SNOOP DOGG - MISSIONARY (Official Discussion)

[WCThang]

Was DOC not involved at all? He's photographed here on the studio (keep scrolling)

[dameons]

Nothing that really knocks .. Sounds like a Just Blaze album .

[haliaeetus albicilla]

Hiphop filter? What do you mean?

in settings of the apple music app you can select audio quality and equalizers

[The Predator]

Missionary: Every Track On Snoop Dogg's New Album Ranked


2024's calendar year for music can't come to an end without a new project from Snoop Dogg. In a year when he starred in a new movie called The Underdoggs, dropped a Still G.I.N. alcohol brand, and joined The Voice, Snoop has crowned everything by contributing to the medium that made him a superstar: rap music.

Snoop Dogg teams up with frequent collaborator, producer Dr. Dre, to release his landmark 20th album: Missionary. Just over 30 years after his electric Doggystyle debut, the Doggfather celebrates with his most ambitious project yet. His tracklist features notable guest spots from the likes of Eminem, Sting, 50 Cent, and Tom Petty, among others. These are unique songs filled with unique names all produced by Dre, but which songs rank among the best? Here's how every track on Snoop Dogg's Missionary ranks.

16 "Another Part of Me"
Feat. Sting

Like how an earlier track offers a modern update of a Tom Petty classic, this is a modern update of "Message in a Bottle" from Sting's band, The Police, which, quite frankly, is a better record. This is the only song on the album that feels like a straight disappointment, which is unfortunate to say. It's hard not to see Sting's name on the record and not get excited. It's Sting, for starters, and unless he's being sampled, his rap collaborations are few and far between. It's hard not to get excited to know he's shared the stage with two rap icons, but this track does not live up to expectations.

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Maybe it's a lack of chemistry, or maybe it's a matter of expectations being too high, but this doesn't connect with its potential. Snoop tries to match the Police-esque production, but comes off as low energy compared to his usual bombastic tone. Snoop almost feels like he's trying to croon more than anything, while Sting, in the end, feels like he's trying to rap. Frankly, Sting trying to rap was never going to connect.

15 "Gangsta Pose"
Feat. Dem Jointz, Stalone, and Fat Money

This is a track that is held back by the use of autotone, which honestly feels a little grating to the ears. It's sad, actually, because Snoop Dogg's verses are solid and while there isn't a whole lot to write home about with this one, it would at least be an inoffensive record without some of the production choices with the voices.

Production-wise, the beat is a head-knocker on its own merits. If it was just the beat itself, this would be a much better song. Some of Dre's more questionable creative choices on the production make this nearly skippable. As the second to last track on the album, it's not enough to hurt the album or make someone want to stop listening to the whole thing, but the album definitely would have been enhanced if this was left on the cutting room floor.

14 "The Negotiator"
The Final Track

Speaking of inoffensive songs, the finale to Missionary is just okay. It's not bad and it's not a song that anyone will be going back to a lot, but it's alright. Wish there could be more to say about it, but besides once again chronicling how far he's come in his career, Snoop mostly just uses this track to serve as a means to sign off on the album.

"The Negotiator," while again, not a terrible record, it deprives the album of ending on the bang that it deserves to, given the greatness that came in tracks before it. To say that it ends in a whimper seems harsh, but it does end in an anti-climactic fashion when Missionary is deserving of more of a big finish.

13 "Foreplay"
Feat. BJ the Chicago Kid

The first track on the album is short, but perfectly sets the tone for the project, which feels equal parts modern and throwback. In terms of modern, BJ the Chicago Kid showcases the best of what the R&B genre has to offer, opening the portal to listeners, introducing them to how "Snoop Dogg makes the world go 'round." In terms of throwback, Dre's production feels like a bombastic invitation into the album that wouldn't feel out of place in one of his '90s productions. Plus, any old school Dre fan is never going to get tired of hearing the classic, "You are now about to witness the strength of street knowledge."

Again, it's very short, not even 90 seconds, but it leaves an impression, rolling out a red carpet for Snoop Dogg's latest audible experience. "Foreplay" smoothly transitions into the next track, "Shangri-La," masterfully.

