A Dynamic and Dynastic Duo: How Snoop’s “Doggystyle” Shaped West Coast Rap
After The Chronic by Dr. Dre was released on December 15, 1992, Death Row Records took over hip-hop.
It introduced the world to a powerful crew of rappers and performers such as Daz Dillinger and Kurupt (otherwise known as Tha Dogg Pound), Nate Dogg and Lady of Rage. While The Chronic was technically Dr. Dre's project, many of its most memorable moments were attributed to Dre’s trust in his then new and most popular protégé, Snoop Doggy Dogg.
Snoop Dogg would become an instant icon for his refreshing rap style, consisting of smooth flows paired with often violent or rough street themes. After the release of the instant classic that was The Chronic, people highly anticipated the release of Snoop Dogg’s own debut album, Doggystyle.
We will be comparing these two projects often, as Doggystyle is in many ways just a different flavor and portrayal of the same goals as The Chronic. For example, both projects focused on one Death Row member, but both were still flooded with in-house and affiliate features. Both of the projects were overseen and finalized with Dr. Dre as the head producer and both also shared similar controversy for their misogynistic and often graphic crime related lyricism.
Due to the high demand of the project, Doggystyle would eventually be rushed by its distributors and would be released on November 23, 1993. Despite being “rushed” the album within itself is a high feat, including stand out verses from the entire Death Row posse, catchy club bangers and aggressive storytelling of gang lifestyle. In fact, it was such a high feat that for the time it was the fastest selling rap record. Not just for a debut rap record, but for any rap album up until its release.
While The Chronic introduced G-Funk, Snoop Dogg helped it grow and blossom beyond, into further experimentation. The sound of Dr. Dre’s debut was much harsher in production, with often creepier loops and more in-your-face instrumentation, which would pair well with Dr. Dre’s confrontational and straightforward delivery. While Doggystyle had its own spine-chilling moments including the tracks, “Serial Killa” or “Murda Was the Case,” a majority of the album would feel more rhythmic and bouncy to couple with Snoop’s seamless flow.
The influence of Doggystyle would bleed far within hip-hop, starting at Death Row Records. With Snoop Dogg playing a huge part on Tha Dogg Pound’s debut, Dogg Food, by not only making multiple appearances on it, but also through an obvious influence from Doggystyle. Much of this stemming from the fact that Tha Dogg Pound’s, Daz Dillinger played an extremely vital role in producing the backbone for some critical Doggystyle tracks, including the controversial club banger, “Ain’t No Fun (If The Homies Can’t Have None).”
2Pac’s classic record, All Eyez On Me, would also be affected by not only Doggystyle, but also by Death Row as a whole. Many of the album's tracks would be produced by Daz Dillinger as well, further pushing this G-Funk sound. The album would carry over much of the catchy Death Row songwriting, which was pioneered by Snoop Dogg especially. Themes on 2Pac’s album often involved sex, partying and a gangster lifestyle, in the same vain as Snoop’s classic. Though it should be mentioned that Snoop’s style would not be praised solely in the West Coast, as artists such as Ol’ Dirty Bastard and Notorious B.I.G. (even despite the beef) would praise their styles.
Beyond the nineties, the influence of Dre and Snoop would not come to an end. While mostly with Dr. Dre to thank in terms of their success, Snoop’s style would bleed into some of the next generation of Dre’s pupils. Artists affected would include Eminem, 50 Cent and The Game. Stylistically, some could argue that some of the most popular hooks in songs like 50 Cent’s, “In Da Club” or The Game’s, “Hate It or Love It,” originate from Snoop’s songwriting ability and ability to blend the sonics of “authenticity” with the ear for “radio friendly hits.”
50 Cent in particular is often credited for having a great amount of Southern influence in his music, which is also true. But Snoop had his own influence on the South. After leaving Death Row Records, Snoop Doggy Dogg would don the shorter and more common, “Snoop Dogg” with his switch to No Limit Records. At No Limit, Snoop would assist during some of the most critical and most popular years of the label. These years would be innovative for the South, with the label playing a huge era of growth for sub-genres that would eventually lead to sounds and genres such as trap. Many of these sub-genres would have great effects on the mainstream, today especially.
Long story short, whether directly or indirectly, Death Row, Snoop and Doggystyle in particular would have a great impact on the hip-hop music of all coasts and on both the mainstream and underground of today.
Giovanni Recinos is a staff writer.
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