new strategy.
“Now or Never” featuring Dr. Dre pushes towards the conclusion of Missionary by shooting for the stars with something so unforgettable & trying to leave something that’ll live forever while the song “Gangsta Pose” featuring Fat Money keeps the gangsta rap vibes going asking where were y’all when they were in the middle of a war & keeping it on regardless of that. “The Negotiator” wraps things up with a poker face & talking about his legacy being everlasting.
By no means necessary did I go into Missionary expecting it to be another Doggystyle like some of the delusional comments that I’ve seen on a few of Snoop’s social media posts in the last few months simply based on the 3 singles we got building up to it. However, I do think it’s on par with Tha Last Meal & Tha Blue Carpet Treatment in being one of the best albums that he’s put out since his debut. From the lyricism to Dre’s production, you can very much hear the maturity between them both over the last 3 decades & testifies to their longevities in the west coast.
Chocc is a 25 year old singer/songwriter from Los Angeles, California notable for being the daughter of Long Beach icon, Death Row Records owner & WWE Hall of Famer Snoop Dogg. She first made her appearance on wax with the “No Guns Allowed” single off her father’s 12th album Reincarnated foraying into pop reggae & after releasing 4 singles under her original moniker Cori B in the span of over a decade, she’s dropping her debut EP ahead of her dad’s 20th album Missionary produced by his mentor & Death Row co-founder Dr. Dre next weekend.
After the “Just Like You” intro, the first song “Did You Mean It” starts with a fun dance-pop opener whereas “Johnny Don’t Break My Heart” stands out as a favorite in my personal opinion stripping the drums completely going for a R&B vibe aesthetically & pulling it off. “Move” continues to show her artistic range by dabbling with a bit of pop rock while “Escape2Vegas” properly finishes the EP singing over an acoustic guitar about escaping to Las Vegas, Nevada.
The talent has always been there & I’ve noticed that myself personally when I first heard her on “No Guns Allowed” back during my sophomore year of high school, but fast-forward a decade later & her putting out a debut EP on Death Row now disturbed by gamma. is a welcoming introduction to her musically. The production bases itself around dance-pop, R&B, pop rock & singer/songwriter showcasing how much Chocc has grown in the last 12 years & giving a glimpse of her future in music.
Tha Eastsidaz are a trio from Long Beach, California consisting of Big Tray Deee, Goldie Loc & WWE Hall of Famer Snoop Dogg. At the beginning of the current millennium, they would put out a classic eponymous full-length debut album through Doggystyle Records & TVT Records followed by Duces ‘n Trayz: The Old Fashioned Way & That’s My Work 4. A decade after the previously mentioned debut mixtape, they’re reuniting for a 2nd time to sign with Death Row Records now distributed by gamma. for a debut EP.
After the “Passport” intro, the first song “Hood Been Good starts with a smooth ass west coast opener talking about how great the streets of Long Beach have been to them whereas “Groove Bacc” featuring October London takes the g-funk route instrumentally so Tha Eastsidaz can get back in their bags. “Rag Tied” produced by Rick Rock reps the group’s Crip ties just before DJ Battlecat gives “Going Down” some rap rock undertones talking about changing the game. “Watch & Chillin’” funkily classifies themselves as a lyrical threat while “Gangstafied” ends the EP detailing the gangsta life.
Tha Dogg Pound’s latest album W.A.W.G. (We All We Got) marked a return to form for the duo after the commercial-heavy vibes of DPG 4 Life & Danny Boy announced a few months ago that he had returned to Death Row, so it was only a matter of time until Tha Eastsidaz did & they gave us a bangin’ EP ahead of their upcoming LP on the label. The production sticks with the prominent west coast sound of their previous material & I like they didn’t have any guests other than Snoop on 4 cuts.
October London is a 37 year old singer/songwriter from South Bend, Indiana 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, who signed him to Doggystyle Records for his 4th EP Please Leave a Message before Message before moving over to Death Row Records not too long after Snoop bought the label he started out at & teamed with gamma. for a new distribution deal. 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. However, the singles ahead of his 3rd full-length studio LP here were generating enough buzz for people to tell me that they wanted to see me covering it & I was more than willing to do so since I enjoyed The Rebirth of Marvin the most out of his discography.
