Send "The Game " Ringtones to your Cell 
| Popmatters |
 Undoubtedly, Game’s fourth full-length has experienced one of the most public release sagas in music history. Which probably doesn’t come as a surprise to anyone who’s followed his career. This is the guy who’s widely referred as bi-polar in a half-joking manner by the hip-hop community, who’s dissed and apologized to Jay-Z so many times we’ve all lost track. He’s the guy who gives incendiary interviews as if they were his job proper, as if his penchant for lighting fires and burning bridges was more necessary to his rap career than rapping itself.Then again, he’s also the guy who’d try to broker peace between Tyler, The Creator and Chris Brown because beef is played out, then fantasize about throwing Rihanna in front of a train or setting fire to a tied-up Lil’ B on “Monsters vs. Goblins”. Oh, and let Tyler sneak in a diss about Chris’ bleached-blonde haircut on the same track. On the same album that features Chris Brown on the lead single. So, again, one shouldn’t be surprised that the story behind most of these tracks is somewhat public knowledge through twitter rants and interviews, and neither should one be surprised at the schizophrenic nature that pervades much of the album. After all, where Beyoncé recorded around 80 tracks for her latest album and we only received the music her label deemed in demand, Game has given us practically everything he committed to tape. What started with the Red Room mixtape in spring of 2010 to hype the album quickly spiraled into the Brake Lights tape that fall, the triple-disc Purp & Patron released this past January and, as if in commitment to excess, a tape called Hoodmorning released on the first of August, mere weeks before the album proper. And yes, all of them featured original production with original features and original rhymes....full text |
| Music |
| By Aftermath standards, the nearly two year delay for Game's return to the label is like most artists having their release date pushed back a week, with Tyler The Creator making mention of the label's most famous delay on the deliciously hazy stomp of spitfire "Martians Vs. Goblins", admitting, "I suck? Where the f*cking ring, pops? / You got a better chance of getting a copy of Detox". If there is any correlation between delay and quality, given how good Game's latest turned out, Dr. Dre fans are in for a hell of a treat. The birth of his daughter weighs heavily on Game's mind, getting a mention when expressing empathy to Natalie Holloway's father in the anti-violence anthem "Good Girls Go Bad" as he demands, "Respect women, I don't care if she's a two or a ten", over a horn-laced handclap beat and cool soul sample. A dreamy, warped Motown-esque sample and coin-clanging beat fuels the gritty, affectionate narrative "California Dream" as he methodically contemplates his daughter's impending birth before being interrupted by his wife's labor, leading to a trip to the hospital; complete with audio recorded on his cell phone of the event. For all the syrupy synth, buried glistening guitar, and gooey Lloyd-sung hook on "Hello", as he spends lavishly on his woman, and mellowed-out rap ballad "All The Way Gone" finding him giving up looking for women as he admits to finding his match, Game has not lost his edge. Four interludes from Dr. Dre spill details of Game's rough upbringing, making no attempt to hide his gang past on interrogation and crime duo "The Good, The Bad, The Ugly" and "Heavy Artillery", with the former finding him 'recalling' the events for police, reminiscent of Biggie's "Warning", and the latter revealing the murderous details he refused to give the cops....full text |
| Hiphopdx. |
| Many perceive Jayceon Taylor to be the loose cannon of Hip Hop, and they might be right. Equal parts of passion and madness, the trajectory of Game's career has included serving as the mouthpiece for G-Unit, being the mouthpiece against G-Unit, and preserving Dr. Dre's often doubted post-Detox legacy. Game’s first three albums possessed different attributes of the West Coast emcee’s personality. The R.E.D. Album is an amalgam of all three, where Game’s penchant for punchy, honest verses proves he has several more miles of music before bowing out. The album runs a little long in length (almost an hour and a half), with all but four songs having at least one feature. Dr. Dre’s commentary is dispersed throughout, with four short segues detailing Game’s three-plus decades of life. “The City” opens, where Game speaks candidly about his past label situations (“I was stressed the fuck out, torn between Aftermath, Geffen, Interscope…”) while hinting at future ones (“Either I’m crazy or / The Black Slim Shady or / could that be the reason that Baby said he would pay me more?”). Kendrick Lamar provides a near-spoken word hook before blacking out at the end with what sounds like a pledge of allegiance to Game. While any other rap vet opposite Kendrick would pose a balance of teacher and student, Game’s insatiable hunger on the mic makes it sound like a two-student operation...full text |
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