Everyone has that uncle who drives a Cadillac, sings “Gin & Juice” and still thinks he’s the epitome of cool in the early ’90s. has made the album for said uncle, the one who will never change.
On “Bush,” Snoop has tapped the Neptunes for production on an album that introduces the rapper as a watered-down version of Bootsy Collins. Here, Snoop is funky, but he’s not exciting, creating a rather ridiculous and contrived album of ’70s-era glamour, funk and disco.
Not even The Neptunes’ diverse production can save the album’s lackluster metaphors and overwrought marijuana references. Snoop does switch his drug of choice up a bit on “Peaches and Cream” where he references providing his lady with MDMA, but it just comes across as creepy. There’s no remaining consistency in the characters Snoop has honed over the years. There’s none of the g-string loving Snoop, and certainly no trace of the “Murda Was the Case” Snoop. Itap a shame he misses the mark here because it seems like this funk-driven genre should work for Snoop Dogg.
While the Doggfather usually shines alongside his rap brethren, but on “Bush,” he feels like he’s pulling them down. TI somehow wheels out a terrible verse on “Edibles,” a track that is more fodder for your uncle who still refers to weed as “reefer,” than a viable single. Gwen Stefani drops a Sheila E.-style hook on “Run Away” thatap worth a second listen, but doesn’t save the project from being a mess of words and sounds. Kendrick Lamar, California’s new favorite saving grace, even stutters and stumbles alongside Rick Ross on “I’m Ya Dogg.” If KDot can’t save your record, itap best to go back to the drawing board.
