The Game Discography

The Game - The Documentary 2005
The Game - Doctor's Advocate 2006
The Game - L.A.X. 2008

The Game - L.A.X. 2008

The Game - L.A.X. 2008

Info:
Label: Geffen Records
Released: 01.08.2008
Length: 76:17
Bitrate: 320
Size: 119.0 MB

Tracklist:
01. Intro
02. LAX Files
03. State of Emergency (feat. Ice Cube)
04. Bulletproof Diaries (feat. Raekwon)
05. My Life (feat. Lil Wayne)
06. Money
07. Cali Sunshine (feat. Bilal)
08. Ya Heard (feat. Ludacris)
09. Hard Liquor (Interlude)
10. House Of Pain
11. Gentleman’s Affair (feat. Ne-Yo)
12. Let Us Live (feat. Chrisette Michelle)
13. Touchdown (feat. Raheem DaVaughn)
14. Angel (feat. Common)
15. Never Can Say Goodbye (feat. Latoiya Williams)
16. Dope Boys (feat. Travis Barker)
17. Game’s Pain (feat.Keyshia Cole)
18. Letter to the King (feat. Nas)
19. Outro

HipHopDX review:
Over the course of his career, The Game has dared fans and foes to convince him that he’s something less than a superstar. Whether it be his emergence as a part of G-Unit, his numerous rifts with everyone from 50 Cent to Ras Kass or his run ins with the law, Game has made sure his name has been on the tip of everyone’s tongue. His debut album rocked Hip Hop’s foundation and his sophomore album held its own amidst turbulent circumstances that surrounded his career (separation from G-Unit, Dr. Dre, etc). As he approaches his third album, Game doesn’t have expectations of a debut album to go up against. Nor does he stare in the face of a sophomore slump. LAX is Game getting an opportunity to be Game – minus controversy or any other outside force pulling at him.

After DMX lends a prayer to open the album, Ice Cube shows up to raise the curtain on “State of Emergency.” It give the impression that Cube is present to perform the proverbial passing of the torch to his younger west coast brethren. But although Game arguably represents the finest the left coast has to offer, the crowning is just a bit premature – even on Game’s third album.

Game is no slouch on the mic and stands tall more often than not on LAX. As long as there is a subject for Game to focus on, he’s firing on all cylinders. When Game flexes lyrical muscle behind sinister production on “Dope Boys” all is superb. With former Blink 182 drummer Travis Barker providing some extra percussion, the energy between Game and the production illuminates even the most overcast mood. Although “Game’s Pain” sounds like it would be gloomy, Game and Keyshia Cole bless the track with some of that Cali love. Game brilliantly pays homage to everything he loves and does the radio friendly track some justice.

But it isn’t always peaches and cream in Game’s life and powered by a moody Cool & Dre offering, Game gives a glimpse into what makes him tick. Lines like “Walked through the gates of hell with my Impala parked in front/With the highbeams on, me and the devil sharing chronic blunts,” show just what Game’s vivid lyrical prowess can develop on the burner “My Life.” Although the Lil Wayne guest spot appears wasted with a simple hook, Game proves that a Weezy contribution would only interrupt Game’s powerful insight. Elsewhere, Scott Storch chips in something buttery with the Chrisette Michele assisted “Let Us Live.” Game’s aggressive flow bops across the slick keys while Michele’s sultry vocals compliment the offering.

Where Game truly shines is when he captures the final moments of Tupac, Biggie and Eazy E’s lives on “Never Can Say Goodbye.” Although his retelling of Tupac and Eazy’s last hours are compelling, it is his honing of the late Christopher Wallace that is truly amazing. Channeling Big’s flow, Jayson Taylor pulls together the fatal closing chapter from Biggie’s perspective in a breathtaking manner. A simply remarkable song that encapsulates the very talent that Game harnesses.

The one drawback that has haunted Game’s career is the incessant name dropping that has become his trademark. The name dropping on LAX isn’t as annoying as it has been in previous outings but it still pops up often enough to notice. Whether or not it is an efficient way to pay homage to the culture is really up to the individual. But sometimes it appears that name dropping is all Game has to supplement innovative concepts and engaging content and that’s when things fall apart like the title of Chinua Achebe’s classic book.

“Money” appears to be another Cool & Dre banger but the subject of loot is just too tired for Game to make interesting. Hence he kicks off the rhyme with “Kanye told me that 'Jesus Walks' in ’04,” and proceeds to phone in a lackluster performance. “Touchdown” doesn’t fare well when it comes to trying to lyrically undress the ladies. Game’s gruff vocals simply don’t seduce and come up short when paired with Raheem DeVaughns airy chops. Nottz usually impresses when working behind the boards but both he and Game pull up lame on “Cali Sunshine.” Game just can’t cash in the name checks and delivers groan inducing lines like “With more ass than Deelishis/That’s my Flavor of Love.”

