Snoop Dogg has one of the most diverse rap catalogs of all time.
In 1993, at the age of 22, he dropped his G-funk masterpiece Doggystyle, breaking sales records in the process. Since then: Snoop has released albums that experimented with the contemporary sounds of the times (whether it’s No Limit’s bounce on Da Game Is to Be Sold, Not to Be Told or the sparse, futuristic production of The Neptunes on R&G (Rhythm & Gangsta)); dropped pure nostalgic West Coast-based gangsta rap albums (think No Limit Top Dogg or Neva Left); and during a particularly prolific time in the mid 2010s dropped a pop album where he’s mostly singing (Bush), a reggae LP (Reincarnated) and a gospel record (Bible of Love) in the span of five years.
It’s many swings, and part of the reason why Snoop is probably still the most recognizable rapper in pop culture. We now have album number 20, Missionary, which dropped today.
This album is monumental because it marks the return of one of the greatest rap duos of all time: Snoop Dogg and Dr. Dre. Though they’ve collaborated on dozens of songs over the years, this is the first time we’ve gotten a Snoop album produced entirely by Dre since Doggystyle.
It’s been 31 years, and Missionary is a very different album from Doggystyle. The G-funk influences are more restrained—this isn’t really gangsta hip-hop, but more mogul rap. The album features Snoop, who is now 53, and Dre, 59, enjoying their legendary status while reflecting on their influence over the game. The production—handled entirely by Dre and trusted collaborators like Dem Jointz, The ICU, Mell Beats, and more—is expansive and luxurious, with what are probably very expensive samples from artists like Tom Petty, Sting, and others. Meanwhile, Snoop’s performance remains classic—effortless, nonchalant, and cool. It’s a style that pairs perfectly with Dre’s evolving production palette.
Missionary caps off a strong year for OG figures in hip-hop, with several legends dropping impactful comeback albums, often collaborating with other legends of the genre. So where does it rank amongst those efforts? We answer that and more.
Here are six takeaways from Snoop Dogg and Dr. Dre’s new album, Missionary.
Damn, Snoop sounds cool
It doesn’t matter what Snoop Dogg is rapping about; he could be spitting about Long Beach City, his beloved relationship with weed, or why he’s the best in the game. Wherever his mind takes him, he always sounds like the absolute coolest dude in the room. Despite being 53 years old and giving his name, image, and likeness to any company willing to give him some money, the Doggfather remains unimpeachably dope. On Missionary, he sounds as fresh as he has in years, even when he’s rehashing topics we’ve heard a million times before.
Regardless of the beat Snoop’s rapping over, his charisma is unwavering and effortless. For most of the album, he sounds fantastic—precise in his rhymes and quick to switch flows at the drop of a dime bag. The standout performance is the gritty “Pressure,” where Snoop delivers some of the hardest verses on the album:
“Got this city on my back, n*gga, Eastside savagesPistol grip pump on my lap, automatic shitIndo smoke, fuckin' with a n*gga cataractsRoll down the windows, sound of the battle axe.”
Because Dre’s beats are so energetic and fluid throughout, it helps that we get such a sturdy, consistent performance from Snoop. —Will Schube
Dre is cooking up some decidedly different beats
There’s a reason why Dr. Dre is widely associated with one particular style of rap production. The icon has been the face of G-funk since he helped perfect the sound in the early ‘90s. Since then, it’s become not only a calling card but a pillar of the region’s sound. Snoop is also tightly affiliated with the sound, so it would make sense for Missionary to follow in the style of Doggystyle. But that’s not what they do here.
Retreading old ideas or going for the nostalgic play would be a predictable move for lesser artists, but Missionary is exciting precisely because Dre and Snoop are eager to forge new territory. Dre, in particular, is a restless innovator regarding production, pulling on a wide spectrum of popular music over the years, from ‘80s hip-hop (sampling Schooly D on “Outta Da Blue”) to psychedelic rock (using Pink Floyd on “Hard Knocks”) to '70s new wave (Snoop and Sting singing a version of “Message in a Bottle” on “Another Part of Me.”) No two ideas sound the same, and The Chronic architect takes a stab at a number of different styles—or should we say positions?—on Missionary. —Will Schube
“Last Dance with Mary Jane,” Snoop’s ultimate ode to weed
“Last Dance with Mary Jane” sure seems to suggest that Snoop Dogg is hanging it up when it comes to his favorite pastime. And while the track, which samples Tom Petty’s “Mary Jane’s Last Dance” and features Jelly Roll, is a powerful meditation on substance abuse, it becomes increasingly clear that it’s less about giving up substances than our relationships with them.
