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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This is a Second Opinion feature: Click here for the Jon 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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