Snoop Lion - Reincarnated

You can pinpoint the exact moment Snoop Dogg stopped being dangerous. In November 2006, Tha Blue Carpet Treatment was released, with lead single 'Vato' being an unquestionable standout (run motherfucka run!). Then, it all stopped. Snoop decided to become a family man, with reality shows and a string of other endorsements turning him into an 'Uncle Snoopy' figure, unrecognisable from the menacing, whip-smart youth that dominated the hip hop world through the 1990's.
As one of hip hop's elder statesmen he did, however, continue to release music. Ego Trippin' was a slightly bizarre, if ultimately disappointing follow up while, the less said about Malice n Wonderland the better. If these were poor, it was nothing compared to the disastrous Doggumentary. Snoop even had the nerve to bill it as the sequel to first classic album Doggystyle, an appalling comparison that did the project no favours at all. Somehow, the magic had gone.
In July 2012, Snoop Dogg threw a curveball. Announcing he was changing his stage name to 'Snoop Lion', and was embracing the Rastafarian faith, the eccentric rapper declared his next album would be an exclusively reggae affair. Assuaging all doubts about the validity and even existence of the project, Snoop Lion has delivered Reincarnated on schedule to a fan base he has yet to convince about his change of direction.

Early signs were not good. Lead single 'La La La' did nothing to soothe fears the Doggfather had finally lost his marbles. It was with trepidation that I downloaded and began to listen to album, bracing myself for a car crash in musical form. It wasn't the first time I have done this with a new Snoop Dogg LP...

My fears were almost instantly dissipated. Opener 'Rebel Way' has Mr Lion crooning over a relaxed Major Lazer beat. The first surprise is the fact that Snoop can actually sing a little. Not especially well, but it isn't painful in the same way as listening to some of his peers (I'm looking at Diddy especially). He's Kid Cudi good if you're looking for a point of reference.
With his mildly weak vocals seemingly in mind, Snoop enlists a variety of reggae singers to assist with many of the hooks. Angela Hunte assists on the ludicrously catchy 'Here Comes the King', and pops up again on 'So Long'. Both tracks are perfect reggae-pop, as deep as a puddle but suitably party-ready. Backed up by the aforementioned Major Lazer production team, Reinarnated is rarely allowed to slide into boring territory. Just when it appears certain tracks are about to sag, Diplo throws in a random horn section or thumping bass line to keep things ticking over. The project works better if you don't think about it too hard and allow the music to wash over you, Major Lazer working effectively to give the album a sense of continuity.

The technique of not taking things too seriously is useful when exposed to some of Snoop's unorthodox subject matter. While it is refreshing to hear him avoid profanity and explicit material, the fact he chooses to replace it with lyrics about fruit juice and the healing powers of nature do raise the eyebrows slightly. It is his sketchy grip on the Rastafarian religion that amuses most, something forgivable if you regard the album as the oddity that it is.

There is, however, the odd note of sincerity. 'No Guns Allowed' is particularly resonant given the recent tragedies that have occurred in the USA recently, while Drake provides an affecting verse about the problems across the border in Canada. In a similar vein, 'Tired of Running' finds Snoop ruminating on the impact his music may have had on relations between the public and the police.

The perceived vocal weakness occasionally gives way to unnecessary guest spots. Akon drops by for absolutely no reason on the aforementioned 'Tired of Running', adding nothing to a song Snoop is quite able to handle on his own, while the decision to allow Chris Brown to appear on 'Remedy' is baffling on an album exclusively about peace and love. The track is, however, notable for a fired up, Jamaican-mode Busta Rhymes (WADADANG, WADADADANGDANG?) The featured artists seem to reflect an anxious Snoop Lion, needlessly worried about being unable to carry his own album and instead flooding the project with needless guests.

Track by Track:

1. Rebel Way (7/10)
2. Here Comes the King (Feat. Angela Hunte) (7/10)
3. Lighters Up (Feat. Mavado & Popcaan) (7/10)
4. So Long (Feat. Angela Hunte) (8/10)
5. Get Away (Feat. Angela Hunte) (7/10)
6. No Guns Allowed (Feat Drake & Cori B) (7/10)
7. Fruit Juice (Feat. Mr. Vegas) (7/10)
8. Smoke the Weed (Feat. Collie Budz) (5/10)
9. Tired of Running (Feat. Akon) (7/10)
10. The Good Good (Feat. Iza) (7/10)
11. Torn Apart (Feat. Rita Ora) (7/10)
12. Ashtrays & Heartbreaks (Feat. Miley Cyrus) (6/10)
13. Boulevard (Feat. Jahdan Blakkamoore) (6/10)
14. Remedy (Feat. Busta Rhymes & Chris Brown) (6/10)
15. La La La (5/10)
16. Harder Times (Feat. Jahdan Blakkamoore) (7/10)

The Verdict

A pleasant surprise, Snoop Lion has delivered an album full of charm and personality, albeit with a skewed Rastafarian vision and a loose grip on what reggae music actually entails. Enlisting the services of Major Lazer for the majority of the production proves to be a masterstroke, giving Reincarnated a pleasingly cohesive feel. Against all expectations, Snoop Dogg has delivered his best album since 2006.

