Dre’s, but newcomer King Mez, it’s clear Compton is bigger than one prodigious producer - just like his other two studio albums. But as the news synopsis kicks in and the first vocals you hear are not Dr. The man kicks it off with a rough approximation of the Tri-Star logo theme. If “I Need A Doctor” and “Kush” were too indulgent, Dre’s final album starts off with what looks like the same trappings.
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Dre, who’s likely to resume life as a recluse after the ongoing press run.
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Would Detox truly have sucked? No one knows except Dr. Dre’s failings post- 2001 weren’t as ignominious. The Aftermath had to fail before the next episode finally came and Eminem was unleashed. Dre was clinging to relevance.īut N.W.A had to break before transmuting P-Funk into lowrider-friendly G-funk on The Chronic. Yet, for some reason, we were getting awkward attempts at bangers, as if Dr. Dre’s legacy has been secured long before Eminem rolled through in a Benz looking hotter than a set of twin babies. The songs weren’t just underwhelming: They painted a weird portrait. The Eminem-featuring “I Need A Doctor” was more moribund than anthemic. “Kush” was a percussive club effort that was ephemeral at best. The two we heard inspired little confidence. Dre revealed that he had between 20 to 40 songs for that project. Album DescriptionWe never really wanted Detox anyways. See More Your browser does not support the audio element. Since Compton crackles with life and spirit, it seems a shame to shut that door. It's an excellent end to an attractive and rich LP, and as the man returns to icon status with this stoic and stern stance, the most unfortunate thing about this "final" effort is that this unproductive gangsta perfectionist who moves at a Golem's pace has now flourished under a tight timetable. member Ice Cube is offered a challenging, compressed loop for the straight talking and rightfully agitated "Issues." Quotes from past albums and past productions are all over this album, and the Aftermath roster comes alive again with Jon Connor and Justus shining in their spotlights, and after an angelic Jill Scott feature dubbed "For the Love of Money" paints this former Death Row artist as more serene than anyone ever thought, the closing "Talking to My Diary" ties up the loose ends as Dre professes a belief that Eazy-E is smiling at him from above. The music is crooked enough to put Snoop Dogg into the groove for the swaggering "Satisfaction," and remains raw enough to drive Eminem into dangerous territory on "Medicine Man," while fellow N.W.A. Early highlight "Genocide" puts it all in one cut as robotic funk finds Kendrick in full rage, while Marsha Ambrosius and Candice Pillay provide the soul before the track exits with some wild dubstep doo wop, as the more developed Compton still has all the quirks and smart-ass humor of The Chronic. It also celebrates the new breed, taking the busy, jazz-inspired structure of Kendrick Lamar's masterpiece release To Pimp a Butterfly, and adds grooves that are entirely Dre, playing it steady, swaying, and locking listeners in. This brilliant kaleidoscopic LP, which was recorded in under a year, focuses on the veteran producer's connection to the modern world as it references Eric Garner, frames it with N.W.A.'s history, and decides that little has changed. Still, the most pleasing element of Compton is that it touches on all of the above but lives in the present. When Dre says "inspired" he likely means the film gave him a reason to consider his history, and how he went from local gangsta to national threat, and on to billionaire businessman extraordinaire.
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Dre, a supposedly final effort that was "inspired" by the N.W.A. Dre album was supposed to be The Detox, but that once-mythical, canceled LP was replaced by Compton: A Soundtrack by Dr. Buy the album Starting at £15.79įor 16 years, the third Dr.
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