DUBCNN: THE GAME - L.A.X Review

[OchoCinco]

compared to this crap
Fortunately, L.A.X. side-steps the Doctor’s Advocate’s empty grasps at Dr. Dre-esque production, instead relying on a soundscape punctuated by rolling drum-lines, prevalent samples, and twinges of G-Funk. “State of Emergency” works off a killer throwback synth line and crashing drums, with Game providing a noteworthy young Ice Cube rendition, and the 90’s vibe continues with Raekwon throwing darts on the scrappy “Bulletproof Diaries.” The Lil Wayne-assisted “My Life” is an instant grabber, with Game ironically at his best at his most vulnerable over a subtly building arrangement by Cool & Dre; it’s perhaps the most potently written song of the bunch, with Game spitting bars like, “like Roc-a-Fella needed Sigel…I needed my father, but he needed a needle…Ain’t no bars, but ni**as can’t escape the hood/ it took so many of my ni**as, that I should hate the hood“.

The middle portion of the album, however, is littered with mediocrity, the worst culprits being the schmaltzy R&B crossovers “Gentleman’s Affair” and “Touchdown,” weak efforts worsened by cringe-worthy hooks (”this sex appeal, is not a skill“) and cheesy mood-setting (”like the ocean after the sunset“). The more experimental songs are of a hit or miss variety- the sleek bounce of “Angel” overshadows the mediocre funk influence on “Cali Sunshine,” and the speaker-rattling chemistry of Game and Travis Barker on “Dope Boys” is a far better rock/hip-hop blend than DJ Toomp’s awkwardly arranged “House of Pain.”

Lyrically, L.A.X. continues Game’s trend of treading water and relying on delivery and style; he can reminisce about the Fresh Prince and Big Daddy Kane (”Game’s Pain”), and trade more culture-conscious verses with Nas (”Letter to the King”), but if this is indeed Game’s final opus (which it won’t be), it’s a musical canvas that is only partially painted on. For such a loud character, his written representation is a far more subdued and far less unique take on The Game; he questions his status as being not quite one of the best in the game, and it is largely due to his inconsistency in crafting engaging lyrics that some of his former contemporaries have now passed him by.

[UCC]

compared to this crap
Fortunately, L.A.X. side-steps the Doctor’s Advocate’s empty grasps at Dr. Dre-esque production, instead relying on a soundscape punctuated by rolling drum-lines, prevalent samples, and twinges of G-Funk. “State of Emergency” works off a killer throwback synth line and crashing drums, with Game providing a noteworthy young Ice Cube rendition, and the 90’s vibe continues with Raekwon throwing darts on the scrappy “Bulletproof Diaries.” The Lil Wayne-assisted “My Life” is an instant grabber, with Game ironically at his best at his most vulnerable over a subtly building arrangement by Cool & Dre; it’s perhaps the most potently written song of the bunch, with Game spitting bars like, “like Roc-a-Fella needed Sigel…I needed my father, but he needed a needle…Ain’t no bars, but ni**as can’t escape the hood/ it took so many of my ni**as, that I should hate the hood“.

The middle portion of the album, however, is littered with mediocrity, the worst culprits being the schmaltzy R&B crossovers “Gentleman’s Affair” and “Touchdown,” weak efforts worsened by cringe-worthy hooks (”this sex appeal, is not a skill“) and cheesy mood-setting (”like the ocean after the sunset“). The more experimental songs are of a hit or miss variety- the sleek bounce of “Angel” overshadows the mediocre funk influence on “Cali Sunshine,” and the speaker-rattling chemistry of Game and Travis Barker on “Dope Boys” is a far better rock/hip-hop blend than DJ Toomp’s awkwardly arranged “House of Pain.”

Lyrically, L.A.X. continues Game’s trend of treading water and relying on delivery and style; he can reminisce about the Fresh Prince and Big Daddy Kane (”Game’s Pain”), and trade more culture-conscious verses with Nas (”Letter to the King”), but if this is indeed Game’s final opus (which it won’t be), it’s a musical canvas that is only partially painted on. For such a loud character, his written representation is a far more subdued and far less unique take on The Game; he questions his status as being not quite one of the best in the game, and it is largely due to his inconsistency in crafting engaging lyrics that some of his former contemporaries have now passed him by.

