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Doggystyle was recorded in early 1993 at Death Row Studios. It was produced in a style similar to The Chronic; some critics called it a "carbon copy".[2] Snoop Doggy Dogg collaborated with two music groups, 213 and Tha Dogg Pound. Daz Dillinger, of the latter group, accused Dr. Dre of taking sole recognition for producing the album and alleged that Warren G and himself contributed substantially to the production of the project.[15] Death Row Records co-founder Marion "Suge" Knight stated in 2013 that, "Daz pretty much did the whole album", and that credit was signed over to Dr. Dre for a fee.[16] Snoop Doggy Dogg said Dr. Dre was capable of making beats without the help of collaborators and addressed the issues with Warren G and Daz, stating "They made beats, Dre produced that record". He discussed the track "Ain't No Fun (If the Homies Can't Have None)", mentioning that Daz and Warren G brought Dr. Dre the beat but "Dre took that muthafucka to the next level!"[17] Bruce Williams, closely affiliated with Dr. Dre, discussed the recording process during Dre's time at Death Row Records, stating: .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}Dre's going to be the first one in the studio and the last one to leave. He'll start messing with a beat. As the beat starts pumping, the guys start filtering in. Everybody will get their little drink and smoke in. Soon enough, the beat starts to make a presence. You'll look around the room and every cat that was a rapper – from Kurupt to Daz to Snoop – will grab a pen. They would start writing while Dre is making a beat so by the time he's finished with the beat, they are ready to hit the booth and start spittin'. To see those young cats – they were all hungry and wanted to make something dope. The atmosphere that was there, you couldn't be wack.[18] Williams said the album was never finished and because of the demand for the record, the distributors insisted the album be completed, otherwise they would cancel the album's orders. This resulted in Dr. Dre mixing the album and inserting the skits within 48 hours, which enabled the album to be released.[18] Rolling Stone writer Jonathan Gold described how Dr. Dre produced a beat from scratch to complete instrumental: "Dre may find something he likes from an old drum break, loop it and gradually replace each part with a better tom-tom sound, a kick-drum sound he adores, until the beat bears the same relationship to the original that the Incredible Hulk does to Bill Bixby".[19] Gold also described how the track progressed with other musicians adding to the song, stating "A bass player wanders in, unpacks his instrument and pops a funky two-note bass line over the beat, then leaves to watch CNN, though his two notes keep looping into infinity. A smiling guy in a striped jersey plays a nasty one-fingered melody on an old Minimoog synthesizer that's been obsolete since 1982, and Dre scratches in a sort of surfadelic munching noise, and then from his well-stocked Akai MPC60 samples comes a shriek, a spare piano chord, an ejaculation from the first Beastie's record—'Let me clear my throat'—and the many-layered groove is happening, bumping, breathing, almost loud enough to see."[19] While recording Doggystyle with Dr. Dre in August 1993, Snoop Dogg was arrested in connection with the death of Phillip Woldermarian, a member of a rival gang who was shot and killed in a gang fight. According to the charges, the rapper's bodyguard shot Woldermarian as Snoop Dogg drove the vehicle; the rapper claimed it was self-defense, alleging the victim was stalking him. He spent most of 1995 preparing the case which went to trial in late 1995. He was cleared of all charges in February 1996 when he began working on his second album, Tha Doggfather.[2] Title significance and artwork[edit] The album's title alludes to the doggy style sex position and is a reference to the musician's name. The artwork was done by the late artist Darryl "Joe Cool" Daniel, Snoop Dogg's cousin, who died in July 2024.[20] The artwork represents the themes covered in the album and the style of implementation of those ideas. Some critics believe the artwork portrays a woman merely as a hole to be filled by the man, which they believe adheres to the narcissistic and sexist lyrical themes Snoop Dogg covers.