12 "Shangri-La"
Snoop Dogg's First Verse

Picking up where "Fore Play" leaves off, "Shangri-La" showcases Snoop Dogg's first verse on the album. The verse is almost disarmingly good. When audiences are so used to seeing Snoop Dogg as a public figure, flexing his comedic chops or acting chops as an entertainer, it's easy to forget that he came into this game as a rapper. More importantly, it's easy to forget that a skill like that never truly goes away, so when Snoop Dogg shows he's still got it on the mic, it's almost surprising. Not just that he's still capable of producing a good verse, but just how good he is as a lyricist and how smooth his flow is.

Snoop Dog stars in Corona commercials for the "La Vida Mas Fina" ad campaign, and he brings his chill personality and celebrity friends to the brand.

Like "Fore Play," it's incredibly short, at just over 90 seconds, but like "Fore Play," this serves as more of an introduction or even a teaser for what's to come later in the album.

11 "Pressure"
Feat. K.A.A.N.

"Pressure" has the tough task of following up "Thank You," one of the best songs on the album (more on that later), and that makes it harder for the song to leave an impression. However, that's nothing against the song itself. It's certainly still a shoulder bopper, thanks to another snappy production beat from Dr. Dre. Meanwhile, Snoop remains lyrically consistent, and it's hard not to tip the hat to clever wordplay like "She said she wanna eat a hot dog, imma relish it."

K.A.A.N. on the chorus is somewhat distracting - not in a bad way, as they make for a solid hook, performance-wise. But for anyone who has never heard his voice before, it's easy to mistake it for Pharrell Williams. Again, not a bad performance, it's just that the voice can throw a listener off for a second.

10 "Gorgeous"
Feat. Jhene Aiko

While so much of the album is evocative of a '90s G-Funk era throwback, this production feels like one literally pulled straight out of the '90s, as if Dr. Dre used one of his beats left on the cutting room floor from an old 1990s production. Such a song certainly has its novelty. It's a head-bopper and a finger-snapper for sure. Snoop has a solid verse as well.

A sound like this always has its novelty, but the song is truly bolstered by Jhene Aiko. Aiko is always a treat on any record, but she embodies the spirit of the 90s, evoking the likes of Mary J. Blige and other R&B staples of that era.

9 "Hard Knocks"
Two Songs in One

"Hard Knocks" is an interesting song, because it feels like two songs in one. The first half echoes Jay-Z's "Hard Knock Life (Ghetto Anthem)," which is likely intentional considering the name of the song. Both this and the Jay-Z record are highlighted best by a children's chorus. Then, the beat slows down a bit and the second-half is dominated entirely by Snoop Dogg's voice.

Lyrically, both parts see Snoop reflecting a bit on his journey so far, recalling how he "made it out the mud" (going back to the chorus) and even evoking the spirit of "Murder Was the Case." It's a masterful song that, if anything, leaves the listener wanting more of each side of track. Rather than about 90 seconds of each part of the song, both parts are great enough to leave the listener wishing both halves had their own, longer separate songs to shine on.

8 "Sticcy Situation"
Feat. K.A.A.N. and Coco Sarai

This track features a similar beat switch-up, but while "Hard Knocks" feels like two songs melded into one, with "Sticcy Situation", it feels like a song that truly feels like the beat-switch is essential to the record. One half of the song doesn't work without the other, and more importantly, both sides of the record complement each other.

Coco Sarai shines again, just as she did in "Fire," if not more so here, as in addition to doing the halfway hook, she has a verse which she sings through to end the song on. K.A.A.N. makes for a good acquisition as well, although, oddly enough, whereas the previous record made him sound like Pharrell, this one has him sound like the late Nate Dogg, which almost feels more purposeful on producer Dre's part.

7 "Skyscrapers"
Feat. Method Man and Smitty

While the previous track with Sting was disappointing, this one brings the album back to its proper energy. There's no chorus in sight, just three master wordsmiths taking turns delivering a verse. One can argue that each member of this trio is trying to outshine each other. Obviously not in a malicious sense, as anyone who understands rap and what it means to be an MC understands that friendly competition drives the best rap performances. This is no different.

