![]() After one tepid song the album picks up with Big Pimpin’ 2 which is a funktastic misogynic interlude which leads the listener right to one of the album’s singles, “Let’s Play House,” which according to Daz is that “*** you can’t *** with.” I agree. “New York, New York” showcases Kurupt’s lyrical skill as a west coast OG. ![]() The run from the 3rd song to the 6th is one of the best I’ve heard. It also has one of the most hilarious outro skits I’ve heard in rap music. The First song “Dogg Pound Gangsta’s” shows you Dre’s inspiration in Daz’s beats. This album is proof that he didn’t just steal his tricks and sensibilities, he’s an original beatmaster with the alleged best as his teacher. Lastly Daz, who was Snoop’s hustla of a cousin was studying Dre’s style since they were recording the The Chronic. Kurupt was his rival at the time from the LBC turned ally (combine and conquer), in other words, his flow as precise Snoop Dogg, but in a different way. If you know anything about Snoop Dogg, you’ll know that he was 19 fresh out of jail all while being the clear main feature of Dr. Hell, even DJ Easy Dick from Doggystyle comes back to spin some smooth pimp wisdom. Following the concept album style of chopping this music as you drive home in the LBC in your ’83 Cadillac in the summer which is perpetual down in the West Coast. The beats were mesmerizing and the rapping was smolderingly precise and definitely west-coast. The Dogg Pound is an enigma to me because this near masterpiece is often overlooked and I never knew why since I was only 2 when it came out. Review Summary: If only this released a year sooner…
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