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THE GAME -
L.A.X |
Review By:
Conan Milne


Release Date : August 26 2008
Label : Geffen/Interscope
Rating: 4.5/5

Dub Quotable: L.A.X is [Game's] valiant attempt to reinstate the golden
era of Hip-Hop that he loves unconditionally
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Hay Dubcnn review
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Initially, things looked different. For the first time in his career, it
looked like The Game could release an album without the unyielding pressure
that having something to prove brings. When he released his classic debut The
Documentary, he was an overzealous scholar desperate to justify his position
among the Hip-Hop juggernauts that are Dr. Dre and 50 Cent. His mesmerizing
sophomore showcased a troubled, vulnerable MC bravely attempting to deliver
greatness again minus any mammoth endorsers. He unquestionably succeeded.
Since then, Aftermath’s former problem child has crashed lists compiling the
Top 10 Hottest MCs in the world and slowly gained the respect of a few ardent
50 Cent disciples. It seemed like Jayceon Taylor’s battles with his inner
demons were over.
It quickly became apparent, however, that Game’s inner turmoil lay far from
dormant. No longer wrestling with the rage caused by his acrimonious split
with 50 and Dre, there were nonetheless more pressing problems affecting the
MC. Something had scorned Compton’s voice, and it wasn’t an ex-mentor or a
former affiliate from Southside Jamaica, Queens. It wasn’t even a person. It
was bigger than that. “I don’t belong in this Hip-Hop,” came the trembling
exclamation earlier this year. Fighting tears and visibly distressed, he
continued, “I should have came up when people really didn’t care about being
vocal.” If those words alone didn’t make it obvious, apparel sported in his
“My Life” visual made Game’s sentiments transparent: Hip-Hop broke his heart.
He pines for a passionate, outspoken time in the culture often implied as
over. Suddenly, one realizes that Game has everything to prove with his third
album. His vendetta against the icons that abandoned him over, L.A.X is his
valiant attempt to reinstate the golden era of Hip-Hop that he loves
unconditionally.
As expected, Game pulls no punches on opener “L.A.X. Files.” An elevated piano
loop allows the Black Wall Street mastermind to separate the facts from the
overblown fiction that swamps modern-day rap. “You must be out of your mind
/ A real Blood will put you out of your mind,” cautions the embittered MC.
Many want to flaunt their aparent street credibility, but Game cleverly
summarizes the pitfalls of acting tough when he concludes, “This
gang-banging shit ain’t nothing to play with / Me and Snoop Dogg just made it
look easy.” The very real dangers of life in Compton, California are
further detailed on immediate follower “State of Emergency.” The lyric, “At
the intersection waiting on a rival / In the City of Angels, it’s all about
survival,” is delivered so authentically that it shames all those who
glorify gang culture without experiencing it first hand.
Potentially angrier than its frustrated predecessor, L.A.X. has to bypass the
isolated, East Coast aping murk of “Bulletproof Diaries” before it reaches its
first silver lining in “My Life.” A subdued ode to fallen soldiers on the
surface, the track is more a celebration of existence from a duo that has
overcome personal tragedy to conquer Hip-Hop. “Dear Lord, you done took so
many of my people / I’m just wondering why you haven’t taken My Life,”
croons a surprisingly contemplative Lil Wayne on the hook, adding, “What
the Hell am I doing right?” An optimistic Game riffs, “I see my sons
and put on that Kanye smile / Damn, I know his momma proud / And since he
helped sell my Dream / He can share my momma now.” Cool & Dre’s surging
strings and oddly affecting synthesizer pierces compliment the hopeful tone,
before segueing into one of the album's few upbeat moments in “Money.” A
booming, jovial female vocal sample reiterates the importance of stacking
cash, as Game allows himself a moment to flaunt his material possessions.
The album quickly veers back towards its brooding comfort zone, however. The
erratic bounce of "Ya Heard" only partially masks an unappreciated Game's need
to be recognized as a Hip-Hop legend. "I ain't buying that the best rappers is
Kanye and Wayne," he huffs, flanked by a frequently overlooked peer in
Ludacris. The dismissive line could be interpreted as arrogant, but in
actuality it's just another example of Game echoing the aggressive, carefree
Hip-Hop of N.W.A., et al. In fact, his idol Eazy-E is the inspiration for a
particularly controversial moment on the somewhat unsettling "Never Can Say
Goodbye." Rapping from the perspective of a bedridden Eazy moments from death,
Game is unforgiving in his suggestion that E was intentionally infected with
the AIDS virus. Over the morbid sonics, he vents proudly, "Took twelve
years for a real nigga to break silence / Eazy, I just had to let 'em know."
As the finale draws close, Game delivers a more appropriate homage in the form
of "Game's Pain." The song is a stirring show of thanks to all the MCs and
groups that have paved the way for todays crop, from one MC that never fails
to remember his heritage. "Public Enemy and N.W.A. was on my boom-box back in
the day," he cheerily announces, basking in the warm nostalgia that provides
him momentary contentment. "'Today Was A Good Day' had the 'hood buzzing /
Ice Cube my favourite rapper - y'all niggas can't tell me nothing!"
Keyshia Cole fleshes the song out with a rousing chorus that shares Game's
ethos, as she coos, "I'm paying my dues, and I got the utmost - I just wanna
let you know."
If L.A.X. reveals one thing about The Game, it's that his relationship with
Hip-Hop is one of love and hate. As much as he feels he doesn't belong in
today's often shallow climate, he couldn't bear to leave it as it is.
Unfortunately, Jayceon Taylor isn't going to single-handedly rid the world of
ringtone rappers, simplistic production and repetitive hooks with his third
album. That would be unrealistic. However, by unveiling one near-impeccable
love letter to circa '93 boom-bap, Game forces his contemporaries to raise the
bar and instil a matching passion in their own work. L.A.X. is a triumphant
stepping stone towards creating a modern day Hip-Hop culture that the mid-90s
would willingly father; an era in Hip-Hop that The Game would be proud to
claim as his own.
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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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