The Game - The Documentary - 2005
Review by Loose Cannonz

Production: Dr. Dre (1, 5, 6, 17); Dr. Dre & Scott Storch (2, 10); Kanye West (3); Cool & Dre (4); Havoc (7); Just Blaze (8, 13); Timbaland (9); Jeff Bhasker (11); Hi-Tek (12); Eminem (14); Focus (15); Needlz (16); Buckwild (18).

1. Intro

2. Westside Story (featuring 50 Cent) - Pre-released mixtape joint with that traditional Dr. Dre west coast flava. Hard hitting piano breaks, flowering keys akin to Chronic 2001's vibe, and some staccato stabs begin The Documentary rolling hard. When Dre and "Lean Back"'s Storch hook up you know something is bound to paralyze. 50 Cent provides the catchy wesside hook, while The Game introduces himself and his pre-Aftermath criminology, making sure heads know the West never left: "I'm in the rearview my guns's cockin' / I put red dots on that nigga' head like Rodman," and the infamous Ja-Rule shot, "Payback homie, I'm bringin' C-A back / and I don't do button shirts or drive maybachs." - 4

3. Dreams - "They say sleep is the cousin of death, so my eyes' wide open cause a dream is akin to your last breath." The Game reflects on memories of his American rap idols, such as Eazy and B.I.G., even shooting on to his "Dreams" of f'n his favorite R&B chick. While I've never heard so many name drops-in a more positive way-The Game delivers enough passion in his delivery to make up for the token shouts that never seem to go away. And production, it's Kanye, so what else would you expect. The searing, sweeping violins, soul vocals (not of the sped-up kind), and fantastic conga programming will remind some of RZA at his very best. With Game's appealing thoughts, it's enough to make this a hit in itself. - 4.5

4. Hate It Or Love It (featuring 50 Cent) - Cool & Dre (not the Dr.) hook The Game up with what should be one of '05's best tracks, while 50 spits the hottest hook of this early year. The soulish production vibe continues with more classic Ironman-type production while G-Unit flip rhymes of jackin' in the streets and the constant envy that keeps them there, despite the austerity that prevails. The flows are great; in fact, The Game has never flowed better. Not too many are gonna "Hate" this one… - 4.5

5. Higher - Even as the album had drifted onto the soul bit for a bit-with outstanding results-Dre belts back the gangsta sounds of triumphant synths, piano breaks, and stampeding bass stomps. So far the Dre production on The Documentary outdoes his Encore contributions by an 8 Mile. Unfortunately, The Game doesn't really do a whole lot over it, instead reverting to a commercial vibe and repeating topics (i.e. sneakers, riding with Dre, hanging out with Aftermath, bouncing whips, etc.) that drown out the sounds. His mic presence is enough to bang this thoroughly, but I doubt you'll hear this one in the clubs. - 4

6. How We Do (featuring 50 Cent) - As played out as it is, "How We Do" is a 21st century classic. Who would've thought Dre really could bring back the sounds of N.W.A. and make it a #1 club banger? There's really no hating on this song…okay…well maybe after hearing it for the 1,000th time. Naw, fuck it. On making club joints, this is how Dre do. - 5

7. Don't Need Your Love (featuring Faith Evans) - Havoc has impressed more making R&B-type joints (see Jada's "Why?) than material for Mobb Deep albums lately. But it's not the production that's the problem here. And it's not exactly The Game who fails either. Aside from referring to more sneakers (a signature, perhaps), and more B.I.G/50 references, Game spits about the real life and the circumstances of such before he started in the booth, as well as his current thoughts on the politics of the game (i.e. The Source, Murder Inc.). This is more of the topical stuff I'm looking for from the Compton's Game, but the out-of-place R&B hook from the late Big's widow sends off perhaps too much of an East Coast feel. - 3.5