[21] In this interpretation, the cover art and lyrics convey what they refer to as the self-indulgent "gangsta" lifestyle, drugs, cars, sex, and money.[21] The artwork uses several quotes from the 1982 George Clinton single "Atomic Dog". The quotes come from the dogs at the top of the brick wall on the album cover, which say, "Why must I feel like dat?", "Why must I chase da cat?" and "Nuttin' but da dogg in me".[22] Music[edit] Production[edit] Snoop collaborated with fellow hitmaker Dr. Dre (pictured in 2008) on the album production. Dre's handling of the production was praised by critics. AllMusic writer Stephen Erlewine stated: "Dre realized that it wasn't time to push the limits of G-funk, and instead decided to deepen it musically, creating easy-rolling productions that have more layers than they appear". He added that the beats were "laid-back funky, continuing to resonate after many listens".[1] Rolling Stone writer Touré noted "The Chronic's slow, heavy beats were a sonic representation of angry depression as accurate as Cobain's feedback blasts; Doggystyle is leaner, with its high-tempo Isaac Hayes and Curtis Mayfield-derived tracks". He went on to say that "Most of Dre's hooks and nearly all his beats refuse to linger, as if the songs themselves are nervous, fearful of exposure, restless to get offscreen."[23] Entertainment Weekly magazine's David Browne mentioned that "The mix of samples and live music on Dre's latest, The Chronic, gave it texture and depth, and he continues his knob-turning growth on Doggystyle, fluidly weaving together a gaggle of background singers and rappers, quirky samples, his trademark horror-flick keyboard lines".[24] The Source magazine columnist wrote: "Dre's brand of G-funk may be common now, but it is still painstakingly well-produced".[10] In 2023, former Death Row CEO, Suge Knight, stated that Daz Dillinger had actually produced the album.[25] Lyrics[edit] Snoop Doggy Dogg's lyrics were generally praised by critics, although they caused some controversy. He was acclaimed for the realism in his rhymes and his harmonious flow.[1][2] AllMusic's Stephen Erlewine commended Snoop Doggy Dogg, saying: "he's one of hip-hop's greatest vocal stylists with this record" and he "takes his time, playing with the flow of his words, giving his rhymes a nearly melodic eloquence. Snoop is something special, with unpredictable turns of phrase, evocative imagery, and a distinctive, addictive flow".[1] Time magazine's Christopher John Farley noted "Snoop's rapping isn't flashy, but it is catchy" and stated "His relaxed vocal style is a perfect match for Dre's bass-heavy producing. Snoop's voice is lithe enough to snake its way around the big beats," said Farley on November 29, 1993.[26] The ideas put forward through the lyrics include Snoop Doggy Dogg's adolescent urges, as he freely talks of casual sex, smoking marijuana and gunning down rival gang members. Time magazine remarked that the notions "are often unnecessarily graphic; at some points they're downright obscene" and that "the album would have been stronger if such misgivings about the criminal life, as well as Snoop's touches of introspection, had been applied to some of the cruder songs".[27] The album also covered gun play, drug dealing and pimping. The New York Times said that the lyrical concepts were delivered in "crudest, rudest terms".[28] Some critics said Snoop Doggy Dogg was "obsessed with being a 'G', a gangster, a lawbreaker who smokes dope and kills with impunity" and that his lyrics depict the black-on-black crime in the inner-cities.[21] The lyrics involve many derogatory terms against women, with expressions such as "bitches" and "hoes" being used throughout, which illustrates the feeling of sexism and oppression within American society.[21] In certain tracks Snoop Doggy Dogg and Tha Dogg Pound casually speak of group sex, illustrating the demeaning of women.[29] Snoop Doggy Dogg's lyrics depict drugs, alcohol, sex, and money as methods of escape from oppression, but they also show an underside of the "gangsta" lifestyle and the results of following this lifestyle.