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Posts Tagged ‘Gin and Juice’

 (Above: Hearts of Darkness are one of the biggest bands in Kansas City and a tough act to follow.)

By Joel Francis
The Daily Record

As a live entertainment, hip hop has a bad rap (sorry). The genre’s main criticism – no one’s actually playing instruments – becomes especially acute onstage. While great MCs can deliver a stirring performance backed only by a DJ, the two-turntables-and-a-microphone set-up is the hip hop equivalent of going unplugged. The safety nets are removed and the MC’s skills (or lack thereof) are on full display.

Although he has brought a live band the past several times he’s come to Kansas City, Snoop Dogg decided to forgo live instrumentation for his performance Tuesday night at Crossroads KC. Backed by a DJ, trio of dancers, two hype men and three gentlemen whose job it seemed was to hang out onstage, Snoop delivered lethargic readings of his most celebrated hits.

Ironically, Snoop undermined his set by making fans wait more than an hour by listening to a playlist from his catalog. The rap stars belated appearance seemed almost superfluous in context. After listening to pre-recorded versions of his music for so long, having authentic vocals over more pre-recorded tracks didn’t seem that special anymore.

Stage problems also hampered the evening. During the first song, “I Wanna Rock,” the lighting rig gradually started lowering in front of the stage. Unfazed, Snoop and his ensemble continued to perform, nearly obscured. When it happened a second time, however, Snoop stopped the show and addressed the stage manager.

“Why does this (stuff) always happen when Snoop Dogg come on?” he asked.

A spate of hits, including “P.I.M.P.” and “Gin and Juice” got the crowd dancing, but the performance seemed like high-spectacle karaoke or an infomercial with a great chorus. With his DJ doing nothing more than cuing backing tracks and shouting over the songs, Snoop would have been better served dumping the entourage and hiring a live rhythm section to breathe some life into the numbers. Although the crowd responded enthusiastically, the result was nothing that couldn’t be easily found at any of the city’s best hip hop dance clubs.

Opening act Hearts of Darkness didn’t do Snoop any favors. The 70-minute set by the local Afro-beat ensemble may have carried on too long for casual fans, but the interplay between the group’s large horn section and several percussionists kept the crowd dancing despite the withering heat. A cover of Outkast’s “Spottieottiedopaliscious” blended well with the 15-piece band’s original material.

A half hour into Snoop’s set – and more than three hours after Hearts of Darkness took the stage – I succumbed to the weather and the hour and headed for home. The decision may sniff of Old Man Syndrome, but it turned out to be the right call: Snoop himself called it a night less than 30 minutes later.

The high point of the Doggfather’s set was watching the teenagers outside the venue, dance and party on dumpsters across the street so they could see over the fence and watch the rap celebrity. The group was having so much fun they even got a shout-out from the stage. But it’s hard to feel shortchanged when you haven’t paid anything in the first place.

Keep reading:
Review: Snoop Dogg with Method Man and Redman
A Black Friday blowout
Review: Lupe Fiasco 
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 (Above: Snoop Dogg performs a medley of old hits on Nov. 6 at Harrah’s Voodoo Lounge in Kansas City, Mo.)

By Joel Francis
The Kansas City Star
The revue that brought rappers Snoop Dogg, Method Man and Redman to the Voodoo Lounge on Friday was called the “Wonderland High School Tour.” The promoters should have inserted the word “reunion.”

Hip-hop has turned the corner as a genre. Its former disposable nature and willingness to discard any artist who dared to fall behind a trend, regardless of their past successes, has shifted to establishing legacy artists.

Despite releasing new –- and very good –- material, the three artists were more than happy to trade on their old numbers for most of the evening’s performances.

The sold-out crowd couldn’t have been happier.

After opening with a trio of cuts from his new album-length collaboration with Redman, “Blackout! 2,” including the excellent singles “A-Yo” and “City Lights,” sometime Wu-Tang Clan MC Method Man announced his intentions.

“We want to take this back to when hip-hop was good,” he declared, before launching into Redman’s 1992 song “Time 4 Sum Aksion.” That was followed by Meth’s signature song, the 1993 Wu-Tang classic “Method Man.”

A couple hours later, Snoop Dogg echoed the sentiment. Asking the crowd who came to hear the “classic stuff,” he beamed when the audience erupted in screams.

Snoop opened his 80-minute set with “The Next Episode.” The five-piece backing band added muscle and intensity to Dr. Dre’s nimble arrangements. The hits “P.I.M.P.,” originally recorded with 50 Cent in 2003, and 1993’s breakthrough “Gin and Juice” followed, sending the audience into ecstasy.

Snoop was so enamored with his early ‘90s, Death Row heyday he brought out Lady of Rage to deliver her part on a song from “Doggystyle,” Snoop’s debut album, and her one hit, “Afro-Puffs.”

Rage has been missing in action for better than a decade, but everyone sang along to her hit like Newt Gingrich had just announced the Contract with America. Snoop was all smiles, slinking around the stage and working the crowd as Rage took the spotlight.

The Death Row glory days connection was reinforced when Snoop paid tribute to 2Pac with a performance of “Hail Mary.”

There were some concessions to newer material. “Riding in My Chevy” was well received, but the magnificent “Drop It Like It’s Hot” was tethered to a cover of House of Pain’s 1992 hit “Jump Around.” Why did Snoop feel he needed to attach his song to a one-hit wonder? Also a mystery is why Snoop chose to ignore his upcoming album except for a quick plug at the end of the set.

At any rate, “Hot” was the finest musical moment of the night. The full band fleshed out the bare-bones album arrangement, adding deeper bass and bigger bass. The performance gradually built in intensity until both band and crowd alike were flat-out rocking.

The biggest problem with Snoop’s set was his over-reliance on back-up MCs Kurupt and Daz Dillinger. Their solo turns took time away from other song Snoop could have performed and their backing role was the equivalent of Garrett Morris delivering the news for the hearing impaired on Saturday Night Live.

A medley of “Deep Cover,” “Nuthin’ But A ‘G’ Thang” and “B— Please” went off like a flash pot. A delirious crowd devoured every beat, recited every syllable and danced furiously. It was the hip hop equivalent of “Jump” or even “Jumpin’ Jack Flash.” Snoop closed with another crowd-pleaser: “Who Am I? (What’s My Name?)”

Snoop’s laid-back delivery and contentment to stroll and swagger across the stage stood in contrast to the kinetic energy of Method Man and Redman. The pair barely stood still throughout their hour-long set, delivery Wu-Tang favorites, solo cuts like “Bring the Pain” and “You’re All I Need To Get By” and the obligatory tribute to deceased Wu-Tang member Ol’ Dirty Bastard.

The duo was backed by frequent Wu-Tang producer Mathematics and DJ Nice and scored points with the pro-cannabis crowd by performing weed anthems “How High” and “Part II.” Marijuana was a reoccurring theme of the night. A pair of sheriffs camped on either side of the club entrance and the beginning of the night and a lingering presence later in the night quashed many would-be smokers. The dense clouds produced by the overhead smoke machines created enough cover for the rest.

The evening kicked off promptly at 8 p.m. with the only performer who wasn’t tied to the 1990s. Devin the Dude provided an hour of rhymes about women and weed. His base lyrics and laconic delivery found many fans in the crowd but were no match for what followed.

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