Review Summary: The Game proves he is anything but a one-album-wonder, improves his lyricism and matures dramatically since his first album The Documentary0 of 3 thought this review was well written
After The Game's first album, The Documentary, sold over 6 million copies, The Game left G-Unit for refusing to take 50-Cent's side in beefs with rappers such as Fat Joe and Nas. He began to hear G-Unit members claiming his first album's success was mostly due to 50 cent. The Game released a diss-mixtape called 'Youknowwhatitis Vol 3' that dissed G-Unit on basically every song with possibly the funniest diss lines heard in 21st century hip-hop.
When The Game announced the Doctor's Advocate album, most expected much of the same as seen on Youknowwhatitis Vol 3: with plenty of witty G-Unit disses and typical west coast style. Instead of taking shots at G-Unit, the Game, shockingly, doesn't mention any G-Unit member throughout the entire album until calling for a detente with 50 cent on the last track out of respect for what hip hop has done for both their lives. This album is an attempt to lyrically outperform every member of G-Unit through lyrical skill instead of dissing them, showing the music world he is not 50 cents stooge and can make good music without Dr. Dre.
The Doctor's Advocate was dedicated to paying tribute to those who got him where he is today, while also revealing a more personal side of The Game by discussing his struggles with losing childhood friends and family members in Compton. The game doesn't romanticize street life, he reports it with the integrity of a journalist and analyzes it like a poetic scholar ("I gotta lotta dead homies, some blood- some crip, this is life! Stop watchin that Boyz in the Hood shit.")The authenticity of the album is felt from start to finish because The Game WROTE and co-produced this entire album, including the hooks, which is only true for this album and LAX.
Although The Game didn't get help from Dr. Dre on this album, he did indeed get help from multiple famous guests and producers. (SEE BELOW) Say what you will about this apparent hypocrisy, but one of my favorite things about Game's music is his ability to find and use modern hip hop talent. He has a unique ability to take many producers/artists different styles and mesh them into one album that is a cohesive style of his own. Its like hes in the movie Back to the Future picking out the superior sounds of the 21st century and bringing them back to the non-corporate and more meaningful 90s. A perfect example is the Will.I.Am produced Compton, which uses a disco sample from "Gangster Boogie" by Chicago Gangsters and turns it into something that sounds like a mix between disco and 90's gangsta rap with the end result sounding modern. Describing the production on this album would require writing a book because it is so diverse, yet somehow they all have a 90's westcoast feel to them when the Game starts rapping over them.
Whereas the message of The Documentary was likely only felt by those living (or pretending to live) similiar lifestyles to The Game, The Doctor's Advocates message can be appreciated from Compton to Harvard. The Documentary, has 2-3 times more songs that you will hear on the radio; but the thing that sets this album apart from his others is its authenticity. The Game had much more influence in producing this album than any others (except possibly LAX) because he had just left Aftermath/Interscope recording label (and eventually resigned for The RED Album). As a result, this album is by far the least 'mainstream' of Game's four major albums and has the best sound for people trying to hear witty wordplay and cleverly told stories, not pop-stars singing hooks thanks to corporate big wigs trying to sell albums to America's largest demographic: fat 10 year old girls.
Guest features/Production/Track list
No. Title Producer(s) Length
1. "Lookin' at You" produced by Ervin "EP" Pope
2. "Da Shit" produced by DJ Khalil
3. "It's Okay (One Blood)" (featuring Junior Reid) produced by Reefa
4. "Compton" (featuring will.i.am) produced by will.i.am
5. "Remedy" produced by Just Blaze
6. "Let's Ride" by Scott Storch
7. "Too Much" (featuring Nate Dogg) produced by Scott Storch
8. "Wouldn't Get Far" (featuring Kanye West) produced by Kanye West
9. "Scream On 'Em" (featuring Swizz Beatz) produced by Swizz Beatz
10. "One Night" produced by Nottz
11. "Doctor's Advocate" (featuring Busta Rhymes) produced by J.R. Rotem
12. "Ol' English" (featuring Dion) produced by Hi-Tek
13. "California Vacation" (featuring Snoop Dogg & Xzibit) produced by J.R. Rotem
14. "Bang" (featuring Tha Dogg Pound) produced by Jellyroll
15. "Around The World" (featuring Jamie Foxx) produced by Mr. Porter, Mike Chav (co.)
16. "Why You Hate The Game" (featuring Nas & Marsha Ambrosius) produced by Just Blaze