[12][13] Describing Doggystyle in 1993, Snoop Doggy Dogg likewise points to the album's realism, and the extent to which it is based on his personal experience.

"[14] Explaining his intentions, Snoop Doggy Dogg claims he feels he is a role model to many young black men, and that his songs are designed to relate to their concerns.

Daz Dillinger, of the latter group, accused Dr. Dre of taking sole recognition for producing the album and alleged that Warren G and himself contributed substantially to the production of the project.

[15] Death Row Records co-founder Marion "Suge" Knight stated in 2013 that, "Daz pretty much did the whole album", and that credit was signed over to Dr. Dre for a fee.

[18] Rolling Stone writer Jonathan Gold described how Dr. Dre produced a beat from scratch to complete instrumental: "Dre may find something he likes from an old drum break, loop it and gradually replace each part with a better tom-tom sound, a kick-drum sound he adores, until the beat bears the same relationship to the original that the Incredible Hulk does to Bill Bixby".

A smiling guy in a striped jersey plays a nasty one-fingered melody on an old Minimoog synthesizer that's been obsolete since 1982, and Dre scratches in a sort of surfadelic munching noise, and then from his well-stocked Akai MPC60 samples comes a shriek, a spare piano chord, an ejaculation from the first Beastie's record—'Let me clear my throat'—and the many-layered groove is happening, bumping, breathing, almost loud enough to see.

Some critics believe the artwork portrays a woman merely as a hole to be filled by the man, which they believe adheres to the narcissistic and sexist lyrical themes Snoop Dogg covers.

[21] In this interpretation, the cover art and lyrics convey what they refer to as the self-indulgent "gangsta" lifestyle, drugs, cars, sex, and money.

AllMusic writer Stephen Erlewine stated: "Dre realized that it wasn't time to push the limits of G-funk, and instead decided to deepen it musically, creating easy-rolling productions that have more layers than they appear".

[1] Rolling Stone writer Touré noted "The Chronic's slow, heavy beats were a sonic representation of angry depression as accurate as Cobain's feedback blasts; Doggystyle is leaner, with its high-tempo Isaac Hayes and Curtis Mayfield-derived tracks".

[1][2] AllMusic's Stephen Erlewine commended Snoop Doggy Dogg, saying: "he's one of hip-hop's greatest vocal stylists with this record" and he "takes his time, playing with the flow of his words, giving his rhymes a nearly melodic eloquence.

[1] Time magazine's Christopher John Farley noted "Snoop's rapping isn't flashy, but it is catchy" and stated "His relaxed vocal style is a perfect match for Dre's bass-heavy producing.

[26] The ideas put forward through the lyrics include Snoop Doggy Dogg's adolescent urges, as he freely talks of casual sex, smoking marijuana and gunning down rival gang members.

Time magazine remarked that the notions "are often unnecessarily graphic; at some points they're downright obscene" and that "the album would have been stronger if such misgivings about the criminal life, as well as Snoop's touches of introspection, had been applied to some of the cruder songs".

[28] Some critics said Snoop Doggy Dogg was "obsessed with being a 'G', a gangster, a lawbreaker who smokes dope and kills with impunity" and that his lyrics depict the black-on-black crime in the inner-cities.

[21] The lyrics involve many derogatory terms against women, with expressions such as "bitches" and "hoes" being used throughout, which illustrates the feeling of sexism and oppression within American society.

C. DeLores Tucker of the National Political Congress of Black Women named gangsta rap "a profane and obscene glorification of murder and rape", which can be attributed to Doggystyle.

The album is credited for further establishment of the slurred "lazy drawl" that sacrificed lyrical complexity for clarity and rhythmic cadence on Doggystyle and The Chronic.

Some publications have held the rap genre responsible for social problems such as sexual violence and sexism, which has been blamed on Snoop Doggy Dogg and other rappers for calling their controversial lyrics "keeping it real.

"[40] The problems of sexual violence and sexism are attributed to lyrics degrading women such as "bitches" and "ho's," which some believe have influenced black males.

[21][41] Snoop Doggy Dogg and other hip hop artists, including N.W.A, especially Eazy-E, Dr. Dre and Ice Cube (due to their success) and 2Pac, have been held accountable for developing the gangsta rap form; a genre which articulated the rage of the urban underclass and its sense of intense oppression and defiant rebellion,[21] which has been attained through the ability to communicate free of censorship, and has allowed hip hop culture to become a dominant style and ethos throughout the world.

The writers of Enculturation, Steven Best and Douglas Kellner, have noted that Snoop Doggy Dogg and other rappers only condemn violence when it is directed against them, otherwise "they celebrate it, internalize it, and embrace it as an ethos and means of self expression," which some believe has an effect on the black-on-black crime.

[21] The release of music videos from Doggystyle and The Chronic has enabled the artists to add visual illustrations to their lyrics, which generally involve Dr. Dre and Snoop Doggy Dogg driving around South Central Los Angeles in a lowrider (a vehicle with lowered suspension).

[2] Snoop Doggy Dogg's follow-up album, Tha Doggfather (1996), did not involve Dr. Dre, as he left Death Row Records.

Tha Doggfather followed the methods of a G-funk record and initially sold well, but received mixed reviews and failed to produce a major hit single.

[46] Subsequent studio albums such as Paid tha Cost to Be da Boss (2002) and R&G (Rhythm & Gangsta): The Masterpiece (2004) exhibited a more mainstream, pop-oriented theme with new sounds, but remained "hardcore throughout" and featured "plenty of street and commercial appeal".

Snoop Dogg was credited for returning to his G-funk roots in 2006, which was established with his eighth studio album, Tha Blue Carpet Treatment (2006).

[23] David Browne of Entertainment Weekly noted "It is the most limber, low-rider gangsta album to date" and went on to say "Doggystyle is a grim, bleak-faced record.

[27] David Browne spoke of "Ain't No Fun", stating it was an example of how "musically artful, yet lyrically repellent, this album can be" and went on to say, "It's easy to be impressed one moment and appalled the next".

[24] Renowned rock critic Robert Christgau gave the album a "dud" rating,[59] which signifies "a bad record whose details rarely merit further thought.