God_Body
Check yourself, what percentage is you?
The Game has made a classic double album.
It’s not going to be a classic with the huge singles that Pac, Biggie or OutKast had. It’s not even going to sell 10% of what that lot managed. Hell, most people (even rap fans) just won’t even realize it for a while. But it’s SO carefully thought out, consistent, has a lower ratio of tracks that need cutting, the right amount/choice of guests and – crucially – it genuinely gets better with every spin. The bedrock of Game’s success here is the absolutely outstanding music on offer: there are delights all over the place, some only last a couple of minutes and bleeding out of the previous track so seamlessly that you don’t realize it’s a different song. It pays homage to the right areas/eras of hip hop, the ones that make sense to someone his age (more of that later). If we resist the temptation to mark negatively – because there are some clear missteps – and just assess the album for what it is, not what it could have been, then time will tell: “The Documentary 2 & 2.5” form a classic double album.
The general sequencing makes real sense, the TRANSITIONS are PERFECT (so important), the engineering is absolutely top notch, plus there is some fantastic production. After a short intro, the opening four songs feel like Game is taking you back to his youth: a lush Erykah Badu sample combined with Kendrick Lamar sets the tone with "On Me", and the 90s era Brandy-jacking “Step Up” is DJ MIXED into it. Next is "Don't Trip" the west coast version of "Rebirth of the Slick" with Dre and Cube, and completing the 90s stretch is “Standing On Ferraris” with Game riskily attacking “Kick In The Door” – and somehow doing a damn fine job reinterpreting it. Even Puff Daddy pops up at the end. It’s a brilliant first act, and the next four songs are deeper cuts – Ab-Soul is brilliant on “Dollar and a Dream”; “Made In America” is just so damn soulful, too. “Hashtag” is risky, and a lot of people may not take to it, but it’s a necessary jolt to the system. “Circles” is a hidden gem. That section also starts laying the foundations for the up/downs of Game’s love life. Future is the go-to guy for thugged out hooks that the ladies love, and with Hit-Boy helping out, the wonderfully lilting “Dedicated” could be a sleeper hit.
“B—h You Ain’t S–t” and “Mula” may have you reaching for the skip button, and they sandwich the excellent “Summertime” (Mike WILL Made It cold kills the instrumental, those drums…). DJ Premier turns up, and while some may think it’s a by-product of Dre’s “Compton” sessions, The Game has already worked with the legendary Primo (“Born in the Trap”). Well, this title track is much, much better than that “R.E.D. Album” cut. There is some choice wordplay (the “sixteen” section is dope), and Premier brings the heat. After the somber “New York, New York” comes an excellent collaboration with Drake and they definitely keep it 8 more than 92. It’s weird that Game had a track on “Compton” called “Just Another Day” that was possibly the best song on the whole fucking thing. And here, you look at the tracklisting – up pops “Just Another Day”. Yessss!! Except it’s a completely different song. After the initial disappointment, you should come to love it – for my money, it’s the best instrumental on either disc, and was lodged in my head for days. Finally, “L.A.” closes the first disc – it’s clearly at odds with most of the album, but could crossover with the right visuals. It’s catchy, it has Snoop and half of the Black Eyed Peas. Best to just let it wash over you.
The “2.5” disc is extremely different. It’s lyrically and conceptually deeper. It pays homage to fallen heroes like Tupac in a totally different was than “To Pimp A Butterfly” did. It shines a light on young MCs and old producers. It starts of with Anderson .Paak on the brilliantly titled “Magnus Carlsen.” It’s a stunning 10/10 joint, with layered background vocals, a sense of hurt and hope battling one another and Game dropping jewels. It is followed up by another Paak stunner, “Crenshaw” (those organs!). Blending into “80s & Cocaine” on the same track, it somehow gets even doper with Travis Barker popping up alongside Sonyae. At this point, let me express my disappointment in anyone sleeping on this fucking album. Seriously, wake the fuck up. “Gang Bang Anyway” seems a bit disappointing musically initially, but grows enough when combined with the searing lyrics and the conceptual link between the “New York Skit” intro, the outro of GBA, “The Ghetto” featuring Nas, and three separate other points in “2.5” proves that it’s been carefully plotted out. There IS a threat of violence that looms over this disc. Everyone knows about Bloods and Crips but shit, I didn’t know the history. I didn’t know their true place in the past, present and future and The Game deserves credit in pulling off a tricky balancing act: he manages to teach a history lesson, refuses to takes sides, places you around the violence and tries not to glamorise it too much. The Nas song is brilliant (I would have preferred Anderson .Paak on the chorus instead of will.i.am but it still works), and it cleverly transitions into an excellent Lil Wayne feature on “From Adam.” Game is energised, bruised, triumphant and forlorn, frequently all within the space of the same track. The one-two of “Gang Related” and “Last Time You Seen” is particularly effective (with Harry-O and Scarface adding so much).
