The Game finally released his long-awaited album with a diss track on Eminem.
Our rating: 8.3/10
The Game has been calling himself better than Eminem this whole, everywhere he visits on podcasts, morning shows, or podcasts. And finally, he has dropped his new studio album of the year, Drillmatic: Mind vs Heart is here.
After significant delays, the Game has dropped his tenth studio album Drillmatic: Heart vs. Mind, his first full-length release since 2019’s Born 2 Rap.
Kanye West (“Eazy,” “Fortunate”), Lil Wayne (“Chrome Slugs & Harmony”), Pusha-T (“No Man Falls”), YoungBoy Never Broke Again (“O.P.P.”), Roddy Ricch (“How Far I Come”), Fivio Foreign (“Burnin’ Checks”), YG (“Outside”), ASAP Rocky (“Money Cash Clothes”), and others appear on the 30-track, approximately.
Drillmatic has 30 tracks and appears to be divided in half. The “Heart” makes up the first part, while the “Mind” makes up the second. Time will show whether this ranks among The Game’s top 5 albums in his discography based on what we have seen and heard from the Compton spitter thus far. This release has been delayed somewhat by several objections, however, the delay was quite well worthwhile.
With this album, The Game believes he is solidifying his position as the top rapper. He recently produced an excessively long album, where the quality of the songs changes depending on the artists on board. I’ve read that the release of this album was often postponed because of problems with his label but there’s still no rationale for including 31 tracks on your CD.
“1 Time” opens the lp with a feisty guitar and Game rapping about being wandering nightmares, whilst “Eazy” with Kanye West samples the late Eazy-E owing to Hit-Boy himself, Mike Dean, and even DJ Premier acknowledging that their lives were never a pleasure. Fivio Foreign joins in on the vibro “Burnin’ Checks,” which talks about being genuine, but “Voodoo” combines a fawning trap melody depicting being a threat.
I don’t intend to be rude, but I believe The Game delivers one of the finest drill performances ever in “Burnin’ Checks” in the album.
There’s a lot of gloating and bragging in The Game and FIvio Foreign’s “Burnin’ Checks.” In fact, in their separate songs, they each claim to be the monarch of New York and Los Angeles. But that’s not why I enjoy the song. I enjoy it because it has a beautiful drill rhythm over which The Game and Fivio Foreign lay their competing bars gently and forcefully (respectively). The song also has a really appealing melody in my opinion.
The Game’s “Dreams,” produced by Kanye West, is one of my all-time favorite songs. Since its debut, the two artists have worked on a number more tracks together. They deliver some really meaty stuff in their latest recent single, “Eazy.”
Kanye and The Game rhyme about anything from their tough start-ups to beating up Pete Davidson over a beat that has both old-school hip-hop sounds and church vibes. While I adore the latter’s gritty raps, it’s the meaty substance that the latter provides that piques my interest much more.
While all is going on, Game is ranting over his life on “Home Invasion” before YoungBoy Never Broke Again joins him for the DJ Paul-produced song “Opp,” in which they criticize the federal government. Just before “La La Land” transitions into jazzier territory demonstrating his love for Los Angeles, “Outside” featuring YG has a more ghostly vibe from S1 calling out individuals who claim Compton but didn’t grow up there.
The Game goes off’s rhythm, which was solely employed by New York’s nastiest artists back then, is the foundation for What We Not Gon’ Do. Within the track, he uses a tougher rap approach to push his primary lady to make wiser choices for their union. Honestly, I just believe that the song has an inevitable vibe that makes it seem more significant.
Pusha T and 2 Chainz perform “No Man Falls” Whereas “Chrome Slugs-n-Harmony,” featuring G Herbo and Lil Wayne, is a great homage to the Bone Thugs-n-Harmony from of beats to London on da Track pushing .1999 Eternal the cherished work of genius it is, Chainz is more of percussion less vibe discussing how everyone use walking sticks. It’s the follow-up to one of my favorite cuts from, “Start from Scratch II.” While “What We Not Gon’ Do” gets into a more futuristic sound and talks about not going to war or contacting the police, the Documentary edition is an emotive homage to Prodigy.
Following the “Drake with the Braids” interlude, “Nikki Beach” featuring French Montana delivers a phony campaign for DJ Khaled’s upcoming 13th album They Didn’t Believe in Us, God Did. While the Meek Mill/Moneybagg Yo-assisted “Talk to Me Nice” mockingly actually admitted to being too proud to take other people’s advice.
Then there is “The Black Slim Shady,” a ten-minute track, more of a homage diss directed against Eminem with ill-timed beat swaps and imitations of his flows. I would listen to Rap Devil if want to listen to Eminem’s diss ( which I don’t want to). In “The Black Slim Shady,” The Game constantly pursues Eminem. All through the song, he says that Em is overvalued, accuses him of copying black culture, and even claims that he prefers Tekashi’s music over his own. At times, The Game just touches the line, but at others, he crosses the line and spits about his ex-wife and his daughter. The song is inconsistent, feels forced, and is just a taunt rather than a diss track. With what Dr.Dre, 50 Cent, and G-Unit have done for The Game’s career this track is just an ungrateful bizarre attempt.
Big Sean features on the harmonica bap mashup “Stupid,” which brags about just how aggressively both guys work for the music while the bluesy “.38 Special” tells that each day is Cripmas. While “World Tours” with late Nipsey Hussle is a lo-fi homage to their self-made enterprise, “Twisted” returns to the hook, explaining that the booze he was drinking caused his friend to get screwed up.
While the last track, “A Father’s Prayer,” combines a choir sample with parched percussion for just an emotional message to his daughter, the opulent “Save the Best for Last” featuring Rick Ross expresses gratitude for being currently alive. The album’s concluding track, “Universal Love,” emphasizes the importance of love.
While I believe that there are several wonderful tracks on this album, I believe that the contentious (and perhaps stupid) “The Black Slim Shady” will be among them that takes fans from all else. Furthermore, although I believe that The Game creates some incredible verses, his penchant for naming people gives the impression that you’re having to listen to Twitter spaces or a clubhouse private channel. If you’re listening to this record, I think the ideal thing to do is to appreciate it for what it is rather than taking specific things too seriously. Enjoy its top-tier sounds and raps.
Anyway, credit to DJ Mustard for providing one of the best samplings of the opening track. From an lp that is somewhat difficult, this is a truly fantastic occasion to just look at the better tracks than niggle around the fillers songs & The Black Slim Shady.
