Modest Mouse evoked the terror of a rapidly changing world on their 1997 magnum opus, reviews Harry HetheringtonWritten by Harry Hetherington on 20th January 2018
Album Review: The Game – The Documentary 2
Zahraa Vindhani reviews the sequel to The Game's classic 2005 album.
The initially released first disc brags features from the likes of Kendrick Lamar, Ice Cube, Kanye West and will.i.am. This sounds impressive; to have the backing from such favoured talent on one album surely pledges its undoubted success. Unfortunately, the vast patchwork of big names with even bigger talent comes as a double-edged sword. The tracks featuring another artist seem to contradict The Game’s overly confident approach and overshadows his work by illustrating the talent of his peers.
After the superfluous minute-long ‘Intro’, the track ‘On Me’, featuring Kendrick Lamar, seems to not only be one of the best tunes on the album, but also showcases The Game’s more recent influences and his attempts to dabble with a style similar to that of Lamar’s To Pimp a Butterfly. With a simple beat, catchy, understated hook and an increasingly rapid rapping style, The Game mimics a Kendrick-stylised, nostalgic lyrical temperament ‘Walked to Compton, hot pocket full of rocks, yes I did / Skipped class, yes I did, whooped nigga’s ass, yes I did’.
“'...it’s peculiar to see The Game rely upon a myriad of fellow rappers to record a successful album...'
Featuring Drake, ‘100’ is a track that stands as a ghostly relic of The Game’s 2005 Documentary style. Yet, irresistibly one finds themselves seeing Drake’s verse and flow as more apt for this slower, soulful and stylistically monotonous type of track. Again, it’s peculiar to see The Game rely upon a myriad of fellow rappers to record a successful album. Even when listening to ‘Bitch You Ain’t Shit’, a track left to highlight his own style, he falls short of his reputable status in the rap game; it's sloppy, overtly obscene (even for The Game) and above all, juvenile.
By bombasting the presence of rap royalty like Nas and Dr Dre as accompanying talent, one cannot be blamed for expecting an old school revivalist approach on The Documentary 2. Disappointingly the entirety of the album has an erratic sound with each track differing from style to style with little or no continuation; almost as though the game is still finding his own approach to the hip hop scene. The entire two disc album consists of a tiresome 37 tracks and exemplifies why artists should aim for ‘quality, not quantity’. The original Documentary (2005), arguably landed The Game a reputation as one of hip hop’s best, and in comparison is a far better orchestrated, written and more apt picture of The Game at the height of his talent as a writer and producer.