Step Ya Game Up
By : Conan Milne
He’s the protégé of Dr. Dre. He’s got G-Unit backing him. His name ‘’rings bells on every boulevard in the CPT’’ and his voice is being heard worldwide. With his debut album having just hit shelves, he’s collaborated with everybody from MC Eiht & Crooked I to Fabolous & Talib Kweli. Is Chuck Taylor, aka The Game, the West Coast’s last hope?

To most committed rap fans, there is a general consensus that NWA both pioneered and introduced gangsta rap to a mainstream audience. NWA, with their obvious street credibility brought on by the intense controversy of anthemic records such as ‘’Fuck Tha Police’’, sold albums to an extremely diverse range of people, from white suburban teenagers to those entwined in the projects of America. ‘’Straight Outta Compton’’, their major label debut, shifted millions of units without the obvious benefits of national publicity. They were the voice of a generation and it has been suggested various times that were it not for their influence we would not bear witness to the likes of Snoop Dogg, indeed most modern rappers, today. When the group disbanded, their solo members remained rap icons. Dr. Dre is generally believed to be the greatest hip-hop producer working today, Ice Cube remains a rap luminary and has spawned a successful movie career, and MC Ren, while not as internationally covered by the media as his counterparts, still has both platinum plaques and respect from his peers under his belt as a solo artist. And then there is Eazy-E.

Eazy-E, to many, was the mastermind behind NWA during their reign, and the natural leader of the pack. Unfortunately, this leadership crafted tension among the ranks, as both Dre and Cube became involved in bitter feuds with Eazy. Cube claimed that E, along with the group’s manager Jerry Heller, had cheated him out of money he was due and quickly disbanded to go solo. Meanwhile, Dre fell out with Eazy when he left E’s label, ‘’Ruthless’’, to form his own which became ‘’Death Row’’. This led to a well-covered ‘beef’ between both record labels. When Eazy died of an AIDS related virus in 1995, it highlighted the beginning of the end for gangsta rap and the West Coast rap scene overall. Furthermore, E’s death was unjustifiably forgotten by the media following the murder of another rap icon: Tupac Shakur, who in September of 1996 was shot several times in a drive-by shooting which took place in Las Vegas. The West Coast, which had founded a powerful empire in the rap market thanks in a huge part to NWA, began to suffer as a result of these tragedies. Commercial listeners stopped embracing the ‘’gangsta rap’’ genre made so popular by West Coast acts like the afore-mentioned Snoop Dogg and, of course, Eazy-E. Potentially the main reason for this is that the often violent lyrics were hitting a little too close to home following these tragic deaths. Instead, the braggadocio of East Coast artists like Jay-Z and Puff Daddy’s ‘’Bad Boy’’ label began dominating both radio and television airwaves. This was certainly a shame, as although there was still so much talent left on the West , it wasn’t receiving anywhere near the same level of attention circa the infamous ‘’Death Row’’ era of 1992-96. To this day it remains the same, with East Coast cats like 50 Cent selling three million records in a month. In comparison, it took the West Coast’s most publicised veteran in Snoop six months to hit one million records sold of his 2003 opus, ‘’Paid Tha Cost To Be Da Bo$$’’. Combined with Eazy’s death, Ice Cube spending more time on movie sets than on CD’s, MC Ren’s supposed departure from rap and Dre increasingly being found behind the boards rather than in front of the mic, NWA’s legacy remained but their time of rule as a unit seemed over. Yes, their iconic status still exists but their involvement in rap nowadays, particularly in the case of Cube and Ren, has certainly lessened compared to what it once was. Now, the West Coast’s ruling of the rap world has disintegrated into an all-too distant memory.

Enter Jayceon Taylor, aka Chuck Taylor, aka The Game, aka Compton’s Most, aka the new NWA. Almost a decade after the passing of Eazy, Taylor, or The Game as he is most commonly known, has appeared as a solo rapper set to rejuvenate the ‘’gangsta rap’’ heyday of NWA and the flagging West Coast rap scene by any means necessary. He stands as the chief of operation ‘’bring the West back’’ and has titled his highly anticipated forthcoming debut ‘’The Documentary’’. As the title suggests, it gives the listener a personal chance to delve into the mind of rap’s latest sensation. Originally, the plan was to deem the album ‘’NWA, Vol. 1’’ although unfortunately Taylor ran into some legal wrangling that prevented him from adopting this name. Regardless, Game’s brother Bigfase100 remains adamant that, with or without ‘’NWA, Vol. 1’’ imprinted on the cover of the CD, to the rapper’s long time fans this will withstand as its ‘true’ title. On several songs featured on ‘’The Documentary’’ Taylor mentions the previous name.

You may wonder why Game was to name his debut ‘’NWA, Vol. 1’’ in the first place. Let me assure you that the title of the CD stood for a lot more than merely paying homage to one of rap’s legendary groups. Chuck Taylor is NWA re-incarnated for a new post-2000 audience. Not only does he represent the ‘’gangsta rap’’ phenomenon of Eazy and company, he hails from Compton - where the origins of the controversial rap quintet were founded. Furthermore, he’s teamed up with one-time group member and all-round rap legend Dre to craft what he believes will be considered a hip-hop classic in the future.