Errrrm, that is WAY better written, gives way more insight, places the album in some context, gives good examples to back up the points, etc

[OchoCinco]

compared to this crap
Fortunately, L.A.X. side-steps the Doctor’s Advocate’s empty grasps at Dr. Dre-esque production, instead relying on a soundscape punctuated by rolling drum-lines, prevalent samples, and twinges of G-Funk. “State of Emergency” works off a killer throwback synth line and crashing drums, with Game providing a noteworthy young Ice Cube rendition, and the 90’s vibe continues with Raekwon throwing darts on the scrappy “Bulletproof Diaries.” The Lil Wayne-assisted “My Life” is an instant grabber, with Game ironically at his best at his most vulnerable over a subtly building arrangement by Cool & Dre; it’s perhaps the most potently written song of the bunch, with Game spitting bars like, “like Roc-a-Fella needed Sigel…I needed my father, but he needed a needle…Ain’t no bars, but ni**as can’t escape the hood/ it took so many of my ni**as, that I should hate the hood“.

The middle portion of the album, however, is littered with mediocrity, the worst culprits being the schmaltzy R&B crossovers “Gentleman’s Affair” and “Touchdown,” weak efforts worsened by cringe-worthy hooks (”this sex appeal, is not a skill“) and cheesy mood-setting (”like the ocean after the sunset“). The more experimental songs are of a hit or miss variety- the sleek bounce of “Angel” overshadows the mediocre funk influence on “Cali Sunshine,” and the speaker-rattling chemistry of Game and Travis Barker on “Dope Boys” is a far better rock/hip-hop blend than DJ Toomp’s awkwardly arranged “House of Pain.”

Lyrically, L.A.X. continues Game’s trend of treading water and relying on delivery and style; he can reminisce about the Fresh Prince and Big Daddy Kane (”Game’s Pain”), and trade more culture-conscious verses with Nas (”Letter to the King”), but if this is indeed Game’s final opus (which it won’t be), it’s a musical canvas that is only partially painted on. For such a loud character, his written representation is a far more subdued and far less unique take on The Game; he questions his status as being not quite one of the best in the game, and it is largely due to his inconsistency in crafting engaging lyrics that some of his former contemporaries have now passed him by.

Errrrm, that is WAY better written, gives way more insight, places the album in some context, gives good examples to back up the points, etc

exect it leaves out songs...where the fuck does it mention L-A-X files???

[jonathandubcnn]

Thanks for the feedback...  I wrote a L.A.X review twice - The first one I wrote was more "proper journalism" - basically your typical review that you read.  I wanted to change it up and be straight up, and straight up, this album is GREAT! 

That' the point of the review. 

Also, check out the play on words in the review-  for you word critics lol.
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.

* Comptons Most Wanted * Chill * Eiht*   

The bottom line of the review is what really matters: 4.5

Check out what the wasteland is saying about the review from here at dubcnn:
http://www.thawasteland.com/showthread.php?t=10246

I'm getting a lot of messages about this review and I really really appreciate it. 

[smegma]

this album is is GREAT! 

 

[UCC]

Thanks for the feedback...  I wrote a L.A.X review twice - The first one I wrote was more "proper journalism" - basically your typical review that you read. 

Would be nice to read the first one you wrote, especially if you put down your reasons for why you think this album is a classic other than that it is 'amazing', etc

[Dre-Day]

Thanks for the feedback...  I wrote a L.A.X review twice - The first one I wrote was more "proper journalism" - basically your typical review that you read.  I wanted to change it up and be straight up, and straight up, this album is GREAT! 

That' the point of the review. 

Also, check out the play on words in the review-  for you word critics lol.
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.

* Comptons Most Wanted * Chill * Eiht*   

The bottom line of the review is what really matters: 4.5

Check out what the wasteland is saying about the review from here at dubcnn:
http://www.thawasteland.com/showthread.php?t=10246

I'm getting a lot of messages about this review and I really really appreciate it. 

the review looks rushed imo

[Kilo4]

the Album is pure Garbage.