[21] The lyrics' violent representations, including murder and aggressive behaviour, have also generated controversy. C. DeLores Tucker of the National Political Congress of Black Women named gangsta rap "a profane and obscene glorification of murder and rape", which can be attributed to Doggystyle.[29] Content[edit] "Who Am I? (What's My Name?)" was the first single released from the album, on November 11, 1993.[30] It peaked at No. 8 on the Billboard Hot 100 and Hot R&B/Hip-Hop Singles & Tracks chart and reached No. 1 on the Hot Rap Singles, receiving a Gold certification from the RIAA on February 8, 1994.[30] It reached No. 20 on the UK Singles Chart in 1994 and re-entered the chart in 2004, reaching No. 100.[31][32] "Gin and Juice" was the second single released on January 18, 1994.[33] Like the previous single, it was a hit on multiple charts. It reached No. 8 on the Billboard Hot 100, No. 13 on the Hot R&B/Hip-Hop Singles & Tracks, No. 1 on Hot Rap Singles, and No. 39 on the UK Singles Chart.[31][34] The RIAA certified it Gold on April 6, 1994.[33] The song was nominated at the 1995 Grammy Awards for Best Rap Solo Performance, but lost to Queen Latifah's "U.N.I.T.Y.". "Doggy Dogg World" was released as a Europe-only single on August 8, 1994.[35] Even though the single was not officially released in the U.S., it received some radio airplay which resulted in position 19 on the Rhythmic Top 40 chart.[34] A music video was produced for the single, which gained American video TV-play and won the 1994 MTV Video Music Award for Best Rap Video. It reached No. 32 on the UK Singles Chart.[31] "Lodi Dodi" and "Murder Was the Case" were not official singles, but they received radio airplay and charted in Rhythmic Top 40.[34] An 18-minute music video was shot for the two songs, with an accompanying Murder Was the Case soundtrack.[36] The video won the 1995 Video of the Year award at The Source Hip-Hop Music Awards. "Gin and Juice" was nominated at the 37th Annual Grammy Awards for Best Rap Solo Performance. A bonus track, "Gz Up, Hoes Down", was included in the album's first pressing, but not in later versions because of sample clearance issues. Snoop Doggy Dogg could not gain the rights to use the beats because the record company was not willing to pay license fees for using the samples.[37] "Gz Up, Hoes Down" was later released on the Death Row compilation "15 Years on Death Row". A track titled "Tha Next Episode" was listed as the last track on the back cover of the first pressings, but not included in any pressing. It is considered the original material used for the 2000 Dr. Dre single "The Next Episode" but bears no resemblance to the later song. It was 4 minutes and 36 seconds (4:36) long.[38] "Tha Next Episode" was later released on the Dr. Dre mixtape Pretox under the name "Chronic Unreleased Studio Session", but only 1:10 long. "Doggystyle" featuring George Clinton was a 5:26 long outtake from the album sessions. It is a singing melody with vocals dominating the song and it extensively samples "Oh I" by Funkadelic from their album The Electric Spanking of War Babies. Jewell & The Brides of Funkenstein are featured on the chorus.[38] The song was released on Death Row: The Lost Sessions Vol. 1 amongst other songs recorded by Snoop Doggy Dogg during his tenure at Death Row. Legacy and influence[edit] Hip-hop music[edit] Doggystyle is seen by many hip hop pundits as a "classic".[39] It is credited with defining West Coast hip hop; shifting the emphasis to more melodious, synth-driven, and funk-induced beats. About.com stated during the period the album was released, "Gangsta rap never sounded so sweet." The album is credited for further establishment of the slurred "lazy drawl" that sacrificed lyrical complexity for clarity and rhythmic cadence on Doggystyle and The Chronic.[1][2] The album is considered one of the first G-funk albums, the style of which many rappers duplicated in later years.[1] Hip-hop culture[edit] It has been suggested by some writers and publications that Doggystyle has considerably affected African-American culture. Some publications have held the rap genre responsible for social problems such as sexual violence and sexism, which has been blamed on Snoop Doggy Dogg and other rappers for calling their controversial lyrics "keeping it real."