Game may be confident that we can expect a classic when his album drops, but to the few rap fans unaware of the man’s talent the question remains as to whether or not we can trust his opinion. My personal suggestion is to avoid criticising his music until you have at least listened to the three singles currently spreading all over the internet, indeed all over the world, off of his debut. These are ‘’Higher’’, a certified banger where Game brings an intense lyrical onslaught to the listener, ‘’Westside Story’’, a gritty anthem where the rapper professes his loyalty to the West Coast, and finally ‘’How We Do (Fresh ‘83)’’. The latter is the first ‘’official’’ single to be lifted from the album and is guaranteed to make heads nod and bodies move. He certainly has an undeniable hunger and flair as a rapper which is unmistakable in these recordings.

Of course aligning himself with Dr. Dre and his Aftermath camp may bring street credibility and respect aplenty but, as mentioned before, the West Coast isn’t really the selling point of rap in this day and age. It will take more than mere quality music to succeed in Game’s operation: You need publicity and a buzz around your name. Fortunately, Taylor has already got this covered. As well as finding a mentor and production maestro to guide him in Dre, Game also has the hottest property in rap and the self-proclaimed ‘’King of New York’’ backing him : 50 Cent. Indeed, it is 50 who swaps rhymes with Taylor on ‘’How We Do’’, spitting over a scorching hot Dr. Dre beat that merges an old-school drum pattern with the diggy Doc’s trademark ‘’opera’’ sound. The Game and 50 Cent’s connection began long before this musical effort, however, and Game officially joined 50’s G-Unit squad following advice from Interscope CEO Jimmy Iovine. It was he who suggested that Game was the missing link to the Unit: already they had the leader that is 50, master of the punch line Lloyd Banks, and formerly incarcerated Tony Yayo backing the East Coast, as well as Tennessee native Young Buck from the South. It was Game’s job to act as the G-Unit’s official West Coast representative.

Being co-signed by 50 was perhaps the smartest business move of Game’s career. It immediately opened him up to a much wider audience outside the likes of Los Angeles or California, particularly when you consider how popular the East Coast is at present. Taking into account 50’s place as the East’s biggest success story, selling ten million records of his debut and holding the record as the fastest selling album for a debut artist, people outside of Game’s native coast immediately began showing him attention upon discovery of the G-Unit affiliation. Of course, there were some loyal fans aware of Game prior to his teaming with G-Unit but doing so had the same effect as putting him under a magnifying glass, making him stand out that many times more. Game reaped the benefits of finding a new found batch of listeners by sharing his style with East Coast heads via collaborations with some of their biggest and most respected artists, including everyone from well documented superstars like Fabolous to relatively underground favourites like Talib Kweli. Taylor became a favourite on the hugely influential ‘’G-Unit Radio’’ mixtape series, providing both the East and West Coast with one exclusive track after another.

However, don't assume that the G-Unit connection and East Coast collaborations did not deter Game from his original goal to revitalise and shine some light on the West. On the contrary, by hooking up with what’s popular right now Game is already giving his coast some fresh exposure. It is Game who can be seen throwing up ‘’the W’’ alongside the likes of mainstream giants and fellow Aftermath artists Busta Rhymes, Eve and Dre on the front cover of leading rap magazine ‘’XXL’’. Additionally, you can see him doing likewise in the video to G-Unit member Lloyd Banks smash hit ‘’On Fire’’. Also worth noting is that there are very few verses from The Game where he does not reference his home in one way, be it name checking his ‘’idol’’ Eazy-E or another Westside favourite, or referencing the city he’s from.

Game also maintains a fine balance in appealing to both coasts. For every track with 50 or Fab, there is a teaming with Snoop or Westside Connection member WC. For every hollering of ‘’G-Unit’’ on a record, there is a line about his life in Compton. He is bringing a bit of the East Coast to the West, and vice versa. After all, Taylor does sport an admitted ‘’Yonkers flow’’, yet lyrically he is stuck firmly in Westside territory. Hence, his new title as a ‘’universal MC’’.

Despite all the impressive tracks and associates, Game hasn’t garnished such a big buzz by these things alone. Already he’s found himself involved in some vicious beefs, with the likes of Def Jam’s Joe Budden and Roc-A-Fella’s Memphis Bleek. Game laughs off his haters, dismissing their persistent attempts to ‘’defame my character’’ as he puts it. He has looked at those who disrespect him as aiding his cause: by keeping his name in their mouth they’re only adding to his promotion by wakening up more people to his movement, even bringing him more late fans newly converted to his skills.

There is a lot of speculation at the moment, however, over whether or not The Game can achieve his goal and succeed as a West Coast rapper in what is currently an Eastern, and to some extent Southern, market. Some have displayed blatant disrespect for the rapper as a result of him showing love to the East Coast and a select few of these unimpressed people have implied that Taylor is trying to pass himself off as one of the East’s artists in the hopes of finding further success and acclaim. Those suggestions to me are bizarre: Game couldn’t really pledge his allegiance to the West any harder if he tried. As I said earlier, Game is the new version of NWA and its obvious when you look at him. Chances are you’ll notice his infamous Eazy-E tattoo, or the gold ‘’NWA’’ chain draped around his neck.

