It's August 31, 2025, 02:40:40 PM
Thank you isn’t on my iTunes purchase ?? Is it different by country ?
The Australian i-Tunes store had two versions of the album to purchase, one with 15 track & the other with 16.
Best Snoop album since Doggystyle
Also, how long is the full album? My big concern is that it's going to be short as fucc considering songs only have two verses now.
Snoop Dogg has a spring in his step on his relentlessly interesting Dr Dre collaboration MissionaryRapper and producer team up for the first time since their 1993 album ‘Doggystyle’*****“If you’re an easily offended p****, don’t worry, nobody wants to f*** you up,” runs the flight attendant-style announcement at the beginning of Missionary, Dr Dre and Snoop Dogg’s first full-length album in just over 30 years. The announcement goes on to suggest that those likely to be upset by Snoop’s unrepentant “gangsta s***” should exit the album. Everybody else should recline their seats and be prepared to soak up 15 tracks of the OG, G-Funk duo on their finest form, as Dre shuffles one cool groove after another and Snoop’s smooth flow glides and curls over the deck like smoke.The last time the pair worked together on an album was on their era-defining Doggystyle (1993). It was a record that defined the West Coast rap sound, with Dre mixing the soul of live musicians with classic samples, while piling on the tension with slick hooks. Lyrically, the album was dominated by sexist gangsta braggadocio, with Snoop spitting playfully delivered but unabashed bars about guns, cars, drugs and pimping hoes.When he was interviewed by The Guardian in 2011, Snoop said he didn’t regret the misogyny of his lyrics, even when challenged with the 2004 line, “You got to put that bitch in her place / Even if it’s slapping her in the face.” Married to his childhood sweetheart for decades, he did admit that having a daughter had altered his attitude to women, who he conceded were becoming more “empowered”.Missionary still finds Snoop (now 53) referring to women (but probably also men) as “b****es” and rapping about murders and marijuana. He sounds more energised than he has in years, and there’s a compelling spring in the vocal step with which he prowls through Dre’s delectably crafted sonic cityscapes, giving props to the producer who’s “got the melodies for the felonies”.Snoop has said that while other producers (including Pharrell) tend to bow to his star power, Dre pushes him for perfection – Dre keeps the textures shifting with a casino dealer’s dexterity. The guest list is fun too, with everyone from Jelly Roll to Sting, Eminem and 50 Cent popping in for some mic-time. “Outta Da Blue” is driven by a raw piano hook and a cowbell (look out for samples of Lisa Stansfield and The Clash). “Hard Knocks” is pure Dre drama, building from an organ riff and low-rise beat to tell a murky tale of a cold case with rhyming clues: “Alleyway/ Saturday/ DA / Matinee/ Watch me smoke a bag a day.”“Another Part of Me” bounces from the sloshing hook of The Police’s “Message in a Bottle” with the additional falsetto scratch of Sting’s backing vocal. “Sticcy Situation” finds Cocoa Sarai sing-rapping to the tune of Suzanne Vega’s “Tom’s Diner”. There’s a wicked harmonica breezing over an acoustic guitar on “Last Dance with Mary Jane” (on which Snoop assures us he’s never giving up his weed); tangy Middle Eastern strings on “Pressure”; parping brass and swooping soul strings on “The Negotiator”. It’s relentlessly interesting – a cleverly crafted new noise around every corner.