8. Church For Thugs - Game comes out blazing on the flows over a typically hitting and horn-fusing Just Blaze concoction, but I still can't help but feel there's too much "east coast" in some of these cuts. The track is hot, don't get me wrong; it seems Freeway or Killa Cam would sound more apt over the sounds than our main course. Again, more Eazy E, B.I.G., and 2Pac references…but only eight name drops, including 2 basketball players-surprised? "Church For Thugs" is a banger, but if The Game wants to be King of the Left Coast, then we need more of that California lovin'. - 4

9. Put You On The Game - Timbaland delivers what may be his best production since Jay-Z's "Dirt Off Your Shoulder"-saying a lot I'm sure considering the amount of work Timbo has put in the music biz. And the vibe completely works because of both the haunting Chronic backdrop (if not for the female vocals on the hook and the signature bouncy bass, you'd think it was Dre) and The Game's rebirth of L.A. Yes, as far as lyrics go, it's more of the same ol' from Mr. N.W.A., but whatever. Shit's a banger. - 4

10. Start From Scratch (featuring Marsha of Floetry) - The Game's drunk ass reflects on the life of a Compton G, scratchy voice and all (hence the title) over another outstanding beat from Dre & Scott Storch. It's also a much needed deeper, more personal venture from Game, which details the hollow tips breaking up in his chest and the homies he's seen go through the years, including his brother. His voice has never sounded more emotional, and whether that attributes to the booze or the concept, who knows. But it works over the bass thumps, shimmering xylophones and usual orchestral work behind an excellent hook from Floetry's Marsha. More importantly, rather than talking about "hanging with Dre," The Game lets fans know how they actually got hooked. - 4.5

11. The Documentary - The title-track presents more West Coast noise, such as electric riffs, enchanting keys, and elegant twangs, while The Game hits upon the FAQs that have so illustriously chased him through his young career. Game also spits an interesting hook, connecting names of known classic albums such as Doggystyle and Reasonable Doubt, in suit of setting himself up for the same standard. Even more interesting is his statement about Jigga: "I don't take shots at legends; it's just something I don't do." Well, Game, you dope, but you ain't there yet: "I take all the credit for putting the West back on the map / If you ain't feelin' that, I guess I'm Guerilla Black." Aftermath is indeed a marketing machine. No denying that! - 4.5

12. Runnin' (featuring Tony Yayo) - Whoa. Hi-Tek delivers! What Just Blaze and Havoc failed to do earlier was capture the sounds of the West, something Game must do in order to claim such a throne (otherwise, The Game is shooting for the King of NY from Compton?). Anyway, "Runnin'" is an instant classic as Tek reigns on some slinky synths, clapping drums, and haunting background vocals, while the hook excels as well. While G-Unit's Yayo is both funny and ferocious with his, Game gets personal: "It's funny how niggas be the best of friends / And fall out of a pussy and wanna dead they man / One of my niggas in the grave, the other in the pen / She fuckin' my enemies inside my homeboy's Benz / Now, she beggin' God's mercy / Cause she ain't listenin' to Nas and never heard about Ike with the Iverson jersey / He got a cousin named Jason that rocked the Gary Payton / Now the same triflin' bitch is a HIV patient." - 5

13. No More Fun and Games - Just Blaze!! Capturing the "Gangsta Gangsta" sounds of 80s Compton? Tell me it ain't so! The Game goes retro over the funky backdrop, brilliant N.W.A. interludes, and pounding drums: "I'm like Dre, Eazy, Cube, King T, and Ren rolled in one / Used to move birdies 'til I put a hole in one." Check the highly innovative timeline verse on the third drop. Hot. - 4

14. We Ain't (featuring Eminem) - This one was blazin' on Shade 45 the day this leaked, and happens to be Eminem's best production yet. The electric synths scortch throughout while the drums slam and orchestral waves complete an Em masterpiece. Check Game emulating Eminem's signature flow, but as always Marshall Mathers makes anyone he's flowing with look pedestrian; his verse also happens to shit on just about anything from the disappointing Encore. Just ask the almighty Game himself: "Lo, get Dre on the phone quick / Tell him Em just killed me on my own shit / I'm walkin' through 8 Mile startin' to get homesick / I'mma do Shady numbers, I'm ridin' my own dick." With that, he wittingly stays up. - 5