[40] The problems of sexual violence and sexism are attributed to lyrics degrading women such as "bitches" and "ho's," which some believe have influenced black males.[21][41] Snoop Doggy Dogg and other hip hop artists, including N.W.A, especially Eazy-E, Dr. Dre and Ice Cube (due to their success) and 2Pac, have been held accountable for developing the gangsta rap form; a genre which articulated the rage of the urban underclass and its sense of intense oppression and defiant rebellion,[21] which has been attained through the ability to communicate free of censorship, and has allowed hip hop culture to become a dominant style and ethos throughout the world.[21] Mariah Carey sampled the song "Ain't No Fun (If the Homies Can't Have None)" in her 1999 album Rainbow for the remix of Heartbreaker which featured Missy Elliott and Da Brat. The writers of Enculturation, Steven Best and Douglas Kellner, have noted that Snoop Doggy Dogg and other rappers only condemn violence when it is directed against them, otherwise "they celebrate it, internalize it, and embrace it as an ethos and means of self expression," which some believe has an effect on the black-on-black crime.[21] The release of music videos from Doggystyle and The Chronic has enabled the artists to add visual illustrations to their lyrics, which generally involve Dr. Dre and Snoop Doggy Dogg driving around South Central Los Angeles in a lowrider (a vehicle with lowered suspension). This imagery of the "gangsta lifestyle" is thought to have influenced young black males into trying to live the same lifestyle and it is also noted by T. Denean, writer of Pimps Up, Ho's Down: Hip Hop's Hold on Young Black Women, that the videos highlight the representation of class, race and Black masculinity within contemporary urban America.[42] Subsequent work[edit] Doggystyle is generally considered Snoop Dogg's best album, in addition to being his highest charting and best-selling album as his later albums were certified double Platinum, Platinum or Gold although Da Game Is to Be Sold, Not to Be Told was certified double Platinum making it his second best selling album and also his only other one to be certified multi Platinum.[2][43][44][45] It differs from following albums as his later work featured production from multiple individuals, such as The Neptunes, Timbaland and Daz Dillinger, with reduced input from Dr. Dre, which shows a shift from G-funk production.[2] Snoop Doggy Dogg's follow-up album, Tha Doggfather (1996), did not involve Dr. Dre, as he left Death Row Records. As a result, DJ Pooh was the main beat-maker for the album. Tha Doggfather followed the methods of a G-funk record and initially sold well, but received mixed reviews and failed to produce a major hit single.[2] In 1998, Snoop Dogg left Death Row and joined No Limit Records, changing his stage name from Snoop Doggy Dogg to Snoop Dogg. During his tenure at the label, he continued several of the themes from Doggystyle with follow-ups to earlier songs, such as "Gin & Juice II" (1998) and "Snoop Dogg (What's My Name II)" (2000).[46] Subsequent studio albums such as Paid tha Cost to Be da Boss (2002) and R&G (Rhythm & Gangsta): The Masterpiece (2004) exhibited a more mainstream, pop-oriented theme with new sounds, but remained "hardcore throughout" and featured "plenty of street and commercial appeal".[46] These releases included three hit singles, "Beautiful", "Drop It Like It's Hot" and "Signs". Snoop Dogg was credited for returning to his G-funk roots in 2006, which was established with his eighth studio album, Tha Blue Carpet Treatment (2006).[2] The album was noted for being a "hard and very G-Funk record".[2] In March 2022, Doggystyle and other Death Row albums were removed from all streaming platforms.[47] In October 2022, Snoop announced a spiritual sequel of the album, Missionary, also produced by Dr. Dre. The album was released by Death Row Records and Dr. Dre's label, Aftermath, on December 13, 2024.[48] On March 10, 2023, Doggystyle and many other Death Row releases were brought back to streaming services.