West Coast Connection Forum
DUBCC - Tha Connection => West Coast Classics => Topic started by: Elano on August 22, 2008, 03:59:11 AM
-
The Game:
L.A.X. (Los Angeles Times)
[Geffen; 2008]
Rating: 6.4
Reality used to be a friend of Game; these days, he's better off with its close cousin, perception. Statistically, his short but eventful career is in a freefall-- his sophomore album, Doctor's Advocate, sold several million fewer copies than its predecessor, The Document, his first feature film (Waist Deep) couldn't even be enjoyed ironically, and I've never seen his Converse Hurricane shoe in stores, let alone in public. And I live in L.A. Yet, the perception is that he's riding a head of artistic steam into L.A.X. due to, as Pitchfork contributor Jayson Greene put it, shedding the impression that he's one of the least interesting rappers to ever go platinum. Where he was once reverent of anyone in hip-hop that had been in the same room as a record deal, the Game soon alienated nearly everyone responsible for The Document's success-- as far as role-playing goes, unstable psycho was infinitely more entertaining than name-dropping money pit.
The problem is, self-immolation is an artistic ideal that doesn't leave much of an exit strategy, and once the dud singles and release dates started piling up for L.A.X., Game was left to do his A.J. Soprano routine in magazines, unable to handle his daddy issues and at times threatening to kill other people or himself. The perception of Doctor's Advocate as career suicide made it a voyeuristic pleasure for the message-board rubberneckers Game actively courts. That inferiority complex and desperate need for approval keeps L.A.X. surprisingly entertaining even though there are far more weak tracks on it than good ones.
Still, it's difficult to keep seeing him as a loose cannon ("Hated on so much/ Passion of Christ need a sequel," he raps) when most of his adversaries respond to his beefs by completely ignoring him, and when nearly every viable hip-hop artist (plus Travis Barker) makes a guest spot here. Obviously, a lot of those spots are late-90s-style padding: If DMX's performance on the intro and outro are any indication, his gospel-rap ambitions should result in the comedy record of the year, and while Tha Carter III has sold 25,000 copies in the time it takes to read this paragraph, the beyond-hideous hook of "woe is Game" weepie "My Life" suggests Lil Wayne's too in hock to buy an autotuner that can work at full capacity.
Befitting someone who, to be honest, is still learning on the job, Game continues to improve although there are certain handicaps that he'll never overcome-- he compares himself to Chris Paul ("I never dribble out of bounds"), but he's more like Shaq trying to run a fastbreak. There's something almost endearing about the confidence he has in his lumbering flow (watch him try a double-time spit on "L.A.X. Files" or lope triplets on "Cali Sunshine") and limited ability to create on the fly, but really, you just brace yourself and hope no one gets seriously injured. His similes can still be painfully awkward ("flow like oregano"?), his boasts more idiot than savant ("Word to Martha Stewart/ If I can park a Buick/ I can flip a Brinks truck/ I've got the heart to do it"), and he relies on variants of "fuck" to fill up syllables to the point where charging money for a clean version is a "fuck you" in itself. At least he only threatens to break into Dr. Dre's house once.
For better or worse, his increasing confidence has allowed him to aim for concepts beyond the usual talk of how dangerous California is, trading darts with Raekwon and making a bilious rainmaker with Cool & Dre that rejiggers "She Works Hard for the Money" into Game's very own "Push It to the Limit". But then you get idea tracks like "Never Say Goodbye", which is rapped from the perspective of 2Pac, Biggie and Eazy-E right before their deaths; the "One More Chance" karaoke in the middle portion is probably the most embarrassing thing Game will ever do in his career, which is saying something. But at least that seems like a noble failure-- no matter how much better Game gets on the mic, he'll never record a decent love song or stop trying. His bullish voice, however, sounds more convincing talking about Ice Cube's Lethal Injection than anything with the faintest hint of eroticism-- not even David Tyree would vouch for "beautiful as an Eli Manning pass" as a viable pickup line.
After Ludacris effortlessly sasses up "Ya Heard" like Game never could, he laments the attention given to Kanye and Weezy before asking, "Y'all act like y'all don't hear me spit/ Like selling 7 million records ain't shit". It's an absurd boast but it's a canny move to align himself as a peer of those two as opposed to an adversary-- the hundreds of barbs Game threw at 50 Cent had a fraction of the impact Wayne and Kanye exerted by speaking the only language Curtis understands: record sales. But the Game may have at least unloosened the screws for G-Unit's epic collapse. Relatively, he's won Round 3 by making his third straight album that's better than it has any right to be-- but the fact that the Game can make perfectly uncompelling competence sound like victory is proof that he's a master thespian of hip-hop theater. Waist Deep notwithstanding.
- Ian Cohen, August 22, 2008
-
I cannot stand Reviewers...Why Peopel Do that man?Gay Shit to the fullest.
-
6.4 of 10?