This features three men trying to showcase the best of their abilities. If anything, listeners may come out of this wishing Smitty's verse was longer. It's clearly the shortest, but had it lasted a bit longer, he could have been viewed as having been just as on par with Method Man and Snoop. It's easy to overlook Smitty for being the shortest, but the ghost writer proves a solid addition.

6 "Outta Da Blue"
Feat. Alus

While the aforementioned "Fore Play" had an old-school tinge to it, "Outta Da Blue" offers an outright throwback beat that wouldn't feel out of place on, say, Snoop Dogg's 2005 album Tha Blue Carpet Treatment. It's a true posse cut that makes one feel like they just walked into a house party with the speaker booming and the bass bumping. Adding to the throwback vibes, Alus' hook covers lyrics from M.I.A's "Paper Planes," another 2000s-era classic.

As much as Dre's production can be praised here, this song also offers Dr. Dre's first rap verse on the album. In his tone, it sounds like Dre has recaptured that same fire and hunger that he had as a member of the N.W.A. as if he had something to prove. Even better is when he and Snoop are literally going back and forth, bar for bar, which is always fun to hear on collab songs.

5 "Now Or Never"
Feat. BJ the Chicago Kid

BJ the Chicago Kid returns for the intro, this time for the tail-end of the project. This is a song about reaching unforgettable legacies after achieving unimaginable success. It's a song that, honestly, would have made for a great song to end on. Given the recurring themes of the album - 30-year-long journeys, and imagery about going from nothing to something - this feels like an epilogue to the project that at the very least ties together perfectly to the intro.

BJ's hook is tremendous, while Snoop delivers one of the best verses he's delivered in quite some time. The same compliment especially applies to Dr. Dre, as his return to the microphone is well-warranted. These are elements that all come together in unison to make for one of the best songs on the album.

4 "Gunz N Smoke"
Feat. 50 Cent and Eminem

Much like "Skyscrapers," this is a straight rap song between three veterans of the sport. This time, it feels like all three of these icons have ample time to shine and, as a result, stand shoulder to shoulder in terms of talent. Everyone has about a minute or so of airtime and each makes every second count with memorable lines galore. Dre's seamless production allows each verse to bleed into the other in a way where it's hardly noticeable. It's easy to just enjoy the song without noticing a new MC has been tagged in.

Missionary itself is a tribute and celebration of Snoop Dogg's release of Doggystyle three decades ago.

The best part is that the voice of Notorious B.I.G. is sampled on this record, adding a fourth icon to the mix. Missionary itself is a tribute and celebration of Snoop Dogg's release of Doggystyle three decades ago, but having four hip-hop legends of this stature on the same record makes it feel like a tribute to hip-hop more than anything else.

3 "Fire"
Feat. Coco Sarai

Snoop Dogg reminds listeners of his long-gone, oft-forgotten Snoop Lion persona with this one. In the early 2010s, Snoop took a break from rap to embark on the reggaeton genre, releasing a joint documentary and reggae album to mark his name change. "Fire" perfectly embodies the chill, melodic spirit of the reggae genre and Rastafarian sensibilities.

The key addition to this track is Coco Sarai playing songstress to the chorus. She proves to be the essential ingredient to making this track worthy of being hailed in the same regard as a quintessential Bob Marley track. One of the better songs on the album, "Fire" plays the listener in a specific place and time evocative of the era that inspired it. Plus, if anyone is looking to sit back, relax, and perhaps even indulge in something medicinal, this puts a listener in the perfect headspace for that.

2 "Thank You"
A Clear Standout

"Thank You" is a song that Dr. Dre and Snoop Dogg previewed when they were interviewed on the Drink Champs podcast and it's easy to see why they were so proud to show off this record. It's insanely catchy. It's easy to see this one getting a lot of replay value at party functions, clubs, and just for the average listener. It's evident that Snoop and Dr. Dre were having fun while putting this one together. Once that infectious energy spills out of the song and into one's ear, it makes for an instant favorite.

There are a lot of posse cuts on this album that feel like throwbacks to previous eras, but this is one that feels like it would fit right in during any decade. Insert this in the 90s, 2000s, or maybe even the 80s, and it still works for the times. It's easy to call a record an instant classic, but for a record to feel instantly timeless is a harder achievement that is worth praising.

