Straight Outta Compton, it is a Nigga With Attitude, it is G-Funk, he is the gangsta rap, it is the West Coast, we waited 16 years, he took the muscle but without him rap lost weight: the Doctor is back for a booster shot.
30-year career, 30 years of classics: all began in a cloud of Chronic, on top of Cali with 2Pac he took the game in Doggystyle and gave him three children: Eminem, 50 Cent and The Game.
Despite the success there is Still DRE and the second seal is even more powerful than the first, the game overdosed and is not ready to go to Detox.
With his beats, it weighs more than Jay-Z and Diddy together, Dr. no longer hungry since he crunched the apple.
Under his Money Tree, he was awakened by a butterfly emerged from its cocoon Compton.
Everything started there, everything will end there, the Maad City is still the source of inspiration and the basis of its third prescription.
Detox the urban legend, mythical project that we have been long heralded as the ultimate rap album, so do not come out.
Yet it is quite the opposite seemed to indicate that the various leaks in recent years. We remember the two most famous, the uninspired Kush seen and reviewed combo: Snoop weed x x piano with Akon instead of Nate Dogg, under the Chronic 2001 that had everything a regression. Worse, the second excerpt I Need a Doctor with Skylar Gray chorus had nothing of the musical DNA of the doctor, he was eyeing more towards the post-Eminem Relapse, which is worse in rap today (ok just after the trap) … You could feel the discomfort, pressure, impotence and inability to renew and create buzz.
Since then, each year its batch of fake release dates, but Dre has finally silenced the rumors last week in his radio show The Pharmacy:
“I did not like it. It was not good. The record, it just Was not good. I Worked my ass off on it, and I do not think I did a good enough job. ”
The king is dead, long live the king! Detox is not but Andre Young is back with his third and last album: Compton: A Soundtrack by Dr. Dre.
Directly inspired by the NWA biopic, Straight Outta Compton, Dre left is a white copies and it shows. The cover and intro put us directly into the atmosphere: Compton replace the letters of the Hollywood letters overlooking the slums of South Central, the dream turned into a nightmare:
“Compton Was the American Dream, sunny California with a palm tree in the forehead, the camping, the boat […] 47 homicides last year gave Compton One of The Highest per capita rates in the country.”
As usual, Doc turned to a plethora of artists to co-production DJ Dahi, Focus, DJ Khalil, Dem Jointz, Bink !, Cardiak and for the delight of hip-hop fans, DJ Premier.
Mic side, almost all Dr. buddies are there, the ancient glories of the West Coast: Snoop, Ice Cube, Xzibit, Cold 187um or The Game alongside the new generation: Kendrick Lamar course but also surprises Jon Connor, King Mez Justus and excellent Paak Anderson. 50 Cent is not there but Eminem is present and not necessarily for the better.
Marsha Ambrosius, Jill Scott and BJ The Chicago Kid ensure their choruses and bridges several tracks on the album.
Musically, the pure sound, light, industrial and rational 2001 gives way to a set busiest, baroque and unpredictable that is reminiscent of the last album Kendrick Lamar, Pimp To A Butterfly. So much more organic, each piece is composed of many layers, various live instruments move around drums and powerful modern hip-hop, sometimes inspired by the trap and interspersed with vocal effects, synths, gunshots and other sounds reminding us of course urban violence of Compton.
We know the perfectionism Dre and intros, transitions and impeccable mixing each track are further evidence, but what really makes her albums exceptional is that this science to detail is the benefit of all. As a director, Dr. Dre has always wanted to give a cinematic side to its projects, it is even more the case with this album, each song has its own identity but the whole is greater than the sum of its parts. As Kanye West, Dr. Dre is not a beatmaker but a producer. No one is there by chance, Dre has always indented, not just because it is less comfortable than some micro but also because he knows that no great work alone and only realized he needs others to materialize his vision.
And the one who was able to return to the head of Dr. after Snoop, Eminem and Game is undoubtedly Kendrick Lamar. Originally return of its assets in the music, the new doctor’s muse is omnipresent in Compton.
Musically as mentioned above but also lyrically of course with the best 3 verses of the album and a lot of ghostwriting, pushing besides Dre to venture into the flow does not necessarily control it on the bomb as Genocide, the first beat album that makes us frown.
Present on three of the best pieces, Kendrick is one of the great strengths of the Compton, each pass it calms everyone, controls its flow perfectly and raises the general level compared to the two previous albums Dre in terms of lyrics, flow and variations.
But make no mistake, the star of the album remains Dre, first in production, we pass by dark and experimental environments like the Genocide and Deep Water bombs to more intimate sounds like nostalgic It’s All On Me with a good chorus of Justus and BJ The Chicago Kid. The famous piano signed Dre finally arrives on the second part of Darkside / Gone just after a sample of the late Eazy-E, Game found the ardor of his 20 years on the beat 100% hip hop without Vaseline, an independent loop very dirty as I love. The top of the album remains the perfect meeting between the legends of each side, Dr. Dre and DJ Premier, Animals.
And what hearts to hear Primo drop a few scratches and telling crap with Dre at the end of the song!
Even messy default on the Loose Cannons that chains more energetic beats no real transitions with the powerful voice of Cold 187um and Xzibit, all ends in a horrible cries with outro in a frenzy And Slim Shady 2000s pity we found just not the Shady 2000s on Medicine Man but the post-flow mono Eminem Relapse rapper who can only fast yelling, the worst verse of the album with a line on rape distasteful … Even Snoop seems to have added protein powder to its weed while we would have liked to hear a more laid-back and sunny, where it is the best …
The other major weakness of the album are the new faces King Mez and Justus are clearly not at the project level. The first rapped badly with a slightly autotunée voice and the second of just how cowardly refrains, at light years of a Nate Dogg. From the mixed trap to Talk About It inspirations, we hope not to cross them, unfortunately they are on a lot of sounds and do not take up the project.
And in all this, in Dr. mic? Ghostwriters all know that it uses and even we get to recognize who wrote what verse but strangely every time we hear her voice is firm and we listen, it’s called charisma. Dre was never as well as rapping on this album, it is confident, her voice full of authority, incisive flow, its lyrics have a lot more stuff and I’m not talking about hallucinogens. Sometimes introspective in It’s All On Me, sometimes subversive as in Animals gem in which he refers to the death of Michael Brown, Dr. Compton crosses and returned with emotion throughout his career looking up and speaking one last time to Eazy-E in a bright conclusion.
Compton is not the revolutionary that have been classic The Chronic and 2001 but a much stronger album than many expected, Dr. has lost none of his talent, “grand finale” comes together the film on its debut, the circle is complete, a final round of track full of honesty, pride and longing to end a monumental career, leaving the orphan rap of one of its greatest architects.