As time keeps on slipping into the future, it becomes apparent that
Master P's greatest gift is marketing, particularly when his advertising masquerades as liner notes. Witness
P's work for
Snoop Dogg, once considered the brightest rapper of the '90s but now merely a general in the No Limit army.
The Master began plugging
Top Dogg,
Snoop's second No Limit release, in the liners for his label debut, even mentioning a release date only months away. Clearly,
Snoop had indeed been placed on the No Limit production line, and there was every indication that from now on,
Snoop would churn out moderately enjoyable, Dirty South-lite records crammed with cameos and appropriated hooks. Turns out he had a trick up his sleeve, because
Top Dogg is about as individualized an album as possible under the No Limit precepts. Since the outset of his career,
Snoop has shown a fondness for early-'80s synth funk, and for the first time, he lets that form the basis of an album. And while there may be a bit too much recycling for some tastes, the end result isn't just the freshest-sounding
Snoop album since his debut, it's easily the freshest-sounding No Limit album. Unfortunately, it's still a No Limit album, which means it runs way too long and is filled with superfluous, even irritating cameos, and also that
Snoop is content to haul out low-rent gangsta clichés. Since he's a gifted rapper, he makes the dope 'n' crimes, sex 'n' violence rhymes go down easily (compare his delivery to some of his guests if you have any doubts), but his lyrics just aren't as clever as they were five years earlier. But records don't have to be deep; they can be appreciated as a pure sonic experience, and taken on that level,
Top Dogg satisfies. ~ Stephen Thomas Erlewine, Rovi
