With their sophomore, Digital Underground considerably reduce their commercial and sexual part of their debut and manage to improve themselves, proving to be heirs, worthy heirs, of George Clinton loaned to hip-hop.
The album is in fact easily cataloged as funk hip-hop, it breathes that influence from every pore, it's a solid union between the two genres, full of fresh rhythms, often funky and hip dance, with hip house, club dance, and electro vibes, infinite grooves, excellent drums, deep bass and splendid samples, from the point of view of production it's one of the best efforts of the whole season.
Stretch and Treach are guest in "Family of the Underground", one of the finest tunes of the CD. The rapping is pretty smooth, there's a 2Pac verse, and Shock G is at his best here: as already mentioned before, the group eliminates its weak points and strengthens the strong ones, there are less sexual bars, however, lyrically these guys they keep saying nothing, their goal is simply to entertain.
George Clinton himself makes an appearance for a monologue in the title track (clear highlights of the album), in one of his first appearances on a hip-hop album, some tracks are irregular and the first part is slightly better than the second, nevertheless, it's an excellent pleasant listening, dope: despite the reproduction exceeding the hour, it's one of the smoothest albums of the year.
Recorded between Richmond, California, Tampa, Florida, New York and Detroit, Michigan, the record is distributed by Tommy Boy and TNT, praised by critics and certified gold by RIAA after six months. Launched by two minor hits ("Kiss You Back" and "No Noise Job"), is one of the best-selling rap albums of the 1992, despite not going over #23 in the rap chart.
Highlights: "The DFLO Shuttle", "No Nose Job", "Son of the P", "Family of the Underground".
Rating: 8/10.
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