7/10

Pick of the XXLFreshman '13 Class

Thank God for the Freshman editions of XXL magazine. The last time I ventured on to Hip Hop DX, the most popular single was a new Tyga track featuring 2Pac. It was so bad that I had to clean my teeth afterwards. Lil Wayne has a new album out. The lead single is charmingly titled 'Rich as Fuck' and it is simply lamentable, as has been virtually all of Wayne's output since   Tha Carter III. Mainstream hip hop is currently in a terrible state, with an ever expanding pool of mediocrity and copy-cat content destroying all semblance of originality.
It is a desperate situation, but then the Freshman awards come and make everything bearable again. Though there are often missteps (Future?), the list always provides a decent selection of new artists to explore. Here are my top 3 picks of this year's contestants:

1. Action Bronson

A New York native of Albanian descent, Action Bronson has been steadily gaining a mixtape buzz over the last few years. His voice and flow is eerily similar to Ghostface Killah, something Bronson both acknowledges and embraces. Scratch below the surface, however, and clear differences can be found between the two artists. Influenced by the fact he is a professional chef, his rhymes frequently feature metaphors and imagery based around food, utilising soulful and melodious instrumentals to lull the eardrums. Conversely  the relaxing backdrop frequently gives way to dark and perverse imagery, a grimy contrast that creates a unique impression on the listener.

With a steady catalogue of releases behind him, it is unlikely that Action Bronson will remain a hidden gem for much longer.

Download: Action Bronson - Blue Chips

2. Angel Haze

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In a hip hop world sorely lacking female talent, Angel Haze stands out as an entirely different proposition to the pop drenched output of Nikki Minaj and her contemporaries. An abusive, extremely religious upbringing gives Haze's music an entirely different perspective, her brutally frank remix of Eminem's 'Cleanin' Out My Closet' being a case in point. Mixtape Reservation showcases a range of styles and subject matter; close introspection often giving way to an unflinching, ferocious flow.
Gracing the XXL cover as the 'People's Choice' Freshman is a timely award, giving the young MC the exposure that she clearly deserves.

Download: Angel Haze - Reservation

3. Joey Bada$$

Acclaimed mixtape 1999 has meant Joey has had a meteoric year. The project is notable for introducing both the confident rhymesmith and his Pro Era rap crew, founder member Capital Steez tragically committing suicide in December 2012. Trading complex, thought provoking bars over intricate instrumentals, 1999 is reminiscent in parts of Illmatic, heady praise for an artist finding his voice in the turbulent arena of modern hip hop. Taking listeners back to the golden era, Bada$$ has stated that his debut album is almost finished for release. With his music picking up critical and commercial attention, Joey is a decent bet to be the most successful of this year's freshmen.

Download: Joey Bada$$ - 1999

The 10 Best Hip Hop Tracks of 2012!

It's that time of the year again! My annual, slightly late run down of my 10 best tracks of the year is written in no particular order, so here goes...

1. Loco-Motive - Nas feat. Large Professor: Nas had a blistering 2012, dropping his almost perfect return to form right in the middle of summer. In truth, he could have had over half of this list with one album, but it is Loco-Motive that really stands out. The steadily clattering train anchoring the beat complements the grimy, cinematic atmosphere of a late night subway ride through Queensbridge. Almost 20 years since his debut, Nas hasn't lost a step.

2. Bury Me a G - Rick Ross feat. T.I: The highlight of an otherwise disappointing group LP from MMG, Ross embodies the gangsta don persona he has made his own, his wheezing voice lending a sense of urgency  rarely found on his other work. It is T.I however, who steals the show, his menacingly unhinged, slack jawed delivery bringing the song firmly back to the Dirty South.

3. Something More - Xzibit feat. Prodigy: A drowsy West Coast funk almost renders the listener inert as Xzibit triumphantly retains his place as one of his regions most consistent voices. Prodigy lends able support, a rare 2012 return to the style that made Mobb Deep such a distinct act in the late 90's.

4. Getting By - Lloyd Banks feat. Schoolboy Q: A stoner anthem that is actually listenable, Lloyd Banks released this gem in what proved to be a quiet year for 50's right hand man. Schoolboy Q demonstrates exactly why Black Hippy are so highly tipped for a successful 2013.

5. Hammer Dance - Slaughterhouse: Aside from the baffling decision to deny Royce da 5'9 a chance to rhyme, the lead single for Welcome to Our House was an underrated Araab MUSIK laced banger. Bringing together the remaining talent of the crew under the hook supplied by Royce, the track continues the chemistry first brought to prominence at the 2011 BET Awards.

6. Mercy - G.O.O.D Music: Granted, it has a lamentable middle section that cannot sustain Kanye's ego. That being said, Mercy unquestionably had the most hypnotic beat of the year, as well as a stunning video. Those wondering what all the fuss about this 2 Chainz chap is would be well advised to view this work.

7. Backseat Freestyle - Kendrick Lamar: Kendrick has been the debut star of the year, achieving critical acclaim and gold status for Good Kid, m.A.A.d City without a smash single in sight. The concept album is virtually flawless, but Backseat Freestyle is simple introduction that can be listened aside from the main narrative, reminding listeners that it is no accident that Kendrick is considered as the potential hip hop voice of his generation.

8. Pull the Cars Out - Ghostface Killah & Sheek Louch feat. Method Man: Though Wu-Block wasn't quite the melding together of two legendary crews we hoped it would be, gritty banger Pull the Cars Out showcases three artists comfortable in their own skins, sticking close to the format that brought them such success in the 90's. Method's verse in particular is ice cool in conception, dipping in and out of the beat flawlessly.

9. Love Sosa - Chief Keef: Hip Hop's version of Mario Balotelli continues to battle legal troubles, just about squeezing out his debut album before casually cancelling his entire U.S tour. Finally Rich is pretty dreadful, but single Love Sosa is Keef at his demented, spaced out best, an ode to himself that only fellow Chicago alumni Kanye West could rival. It is also tear-inducingly catchy.

10. Pyramids - Frank Ocean: Not technically a hip hop track in the traditional sense, Frank qualifies due his association with Odd Future. Pyramids is an 8 minute mini epic, Ocean's fabulous voice melting from the up tempo first half into the most beautiful musical moment of the year as the song reaches its conclusion.