The guest appearances throughout are hit and miss when it comes to putting the spotlight on Game. He may raise a few eyebrows when enlisting Common’s services but ultimately strikes gold on “Angel”. Kanye West drops in a gem that has enough soul for Common but just enough synth action to bump in a lowriders with chronic smoke floating from the exhaust pipe. Although Ice Cube and Lil Wayne are limited to a hook, both are utilized effectively. It’s when he gets outclassed by his guests that things get hazy. Game falls behind the curtain when Raekwon stands tall with Cuban Linx influence on “Bulletproof Diaries.” Ludacris absolutely menaces “Ya Heard” while Nas shows Game up on the awkward ode to the late Martin Luther King Jr on the Hi-Tek produced “Letter To The King.” It’s moments like these that show that Game still has some ways to go before being considered one of the best to do it.

Game has yet to fail when it comes to production. But on his third outing things aren’t as stellar as previous endeavors. While “Angel” and “Dope Boys” astound, the aforementioned “Cali Sunshine” and “LAX Files” slip on a banana peel. The latter finds Game trying to double time his flow. But on a snoozer of a track, it just doesn’t mesh well.

LAX, simply put, is a good album. However, it’s just not the type of album to end a career on, as he has suggested on several occasions. There is much lyrical life left in Game and he surely hasn’t reached his full potential as of yet. LAX may be good enough to keep his fans content and easily topples his G-Unit foes recent release, but for a talent who hasn’t hit his ceiling, more is expected. It’s like having a 6 speed Porsche, but occasionally grinding the hell out of the clutch. It’s still one of the best vehicles on the road, but needs to work out a few kinks to clobber the competition.

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The Game - Doctor's Advocate 2006

The Game - Doctor's Advocate 2006

Info:
Label: Geffen Records
Released: 14.11.2006
Length: 73:18
Bitrate: VBR
Size: 104.8 MB

Tracklist:
01. Lookin' At You
02. Da Shit
03. It's Okay (One Blood)
04. Compton (feat. Will.I.Am)
05. Remedy
06. Let's Ride
07. Too Much (feat. Nate Dogg)
08. Wouldn't Get Far (feat. Kanye West)
09. Scream On 'Em (feat. Swizz Beatz)
10. One Night
11. Doctor's Advocate (feat. Busta Rhymes)
12. Ol' English
13. California Vacation (feat. Snoop & Xzibit)
14. Bang (feat. Kurupt & Daz)
15. Around The World (feat. Jamie Foxx)
16. Why You Hate The Game (feat. Nas)

HipHopDX review:
I’m not sure if it’s a shame or if it’s appropriate that this album will largely just be judged by Game dickriders claiming it’s a classic and G-Unot fell off and 50 Cent fan boys calling it wack and calling Gayme a faggot. It’s a shame because an albums’ success shouldn’t be fueled or failed by fans whose homoerotic blind allegiances won’t allow them to deal in anything but wild extremes. Though it may be appropriate, as Game has really brought that on himself with his constant flip-flopping, one week claiming he is done beefing with G-Unit, a 7000 bar diss track the next week, then offering a truce to 50 the next week – followed quickly by another 8400 bar diss.

That’s just the tip of the iceberg when it comes to controversy for The Game though; there has been endless speculation about his being sent from Aftermath to Geffen and why his “Doctor” wasn’t doing any beats on an album with the title dedicated to him. Toss in a fight with Ras Kass, the ever-changing tattoo, Change of Heart, steady claims he isn’t a blood and Game’s constant shit talking about anyone and anything and you’ve got a never-ending buzz about an album.

Things haven’t really changed much from The Documentary, even with the absence of Dr. Dre (whose fingerprints still seem to be present mind, you). The production (Just Blaze, Kanye West, Will.i.am, Hi-Tek, Scott Storch, Nottz, JR Rotem, Swizz Beatz, Jelly Roll, Denaun Porter, DJ Khalil), is absolutely outstanding yet again. While it may not have quite as many jaw dropping beats as The Documentary had, it is just as consistent. Unfortunately, Game’s incessant name dropping is still here, every bit as excessive and irritating as it was last time, if not worse. Name drops of rappers and/or albums: 142. Of that, 41 is Dr. Dre. That folks, is ridiculous.

