Dre’s treatment of the creation was commended by pundits. AllMusic essayist Stephen Erlewine expressed: “Dre understood that it wasn’t an ideal opportunity to stretch the boundaries of G-funk, and rather chose to extend it musically, making simple moving creations that have a larger number of layers than they show up”. He added that the beats were “laid-back astounding, proceeding to resound after numerous listens”. Rolling Stone essayist Touré noticed “The Chronic’s sluggish, hefty beats were a sonic portrayal of irate melancholy as exact as Cobain’s input impacts; Doggystyle is less fatty, with its high-rhythm Isaac Hayes-and Curtis Mayfield-inferred tracks”. He proceeded to say that “The majority of Dre’s snares and practically the entirety of his beats won’t wait, as though the actual melodies are anxious, unfortunate of openness, fretful to get offscreen.” Entertainment Weekly magazine’s David Browne referenced that “The blend of tests and unrecorded music on Dre’s most recent, The Chronic, gave it surface and profundity, and he proceeds with his handle turning development on Doggystyle, smoothly weaving together a gaggle of foundation vocalists and rappers, idiosyncratic examples, his brand name blood and gore movie console lines”. The Source magazine columinst expressed: “Dre’s image of G-funk might be regular now, yet it is still meticulously well-produced”.
Sneak Doggy Dogg’s verses were by and large applauded by pundits, in spite of the fact that they caused some contention. He was acclaimed for the authenticity in his rhymes and his amicable flow. AllMusic’s Stephen Erlewine complimented Snoop Doggy Dogg, saying: “he’s one of hip-bounce’s most prominent vocal beauticians with this record” and he “takes as much time as necessary, playing with the progression of his words, giving his rhymes an almost melodic expressiveness. Sneak is an exceptional thing, with eccentric manners of speaking, suggestive symbolism, and a particular, addictive flow”. Time magazine’s Christopher John Farley noticed “Sneak’s rapping isn’t garish, however it is snappy” and expressed “His casual vocal style is an ideal counterpart for Dre’s bass-hefty creating. Sneak’s voice is adequately agile to wind its way around the huge beats,” said Farley on November 29, 1993. The thoughts set forward through the verses incorporate Snoop Doggy Dogg’s young adult inclinations, as he unreservedly discusses easygoing sex, smoking cannabis and gunning down rival gangsters. Time magazine commented that the ideas “are frequently superfluously realistic; at certain focuses they’re tremendously foul” and that “the collection would have been more grounded if such second thoughts about the criminal life, just as Snoop’s dashes of contemplation, had been applied to a portion of the cruder songs”. The collection likewise covered weapon play, drug managing and pimping. The New York Times said that the expressive ideas were conveyed in “crudest, rudest terms”.