***The Game L.A.X. Pitchfork review***

[the ghost]

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.

[points]

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.

[BiggSadot]

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.

[NFX]

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.

[Lunatic]

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.

[points]

You all fail to address the core of his argument.  You attack the minor issues of the review.

[Black Gloves]

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

[Dj Green]

good reveiw ,cus the album was trash

[J.E.]

This same reviewer gave Nas' Untitled only 3.8 so you know he really ain't hip-hop reviewer...

[UCC]

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.