|
Snoop Dogg - Ego TrippinAlbum Review by:
John Burnett
Friday, March 28, 2008
 Preview/Download MP3 Snoop Dogg kicks it (no pun intended) with cats like David Beckham. Do you actually think he’s not financially set to the point where he’d never have to rhyme over another beat? Get real. Not to mention the Doggfather has his own reality show (Father Hood). Snoop’s celebrity has grown beyond just being a national gangster rap star and is more along the lines of global pop culture icon. Yet this winter when Snoop released “Sensual Seduction,” he boldly ventured to a place where few rappers go and come back unscathed, singing. He committed to a full out croon through the robotic vocoder braving what could have been a disastrous move for his street credibility (a la Ja Rule) and career in general. It seems Snoop carries the same theme into his latest effort. Nine albums deep, Snoop seems content taking more risk than ever on Ego Trippin’ which works out well for the most part.
Snoop continues paying homage to the synthed out, bright colors and LSD-inspired portion of the late 70s and early 80s when he covers Morris Day and the Time’s “Cool.” It’s a really fun record. Teddy Riley is on the boards and Snoop sings in his new M.O., the electronically altered vocals about his many possessions (“I got a penthouse in Manhattan/two more in Malibu”) and fulsome lifestyle (“I wear diamonds on my fingers/I got a couple on my toooes”). There’s not a lick of rhyming on this cover but its execution and attention to the details of the original make it pretty damn entertaining. Then Snoop takes you to the rural country dedicating a track to “a real American gangster,” Johnny Cash. Whitey Ford (of Everlast) strums a recurring guitar section and Snoops tell his woman to keep the medicine aka drugs coming. It won’t see daylight on the Urban charts and isn’t really consistent with any of the other tracks. What it is though is a courageous artistic experiment and that alone merits applause in the hyper-gangsterized sphere of Hip Hop. “Deez Hollywood Nights” which is helmed by Nottz is risky too. It’s not the Loc’d out Snoop that his core fans have become enamored with. Here Snoop rhymes about trading hoes with Leonardo Di Caprio (no, seriously he does) and parlaying with Jessica Biel, Jessica Simpson and the like. It ain’t the greatest track but I favor it to the gangster rap that is also forced onto this album. It seems more indicative of where Snoop is currently.
For some odd reason, Snoop seems fervent about asserting that he’s still the same G from years past which takes some shine from some of the adventurousness displayed. “Staxxx in My Jeans” has the Dogg reminding you he’ll still fire weapons with a pretty soft lyrical effort. “Ridin in my Chevy” has instant skip moments like “simpin’ they wanna be Usher/until they get their eyes and coffin closed by the Usher/Your punches won’t work/They need more mustard” and “Sets Up,” a nod to reppin’ your turf, results in a misstep even though it’s produced by the Neptunes. The final track attempts to explain why Snoop is still holding onto the block but in the end makes for an anti-climactic ending.
There’s two distinct Ego Trippins’. There’s the musical direction Teddy Riley (who did about 6 tracks on the album) is taking the album in which is more pop-oriented. It’s high energy and has a good club vibe because well, that’s what Teddy Riles does. Then there are the cliché thug bravado tracks that do nothing except take up time and space. Lyrically even with a team of ghostwriters, Snoop isn’t as potent as he was back in the day. He can’t really recapture that attitude because he’s not really on the block like that. Dude, you’re rich now. It’s okay to let it go. I think if Snoop would’ve just embraced where he’s at now and let go of that old persona this would have been a much better album. Instead it comes off as a mixed bag of pop club heaters and trite G anthems—a bit confusing if you ask me.
 ( 18) Comments | Post a comment »
|
|