The drumless opener “Slander My Name” addressed those who’re slandering him or making it sound like he did dirt on them whereas “Touch on Me” jazzily sings about love making being natural since every single one of us are human & sexual beings at the same time. “A Beautiful Woman” produced by Soopafly shows appreciation to the amazing women in October’s life speaking beautifully to the heart of love prior to “3rd Shift” groovily singing about working 23 hours.
“Don’t Go” pleads for his romantic interest not leave since he needs her in his life over a piano instrumental while “She Keeps Calling” mellowly discusses a woman who keeps blowing up his phone & him eventually coming back to her for more lovemaking. “All I Want is You” featuring Boney James sees the 2 making it clear they don’t want any other woman besides the ones they currently have on top of a trap soul beat, but then the jazzy “Don’t Waste Your Time” courtesy of labelmate Charlie Bereal sings about life not playing the same game as us.
Meanwhile on “Kill Shot”, we have October luxuriously describing a woman who sent the final death blow straight into his heart while “Missing You” magically gets in his breakup bag reflecting on when he was with an ex-girlfriend with the help of Babyface. “Bedroom Bully” featuring Tyrese goes for a minimal approach instrumentally for a lustful duet while “The Best Problem” intoxicatingly referring to his new girl as the best distraction.
“Momma” starts the final moments with a soulful tribute to anyone listening who loves their mother while “Put You On” featuring Snoop Dogg sees the pair coming together so they can uplift & upgrade their current partners over a Mike & Keys beat. “The Reception” featuring Ledisi is another duet painting the imagery of a wedding with both artists playing the newly wedded husband & wife while “Time” closes the LP by promising he’ll love her until the end of time.
Firmly establishing himself as The Rebirth of Marvin when Death Row relaunched, October Nights here if anything proves R&B is alive & well by delivering what I consider to be his 2nd best work behind the predecessor. It has an essence of soul, vulnerability & an innovativeness that’s been missing in the R&B genre for a while, highlighting the artist’s continued evolution & natural sense of identity.
Long Beach, California emcee/producer Daz Dillinger & Philadelphia, Pennsylvania emcee Kurupt together known as Tha Dogg Pound returning to Death Row Records now distributed by gamma. for their 9th LP. I really shouldn’t have to say much about their 1995 full-length debut Dogg Food since it’s widely recognized as one of the last great albums that Death Row ever put out, but their comeback effort DPG 4 Life from a few years ago was easily their worst due to being plagued by tacky pop rap tunes. Nevertheless, I was certain W.A.W.G. (We All We Got) had to be the duo’s true return to form.
After the intro, the first song “Smoke Up” featuring WWE Hall of Famer Snoop Dogg produced by Rick Rock is this banging g-funk opener for all the west coast heads to light one up to whereas the title track featuring Tha Eastsidaz unites both groups together for the first time talking about having only each other. “Imma Dogg” takes the g-funk route once again thanks to DJ Battlecat reminding themselves of the Doggs they are leading into “Need Some Space” talking about needing their space over a cloudy Mike & Keys instrumental.
“Favorite Color Blue” is this playful club banger dedicated to their roots as Crips while “Inside of Her” picks up from there with a chilled out pop rap jam. “House Party” featuring Snoop Dogg pulls inspiration from Zapp a bit talking about going to the clubs, but then “After Hours” featuring DaBaby & Snoop Dogg warmly expresses their desire for it all even though my only complaint about it being DaBaby’s unnecessary verse at the beginning.
The electronic influences on “LA Kind of Love” featuring will.i.am on the remix feel outdated despite the west coast lyricism while “Grown Up” featuring Snoop Dogg heading for a delicate trap direction to the beat talking about everyone wanting to be grown. “The Weekend” featuring Jane Jane Handcock & October London turns the g-funk influences back up courtesy of Soopafly making time for their partners while “Always on My Mind” featuring Snoop Dogg bouncily refuses to give up. “Who da Hardest?” by the N’Matez & Snoop Dogg ends the album jumping over a DJ Premier instrumental flexing their prowesses.
Dogg Pound really couldn’t fumble on W.A.W.G. (We All We Got) much like they did with DPG 4 Life a few years ago especially since it’s their first album of newly recorded material to be released through Death Row in almost 3 decades & thankfully, Snoop helps give Daz & Kurupt their best offering in a while. They return to their roots stylistically on top of demonstrating their growth after being in the game so long, only having each other at the end of the day.