[49] Critical reception[edit] Professional ratingsInitial reviews (in 1993/1994)Review scoresSourceRatingChicago Sun-Times[50]Entertainment WeeklyB−[24]Los Angeles Times[51]Music Week[52]Rolling Stone[23]Select[53]The Source[10] Professional ratingsRetrospective reviews (after 1993/1994)Review scoresSourceRatingAllMusic[1]Encyclopedia of Popular Music[54]Q[55]Spin Alternative Record Guide6/10[56] Doggystyle was released to widespread critical acclaim. Rolling Stone writer Touré mentioned "Doggystyle is filled with verbal and vocal feats that meet its high expectations. It speeds through 55 minutes of constant talk as if on a suicide hot line".[23] David Browne of Entertainment Weekly noted "It is the most limber, low-rider gangsta album to date" and went on to say "Doggystyle is a grim, bleak-faced record. It's set in a dead-end, no-tomorrow world of cheap thrills".[24] Stephen Thomas Erlewine of AllMusic stated "Doggystyle and The Chronic stand proudly together as the twin pinnacles of West Coast G-funk hip-hop of the early '90s"[1] Stylus magazine presented "The Chronic vs. Doggystyle" article, and stated a strong point of Doggystyle compared to Dre's album was its follow-up singles and that "some of the album tracks are more famous than the singles".[11] Vibe magazine expressed that "Snoop is no ordinary gangsta; that's impossible for an artist this playful. On his debut, with Dre riding shotgun anthems abound as often as gin-soaked debauchery".[57] The Source magazine gave the album a 4/5 mic rating. It said Snoop Doggy Dogg emerged as a rapper who lived up to all the advance hype which came from his work on The Chronic, and discussed songs on the record, stating "If 'Murder Was The Case' is a stroke of near genius, then 'Lodi Dodi' is an example of total genius."[10] NME magazine called the lead single "a pinnacle he conquered effortlessly" and went on to name the record a "benchmark album".[58] The album also received some negative criticism. Erlewine mentioned the album did not "surprise or offer anything that wasn't already on The Chronic".[1] Christopher John Farley noted Snoop Doggy Dogg had little examination over his emotions and feelings.[27] David Browne spoke of "Ain't No Fun", stating it was an example of how "musically artful, yet lyrically repellent, this album can be" and went on to say, "It's easy to be impressed one moment and appalled the next".[24] Renowned rock critic Robert Christgau gave the album a "dud" rating,[59] which signifies "a bad record whose details rarely merit further thought. At the upper level it may merely be overrated, disappointing, or dull. Down below it may be contemptible."[60] Q's Danny Kelly observed: "Snoop Doggy Dogg's record is more or less a 19-track homage to/gleeful rip off of George Clinton's 'Atomic Dog' ... It's inclined to become a touch unimaginative; a tad, let's be honest, dull ... And the sleeve competes with The Waterboys' Dream Harder and Billy Joel's River of Dreams as the worst attached to a recent release."[61] Despite the initial mixed criticism, critical perception of the album later improved, as Doggystyle has earned several accolades and rankings on critics' "best album" lists.[citation needed] A review of the album's reissue upped Q's rating from three to four stars out of five. "A modern classic," observed reviewer Tom Doyle.[55] In 2020, "Doggystyle" placed 340 in Rolling Stone's Top 500 Albums of All Time. The album was also placed at number 84 on Apple Music's 100 Best Albums list in 2024.[62] Accolades[edit] Publication Country Accolade Year Rank About.com United States 10 Essential Hip-Hop Albums[39] 2006 10 Blender U.S. 500 CDs You Must Own Before You Die[citation needed] 2003 * Ego Trip U.S. Hip Hop's 25 Greatest Albums by Year 1980–98[citation needed] 1999 3 Pause & Play U.S. Albums Inducted into a Time Capsule, One Album per Week[citation needed] - * Pause & Play U.S. The 90s Top 100 Essential Albums[citation needed] 1999 11 Rolling Stone U.S. The Essential Recordings of the 90s[citation needed] 1999 * Rolling Stone U.S. The 500 Greatest Albums of All Time[63] 2020 340 Rolling Stone (Chris Rock) U.S. Top 25 Hip Hop Albums Ever[citation needed] 2005 2 Stylus U.S. Top 200 Albums of All time[citation needed] 2004 115 The Source U.S. The 100 Best Rap Albums[citation needed] 1998 * The New Nation United Kingdom Top 100 Albums by Black Artists[citation needed] - 30 Robert Dimery - 1001 Albums You Must Hear Before You Die[64] 2005 * * denotes an unranked list Commercial performance[edit] Doggystyle debuted at number one on the US Billboard 200, powered by spectacular first week sales of 806,000 copies.