Dr. Dre Albums (4)
'The Detox Chroniclez Vol. 2'
Release Date 12/8/2009
Tracks 24
Label Radely
See Album Tracklist and Review
What The Critics Say
The Slim Shady LP announced not only Eminem's arrival, but it established that his producer Dr. Dre was anything but passé, thereby raising expectations for 2001, the long-anticipated sequel to The Chronic. It suggested that 2001 wouldn't simply be recycled Chronic, and, musically speaking, that's more or less true. He's pushed himself hard, finding new variations in the formula by adding ominous strings, soulful vocals, and reggae, resulting in fairly interesting recontextualizations. Padded out to 22 tracks, 2001 isn't as consistent or striking as Slim Shady, but the music is always brimming with character. If only the same could be said about the rappers! Why does a producer as original as Dre work with such pedestrian rappers? Perhaps it's to ensure his control over the project, or to mask his own shortcomings as an MC, but the album suffers considerably as a result. Out of all the other rappers on 2001, only Snoop and Eminem -- Dre's two great protégés -- have character and while Eminem's jokiness still is unpredictable, Snoop sounds nearly as tired as the second-rate rappers. The only difference is, there's pleasure in hearing Snoop's style, while the rest sound staid. That's the major problem with 2001: lyrically and thematically, it's nothing but gangsta clichés. Scratch that, it's über-gangsta, blown up so large that it feels like a parody. Song after song, there's a never-ending litany of violence, drugs, pussy, bitches, dope, guns, and gangsters. After a full decade of this, it takes real effort to get outraged at this stuff, so chances are, you'll shut out the words and groove along since, sonically, this is first-rate, straight-up gangsta. Still, no matter how much fun you may have, it's hard not to shake the feeling that this is cheap, not lasting, fun. ~ Stephen Thomas Erlewine, All Music Guide
'Dr. Dre Presents...The Aftermath'
Release Date 11/26/1996
Tracks 16
Label Aftermath/Interscope
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What The Critics Say
Dr. Dre shifted directions drastically halfway through 1996, leaving Death Row Records and abandoning gangsta rap, claiming that he had "Been There, Done That." So, Dre founded a new record label, Aftermath, and built an artist roster consisting entirely of new, unproven talent. He also decided not to concentrate on rap, signing urban R&B acts as well as hip-hop. Aftermath's initial release was the various-artists compilation Dr. Dre Presents...The Aftermath and one listen proves that Dre wasn't kidding when he said he wasn't interested in gangsta anymore. There are a number of rappers on The Aftermath, even a handful of hardcore rappers, but nothing fits into the standard G-funk template. The true revelation of the album is Dre's skill for urban R&B and soul, all of which sounds fresh and exciting compared to several of the fairly pedestrian hip-hop tracks. Despite the success of these urban productions, none of the actual performers make much of an impact -- the tracks are impressive only because they demonstrate Dre's musical versatility and skill. In fact, the two tracks that really stand out -- Dre's stately, sexy "Been There Done That" and the powerful "East Coast/West Coast Killas," which features cameos by B-Real, KRS-One, Nas, and RBX -- are a combination of terrific production and personality, which is usually what results in great singles. But that doesn't mean that The Aftermath is a washout. Instead, it's a promising fresh start for Dre that is full of potential and enough great music to make it a vital listen. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With its stylish, sonically detailed production, Dr. Dre's 1992 solo debut, The Chronic, transformed the entire sound of West Coast rap. Here Dre established his patented G-funk sound: fat, blunted Parliament-Funkadelic beats, soulful backing vocals, and live instruments in the rolling basslines and whiny synths. What's impressive is that Dre crafts tighter singles than his inspiration, George Clinton -- he's just as effortlessly funky, and he has a better feel for a hook, a knack that improbably landed gangsta rap on the pop charts. But none of The Chronic's legions of imitators were as rich in personality, and that's due in large part to Dre's monumental discovery, Snoop Doggy Dogg. Snoop livens up every track he touches, sometimes just by joining in the chorus -- and if The Chronic has a flaw, it's that his relative absence from the second half slows the momentum. There was nothing in rap quite like Snoop's singsong, lazy drawl (as it's invariably described), and since Dre's true forte is the producer's chair, Snoop is the signature voice. He sounds utterly unaffected by anything, no matter how extreme, which sets the tone for the album's misogyny, homophobia, and violence. The Rodney King riots are unequivocally celebrated, but the war wasn't just on the streets; Dre enlists his numerous guests in feuds with rivals and ex-bandmates. Yet The Chronic is first and foremost a party album, rooted not only in '70s funk and soul, but also that era's blue party comedy, particularly Dolemite. Its comic song intros and skits became prerequisites for rap albums seeking to duplicate its cinematic flow; plus, Snoop and Dre's terrific chemistry ensures that even their foulest insults are cleverly turned. That framework makes The Chronic both unreal and all too real, a cartoon and a snapshot. No matter how controversial, it remains one of the greatest and most influential hip-hop albums of all time. ~ Steve Huey, All Music Guide