The problem with Game is he is pretty terrible when he has nothing to talk about, and it just becomes him trying not to ruin a dope beat with name-checking and infinite references to low riders, bloods, bandanas, guns, daytons, weed, khaki suits and chucks – which is exactly why the best songs on the album come when Game gets sincere with his subject matter. “Why You Hate The Game” featuring Nas, “One Night” (though some may question its legitimacy), “Ol’ English” and “Doctor’s Advocate” featuring Busta Rhymes. The latter song really puts Game’s behavior into perspective, painting a picture of him as a young man struggling to handle all the spotlight and drama he was suddenly thrust into. Ironically, he does a lot of name-checking here, but there is actually some context and reason to it – and it works.

“Compton,” featuring and produced by Will.i.am, is a shining example of Game’s shortcomings as an emcee. In what could have been an incredible tribute to the historical city (as Will’s beat is pure heat), Game just talks random shit for 3 verses, never really saying much at all. He manages to get by on Just Blaze’s ridiculous 1992 Dre impression on “The Remedy.” The same can be said for the Swizz Beatz banger “Scream On’em.” I mean really, what the hell does this mean? “blow his fucking back out/cause I’m the rap Stackhouse.” What is the rap equivalent to Jerry Stackhouse? Nothing – that is rhyming for the sake of rhyming and making no sense – which he does a lot, along with just rhyming the same word with each other. On tracks like “Let’s Ride,” Game is flat out awful, supporting anyone’s notion that he can’t rhyme for shit. Or, on the albums weakest track, “Around The World,” he spits “She like that Jay shit, that’s her favorite/if it’s gonna get me the pussy I’ma play that shit/if she bite too hard I’m say that shit/but don’t bite me bitch I don’t play that shit.” That is just so wack. But then he turns around on a song like Hi-Tek’s sinister “Ol’ English” and you’re thinking “damn, dude is dope.” Some people can talk nonsense all day and sound fly doing it – Game can’t. He needs topics, and when he has them, he’s dope as hell. For someone who claims to be so real, he spends most of the album shoving his gimmick down your throat and it suffers for it. When he actually does come “real,” he makes classic songs, there is no denying that.

The soundscapes definitely deserve most of the credit here. JR Rotem is probably the show-stealer here, bringing back the classic west coast whine on the booming “California Vacation” and showing the soul on the title track. Along with the aforementioned “Remedy,” Just Blaze was also responsible for the standout “Why You Hate The Game.” Self Scientific’s DJ Khalil’s “Da Shit” just oozes left coast while Scott Storch’s “Too Much” is just too silky. Hi-Tek manages to outdo himself yet again on “Ol’ English,” which is absolutely captivating for both his and Game’s performances. Unfortunately Nottz doesn’t come as strong as usual on “One Night” and Jellyroll brings his usual mediocrity on “Bang.”

When Game falters on the mic, it isn’t just the production that saves him; his seemingly unquenchable hunger is definitely something to be admired and applauded. It would have been easy for him to phone this one in after all his success the first time around – though he did let Kanye steal the show from him on “Wouldn’t Get Far,” what is basically a tired rehash of Pac’s “All About U.” His incredible success so far may not have affected his drive, but it’s certainly taken his ego up a hundred notches; the best since Biggie and Pac? In the hall of fame behind Pac and next to Snoop? The west coast Rakim? Calling himself the new Dre (uh, you don’t produce, and no one regards Dre as an emcee), although maybe the latter is to be taken more literally as Game spends several songs doing his best Dre imitation, down to his voice and his inflections. A lot of you are gonna hate to hear it, but 50’s absence here is noticeable and detrimental, as his sure fire catchy hooks are replaced with oft corny ones.

As an emcee, when Game is on and has something to say, he’s dope. You can’t deny that; he has proven his abilities, be it storytelling the birth of his son or tearing G-Unit apart. But when he’s left just doing his marginal gangsta rap thing, he can be really wack too. Luckily for Game, while he is inconsistent on the mic, his beat selection is as good as it gets. For another album he is just laced with some incredible production from some of the best in the biz. It isn’t enough though; if Game wants to become the legend he already is in his own mind, he needs to get consistent and continually prove he is worth these beats. That means dropping his gimmick; you’re a blood from Compton, you love Chuck’s, weed, lowriders, 100 spokes, Dr. Dre and any and all types of gangsta shit. We get it, but we’ve heard it from you a thousand times and a million times from others who have said it better. No I’m not “hating,” I know the man has talent; he just needs to learn how to use it.

