Two Dope Boys In a Cadillac: Snoop Dogg and Madlib

Harold Stallworth is infatuated with Donald Goines’ novels. “The creative geography has collapsed over the last few years in Los Angeles.” This is a sentence I wish I could take credit for, but...
By    April 9, 2014


Harold Stallworth is infatuated with Donald Goines’ novels.

“The creative geography has collapsed over the last few years in Los Angeles.” This is a sentence I wish I could take credit for, but it’s an observation that only a California native, such as this publication’s editor, who lived through an era where Xzibit’s At The Speed of Life and Tupac’s The Don Killuminati: The 7 Day Theory, poignant albums that have more in common than they have in contention, were marketed and received like entirely different genres of music. In 2014, a collaboration between the likes of Snoop Dogg and Madlib, a union of rhythm and gangster and blunted soul, is no longer noteworthy in itself. But “Cadillacs,” the standout record from Snoop’s third installment of his DJ Drama-hosted That’s My Work mixtape series, lives up to the names glaring on the marquee.

Snoop insists that if one indeed chooses to bang, snitching and bitching are non-ciphers; Madlib plays the bass like a race card. What more could you possibly ask from a pair of unassailable West Coast rap stalwarts?

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