Snoop Dogg Album: “Paid Tha Cost to Be da Boss [PA]”

Description :

Personnel includes: Snoop Dogg, Pharrell, Latoiya Williams, Jay-Z, Soopafly, Nate Dogg, The Dramatics, Lil' Half Dead, Uncle Charlie Wilson, Mr. Kane, Traci Nelson, Goldie Loc, E-White, Redman, Warren G, Lady Of Rage, Ludacris, RBX. Producers include: E-Swift, Jelly Roll, The Neptunes, Just Blaze, LT Hutton. "Beautiful" was nominated for the 2004 Grammy Awards for Best Rap/Sung Collaboration and for Best Rap Song. Personnel includes: Snoop Dogg, Pharrell, Latoiya Williams, Jay-Z, Soopafly, Nate Dogg, The Dramatics, Lil' Half Dead, Uncle Charlie Wilson, Mr. Kane, Traci Nelson, Goldie Loc, E-White, Redman, Warren G, Lady Of Rage, Ludacris, RBX. Producers include: E-Swift, Jelly Roll, The Neptunes, Just Blaze, LT Hutton. "Beautiful" was nominated for the 2004 Grammy Awards for Best Rap/Sung Collaboration and for Best Rap Song. On PAID THA COST, Snoop Dogg delivers plenty of the kind of visceral, sensuous, West Coast G-Funk that we've come to love him for. The most blatant example is "Stoplight," which samples and nods to P-Funk's ubiquitous "Flashlight," but somehow ends up sounding more like vintage Rick James gone hip-hop. Though his vintage beats and loopy sense of humor complement that sound perfectly, he doesn't leave things at that. The honey-sweet vocals of LaToiya Williams lend a melodic, slow-jam R&B flavor to the mellow "I Believe in You." A love song from Snoop? Believe it. "Ballin'" features the old-school vocal-harmony soul that's always been close to Snoop's heart, courtesy of the Dramatics. "From tha Chuuuch to Da Palace" ups the humor ante by including a lascivious adaptation of "Buffalo Gals." What's curious is that the already laid-back Snoop often seems to retreat from the spotlight on this album, letting the production and special touches occupy the forefront. Perhaps it's just that he's already proven himself so thoroughly that he's ready to go where no rapper has gone before--egolessness. On PAID THA COST, Snoop Dogg delivers plenty of the kind of visceral, sensuous, West Coast G-Funk that we've come to love him for. The most blatant example is "Stoplight," which samples and nods to P-Funk's ubiquitous "Flashlight," but somehow ends up sounding more like vintage Rick James gone hip-hop. Though his vintage beats and loopy sense of humor complement that sound perfectly, he doesn't leave things at that. The honey-sweet vocals of LaToiya Williams lend a melodic, slow-jam R&B flavor to the mellow "I Believe in You." A love song from Snoop? Believe it. "Ballin'" features the old-school vocal-harmony soul that's always been close to Snoop's heart, courtesy of the Dramatics. "From tha Chuuuch to Da Palace" ups the humor ante by including a lascivious adaptation of "Buffalo Gals." What's curious is that the already laid-back Snoop often seems to retreat from the spotlight on this album, letting the production and special touches occupy the forefront. Perhaps it's just that he's already proven himself so thoroughly that he's ready to go where no rapper has gone before--egolessness.

I've always liked Snoop, just not enough to buy any of his albums. Until this one. He took a hint from the boys of OutKast and stepped it up in his funkyness. Though I am quite sick of the Neptunes, they did an excellent job on "Beautiful" and the other tracks they produced. The guest spots from Jay Z is alright, but Ludacris really did his job on the track "You Got What I Want." An incredible release from The Doggfather.

Best tracks (to me) include:

Basically, this album is the best thing to come from Snoop since Doggystyle.

A couple of years ago, I couldn't accept the fact that Snoop Dogg had left his gangster rap style and image behind with Tha Row. I searched for "187" on his No Limit albums. Couldn't find it anywhere. I realized he flipped his style and picked up the Pimp Cup.

See, once you've accepted the new image of Snoop Dogg, you can appreciate his music. He even goes as far as Pimp slapping Suge Knight on a track that is worth the price of admission. The beats are funkadelic, recalling George Clinton and even his first album, but without the gangsta style. Sadly, there is no Dr. Dre on here, but there's probably a good reason for it. He's got his own label now. He's the Bo$$, and wants to be independent in everything he does. It would have been nice to have at least one track, but if you want Dre, look to his previous album. "Lollipop" is a stand-out track that has a great '70's vibe and could have easily fit on The Chronic or Doggystyle.