Cloaked in almost mythological levels of enigma, Moctar is like Prince for the globalised age, singing songs about heartbreak in a language only spoken by half a million people, but reaching listeners across the world. Moctar reminded Kirkley of Prince, so much so that in 2015 the two of them made a film based on ‘Purple Rain’, with Moctar in the lead role. He found Moctar after weeks of searching and was taken not just by his music, but also his story. While travelling in West Africa, Kirkley had heard about Moctar through a fizzing network of music fans sharing songs on their phones over bluetooth. He first pricked ears in the West after featuring on ‘Music From Saharan Cellphones’, a compilation issued in 2010 on Christopher Kirkley’s American record label Sahel Sounds (sampled all over ‘The Money Store’ by Death Grips, a cyberpunk band if ever there was one). He learned to play the guitar after fashioning one with his bare hands as a teenager, fixing five bicycle brake wires to a piece of wood and teaching himself without telling his parents.
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And yet, in his origin story, mystical public persona and dazzling musical ability - all in full effect on his fifth album - Moctar is pretty much cyberpunk personified. The Saharan city of Agadez, home to guitarist and Tuareg pop star Mdou Moctar, is only accessible by a 28-hour bus ride. If you’d asked Gibson to name the places which the future had yet to reach, he might well have said the Sahara, a vast desert which even today contends with slow internet speeds and limited transport links. Through novels like Gibson’s ‘Neuromancer’, John Carpenter’s 1981 film ‘Escape From New York’ and Ridley Scott’s ‘Blade Runner’, cyberpunk imagined a future world connected by digital networks and flying cars. The man who said that, the author William Gibson, is a pioneer of the science-fiction subgenre known as cyberpunk. It’s just not very evenly distributed yet. Signing to No Limit might have preserved Snoop Dogg's street cred, but it ruined his creativity.The future is here. Still, they can't excuse the banality of Da Game Is to Be Sold, Not to Be Told. That happens on almost all of the tracks - only a handful are Snoop alone, and those illustrate that he can, on occasion, turn bland music into something interesting. His loose, languid delivery is positively enthralling, which makes it all the more frustrating when No Limit hacks interrupt the flow. But there's one crucial difference: unlike most of Master P's grunts, Snoop has style, miles and miles of style. There are a few concessions to G-funk scattered throughout the record, but by and large, Beats by the Pound and P give Snoop a set of standard No Limit backing tracks and have him do the No Limit dance - record a long-winded, monotonous album, filled with "interpolations" of '80s soul and rap songs, and loaded with No Limit cameos. And that's precisely what Snoop Dogg is on Da Game Is to Be Sold, Not to Be Told, his third album proper and first for No Limit.
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Master P is a master marketer, and he knows how to reshape everyone on his roster into good No Limit soldiers. It was all a little rawer (actually, just cheaper) than Death Row's productions, but there was no denying that they knew what sold, and it seemed as if Snoop was making No Limit legitimate in the eyes of the mainstream world. Master P had worked his way to the top of the charts by giving the people what they wanted - straight-up gangsta, with no frills, creativity, or substance. As the Death Row ship was sinking, Snoop Dogg bailed, heading over to the new bastion of street cred, No Limit Records.
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