It all lightens up with “Intoxicated” harking back to the early Snoop days nicely, and the beautiful “Quiks Groove” with DJ Quik gives a whole different energy to what had thus far been a particularly intense disc. There is also a trio of songs that are particularly interesting: DJ Mustard's subtle double track “My Flag/Da Homies” is darker than usual, and works well. But immediately before lies a Battlecat joint… Wow, LONG time! It’s brilliant decision-making from The Game, as “Up on the Wall” ends up being a standout track. Even Travis Barker joins in the party too with “Outside” to pay homage to one of the originators. “Moment of Violence” seems a touch half-baked, but at least makes some sense, even if it isn’t the most effective “fuck the police” track you could imagine. “Like Father, Like Son” is one of Game's best tracks ever. It’s a meaningful track to a lot of people out there so it’s beautiful to have an update. I won’t spoil it for you – just know that the Alchemist always h-h-h-h-holds y-y-y-y-you down with his instrumentals. “Life” is a thoughtful way to end the album, a much-needed mea culpa of sorts.
Whew, that was alot but this is the real deal. This album is outstanding. This isn’t based on a cursory listen: the evidence is all there. His lyrics are more considered; his flow is varied and on point pretty much throughout; the choice in music is superb; there are concepts that deserve your attention. The Game has delivered one of the greatest hip-hop double albums in history.
It’s not going to be a classic with the huge singles that Pac, Biggie or OutKast had. It’s not even going to sell 10% of what that lot managed. Hell, most people (even rap fans) just won’t even realize it for a while. But it’s SO carefully thought out, consistent, has a lower ratio of tracks that need cutting, the right amount/choice of guests and – crucially – it genuinely gets better with every spin. The bedrock of Game’s success here is the absolutely outstanding music on offer: there are delights all over the place, some only last a couple of minutes and bleeding out of the previous track so seamlessly that you don’t realize it’s a different song. It pays homage to the right areas/eras of hip hop, the ones that make sense to someone his age (more of that later). If we resist the temptation to mark negatively – because there are some clear missteps – and just assess the album for what it is, not what it could have been, then time will tell: “The Documentary 2 & 2.5” form a classic double album.
The general sequencing makes real sense, the TRANSITIONS are PERFECT (so important), the engineering is absolutely top notch, plus there is some fantastic production. After a short intro, the opening four songs feel like Game is taking you back to his youth: a lush Erykah Badu sample combined with Kendrick Lamar sets the tone with "On Me", and the 90s era Brandy-jacking “Step Up” is DJ MIXED into it. Next is "Don't Trip" the west coast version of "Rebirth of the Slick" with Dre and Cube, and completing the 90s stretch is “Standing On Ferraris” with Game riskily attacking “Kick In The Door” – and somehow doing a damn fine job reinterpreting it. Even Puff Daddy pops up at the end. It’s a brilliant first act, and the next four songs are deeper cuts – Ab-Soul is brilliant on “Dollar and a Dream”; “Made In America” is just so damn soulful, too. “Hashtag” is risky, and a lot of people may not take to it, but it’s a necessary jolt to the system. “Circles” is a hidden gem. That section also starts laying the foundations for the up/downs of Game’s love life. Future is the go-to guy for thugged out hooks that the ladies love, and with Hit-Boy helping out, the wonderfully lilting “Dedicated” could be a sleeper hit.
