Tha Doggfather

Release

Tha Doggfather charted at number one on both the US Billboard 200 and Top R&B/Hip-Hop Albums charts. To date, the album sold two million copies in the United States and sold better internationally than its predecessor, "Doggystyle" (1993).

Production

During the departure of Dr. Dre from Death Row Records, the majority of this album was produced and mixed by DJ Pooh. In addition to DJ Pooh, Daz Dillinger and several other producers that contributed to this album. In 1996, in an interview with Rap City, Snoop Dogg revealed that he had been working with Dr. Dre for this album, however, he had been prevented from doing so by Suge Knight. The album samples songs such as "It's Like That" performed by Run-D.M.C., "Vapors" performed by Biz Markie, "More Bounce to the Ounce" performed by Zapp & Roger, and "Oops Upside Your Head" performed by The Gap Band. The Doggfather also marked the debut of Snoop Dogg as a record producer on the track, called (O.J.) Wake Up". Snoop Dogg also was beginning to acknowledged on how to play with the keyboard by a high-profile of a producer named L.T. Hutton, who led a hand of providing some production on that track as well.

Lyrics

Compared to Doggystyle, the lyrics are much less violent and controversial. On the Doggfather, Snoop Dogg wanted to present a more positive image in his lyrics, a reflection of his maturation as an artist, and as a new father. On December 3, 2006, in an interview with Vh1, Snoop Dogg revealed the differences between Doggystyle and Tha Doggfather, stating, "I think Tha Doggfather was a rebirth of me, as far as me being more positive on what I was tryin' to say and you know tryin' to live the life through my music, instead of me just livin' my life, tryin' to show people that my life... wasn't like my music...I'm not gonna glorify none of this negativity that Death Row wanted me to do, I'm gonna bring a positive side of music." Although his new lyrical direction was met with mixed feelings from fans and critics alike, Snoop Dogg still thinks of the album as a success: "I enjoyed it and everywhere I go around the world people; you know I sign more Doggfather records than any other record I put out. That's the one I sign the most and I'm proud at the thang I did and the thang is... sometimes you can outgrow your fans".

Critical reaction

The album received generally moderate reviews from critics and fans at the time of its release. In a February issue of Spin magazine, Dr. Dre stated his feelings on the album and said "But to be perfectly honest, I don't like Snoop's new album. And it has nothing to do with me not working him, because I'm just like everybody else: I like it, or I don't. The first time I heard the single, I was grooving to it, but then I really started to get into the production and how it was sounding, you know? The first time you hear some shit, you just listen to it to get your groove on, but after that, I start breaking songs down. There's really nothing that was said on there that hasn't been said 50 times before."

Entertainment Weekly praised the album stating that "Even without Dr. Dre behind the board, Snoop and his studio team concoct an intoxicating blend of old-school funk and gangsta cool", but also noted that "There's not much to love in the album's attitude toward sex, drugs, and first-degree murder." Muzik said, "...a more angular, spiky, old school-influenced vehicle for the Dogg Father to strut his matter-of-act rhymes over... you [are taken in] by the strength of the rhyming...". Melody Maker ranked it #49 on Melody Maker's list of 1996's 'Albums Of The Year'. The Los Angeles Times reported that "Snoop still is one of rap's most electrifying performers. But unlike "Doggystyle" and the "Murder Was the Case" soundtrack, few of the beats on this album rival his rapping prowess." They complimented some of the tracks, calling 'Doggfather' "... the epitome of cool smoothness. Over a slow-rolling Daz and DJ Pooh track" 'Freestyle Conversation' "...an Outkast-style exercise in which Snoop speaks a mile a minute, but still manages to maintain a funky rhythm", 'Gold Rush' a "funky pistolero track" and the Biz Markie remake 'Vapors' "the album's real gem". The review went on to conclude that "Tha Doggfather may not be Doggystyle, but Snoop shows that he has the prowess and the talent to survive."

The New York Times predicted that the album would chart in the top ten due to his presence in the music industry. They also stated that "The album has a few obligatory mentions of sexual exploits and gun-toting, usually delegated to guest rappers. But most of the raps are about his position as a hit-maker. He still has one of the most distinctive deliveries in rap: a casual, nasal, conversational tone that sounds leisurely even when he's barreling forward. His producers are a little less slick than Dr. Dre was, but they have supplied swampy bass riffs and catchy backup choruses, drawing heavily (like Dr. Dre) on George Clinton's P-Funk. Snoop Doggy Dogg insists, and Tha Doggfather does that, maintaining a party atmosphere. Yet while it insists that gangsta rap isn't dead, it plays down tough-guy tales in favor of a star's pronouncements." AllMusic reviewer Stephen Thomas Erlewine noted that the album runs on too long at over 70 minutes and "Though it works the same G-funk territory, the bass is less elastic and there is considerably less sonic detail". But also praised the album by stating "Though the music isn't original, and the lyrics break no new territory, the execution is strong -- Snoop's rapping and rhyming continue to improve, while the bass-heavy funk is often intoxicating." He ended the review stating "...the album is a fine follow-up to one of the most successful hip-hop albums in history."

Commercial reception

Before the release of the album many were questioning if the album would become lost in the turmoil and tragedy of the label. Or even to be bypassed in the rush of Tupac's posthumous album. However retailers thought differently such as Violet Brown, urban music buyer for the Wherehouse music chain. "Customer anticipation has been huge. As soon as record executives found out they were opening against Snoop [this week], they shifted the release dates of some rival rap albums to avoid the Snoop sales rush." The album debuted at number one with strong first week sales of 479,000 copies, with Tupac at number two with second week sales of 250,000 (proving that Death Row still had a strong hold on the pop charts). While falling short of Doggystyle's 803,000 in the first week sold (the record at the time for a rap album), the album still was the third-highest rap debut of that year behind Shakur's "All Eyez on Me" (566,000 first-week copies) and "Killuminati" (664,000 copies), and it ranks fourth overall on the year's list of top debuts, which is headed by Metallica's "Load" (680,000 copies). The album has sold over two million copies in the United States.

Track listing