Album Review: Missionary by Snoop DoggAfter 31 years since they teamed up for the iconic debut album, ‘Doggystyle,’ Snoop Dogg and Dr. Dre reunited for a polished sequel.Rap superstar, producer, singer, songwriter, label boss, actor, comedian, video game enthusiast, licensed football trainer, adult film producer, father, and pimp—Snoop Dogg embodies all this and probably much more. Above all, he remains one thing: a cool-ass dog. Snoop grew up in Long Beach, California. He sang in the church choir and played the piano. In the sixth grade, he began writing and rapping his lyrics. Yet none of these musical ambitions kept him from coming into conflict with the law. Even during his school days, he was repeatedly caught with drugs. Shortly after graduating high school, he was behind bars for the first time. Spending time among violent gangs was perhaps not the best idea.However, his budding love for hip-hop offered other perspectives. Snoop formed the group 213 with his cousins Nate Dogg and Lil’ 1/2 Dead. Also on board was Snoop’s childhood friend Warren G, who happened to be Dr. Dre’s stepbrother. Dr. Dre eventually got his hands on a demo tape from the 213 crew, which caught his attention. He kept a close eye on them, invited them to his studio, and finally took them under his wing alongside Death Row Records label boss Suge Knight. Dre’s former N.W.A. colleague, The D.O.C., provided Snoop Doggy Dogg (as he now called himself) with valuable foundational knowledge.These lessons bore fruit, as evidenced by Snoop’s prominent contributions to Dr. Dre’s 1992 album The Chronic. In this landmark G-Funk release, the young Snoop Doggy Dogg rapped himself squarely into the spotlight and the public consciousness. Gangster rap had never sounded sweeter. The Chronic hit the scene like a long-anticipated bomb. Its first single, “Nuthin’ but a ‘G’ Thang,” would later be hailed by Rolling Stone magazine as one of the best songs of the ’90s. Snoop immediately rose to stardom and emerged as the new messiah of the genre. Expectations for his solo debut, Doggystyle—also created in close collaboration with Dr. Dre and considered the unofficial continuation of The Chronic—soared to dizzying heights.Three years later, we’re here with Missionary and do not expect another Doggystyle because it’s unrealistic. Uncle Snoop was previously having fun in the Olympics earlier this year, and Dre, while yes, shrouded by more controversy, had quite a good year by helping produce Marsha Ambrosius’ Casablanco. Restrained by familiar formulas, “Outta Da Blue” relies on Snoop Dogg and Dr. Dre’s established legacy, blending old West Coast flavors with faint Virginia-era Timbaland influences. Comforting recollections surface, never pressing into groundbreaking territory. Some parts display vocal clarity, though Alus remains disconnected, and frequently borrowed elements (a lá M.I.A.’s “Paper Planes”) weaken the structure.Regarding “Another Part of Me,” mild satisfaction can be found. Sting’s rhythmic choice feels unusual, and The Police sample recalls earlier eras. Snoop’s attempt at melodic delivery introduces low-level contrast, yet production and lyrics remain safely moderate. Signaled by "Gorgeous," where Jhené Aiko joins under Dr. Dre and The ICU’s output, a lighter tone develops. Aiko’s hook noting night skies and distant dawn suggests small pleasures instead of daring steps forward. Although “Last Dance With Mary Jane” is a predictable flip on Tom Petty and the Heartbreakers’ “Mary Jane’s Last Dance,” he paints a vivid picture of the Snoop’s entanglement with their metaphorical muse, Mary Jane—a reference to marijuana as well as a symbol for solace and escape.Beginning with an energizing introduction from Snoop Dogg and Dr. Dre, there is an implicit promise to reinvigorate the history of their genre, capturing an aspirational zest as Snoop prepares to deliver rhymes “with some monumental shit” on “Shangri-La.” You’ll recognize the same Ahmad Jamal flip that De La Soul and Dilla did on “Stakes Is High.” This track underscores the evolution of Snoop Dogg’s artistry and influence over his “thirty summers” in the industry. Let’s get this out the way: K.A.A.N. is the secret weapon behind his rhymes because Snoop does not rap this clean with schemes and random cadences. However, it doesn’t taint that some tracks, like “Hard Knocks,” are deeply personal and introspective, with imagery that paints a portrait of struggle, ambition, and survival.An immediate standout comes “Skyscrapers,” a discourse on success and hustle. Uncle Snoop initiates the track with a laid-back yet commanding flow, recounting his journey with a vivid imagination and wordplay reflecting triumph and introspection: “Never hear a ho tell, I’m the shit if I do say.” He uses nods to iconic California locations and elements of his legacy, intimately tying his past with the present moment. Method Man’s verse juxtaposes nicely with Snoop’s, as he steals the show by exhibiting a sharp and energetic delivery packed with clever metaphors and cultural references. “I’m hot, boss, don’t slip/In New York, I’m drippin’ with hot sauce,” cleverly aligns his verbal skill