[65] In the second week Doggystyle remained at the top of the Billboard 200, selling 378,000 copies.[66][67] In the third week the album dropped to number 2 on the chart, selling 259,000.[68][69] In the fourth week the album dropped to number 3 on the Billboard 200, selling 297,000 copies.[70][71] In the fifth week the album remained number 3 on the Billboard 200, selling 407,000 copies.[72] In the sixth week the album returned to the top of the Billboard 200, selling 270,000 copies, marking Doggystyle's last week at the top of the chart to date.[72][73] Doggystyle topped the Top R&B/Hip-Hop Albums chart for five weeks.[44] As of November 2015, the album had sold seven million copies in the United States, and over eleven million copies worldwide.[7] It was certified four times platinum by the Recording Industry Association of America on May 31, 1994.[74] It is Snoop Doggy Dogg's most successful album; his following albums were certified single or double platinum.[75] Doggystyle first appeared on music charts in 1993, peaking on the Billboard 200 and Top R&B/Hip-Hop Albums at No. 1.[43][44] It re-peaked at number one on the Billboard 200 in January 1994, when it was already certified three times platinum by the RIAA.[76] The record was mildly successful in Europe, reaching No. 18 in Sweden, No. 21 in Germany and No. 35 in Austria. It also peaked at No. 25 on the Recording Industry Association of New Zealand album chart.[77][78][79][80] At the end of 1994, the album was No. 3 on the Billboard Year-End Top Albums Chart and No. 1 on the Billboard Year-End Top R&B/Hip-Hop Albums Chart.[81][82] It re-entered the charts in 2003, peaking on the Ireland Albums Top 75 at No. 70.[83] As of September 2015[update], it had spent a total of 74 nonconsecutive weeks on the Billboard 200 album chart.[84] Track listing[edit] All songs produced by Dr. Dre. .mw-parser-output .tracklist{border-spacing:0}.mw-parser-output .tracklist tr{background-color:var(--background-color-base,#fff)}.mw-parser-output .tracklist tr:nth-child(2n-1){background-color:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .tracklist caption{text-align:left;font-weight:bold}.mw-parser-output .tracklist td,.mw-parser-output .tracklist th[scope="row"]{vertical-align:top}.mw-parser-output .tracklist th[scope="col"]{text-align:left;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output .tracklist th.tracklist-length-header,.mw-parser-output .tracklist th.tracklist-number-header,.mw-parser-output .tracklist th[scope="row"],.mw-parser-output .tracklist-length,.mw-parser-output .tracklist-total-length td{padding-right:10px;text-align:right}.mw-parser-output .tracklist th[scope="row"]{font-weight:normal}.mw-parser-output .tracklist-number-header{width:2em;padding-left:10px}.mw-parser-output .tracklist-length-header{width:4em}.mw-parser-output .tracklist tr.tracklist-total-length{background-color:transparent}.mw-parser-output .tracklist .tracklist-total-length th{padding:0;font-weight:bold}.mw-parser-output .tracklist-total-length th>span{float:right;padding:0 10px;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output .tracklist-total-length td{background-color:var(--background-color-neutral,#eaecf0);font-weight:bold;padding:0 10px 0 0}No.TitleWriter(s)Length1."Bathtub"Calvin Broadus Jr.1:502."G Funk Intro" (featuring The Lady of Rage)Broadus Jr.Robin Allen2:243."Gin and Juice" (featuring Dat Nigga Daz)Broadus Jr.Andre YoungHarry Wayne CaseyRichard Finch3:314."W Balls" (interlude)Broadus Jr.0:365."Tha Shiznit"Broadus Jr.4:046."Domino Intro" (interlude)Broadus Jr.0:377."Lodi Dodi" (featuring Nancy Fletcher)Broadus Jr.Douglas DavisHachidai NakamuraEi RokusukeRicky Walters4:248."Murder Was the Case (DeathAfterVisualizingEternity)" (featuring Dat Nigga Daz)Broadus Jr.YoungDelmar Arnaud3:389."Serial Killa" (featuring The D.O.C., Tha Dogg Pound, and RBX)Broadus Jr.YoungArnaudBootsy Collins3:3210."Who Am I? (What's My Name?)"Broadus Jr.YoungGeorge ClintonGarry ShiderDavid Spradley4:0611."For All My Niggaz & Bitches" (featuring Tha Dogg Pound and The Lady of Rage)Broadus Jr.ArnaudRicardo