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The Game - The Documentary 2005

The Game - The Documentary 2005

Info:
Label: Interscope Records
Released: 18.01.2005
Length: 69:57
Bitrate: VBR
Size: 94.8 MB

Tracklist:
01. Intro
02. Westside Story (feat. 50 Cent)
03. Dreams
04. Hate It Or Love It (feat. 50 Cent)
05. Higher
06. How We Do (feat. 50 Cent)
07. Don't Need Your Love (feat. Faith Evans)
08. Church For Thugs
09. Put You On The Game
10. Start From Scratch (feat. Marsha Of Floetry)
11. The Documentary
12. Runnin' (feat. Tony Yayo)
13. No More Fun And Games
14. We Ain't (feat. Eminem)
15. Where I'm From (feat. Nate Dogg)
16. Special (feat. Nate Dogg)
17. Don't Worry (feat. Mary J. Blige)
18. Like Father, Like Son (feat. Busta Rhymes)

HipHopDX review:
Using his midas touch production and massive influence, Dr. Dre has launched the careers of many artists. Yet from Snoop to Eminem and all those in between, the good doctor has never broken an artist from his hometown of Compton.

Enter The Game. The baller turned blood had barely been rhyming a year when Dre inked him to his Aftermath powerhouse. Before long he as the West coast representative of G-Unit and racking up an enemy list as long as 50’s. From Joe Budden, Memph Bleek to Yukmouth, Game has shown a willingness to say whatever he pleases about whomever he pleases. If there’s one thing Dre knows, it is how to take advantage of controversy.

One listen to The Documentary and some things become abundantly clear. One of those things is that this project really means something to Dre, cause he laced the beats. Such as the 2001 meets Straight Outta Compton single “How We Do” and “Higher,” which is like a heavier “Still D.R.E.” with its repetitious piano stabs. Dre and Scott Storch show their incredible chemistry yet again on the 50 Cent-assisted “Westside Story” and the darker “Start From Scratch.” Despite the R&B flavor with the guest appearance from Mary J. Blidge, the minimal “Don’t Worry” still hits hard. When Dre isn’t behind the boards, an A (++) list of producers fills in. Timbaland keeps his streak of ridiculous bangers alive with “Put You On The Game,” as does Just Blaze with both “Church For Thugs” and “No More Fun and Games.”

Kanye and Havoc deliver two of the more soulful selections with “Dreams” and “Don’t Need Your Love” respectively. Hi-Tek, who has been less than impressive in the last year or so, gets his best joint in years with the sinister “Runnin,’” though the song really could’ve done without Yayo’s insipid verse. He also gets a top notch beat from Eminem on the track “We Ain’t,” along with a show stealing verse. Even Game admits, “get Dre on the phone quick/tell’em Em just killed me on my own shit." Yet it is DITC’s Buckwild that is behind the board for albums best song in “Like Father, Like Son”: a heartfelt track that displays Game's blossoming talents better than any other. Even some of the lesser known names hold their own, like the standout “Hate It Or Love It” from Cool & Dre or the title track from Jeff Bhasker.

So yeah, the production here is really dope. In fact, it is the best gangsta rap LP since Dre’s own 2001 6 years ago. So how does The Game measure up with this fine production you ask? Good enough for the most part. A lot of his rhymes are your typical gangsta posturing, he has some clever lines here and there but for the most part it isn’t anything you haven’t heard 1000 times. When he decides to diversify a bit, he is much more engaging. It can be something simple like his numbers game on “No More Fun and Games,” his touching recount of his son’s birth on “Like Father, Like Son” or his drunken reminiscing about lost friends on “Start From Scratch.”

The Documentary is bound to generate some criticisms, and it should. He continues the awful tradition of when-thugs-love (a la “21 Questions,” “Karma”), with “Special.” The song is complete with an oh-so-poetic hook “I want you to know you’re special.” While not particularly bad, the beat on “Where I’m From” does not meet the high standards of the rest of the LP and could have easily been left off. And while it may seem like nitpicking, his constant name-dropping gets on the nerves after a few listens – it just needs to go. I swear he must say Dre’s name about 30 times on the album. I’m sure I won’t be the only one to say so, but it is hard not to wish a better emcee got blessed with these beats like, say, Ras Kass – especially when you consider the absolute lack of dues The Game has paid to this point. The guy hasn’t even been rhyming 2 years, and it isn’t like he that good to warrant the instant superstardom. Still, that doesn’t change how good this album is. Two weeks into the year and it is easily the best album of 05 – and I wouldn’t be all that surprised if it is still being called that 11 months from now. A lot of people are going to be playing The Game.

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