with a unique sense of swagger and chic.We have a crown jewel with “Gunz N Smoke,” which mixes Biggie’s “Dead Wrong” vocals, bringing together industry titans 50 Cent, Snoop, and Eminem to craft a track throbbing with the raw energy of their street-hardened pasts. The opening lines echo the weight of street wisdom as 50 aligns guns with smoke, a metaphor encasing the chaotic and fraught world of survival and dominance on the streets, as captured in the line, “Drums come with the dope/Guns come with the smoke.” Snoop’s voice shines through with his characteristic laid-back delivery, spotlighting the gritty authenticity of his past and the rugged roads. Em reflects on fame and his tumultuous relationship with the world, reflecting on the pressures and misconceptions that fame brings, poignantly nested in “Guess that’s the price that you pay for all the glamour, the fame, and stardom.”Other features include K.A.A.N. (as mentioned earlier) on “Pressure” and the vintage West Coast bop with “Sticcy Situation” with Cocoa Sarai, who also did backgrounds on multiple songs (including the Crip walking anthem, “Gangsta Pose”) but lent her Reggae-tinged vocals on “Fire,” as Snoop’s poignant irony is captured in lines like “our business is a fuckin’ warm gun,” revealing how crime and danger have become an almost institutionalized aspect of his existence. BJ the Chicago Kid appears on “Fore Play,” setting the tone on Missionary, and “Now or Never,” where Snoop reminisces about overcoming adversities with his ascension from “hood nigga to Hollywood,” as Dr. Dre’s verse complements by exuding an aura of caution amidst chaos, likening life to a constant battle where “land mines” and “banana clips” are metaphorical necessities for survival.Missionary ends with “The Negotiator,” which is a fascinating exhibition of his seasoned artistry that blends introspection with bravado, revealing layers of his persona and career. Right from the onset, the track sets a tone of self-assurance and reflection, as illustrated by the line, “Back in this bitch with a poker face, I survive over time, I survive, everlasting.” It also references significant personal milestones, subtly acknowledging his longevity and influence, connecting his sustained success to cultural icons and historical moments, and reinforcing his impact. Even if the LP doesn’t match the caliber of his A or B-tier works, Snoop celebrates his legacy and acknowledges the commercial aspect of his art.
Snoop Dogg Drops Luxury Music On Wondrous New Album ‘Missionary’Spoiler free album review – West coast hip-hop legend Dr. Dre embraces fun and rhythm alongside his longtime collaborator.Snoop Dogg is upside our heads again, but this time it’s a Dr. Dre album, too. The rapper’s collaborative project Missionary has been in full promotion mode since the drop of their debut single, Gorgeous.The two followed it up with Outta Da Blue and Another Part of Me, featuring Sting, two bangers that instantly hit and grow on the listener.The album was promoted on several fronts, including the trickle release of its three singles without music videos. However, the duo revealed a comedic trailer modelled after a buddy partnership action movie.What You Need To KnowIt has has been anticipated for some time, with the two artists insisting on a collaboration. Both Broadus and Young have consistently made persuasive, high-quality music together, as evident during Doggy Dogg’s dry period at No Limit Records, until they reunited for songs like Buck ‘Em and B**ch Please.The project consists of 16 tracks and is released on Snoop’s newly acquired Death Row Records and Dre’s Aftermath. The parent company, Interscope, will distribute the forty-six-minute long play.Missionary also features appearances from Jhené Aiko, Eminem, Method Man, Sting, Jelly Roll, and Alus.What It Sounds LikeThe G-Funk sound gets a long overdue upgrade, and there is no doubt in my mind that Snoop is a pioneer of the subgenre. Over the years, the rapper has approached music with austerity, but on this new album, he has undoutedly upped his game through a fresh challenge.While retaining the same mellow vocals he is renowned for, Broadus manages to compete with his peak form by adapting to a noticeble shift in Dre’s production.Moving from sonic hues of dark, dramatic undertones to an upbeat manifesto of contemporary work has reinvigorated the two rappers. Their embrace of a catalogue that demonstrates a vivid transition in sound and vocalisation is unmistakable.Verdict⭐⭐⭐⭐Rating: 4 out of 5.From the cover art to the content, Snoop Dogg and Dr. Dre have really gone to town on Missionary, cutting a clear hole through a veil of saturation to balance a sound that perhaps lost its way.Streaming has negatively impacted song durations, rushed projects, and stained creativity to the point that fun is no longer an option. But this album drags us back to a place where we can nod our heads and smile a little.However, the production may sound dated for fans seeking something new. From a commercial standpoint, it hits the spot, but hip-hop fans might want to look elsewhere.
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