-
wow Game obviously fucked his girl.....
-
the album isn't gettin the best of reviews amongst non-game stans.
seems like people are getting tired of his predictable 'lyrics'
-
I dont trust any fool named Ian Cohend
-
Pitchfork reviews on rap albums are always fucked up.
-
Sorry, but I stopped reading after the first few sentences.
-
I haven'tt read the review. But 6.4 seems fair to me
-
lol @ the hate on the this review. its pretty intelligent/accurate. maybe a little harsh but 6-7/10 is the right score for this album.
-
"his sophomore album, Doctor's Advocate, sold several million fewer copies than its predecessor, The Document(...)"
lol @ this review,they don´t even know the name of game´s 1st album.
journalism at it´s worst, damn do your homework!
-
im one of the biggest game fans ever, since i heard him bout 5 6 years ago i knew he was going to be great...his first 2 cds were and still are one of my favorites, simply put , they were hungry and sick as hell....this new cd cant be the real thing, its like when i first heard encore i thought it was a joke, just like this cd. no way game could be happy with lax. this isnt goin to make me not enjoy his music but i will not be listenin to this cd much. come on game put out real music like your last 2 cds and every fuckin mixtape you are on, not this garbage. i stopped listenin to eminem after encore, hopefully this wont happen with game, and he'll realize he needs to put in the work.
-
This review is wack. He focuses to much on Game the character, and forgets about the music. There's little doubt that Game is an overachiever. There are plenty of rappers infinitely more skilled than him. But the fact is that Game keeps on putting out records that are better than almost anyone else's. To me, The Documentary was the second best hip-hop record of 2005, behind "Late Registration". "The Doctors Advocate" was THE best album of 2006, regardless of genre and "LAX" is the best hip-hop album so far of 2008. I'll admit to being a fan of Game, but I'm not a stan. There are several rappers that I like better than Game, but I think Game beats them all when it comes to delivering a quality product on wax.
-
XXL Article online
The Game > Everybody But Kanye West
I think people get too caught into Game’s impulsive moves to appreciate his bottom line.
The man makes great music. Let’s not forget. Game has been committing career suicide since he first stepped onto the scene three years ago. He allegedly used to strip, allegedly used to wear a tongue ring, got dumped like a sucker on Change Of Heart, got kicked out of G-Unit, annoyingly claimed countless truces only to go back on his word every time, etc, etc. Sure, he’s a knucklehead. Sure, he couldn’t stop name-dropping if his life depended on it, but the music is flames.
At this point, Chuck has clearly grown into his own artist and it’s more than enough to make him Top 5 in hip-hop right now. Pick anybody in hip-hop, list their last three solo projects and tell me who else has consistently been putting out four-star albums? Kanye West, check! I haven’t heard The Recession entirely, but something tells me Jeezy deserves his kudos as well. Nas? As a longtime God’s Son supporter, I really wanted to dig Untitled, but I haven’t listened to it much since I purchased it. I also had mixed feelings about Street’s Disciple. Weezy’s Carter series is good, but it just doesn’t measure up to Game’s three joints. Jay-Z? Dude hasn’t been the same since The Black Album, so let’s no waste time discussing Kingdome Come and American Gangster. Do we really have to mention Snoop? Common? His last two CDs were classics, so there’s a lot riding on Invincible Summer.
The funny thing is, Fif can boast about writing six records on Game’s debut all he wants. Game has now become a better artist than Fif. The Massacre wasn’t as bad as folks made it out to be, but Curtis was nearly unbearable. Who else? T.I., Ludacris, Fabolous, Busta Rhymes, Talib Kweli, none of these artists’ last three releases measures up to Game’s. Give the man some credit. He’s Top 5 right now. Matter of fact, Kanye is no.1 and he’s no.2. If this Recession album is dope, then you gotta put Jeezy up there too. Be on the lookout for Billy X. Sunday’s Game review coming sooner than you think.
http://www.xxlmag.com/online/?p=23981
-
LOL @ The Document. Fucking idiot!
-
I've got no problems with reviews being a little negative, or a little positive, but can't stand drivel like this. As soon as it becomes evident that the reviewer can't stand the album, why should I continue to read him bad mouthing it? I want to learn about the album not hear some meatheads idea about how great or terrible he is. This guy can't stand him and it shows in the way he talks about the album. So I got 0 useful info. I don't mind him being not pleased with the album, but please give more details instead of lame ass clowns at certain songs.
-
All right, aside from the obvious stupid error of labeling Game's first mainstream release the Document, the critiques of his poor lyrical ability stands. I think he has the ability to write or has someone who can write hot shit but for some reason he refuses to release it on a record. That's why LAX is another consistent disappointment because he never reaches his full potential. I don't support the "he's learning on the job" argument. Who isn't?
The reviewer has to address the character of Game because that's what he (Jayceon Taylor) is selling.