Snoop takes listeners on a history tour of his relationship with weed, tracing his story back to the time he was five years old. He raps: “Don't bother asking me to ever give my lady up/ Was about five years old taking my first puff/ It was love at first light, fell in love the first night/ My uncle told me don't rush, this could be your first crush.”
Snoop takes the metaphor a little further than feels comfortable, adding: “I used to flip bags with her, skip class with her/ She comfortable as fuck when I'm trying to smash with her.”
Jelly Roll, who comes through to add some melodic spice alongside the Petty sample, takes a different approach, discussing the negative impact of drugs in his life. He serves as a nice counterpoint to Snoop, crooning: “I've seen some things in my life/ It feels like raging inside/ This time I'm changing my mind/ I'm saying goodbye to the dangerous side.”—Will Schube
The features say something about Dre and Snoop’s indifference to contemporary rap
When Snoop Dogg and Dr. Dre teased the tracklist for Missionary, a few things stood out. The 50 Cent and Eminem track made sense, as did features from an artist like Jhené Aiko on a song called “Gorgeous.” But the inclusion of Sting on “Another Part of Me” and Jelly Roll alongside the late, great Tom Petty on “Last Dance With Mary Jane” was more puzzling. Even more surprising, though, is how these moments were integrated into the album. “Last Dance With Mary Jane” reimagines the iconic Tom Petty lyric as a new sample, providing a map of sorts for Snoop and Jelly Roll to follow. “Another Part of Me” not only features Sting but also pays homage to his work with The Police.
What really stands out, however, is the lack of rap features on the album. In fact, the rap guests we do get are from legacy artists who are as solidified in the game as Snoop himself. Method Man delivers a verse of the year contender on the soulful “Skyscrapers,” while fellow Aftermath brethren 50 Cent and Eminem show up in full force for their OG. —Will Schube
We get a real Snoop, Dre, Em, and 50 song for the first time
Dr. Dre’s three biggest protégés finally connect. One of the album's highlights is “Gun N Smoke,” a throwback posse cut featuring 50 Cent, Snoop Dogg, and Eminem, all delivering near-peak performances. The track samples The Notorious B.I.G.’s "Dead Wrong" and is all raps, no hook—something that would feel right at home on Dre’s classic 2001 album.
As usual, Eminem steals the show with a verse about the pitfalls of fame. His rapping here is technically and narratively excellent. He raps:
“But I'll be damned if the same reporter's gonna shove another tape recorder / And camera in my face while I’m just tryin' to grab my baby daughter a burger, like Shady oughta be amicable.”
This might be their first collaboration, but let’s hope it’s not the last. —Dimas Sanfiorenzo
Was 2025 the year of the OG rapper renaissance?
At this point in the history of rap, it’s easy to get skeptical about artists outside of their peak continuing to put out new music. Time and again we’ve seen middle-aged MCs try to chase trends, switch up their sounds, and look for one more radio hit. It rarely works. This year, though, we’ve seen a number of releases from longtime vets of the industry put out stunningly good albums. Each has done it by working with a longtime collaborator, suggesting that chemistry is extremely important in these endeavors. Common and Pete Rock linked up for The Auditorium Vol. 1, which is pretty clearly the best thing Common has released in some time. LL Cool J reinvigorated his career by putting out an excellent album entirely produced by Q-Tip, entitled THE FORCE, and now Dre and Snoop have turned this trend into a triumvirate. Who’s to say whether this is a playbook for others to follow in the future, or if this simply occurred because all artists involved are six of the best to ever do it in rap. Regardless, in 2024, the old heads got something to say. —Will Schube