1 "Last Dance with Mary Jane"
Feat. Tom Petty and Jelly Roll

On the best song on Missionary, Dr. Dre's production offers a modern update to 1993's "Mary Jane's Last Dance." That song always left it up to listener interpretation whether the "she" of the record was about a woman of Petty's affections, or about marijuana. Despite Snoop Dogg's well-documented affinity for weed, "Last Dance with Mary Jane" maintains that illusion, which is impressive considering.

Sure, Dogg's verse (which is smooth) is a little more pointed in the direction of weed (maybe by association, not his fault), Jelly Roll's verse blurs the lines further. Mentions of burning a bridge could easily refer to cutting off a lover as much as it could mean burning backwood.

This is practically Snoop Dogg getting into a country genre bag that he rarely taps in, but surprisingly excels in. It's hard to tell if the chorus is a direct sample of the 1993 Tom Petty and the Heartbreakers song or if Petty re-recorded, but his addition adds a lot to the song.

[The Predator]

Snoop Dogg and Dr. Dre Redefine G-Funk on ‘Missionary’

Snoop Dogg and Dr. Dre's 'Missionary' caps off a strong year for OG figures in hip-hop. So where does it rank amongst those efforts? We answer that and more.

Snoop Dogg has one of the most diverse rap catalogs of all time.

In 1993, at the age of 22, he dropped his G-funk masterpiece Doggystyle, breaking sales records in the process. Since then: Snoop has released albums that experimented with the contemporary sounds of the times (whether it’s No Limit’s bounce on Da Game Is to Be Sold, Not to Be Told or the sparse, futuristic production of The Neptunes on R&G (Rhythm & Gangsta)); dropped pure nostalgic West Coast-based gangsta rap albums (think No Limit Top Dogg or Neva Left); and during a particularly prolific time in the mid 2010s dropped a pop album where he’s mostly singing (Bush), a reggae LP (Reincarnated) and a gospel record (Bible of Love) in the span of five years.

It’s many swings, and part of the reason why Snoop is probably still the most recognizable rapper in pop culture. We now have album number 20, Missionary, which dropped today.

This album is monumental because it marks the return of one of the greatest rap duos of all time: Snoop Dogg and Dr. Dre. Though they’ve collaborated on dozens of songs over the years, this is the first time we’ve gotten a Snoop album produced entirely by Dre since Doggystyle.

It’s been 31 years, and Missionary is a very different album from Doggystyle. The G-funk influences are more restrained—this isn’t really gangsta hip-hop, but more mogul rap. The album features Snoop, who is now 53, and Dre, 59, enjoying their legendary status while reflecting on their influence over the game. The production—handled entirely by Dre and trusted collaborators like Dem Jointz, The ICU, Mell Beats, and more—is expansive and luxurious, with what are probably very expensive samples from artists like Tom Petty, Sting, and others. Meanwhile, Snoop’s performance remains classic—effortless, nonchalant, and cool. It’s a style that pairs perfectly with Dre’s evolving production palette.

Missionary caps off a strong year for OG figures in hip-hop, with several legends dropping impactful comeback albums, often collaborating with other legends of the genre. So where does it rank amongst those efforts? We answer that and more.

Here are six takeaways from Snoop Dogg and Dr. Dre’s new album, Missionary.

Damn, Snoop sounds cool


It doesn’t matter what Snoop Dogg is rapping about; he could be spitting about Long Beach City, his beloved relationship with weed, or why he’s the best in the game. Wherever his mind takes him, he always sounds like the absolute coolest dude in the room. Despite being 53 years old and giving his name, image, and likeness to any company willing to give him some money, the Doggfather remains unimpeachably dope. On Missionary, he sounds as fresh as he has in years, even when he’s rehashing topics we’ve heard a million times before.

Regardless of the beat Snoop’s rapping over, his charisma is unwavering and effortless. For most of the album, he sounds fantastic—precise in his rhymes and quick to switch flows at the drop of a dime bag. The standout performance is the gritty “Pressure,” where Snoop delivers some of the hardest verses on the album:

“Got this city on my back, n*gga, Eastside savagesPistol grip pump on my lap, automatic shitIndo smoke, fuckin' with a n*gga cataractsRoll down the windows, sound of the battle axe.”