I do not agree with the critique of his flow. Game's voice and vocal ability is one of the best in the game.
-
His similes can still be painfully awkward ("flow like oregano"?)
not even David Tyree would vouch for "beautiful as an Eli Manning pass" as a viable pickup line.
LOL The nigga is garbage lyrically.
-
Reality used to be a friend of Game; these days, he's better off with its close cousin, perception. Statistically, his short but eventful career is in a freefall-- his sophomore album, Doctor's Advocate, sold several million fewer copies than its predecessor, The Document, his first feature film (Waist Deep) couldn't even be enjoyed ironically, and I've never seen his Converse Hurricane shoe in stores, let alone in public. And I live in L.A. Yet, the perception is that he's riding a head of artistic steam into L.A.X. due to, as Pitchfork contributor Jayson Greene put it, shedding the impression that he's one of the least interesting rappers to ever go platinum. Where he was once reverent of anyone in hip-hop that had been in the same room as a record deal, the Game soon alienated nearly everyone responsible for The Document's success-- as far as role-playing goes, unstable psycho was infinitely more entertaining than name-dropping money pit.
Wow, a reviewer who in the first paragraph a) Does not know the name of Game's first album (it's The Documentary) b) Thinks that Game had a starring role in "waist deep" (it was a supporting role and Game had little to do with the success or failure of it) and c) drops a diss under guise of unbiased reviewer - wants us to somehow trust his judgment? No thanks.
-
Wow as a hiphop journalist myself, I must say I feel this review is terrible and clearly extremely biased. From the first few sentences, it is extremely clear that this guy hates The Game for whatever reason
LOL at "The Document."
Don't put ANY stock into this review.
-
You all fail to address the core of his argument. You attack the minor issues of the review.
-
lol at u niggaz. every review people do on games album except maybe allhiphop, hiphopdx and a few others always attacks his character more than they talk about his albums.
this is not a suprise. but now that the album is out i dont need no review to tell me how good a album is.
and smh at that XXL blog..people actually still believe Game was a stripper? lmao im tellin you
hip-hop = say 1 thing over 20 times and people believe it!
but its true that Game caaaaaaaan be better lyrically WHEN HE WANTS 2 i just dont understand this nigga. He drops a fuckin classic verse on Bone Thugs album, on DOgg Pounds album..thats the REAL Game..then My Love 4 U, I Dare You etc etc.
Then when its time for his albums....somehow he just goes back to his "simple punchlines, obviously he tryna take a lil bit from the style thats popular right now from Lil Wayne, hit or miss flow and simple and most of the time doesnt make sense lyrcs".
Games mixtape = Real material!
Album = mediocre
-
good reveiw ,cus the album was trash
-
This same reviewer gave Nas' Untitled only 3.8 so you know he really ain't hip-hop reviewer...
-
Allmusic.com give it a similar sort of review - 3.5 / 5
http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gifoxz9kld6e
After two albums driven by his worship of legendary West Coast producer Dr. Dre plus feuds with fellow rappers like 50 Cent and the G-Unit crew, the Game's third official effort is his least important release to date and the strongest argument yet that it just might be time to move on.
The cuts that truly matter on LAX aren't the ones where the rapper's hardcore, unswayable definition of loyalty comes into play but the ones that go outside the usual topics and explore both the profound (the African-American struggle) and, more surprisingly, the profane (rump shaking).
Most rappers are allowed only one shoutout track every couple albums, but here the name-dropping initial single "Game's Pain" is only the tip of the iceberg. Common and Lil Wayne not only guest star, but get mentioned repeatedly on an album that replaces the heavy shadow of Dre by dropping names from all over the place (Kanye West, Erick Sermon, Rakim, LL Cool J, Luther Campbell, Kurt Cobain, just to name a few). It's nowhere near as compelling as his previous Dre obsession, and with the Game having avoided the sophomore slump while becoming commonly accepted as in it for the long haul, the "everyone is out to get me" lines all seem like leftovers.
In this ponderous for ponderousness' sake atmosphere, the mention of Chili Cheese Fritos in "House of Pain" brings sweet relief, and when the rapper refers to his woman as "beautiful as an Eli Manning pass," it's just one of the reasons the feel-good "Touchdown" is a highlight.
Excuse the vocoder and Lil Wayne's appearance on "My Life" is big time, but the bar is raised high on the closing "Letter to the King." Exploring how the legacy of Rosa Parks and Martin Luther King affected his own life, the Game pulls out the "ghetto grammar" on the track and offers both moving words of reverence and unapologetic controversy ("I wonder why Jesse Jackson ain't catch 'em before his body drop/Would he give me that answer, probably not").
Add the "Jam on It" sample producer Nottz lays on "Ya Heard," the sultry backing track Scott Storch designed for "Let Us Live," and a superstar guest list that's a mile long, and this scattershot album is easy to recommend despite its flaws.