15. Where I'm From (featuring Nate Dogg) - After that blazer, you're pretty much up for disappointment. "Where I'm From" is something like that. Game constantly repeats himself again, even claiming to walk through 8 Mile (um…look slightly above). The beat from Focus is somewhat of a "21 Questions" rip-off. Nate Dogg adds his flavor of course, but it's not enough. Maybe a needed Dre appearance would divvy up the score. Skip this. - 3

16. Special (featuring Nate Dogg) - No G-Unit album goes without a song for the ladies, and Game is no exception (cannot wait to see Yayo's take on this). Where Young Buck, Lloyd Banks, and 50 Cent have triumphed with addictive hits to women, Game just gets by. And unlike those tracks done by said artists, there's just no originality with this one. Skip again. - 3

17. Don't Worry (featuring Mary J. Blige) - Dre, Dre, Dre, where you been all my life homie? Making classics of course. "Don't Worry" proves that "Special" has no place for such a special album. But "Don't Worry" Mary J. kicks in only the one soulful way she can. Game shows emotion over Dre's teary piano keys (tight!), proving gangstas need love too. This isn't the sappy R&B or club stuff you're used to. This reminds me of a "Bring the Pain" 2 even. I've come to a conclusion: the more Dr. Dre track the better. Whoa. Now I sound more on Dre's shnoggin' than Game does. But within good reason. - 4.5

18. Like Father Like Son (featuring Busta Rhymes) - The Game finishes the album correctly in three separate aspects. The first being hiring the soul of D.I.T.C.'s Buckwild to lace him with a surprisingly soulful closing gem. The second being the sentimental, emotional narratives Game appears to have as a strength: "Runnin' through the maternity ward out of breath sweatin' / I swear to God every minute is startin' to feel like a second / I see hell starin' down the barrel of a Smith and Wesson / My son's ultrasound the closest I ever been to heaven," and "They say every time somebody died a child is born / So I thank the nigga that gave his life for the birth of my son." And last, hiring the latest voice of the Aftermath in Busta Rhymes to provide a nice, underwhelming hook. A lot of songs are dedicated to mamas, and daughters (see Nas), but not too many have gone to the little Games of this rap shit. - 4.5

Song Rating - 4 (closer to 4.25)
Rhymes - 3.5
Beats - 4.5
Originality - 3 (closer to 3.25)

Overall Rating -

Just don't call him Triple H. Respect Game goes to Aftermath/G-Unit/Shady Records for putting out yet another burner to the streets. After being the most debated, most beefed, most prolific emcee on the mixtape scene, The Game has finally arrived. And so has the West. California love shall start again, with Game toting as merely an appetizer from what Dr. Dre and the Aftermath affiliates have in store. While some of the tracks on this debut simply didn't belong ("Don't Need Your Love," "Church For Thugs," "Special"), and Game tended to reference Dre, N.W.A., and just about everyone else in the rap game dead or alive way too much, it still packs a holster of classic shit. From the soulful sounds of "Dreams," "Hate It or Love It," and "Like Father, Like Son," to the gangsta sounds of Dre's plentiful genius, this is about as close to a near-classic as you can get. I would even go far to say this is G-Unit's best album since Get Rich or Die Trying (yet not far from the underrated Welcome to Cashville). While many would like to see Compton's new chief step his "Game" up a bit lyrically per se-he's getting there, there's no question, but you can't get burned by every guest-the industry can expect more Cali classics from Game if he does just that. More intriguing, however, would be the hint of Detox sprayed throughout The Documentary; this could definitely lead up to something even more special at the hip-hop theatre later this year.

RATING SYSTEM
	Trash
	Maybe 1 Hit
	Step Ya Game Up
	Disappointing
	Diehards Only
	In The Deck
	Straight Crack
	Among Year's Best
	Classic Album