Because Dre’s beats are so energetic and fluid throughout, it helps that we get such a sturdy, consistent performance from Snoop. —Will Schube

Dre is cooking up some decidedly different beats

There’s a reason why Dr. Dre is widely associated with one particular style of rap production. The icon has been the face of G-funk since he helped perfect the sound in the early ‘90s. Since then, it’s become not only a calling card but a pillar of the region’s sound. Snoop is also tightly affiliated with the sound, so it would make sense for Missionary to follow in the style of Doggystyle. But that’s not what they do here.

Retreading old ideas or going for the nostalgic play would be a predictable move for lesser artists, but Missionary is exciting precisely because Dre and Snoop are eager to forge new territory. Dre, in particular, is a restless innovator regarding production, pulling on a wide spectrum of popular music over the years, from ‘80s hip-hop (sampling Schooly D on “Outta Da Blue”) to psychedelic rock (using Pink Floyd on “Hard Knocks”) to '70s new wave (Snoop and Sting singing a version of “Message in a Bottle” on “Another Part of Me.”) No two ideas sound the same, and The Chronic architect takes a stab at a number of different styles—or should we say positions?—on Missionary. —Will Schube

“Last Dance with Mary Jane,” Snoop’s ultimate ode to weed

“Last Dance with Mary Jane” sure seems to suggest that Snoop Dogg is hanging it up when it comes to his favorite pastime. And while the track, which samples Tom Petty’s “Mary Jane’s Last Dance” and features Jelly Roll, is a powerful meditation on substance abuse, it becomes increasingly clear that it’s less about giving up substances than our relationships with them.

Snoop takes listeners on a history tour of his relationship with weed, tracing his story back to the time he was five years old. He raps: “Don't bother asking me to ever give my lady up/ Was about five years old taking my first puff/ It was love at first light, fell in love the first night/ My uncle told me don't rush, this could be your first crush.”

Snoop takes the metaphor a little further than feels comfortable, adding: “I used to flip bags with her, skip class with her/ She comfortable as fuck when I'm trying to smash with her.”

Jelly Roll, who comes through to add some melodic spice alongside the Petty sample, takes a different approach, discussing the negative impact of drugs in his life. He serves as a nice counterpoint to Snoop, crooning: “I've seen some things in my life/ It feels like raging inside/ This time I'm changing my mind/ I'm saying goodbye to the dangerous side.”—Will Schube

The features say something about Dre and Snoop’s indifference to contemporary rap

When Snoop Dogg and Dr. Dre teased the tracklist for Missionary, a few things stood out. The 50 Cent and Eminem track made sense, as did features from an artist like Jhené Aiko on a song called “Gorgeous.” But the inclusion of Sting on “Another Part of Me” and Jelly Roll alongside the late, great Tom Petty on “Last Dance With Mary Jane” was more puzzling. Even more surprising, though, is how these moments were integrated into the album. “Last Dance With Mary Jane” reimagines the iconic Tom Petty lyric as a new sample, providing a map of sorts for Snoop and Jelly Roll to follow. “Another Part of Me” not only features Sting but also pays homage to his work with The Police.

What really stands out, however, is the lack of rap features on the album. In fact, the rap guests we do get are from legacy artists who are as solidified in the game as Snoop himself. Method Man delivers a verse of the year contender on the soulful “Skyscrapers,” while fellow Aftermath brethren 50 Cent and Eminem show up in full force for their OG. —Will Schube

We get a real Snoop, Dre, Em, and 50 song for the first time

Dr. Dre’s three biggest protégés finally connect. One of the album's highlights is “Gun N Smoke,” a throwback posse cut featuring 50 Cent, Snoop Dogg, and Eminem, all delivering near-peak performances. The track samples The Notorious B.I.G.’s "Dead Wrong" and is all raps, no hook—something that would feel right at home on Dre’s classic 2001 album.

As usual, Eminem steals the show with a verse about the pitfalls of fame. His rapping here is technically and narratively excellent. He raps:

“But I'll be damned if the same reporter's gonna shove another tape recorder / And camera in my face while I’m just tryin' to grab my baby daughter a burger, like Shady oughta be amicable.”

This might be their first collaboration, but let’s hope it’s not the last. —Dimas Sanfiorenzo

Was 2024 the year of the OG rapper renaissance?

