THE GAME - L.A.X | Review By: Jonathan Hay


Release Date : August 26 2008

Label : Geffen/Interscope

Rating: 4.5/5

   

Dub Quotable: Jayceon Terrell Taylor is at the top of his game with his latest album release, LAX

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Jayceon Terrell Taylor is at the top of his game with his latest album release, LAX. The Game is Compton’s most wanted emcee, but he sometimes comes under heavy criticism from people who think he ‘needs to chill’ from dropping names every eiht bars. However, as Cold 187um recently explained to me, “I respect that Game is always paying homage to the forefathers of rap – and more rappers should do it. The Game respects where he came from…”

Let’s land at LAX and observe the game. LAX opens up with a powerful Intro, a moving prayer by Earl Simmons aka DMX, which is sure to move the millions of people buying and downloading this album. But considering DMX’s constant personal and legal troubles, people may overlook the powerful conviction in the Intro -- however, biblically speaking, Christ came for the outcasts, the sick and the sinners and Jesus ran with the fallen. So as people criticize, spew hatred and judge people like The Game & DMX, they should remember what the Messiah says in scripture: “If the world hates you, keep in mind that it hated me first.” So blessed be the name.

Let’s get right into the opus, LAX. Jonathan “J.R.” Rotem kicks off the one-two punch on the first heavyweight song. The first jab is “LAX Files” and it is pure dope – no lactose or cut here, case closed. Anytime Game and Ice Cube get into the studio together, it’s a hip-hop “State of Emergency” and this stellar song is a certified banger...classic gangster sh*t. The collaboration, “Bulletproof Diaries” between Wu Tang’s Chef Raekwon and The Game, is impressive lyrically -- but the track is a altogether uneven. “My Life,” feat. Lil Wayne, is one of the more striking musical productions of the year; the sonically-commanding instrumental is complete with a cinematic string arrangement built around a superb vocal performance by The Game. It’s a masterpiece production from Cool & Dre, who also tag-teamed the miraculous “Money” – and, trust me, I am tired of hearing rappers talk about dough, but this joint is right on the money as Game kicks luxurious metaphors and lyrics like “All we know is rocks and presidents like Mount Rushmore.” Too many quotables to name in this song, but Game shines like the amazing jewel he takes straight to the bank.

Ludacris is as impressive as always when he shows up for a cameo on “Ya Heard” but the track -- from a musical standpoint -- seems to fall a little flat. On “House of Pain” Game brings it home to Compton on what actually sounds like it could be a re-mastered track from the Niggaz4life vaults -- the only thing missing from this song would be a cameo from MC Ren. “Let Us Live,” featuring Chrisette Michelle (Def Jam), sounds like Game ruling the world as he eerily resembles vintage Nas on this track, which is backed by Scott Storch; who incidentally won’t be having financial problems much longer with productions like this.

Next, Game brings in R&B crooner Raheem DeVaughn to “Touchdown” in LAX, on a song for the ladies...and this pimp sh*t ain’t corny either. We get to touch the sky in a lyrical flight from California to Chicago with the Kanye West produced “Angel” where Common and Game compliment each other in this dazzling song. “Never Can Say Goodbye” has Game showing his artistic lyrical growth -- no question, Game is a dope emcee.

Percussion is the focus of the song that features drummer-turned-celebrity, Travis Barker, on the single “Dope Boys”. Even though it’s good, it’s not one of the standout songs on LAX. The summer single, “Game’s Pain”, featuring Keisha Cole, is infections and cool for what it is -- a radio single. Nas lands in LAX for “Letter to the King”. This reflective Hi-Tek track will no doubt challenge some political figures, but it’s a heartfelt song, nonetheless.

On the soulful Outro, DMX shows up again and blesses us with another beautiful prayer…and God knows we need as many prayers as we can get. This is a near-flawless album, a classic. Amen.

P.S. I know Eric Wright is somewhere up there in the sky smiling down on LAX.

 

If you care to dispute this review, let’s chop it up. Hit me up via email or on MySpace





 

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The views expressed here are those of the authors and not
necessarily those of Dubcnn as an organisation.
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