“B—h You Ain’t S–t” and “Mula” may have you reaching for the skip button, and they sandwich the excellent “Summertime” (Mike WILL Made It cold kills the instrumental, those drums…). DJ Premier turns up, and while some may think it’s a by-product of Dre’s “Compton” sessions, The Game has already worked with the legendary Primo (“Born in the Trap”). Well, this title track is much, much better than that “R.E.D. Album” cut. There is some choice wordplay (the “sixteen” section is dope), and Premier brings the heat. After the somber “New York, New York” comes an excellent collaboration with Drake and they definitely keep it 8 more than 92. It’s weird that Game had a track on “Compton” called “Just Another Day” that was possibly the best song on the whole fucking thing. And here, you look at the tracklisting – up pops “Just Another Day”. Yessss!! Except it’s a completely different song. After the initial disappointment, you should come to love it – for my money, it’s the best instrumental on either disc, and was lodged in my head for days. Finally, “L.A.” closes the first disc – it’s clearly at odds with most of the album, but could crossover with the right visuals. It’s catchy, it has Snoop and half of the Black Eyed Peas. Best to just let it wash over you.
The “2.5” disc is extremely different. It’s lyrically and conceptually deeper. It pays homage to fallen heroes like Tupac in a totally different was than “To Pimp A Butterfly” did. It shines a light on young MCs and old producers. It starts of with Anderson .Paak on the brilliantly titled “Magnus Carlsen.” It’s a stunning 10/10 joint, with layered background vocals, a sense of hurt and hope battling one another and Game dropping jewels. It is followed up by another Paak stunner, “Crenshaw” (those organs!). Blending into “80s & Cocaine” on the same track, it somehow gets even doper with Travis Barker popping up alongside Sonyae. At this point, let me express my disappointment in anyone sleeping on this fucking album. Seriously, wake the fuck up. “Gang Bang Anyway” seems a bit disappointing musically initially, but grows enough when combined with the searing lyrics and the conceptual link between the “New York Skit” intro, the outro of GBA, “The Ghetto” featuring Nas, and three separate other points in “2.5” proves that it’s been carefully plotted out. There IS a threat of violence that looms over this disc. Everyone knows about Bloods and Crips but shit, I didn’t know the history. I didn’t know their true place in the past, present and future and The Game deserves credit in pulling off a tricky balancing act: he manages to teach a history lesson, refuses to takes sides, places you around the violence and tries not to glamorise it too much. The Nas song is brilliant (I would have preferred Anderson .Paak on the chorus instead of will.i.am but it still works), and it cleverly transitions into an excellent Lil Wayne feature on “From Adam.” Game is energised, bruised, triumphant and forlorn, frequently all within the space of the same track. The one-two of “Gang Related” and “Last Time You Seen” is particularly effective (with Harry-O and Scarface adding so much).
It all lightens up with “Intoxicated” harking back to the early Snoop days nicely, and the beautiful “Quiks Groove” with DJ Quik gives a whole different energy to what had thus far been a particularly intense disc. There is also a trio of songs that are particularly interesting: DJ Mustard's subtle double track “My Flag/Da Homies” is darker than usual, and works well. But immediately before lies a Battlecat joint… Wow, LONG time! It’s brilliant decision-making from The Game, as “Up on the Wall” ends up being a standout track. Even Travis Barker joins in the party too with “Outside” to pay homage to one of the originators. “Moment of Violence” seems a touch half-baked, but at least makes some sense, even if it isn’t the most effective “fuck the police” track you could imagine. “Like Father, Like Son” is one of Game's best tracks ever. It’s a meaningful track to a lot of people out there so it’s beautiful to have an update. I won’t spoil it for you – just know that the Alchemist always h-h-h-h-holds y-y-y-y-you down with his instrumentals. “Life” is a thoughtful way to end the album, a much-needed mea culpa of sorts.
Whew, that was alot but this is the real deal. This album is outstanding. This isn’t based on a cursory listen: the evidence is all there. His lyrics are more considered; his flow is varied and on point pretty much throughout; the choice in music is superb; there are concepts that deserve your attention. The Game has delivered one of the greatest hip-hop double albums in history.