At this point in the history of rap, it’s easy to get skeptical about artists outside of their peak continuing to put out new music. Time and again we’ve seen middle-aged MCs try to chase trends, switch up their sounds, and look for one more radio hit. It rarely works. This year, though, we’ve seen a number of releases from longtime vets of the industry put out stunningly good albums. Each has done it by working with a longtime collaborator, suggesting that chemistry is extremely important in these endeavors. Common and Pete Rock linked up for The Auditorium Vol. 1, which is pretty clearly the best thing Common has released in some time. LL Cool J reinvigorated his career by putting out an excellent album entirely produced by Q-Tip, entitled THE FORCE, and now Dre and Snoop have turned this trend into a triumvirate. Who’s to say whether this is a playbook for others to follow in the future, or if this simply occurred because all artists involved are six of the best to ever do it in rap. Regardless, in 2024, the old heads got something to say.

[The Predator]

REVIEW | Snoop Dogg x Dr. Dre – Missionary
ByBrutus Maximus

For those who have grown up woth hip hop, and for those who have immersed themselves in the ‘golden era’ of when hip hop really started to take the music charts by the throat, the pairing of Dr Dre and Snoop Dogg is essentially as good as it gets. And, while ‘Missionary‘, the latest project from this iconic pairing, doesn’t reach those groundbreaking, game changing heights (think ‘Chronic’, ‘Doggystyle’ and ‘2001’) of years gone by, they do shake the game up with a fantastic project that has moments of pure nostalgia, while continuing to remain relevant – something that is far more difficult to do in the modern music landscape.

From the JUMP, the signature sound underpins the project and while it manoeuvres through different pockets of the hip hop / commercial / maintstream realm, there is a constant totem – the iconic sound of Dr Dre and his impeccable production, the silky smooth, well crafted, conversational tone of everyones favourite uncle – Snoop Dogg, and most important, how this duo are the eptiome of the ‘steel sharpens steel’ mantra. For decades, Dr Dre has been one of the most recognisable names and sounds in hip hop. You won’t find a ‘Best Producers’ conversation take place in any barbershop or on any street corner that won’t hear the words Dr Dre uttered with pride and confidence. His ability to curate dope ass music, to really make soundtracks that stick to your ribs, is top tier. His ability to bring the best out of Snoop Dogg is second to none.

Snoop Dogg and Dr Dre aren’t just hip hop artists – they almost transcend the culture with the brand they have built over the last 30+ years. So, it’s no surprise that when their paired up to bring this long awaited collaborative project to hip hop heads worldwide, that it wasn’t going to be the same gritty, g-funk laced, hardcore gangsta rap that had been such a staple of their previous projects. Instead, ‘Missionary‘ continues the trajectory of Snoop Dogg, bridging that gap between streets, vehicles and clubs – like very few have been able to successfully do. Few (if any) artists have such a diverse catalogue, but then again, few are Snoop Dogg, the most iconic emcee / rapper / artist in pop culture history!

In short, Dre’s production is inspired, and Snoop sounds reinvigorated and like he’s enjoying working with Dre again.

Overall, this album has something for everyone, but due to the length of time hip hop heads have been waiting for this project, we’re fully prepared for the ‘didn’t live up to the hype’ narrative. And, truth be told, both viewpoints would be correct. For those hoping to be transported back to their youth, sipping on gin and juice while smoking dime bags and crip walking on street corners – you may need to dust off Doggystyle for that. If you want to hear a vibrant, fun, inspired version of the ‘new’ and updated G funk sound, with a little more maturity in message and slightly less misogyny, and some dope pairings that only Snoop and Dre could pull of with authenticity – hit play on ‘Missionary‘ immediately.

Now, for something a little different, let’s highlight some of the most kick-ass moments of this listening experience!

‘Thank You’
This is one HELL of a track! It’s catchy, could earn a playlist spot in the crib, the car or any party and really showcases the chemistry between the two and has its own energy that blasts through the speakers! This is in HEAVY rotation.

‘Skyscrapers’
Method Man is not only one of the best feature emcees of all time, but he is another iconic name and voice in hip hop, and he brings the fire on this joint! No chorus, just straight bars as the trio of Snoop, Meth and Smitty all vie for best verse.

