Most Bumping Albums #3

The Most Bumping Albums of All Time (#3 Doggystyle)
What started as a simple Facebook question to my friends, "What's the most bumping album you own?" developed into the concept for this multipart series. From the received suggestions, I created a bracket and allowed by friends to vote in album face offs. While there were a few surprises, the top 3 turned out just as I had expected. I've been thinking about the results, and have come to one of two conclusions. On one hand, most of my friends are children of the 80's and 90's, on the other hand it's possible that the early 90's were simply responsible for the most bumping music of all time. What was definitive was that Snoop, Dre, and Biggie were at the top of the list. 
At number 3, Doggystyle popped on the scene and took a 19 year old Snoop Dogg to the top of the charts, and the top of the rap game. His sedated flows and easy style made him the perfect topping for Dre's beats, which were incredible. Coincidence that Dr. Dre touched portions of all 3 of the most bumping albums of all time? Doubtful. Dre, the King Midas of bumping, designed the ultimate bumping formula... Sample hooks from dope 70's funk, and beef up the bass. It seemed Dre had put almost as much food on the table for the likes of PFunk as they had for themselves. While Snoop's rapping has always been among my favorite, I have always been aware that he was only as good as Dre made him. Sure, his lyrics were funny, pimping, gangster, and smoother than butter, but it was the beats that made Doggystyle a hit. 
As I listened to the skit opening, "Bathtub," I  heard Snoop and his lady relaxing in a bubble bath... Taking a page from the old song, "Splish, Splash," the mood soon took a turn toward a party, and Dre's first beats dropped with the beginning of "G Funk Intro." Immediately earning its spot in the top 5 most bumping albums of all time, the funky bassline was the definition of bumping. Upbeat, bass-filled, synthy, danceable funk with humor, style, talent, and absurdity. I wouldn't have argued with any parent who forbade their children from listening to the album. It was a vulgar, lewd, crude, and dirty album with lyrics that degraded women, made light of crime, and generally backed the "gangster" ethos. So, why does a relatively well-behaved, kind, caring, middle class white guy like me still like it? Your guess is as good as mine. 
The skits that segue between songs are based on some of the original skits from PFunk albums, and seemed to have a similar feel, though with the influence of the 90's in LA's streets. That hard edge is what defined the term "gangsta rap." 
From "G Funk Intro" (another nod to "P Funk") bloomed "Gin and Juice," one of my favorite rap songs of all time. When I was in a band, our keyboard player had an effect called "Compton," and it was named after the effect in this song. The vibe was pure LA block party. 
"Tha Shiznit" had a gangster flair to the beat right away. Visions of dark alleys, drive-by shootings, and giant rap egos crept in as Snoop dropped intricate rhymes boasting his kingpin status. I liked the use of gunshots to accent the drum track.
"Lodi Dodi" was an anthem of party rap in the 90's. The hazy bass-line laid the foundation for a relaxed groove. Once again Snoop found himself fending off the ladies, slinging rocks, and doing all that other rapper stuff.
"Murder Was The Case" was Snoop's attempt at a "deal with the devil" type of song. Lyrically strong, the backing beats are comparably pimping, continuing the bump factor deep into the album.
"Serial Killer" wasn't the best song on the album, but the beat was once again pounding.  The lyrics fit the album, and featured more of the Dogg Pound than many of the other songs. Snoop's verse was smooth though less impressive than the other hits.
The next tune, "Who Am I" might have been my vote for most bumping song on the album. The wet bass was grindy, dirty, and kinetic... Active. The lyrics to this song were also party rap more than gangsta rap, which might be another reason I like it more. 
"For All My..." Also featured the "Compton" keyboard effect. Dre seemed to like it a lot. Much of the sampled work was taken from PFunk and Talking Heads keyboardist, Bernie "The Wizard" Worrell, one of my favorite musicians of all time. 
At 14 years old, I thought "Ain't No Fun" was the funniest song in the world. Don't worry ladies, I found it incredibly inappropriate, but I was shocked into laughter. Quite possibly the most explicit song on the album, it was paired with the more soulful vocals of Nate Dog. The juxtaposition was perfect. 
"Doggy Dogg World" was old school rap going super old school. The Dramatics backing Snoop added a retro feel that matched the 70's funk influenced world at Death Row Records. 
"G'z and Hustlas" began with a school room skit where Snoop declares his intent to be a hustler. As if it was clockwork, Dre's beats jumped up to dominate the bassy, groove and hit me like a '70 Coupe DeVille with hydraulics. 
"Pump Pump" ended the album with more gangster chatter and glorified murder. It has always astounded me how such violent lyrics could be associated with such fun music. Fortunately, this contest wasn't about morality, manners, or good language or Doggystyle wouldn't have been a consideration. But the contest was, "most bumping," and it doesn't get much more bumping than S-N-double O-P.