The Game, since his arrival on the scene, has fearlessly touted West Coast rap and taken it to new heights. With The R.E.D. Album, his fourth effort, Game unleashes his most incendiary scribing to date. The R.E.D. Album is a slew of jarrings that are unashamedly blunt, direct and gritty. “The City” adds fellow homie, Kendrick Lamar and is a sentimental and shameless display on religiosity and industry confusion.
The lead single, “Red Nation,” finds Game paying homage to his upbringing over a brutalized rhythm that keeps the play button pressed. The music video has garnered praise and gnashing of teeth from cable networks. On “Martians vs. Goblins,” Game and Tyler the Creator spit blurbs on vampires, Harry Potter and Bruno Mars. Its sonicism sound drones making for a jittery and uneasy experience with an appearance from Lil Wayne.
Fancy dinners, Asti and Moscato are poured over the bedroom charge of “Hello,” which embodies Lloyd crooning within the beat, whereas “Pot of Gold,” the second single from the R.E.D. Album, finds Game taking a trip across the flashback prism without the leprechaun or the rainbow alongside Chris Brown. Game ups the ante on “Drug Test,” which clamps itself against other strong points on the album as a high-class bow to the nexus that is West Coast rap. “California Dream,” is an sonnet written to his daughter.
It is hard to refute Game’s growth as an artist on the R.E.D. Album considering its two year delay. One can feel the all consuming and unrelenting breadth over seventeen sessions. The R.E.D. Album is an irrefutable docket of Game’s phraseology in the rap business.
Prime Cuts: “The City,” “Red Nation,” “Heavy Artilery,” “All The Way Gone,” “Pot of Gold,” & “Mama Knows”
The Red Album receives a PARLÉ
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