Add to that, musically he’s still throwing it up for the Compton supergroup. Earlier this year Game teamed up with G-Unit DJ Whoo Kid to craft a collaboration with his favourite rapper, Eazy, by taking an obscure verse recorded by Eazy and an all-new verse by Taylor to create the epic ‘’Still Cruisin’’. The overwhelmingly positive response from fans was far more than The Game could have ever anticipated - so much so that he considered placing the mixtape placed cut on his album Add to that the fact that Game has referred to his own LA-based label, The Black Wall Street, as a continuation of ‘’the new NWA’’ and Game’ s home pride is easy to see. He clearly is passionate about resurrecting the time when the West was on top of the world.

Back to the question at hand, though, over whether Game can single-handedly perform this resurrection. My response is simple: I wouldn’t want to doubt him. It seems that every day Game is lacing a new song and one look at the Black Wall Street’s web site certainly suggests that Taylor, indeed the entire BWS label, are highly motivated and goal-driven. Already, Taylor’s buzz has risen from the underground to the mainstream, with MTV’s official website currently dedicating several articles to the G-Unit/Aftermath signee. Game is also all over radio stations like Power 106, and never ceases an opportunity to promote his movement. When you combine the noise created by teaming up with Dr. Dre and 50 Cent, the never-ending supply of freestyles and appearances that continue to appear, the sheer drive of Taylor, and the overall quality of the music released you have not only a potential rap superstar but a future claim to the West’s throne that is at present maintained by Snoop D-O-Double G.

In ‘’How We Do (Fresh 83)’’ Game has crafted a party track in a similar vein to that of 50’s phenomenal ‘’In Da Club’’, also produced by the good Doctor. If Game’s single takes off in the same way that the latter did you can expect a rapidly selling ‘’The Documentary’’. So far, it would seem Game has taken the challenge of having the entire West Coast on his back with confidence and good will, although he admits on Westside Story that he’s ‘’starting to feel the pressure’’. Should Aftermath/G-Unit give Game the international promotion for his CD that he has wholeheartedly earned through years of grinding, I believe that he can start to pay a little less attention to that pressure. Fans have steadily claimed that his pre-album hype matches, if not surpasses, that of his G-Unit comrade 50. When you consider the almost unrivalled success experienced by 50 Cent you may begin to understand why I have little worries over whether or not Game shall accomplish his plan.

With Game’s music, exposure and following steadily in check, I strongly believe that supposing Game maintains this motivation until the 18th of January, when ‘’The Documentary’’ is unleashed upon an impatient public, he will have a surefire smash on his hands. My sole advice to Game would be this: when the inevitable success does occur, don’t lose that motivation. It is important that the MC remains as humble as he is now, as it would seem that the public are always rooting for the arrogant star to get his come-uppance. I would also suggest that the rapper doesn’t bask in the perks of fame too long, so to speak, and continues to work hard to hold on to his spot in the music business. Maintaining your significance as a musical artist has already been proven to be a full time job: just look at the many rappers who are known as being ‘’here today, gone tomorrow’’, who deliver one popular single only to fade into oblivion shortly afterwards.

That said, with a winning team around him in the form of the grounded individuals who make up the Black Wall Street I don’t see this happening to Taylor. My vision of what’s to come for him is in quite a stark contrast. As a fan myself I see an illustrious career for the talent. It also wouldn’t be surprising to see BWS, described by its founders as more of a ‘’movement’’ than simply a recording home, become one of the leading forces in rap: aside from their CEO Game there are several other notable individuals to be found on the label, including 17 year old rapper Life who spits undeniably well on the cuts he has been featured on thus far. It seems that The Game, like Eazy-E before him, is just as much of an entrepreneur as a rapper.

To conclude, for the most part the West Coast is still in pretty bad shape right now. Most of the coast’s best MC’s are not being heard on a worldwide, even national, scale and are praised by a tiny minority of rap listeners. Can Game achieve the success he has worked so hard for with his debut, not only would it provide the West with some much needed media attention but it may also pave the way for other talented Westside young guns, like Crooked I, Strong Arm Steady or Sly Boogy to make their way in the mainstream world. For those reasons alone, it is my belief that any follower of West Coast rap should be rooting for Game to prevail. He is the glimmer of hope that fans have been waiting so long for and with the praise that popular outlets like MTV and BET have been bestowing on him he has an incredibly good chance at breaking the commercial barrier. It is also a distinct possibility that any West Coast artist who bears witness to Game making it big will be given an added boost of motivation to do the same, and that his success may raise the spirits of many other rappers in the industry. The ‘’second coming’’ of the West Coast is far from an impossibility, it is but a matter of time.

‘’Homie, Its ‘Game’ time’’ - 50 Cent
‘’You ready, here it come...’’ - The Game



The debut album from The Game, titled ‘’The Documentary’’, is out in stores now through Aftermath/G-Unit/Interscope. For more information on the Game and his label please visit www.comptongame.com and www.theblackwallstreet.com