The Game's Doctor's Advocate

After the widely publicized falling out with 50 Cent on the eve of The Game's debut The Documentary (read review) in 2005, The Game went on a mixtape rampage, intent on assassinating the character of not only 50 Cent but all of G-Unit, which by this time also included Spider Loc, Queens icons Mobb Deep, Olivia, the Brooklyn duo M.O.P., and even onetime Bad Boy star Mase. The taunts between G-Unit and The Game having reached something of a crescendo and beginning to peter off by the end of spring 2006, The Game prepared his sophomore set Doctor's Advocate on another subsidiary of Interscope, Geffen Records.

Despite rumors to the contrary at the time of its release, Dr. Dre was not involved in the making of the album, though the title referred to him. An advocate is a defender and/or supporter, and Dr. Dre, fresh off of producing three multiplatinum albums in 2004-2005 (Eminem, 50 Cent, and The Game), certainly needed neither. Perhaps then The Game was trying to support or advocate the Dr. Dre of old, of N.W.A. and Death Row, or at least The Game's rather naïve view of him as an uncompromising gangster and hyper-masculine authority figure. This is hinted at several times throughout, from the opening track, Lookin at You: "He's a reflection of Dr. Dre in his heyday in the worst way", the second track, Da S---: "It's time to bring back Chronic and the Doggystyle", the fourth, Compton: "And do it like Dre did it, N.W.A. did it", and on and on. Those first four tracks mention Dr. Dre twelve times...don't even ask about the number of N.W.A. and Death Row references.

It seems clear that The Game wants to be held in that same regard even if he either doesn't understand what that takes or is too lazy to try to get there; listen to Compton, wherein he spends nearly five minutes comparing himself to other rappers rather than speaking about Compton, the relatively simple thing that impelled the success of N.W.A. But the numerous verses directed at Dr. Dre (Let Me Ride: "Remember that, Dre? You passed me the torch") and those recalling shared memories with Dr. Dre (Around the World: "Thinkin back to Dre's house when I f----- her best friend") bespeaks something deeper than simply aspirational name-checking. It's not until you get to the title track wherein you begin to understand that he's actually pleading for Dr. Dre's affirmation and forgiveness for that 2005 falling out, which tarnished the reputation of Shady/Aftermath, and Dr. Dre himself to some extent for losing such a promising rapper from his hometown. But you may have figured it out before then, and perhaps be creeped out by spending such a long and unpleasant time in the head of such a clearly tortured artist.

There's no beef here, though some subliminal shots are thrown. And there are some truly great moments, such as the moving and meditative Old English, the racuous West Coast posse cuts Bang and California Vacation, and the stunning closing duet with Nas Why You Hate the Game. But honestly they are overshadowed by The Game's multiple attempts to prove that he is the heir to the Dr. Dre/N.W.A. legacy even though he's already out of Dr. Dre's good graces; as such, the disc becomes an uncomfortable listen rather quickly. Unlike the earlier Aftermath release The Marshall Mathers LP, wherein Eminem revels in amplifying and reflecting his discomfort at his detractors, The Game vents, often awkwardly and painfully seemingly without being conscious of being so. Dr. Dre may have had nothing to do with this album, but his presence haunts it. And his specter taints an otherwise strong album from an evolving rapper and hitmaker.

View my other Associated Content music reviews here.

Sources 
The Game, Wikipedia
Xxl staff, Man Up, XXLmag.com