Dr. Dre’s album Compton, inspired by the film Straight Outta Compton, arrived as more than just a soundtrack; it was presented as Dr. Dre’s grand finale, a definitive statement capping off a monumental career. Released in 2015, Compton offered fans and critics alike a chance to reflect on his journey and assess his place in hip-hop history. One track that immediately grabbed attention was “Genocide,” featuring Kendrick Lamar, Marsha Ambrosius, and Candice Pillay. This song, and indeed the entire album, showcased Dre not as a relic of the past, but as an artist still pushing boundaries and exploring new sonic territories.
“Genocide” is a powerful opener, highlighting Kendrick Lamar’s vocal dexterity, reminiscent of his groundbreaking album To Pimp a Butterfly. Lamar’s verses are dynamic, showcasing the vocal elasticity that became his signature. Equally striking is Dr. Dre’s own delivery on the track. Known for his role as a producer and curator, Dre’s rapping here is notably different. He adopts a more urgent, almost snarling style, a departure from his earlier, more laid-back flows. Throughout Compton, Dre’s rapping is surprisingly agile and fresh, defying expectations and demonstrating his continued evolution as an artist. This track immediately signals that Compton is not simply a nostalgic throwback but a forward-thinking project.
Musically, Compton is a testament to Dr. Dre’s enduringly eclectic taste and his relentless pursuit of sonic innovation. Rather than rehashing familiar sounds, the album ventures into diverse musical landscapes. Dre’s production choices reveal a deep crate-digging ethos, seamlessly blending obscure samples with live instrumentation. From sampling a modern funk band from Italy for “One Shot One Kill” to incorporating a riff from a Turkish psychedelic track, Compton showcases a global and genre-bending approach to music production. The album is meticulously polished, with session musicians adding layers of live keys and bass, creating a rich and dynamic sonic texture. This meticulous approach to sound design has always been a hallmark of Dr. Dre’s work, and Compton reaffirms his status as a sonic innovator.
Behind the scenes, a crucial collaborator on Compton is Focus…, the son of Chic bassist Bernard Edwards. A long-time Aftermath in-house producer, Focus… played a pivotal role, contributing keys, bass, and co-production across the album. While often working in the background, Focus…’s contributions are integral to the album’s cohesive sound. In contrast to Focus…’s understated presence, the album also features high-profile producers like DJ Premier and DJ Dahi, each injecting their distinct personalities into Dre’s sonic tapestry. DJ Premier’s contribution, “Animals,” is particularly noteworthy as their first official collaboration. Premier’s signature drums, programmed by Russian producer BMB SpaceKid, are instantly recognizable, adding a classic hip-hop flavor to the track.
“Animals” stands out for its politically charged lyrics, echoing themes from N.W.A.’s “Fuck Tha Police” but with a contemporary perspective. Decades later, the rage has evolved into a palpable sense of desperation. Anderson .Paak, a rising talent from Los Angeles who features prominently on Compton, shines brightly on this track. Originally his and Premier’s song, “Animals” becomes a platform for Dre to deliver a potent verse, reflecting on the complexities of race and privilege in America. His lines, “Why the fuck are they after me? / Maybe ’cause I’m a bastard, or maybe ’cause of the way my hair grow naturally,” are raw and thought-provoking, highlighting the enduring struggles faced by Black individuals in America, even those who have achieved immense success.
The guest list on Compton is as impressive and diverse as Dre’s production palette, featuring both established legends and rising stars. Snoop Dogg, on “One Shot One Kill,” revisits the menacing energy that defined his early career. Xzibit and Cold 187um find their groove on “Loose Cannons,” while The Game, on his tracks, recaptures the spark that initially earned him Dr. Dre’s endorsement, particularly reminiscent of his debut album The Documentary. “Deep Water” emerges as a standout track, a moment where all elements coalesce perfectly. Anderson .Paak’s portrayal of a drowning man is visceral and unsettling, while Kendrick Lamar’s verse is widely interpreted as containing subliminal disses aimed at Drake, with Dre seemingly endorsing the lyrical sparring. Lamar’s technical brilliance on “Deep Water” is so dense and multifaceted that it demands repeated listens to fully appreciate its nuances.
Anticipating a new Dr. Dre album has always been a complex affair, laden with expectations shaped by his groundbreaking past. Dre has consistently been at the forefront of hip-hop’s evolution, pioneering ambitious orchestration and pushing the genre into new territories. His classic albums redefined the sound of hip-hop, setting new standards for production and artistry. Compton may not possess the same paradigm-shifting impact as his earlier masterpieces, but it is undeniably an excellent and multifaceted work. It’s more intricate and challenging than many might have anticipated, proving that Dre is not content to simply rest on his laurels or chase fleeting trends. Knowing that Compton was intended as Dre’s farewell to the album format adds a layer of poignant melancholy to the listening experience. Ultimately, Compton is a fitting conclusion to an unparalleled career, leaving listeners with a sense that this might indeed be the best way for Dr. Dre to conclude this chapter, solidifying his legacy as a true innovator and icon.