‘Last Dance with Mary Jane’
Story-telling Snoop is back at his best, talking about the love of his life – which can be interpreted however you like! Jelly Roll also pens a quality narrative, blurring the lines between weed and women, while Tom Petty and his instrumental addition, make this a banger!

‘Sticcy Situation’
G funk at its finest, this track slaps and the beat switch up is NUTS! Coco Sarai is a perfect addition to this joint too, from the hook to her bars, and K.A.A.N is no slouch either. It’s so well delivered that if just feels like the one song, and not two ‘halves’ slapped together. Flames.

‘Gunz N Smoke’
The most weirdly polarising track on the project for me. On one hand, it’s exactly what I expected – three emcees who have a great chemistry, steeping up to the plate and each delivering a hot verse. It is also probably the ‘safest’ and grimiest joint on the album. On that note, it’s a big win, but in the holistic project, where the envelope has been pushed will a range of crazy and well crafted collaborations – it may struggle under the weight of its own expectation.

‘Hard Knocks’
Doesn’t deliver the same beat switch / cohesion that ‘Sticcy Situation’ does, and therefore can seem like two tracks, BUT in saying that, I’d love a full version of ‘each’ part of this track! The first part of the joint is somewhat of an anthem, the second really hones in on Snoop’s journey.

All in all, Snoop and Dr Dre are BACK! While the other producers Snoop has worked with over his career have more catered to Snoop’s style and vibe, Dre has continued to push him to level up and really grow as an artist. Snoop sounds refreshed, and he has a bounce in his step, and Dre delivers a soundscape that both supports this and allows Snoop (and the featured artists!) to really standout.

[goodyoung]

It is funny watching people agonizing theirself to like the album. Listen it for a month people, then maybe you will like it, dont rush.

Or maybe you just have a bad taste. But don't worry. it's ok 
I mean come on, you like Vultures, which objectively an infinitely worse than Missionary

[HighEyeCue]

the rapping on the album > the production on the album

[Matty]

the rapping on the album > the production on the album

on one level the rapping is the production, it's all one thing as far as performances go. so if Snoop sounds great vocally and he does Dre gets a lot of the credit.

[WCThang]

on one level the rapping is the production, it's all one thing as far as performances go. so if Snoop sounds great vocally and he does Dre gets a lot of the credit.

Rightfully so. Dre holds him to a standard.

[Laidback Sounds]

on one level the rapping is the production, it's all one thing as far as performances go. so if Snoop sounds great vocally and he does Dre gets a lot of the credit.

you all stretching it, an album is both rap and beats. If raps are here but beats and mix is not here i call it a bad album then. Ppl really neglecting beats for the last 15 years, it is the age of low standards in the music industry.
I just watched Drinks Champs, it start to be not funny anymore how Dre mentions Iovine all the time. I really start to believe this album was a scheme to sale their Gin and the condom on the cover was a subliminal to say they will fuck us dry on this joint lol smh haha The hype is here for real and they will certainly get hundred of millions with this marketing technique, but i would have preferred they give us better music.

[shmosh]

in settings of the apple music app you can select audio quality and equalizers

Mine's always set to this, maybe why I haven't noticed an issue with the lack of bass!

[WCThang]

Can't believe I'm saying this but I wish we had some Nate Dogg AI vocals (or unreleased) on here. Normally wouldn't condone something like that but you just know Nate would have loved to be a part of this man.

[WCThang]

How should I alter my audio settings in Apple Music? Never played around with that before.

[--Vance--]

How should I alter my audio settings in Apple Music? Never played around with that before.

A well mixed and mastered album will translate on EVERY system. Personal prefences like bass boosting are just taste. For hip hop music in general most people like to feel the bass more, so eather you have a subwoofer or you boost the bass a little bit. For Missionary i had to turn down the highs at max and bass +2 to somehow get a good listening. Never had that with any album before. There are eq-settings like the one mentioned that have genres as a guideline. Many stereo systems had that since the 80s. And now is just digital eq's, doing the same basically. Like "Jazz" for example was also a good eq for hip hop music on walkmans etc. Remember "Bass Boost" on Sonys walkmans?