BrownAllen4:4312."Ain't No Fun (If the Homies Can't Have None)" (featuring Nate Dogg, Warren G, and Kurupt)Broadus Jr.YoungBrownNathaniel HaleWarren Griffin4:0613."Chronic Relief Intro" (interlude)Broadus Jr.0:3314."Doggy Dogg World" (featuring Tha Dogg Pound and The Dramatics)Broadus Jr.ArnaudBrownRichard "Dimples" FieldsJames Harris IIITerry Lewis5:0515."Class Room Intro" (interlude)Broadus Jr.0:4416."Gz and Hustlas"Broadus Jr.ArnaudDon Blackman3:5117."Checkin'" (interlude)Broadus Jr.Young0:5718."Gz Up, Hoes Down"Broadus Jr.YoungArnaud2:2119."Pump Pump" (featuring Lil Malik)Broadus Jr.YoungJamal PhillipsMalik Edwards3:42Total length:54:44 Notes[edit] "Gz Up, Hoes Down" was included on initial album pressings, but was subsequently omitted due to sample clearance issues. It was later included on the 2006 compilation, 15 Years on Death Row, as well as 30th anniversary vinyl and CD pressings. 2001 pressings and onwards condense the album's interludes with the proceeding tracks; totaling 13 tracks. On the U.S. original release's back cover "Gz Up, Hoes Down" is erroneously listed after "Pump Pump" instead of immediately before. Original pressings in Europe features track names for all interludes - the interlude track names listed above are taken from the said European release. "W Balls" was the only interlude listed on the original American release. All interludes, including "W Balls" were later omitted from all track listings. The original pressings of the album, which contains "Gz Up, Hoes Down", list an outro track titled, "Tha Next Episode", but does not feature on any pressings of the album. A low-quality recording of the song later leaked online sometime in the late 2000s. Cut tracks[edit] "Tha Next Episode", produced by and featuring Dr. Dre, was listed on the track listing provided to retailers before the album's release, but does not feature on any pressings of the album. A similar instrumental (i.e., it used the same sample as its main melody) was later used for Warren G's track "Runnin' Wit No Breaks" from his 1994 debut album, Regulate...G Funk Era[85] Snoop Dogg and Dr. Dre later recorded a track titled "The Next Episode" for Dre's second studio album, 2001, which is completely different from the original. "Doggystyle", featuring Jewell and George Clinton, was recorded during the album sessions but remained unreleased until its inclusion on the compilation album Death Row: The Lost Sessions Vol. 1[85] "The Root of All Evil (Outro)", featuring Teena Marie, was recorded during the album sessions but remained unreleased until its inclusion on the compilation album Death Row: The Lost Sessions Vol. 1. The instrumental was later significantly reworked and used for the remix of "California Love", by 2Pac featuring Dr. Dre. "Every Single Day", featuring Kurupt, Jewell and Nate Dogg, was recorded during the album sessions, remaining unreleased until an alternate version was released on Tha Dogg Pound compilation album 2002. Credits and personnel[edit] .mw-parser-output .col-begin{border-collapse:collapse;padding:0;color:inherit;width:100%;border:0;margin:0}.mw-parser-output .col-begin-small{font-size:90%}.mw-parser-output .col-break{vertical-align:top;text-align:left}.mw-parser-output .col-break-2{width:50%}.mw-parser-output .col-break-3{width:33.3%}.mw-parser-output .col-break-4{width:25%}.mw-parser-output .col-break-5{width:20%}@media(max-width:720px){.mw-parser-output .col-begin,.mw-parser-output .col-begin>tbody,.mw-parser-output .col-begin>tbody>tr,.mw-parser-output .col-begin>tbody>tr>td{display:block!important;width:100%!important}.mw-parser-output .col-break{padding-left:0!important}} Dr. Dre – producer, vocals, drum programming, mixing engineer, mastering engineer Snoop Doggy Dogg – lead vocals, performer Daz Dillinger – vocals, performer, additional vocals Tha Dogg Pound – performer, vocals The Dramatics – performer The Lady of Rage – performer, additional vocals RBX – performer Kurupt – performer Nate Dogg – performer, additional vocals Warren G – performer, vocals Bow Wow – performer (featured) George Clinton – performer, additional vocals Jewell – performer, additional vocals Mr. Malik – performer, additional vocals Ricky Harris – performer, additional vocals The Queen of Funk – performer (featured) The D.O.C. – performer Daz Dillinger – additional vocals Tha Dogg Pound – additional vocals Dr. Dre – additional vocals George Clinton – additional vocals Jewell – additional vocals The Lady of Rage – additional vocals Lashann Dendy – additional vocals LeShaun – additional vocals Mr. Malik – additional vocals Nanci Fletcher – additional vocals Ricky Harris – additional vocals Shana Dee – additional vocals Snoop Dogg – additional vocals Tony Green – additional vocals Warren G – additional vocals Suge Knight – executive producer Bernie Grundman – mastering engineer Chris "The Glove" Taylor – songwriter, mixing engineer Ulrich Wild – engineer, recording engineer Joe Cool – cover artwork Kimberly Holt – art direction, project coordinator Kimberly Brown – project coordinator Anita Sisaath – video director Calvin Caday – video director Fab 5 Freddy – video director Ricky Harris – video director Pamella D’Pella – video location manager Dan Winters – photography Chi Modu – photography Daz Dillinger – producer Warren G – producer Dr. Dre – producer Daz Dillinger – writer Dr. Dre – writer Warren G – writer Belinda Wilson – writer Bootsy Collins – writer Daniel Webster – writer Don Blackman – writer Garry Shider – writer George Clinton – writer Hachidai Nakamura – writer Harry Wayne Casey – writer Jerome 'Bigfoot' Brailey – writer Kurupt – writer The Lady of Rage – writer Mark Adams – writer Mr. Malik – writer Mose Davis – writer Nanci Fletcher – writer Nate Dogg – writer Philippe Wynne – writer Ray Turner – writer Richard "Dimples" Fields – writer Richard Finch – writer Rokusuke Ei – writer Sam Sneed – writer Slick Rick – writer Snoop Dogg – writer Steve Arrington – writer Steve Washington – writer The D.O.C. – writer Warren G – writer Publisher : Ain’t Nothin’ Goin’ on but Funkin’, Beane Tribe Publishing, Bridgeport Music, Cotillion Records, EMI Longitude Music, EMI Music Publishing, eOne Music, Kobalt Music, Sony Music Entertainment, Southfield Music, Suge Publishing, Universal Music Group, Warner/Chappell, Warner-Tamerlane Publishing Corp. Distributor : Atlantic Records, Death Row Records, Priority Records Charts[edit] Weekly charts[edit] Chart (1993–1994) Peakposition Australian Albums (ARIA)[86] 24 Austrian Albums (Ö3 Austria)[77] 35 Canadian Albums (RPM)[87] 10 Dutch Albums (Album Top 100)[88] 34 German Albums (Offizielle Top 100)[78] 21 Irish Albums (IRMA)[83] 70 New Zealand Albums (RMNZ)[79] 25 Scottish Albums (OCC)[89] 69 Swedish Albums (Sverigetopplistan)[80] 18 Swiss Albums (Schweizer Hitparade)[90] 24 UK Albums (OCC)[91] 38 UK Independent Albums (OCC)[92] 9 UK R&B Albums (OCC)[93] 8 US Billboard 200[43] 1 US Top R&B/Hip-Hop Albums (Billboard)[44] 1 US Vinyl Albums (Billboard)[94] 3 Catalog charts[edit] Chart (1997–2015) Peakposition US Top Catalog Albums (Billboard)[95] 7 US R&B/Hip-Hop Catalog Albums (Billboard)[96] 3 Year-end charts[edit] Chart (1994) Position German Albums (Offizielle Top 100)[97] 78 Icelandic Albums (Tónlist)[98] 15 US Billboard 200[99] 3 US Top R&B/Hip Hop Albums (Billboard)[100] 1 Chart (1995) Position US Top R&B/Hip Hop Albums (Billboard)[101] 100 Chart (2002) Position Canadian R&B Albums (Nielsen SoundScan)[102] 198 Canadian Rap Albums (Nielsen SoundScan)[103] 98 Decade-end charts[edit] Chart (1990–1999) Position US Billboard 200[104] 64 Certifications[edit] Region Certification Certified units/sales Canada (Music Canada)[105] Platinum 100,000^ France (SNEP)[106] Gold 100,000* United Kingdom (BPI)[107] Platinum 300,000^ United States (RIAA)[74] 4× Platinum 6,957,800[7] Summaries Worldwide — 11,000,000[7] * Sales figures based on certification alone.^ Shipments figures based on certification alone. Release history[edit] Region Date Format(s) Label Ref. United States November 10, 1993 cassette Atlantic November 23, 1993 CDLP Death RowInterscope See also[edit] List of number-one albums of 1993 (U.S.) List of number-one albums of 1994 (U.S.) List of number-one R&B albums of 1993 (U.S.) List of number-one R&B albums of 1994 (U.S.) Billboard Year-End References[edit] .mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman} ^ a b c d e f g h i j k l .mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}Erlewine, Stephen Thomas. 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