It has been quite a year for Jayceon Terrell Taylor, more commonly known by his stage name, The Game. He has remained as active as any other rapper, releasing five albums in the last five years and igniting a feud with Philadelphia rapper Meek Mill — not bad for the man who made his biggest splash 11 years ago with his debut album, “The Documentary.” Game’s latest installment, “1992,” is a throwback period piece, skillfully blending old-school sounds, themes and subjects.
From the very start, listeners are bombarded with soulful samples and throwback orchestral beats, noticeably lacking more modern production techniques. This is where Game has made his name: His contemporaries, such as Kanye West or Jay-Z, have long departed from the old-school in favor of more electronic or innovative beatmaking, but Game has stubbornly stuck to his roots.
This is for good reason. Matching the ‘90s sound of the album are ‘90s-era topics and ideas, such as violence, drugs, segregation and the constant struggle just to stay afloat, which Game weaves into the album with personal anecdotes. Many of the songs could very well have come from a Snoop Dogg or Biggie album; replicating these sounds is quite an accomplishment given the 20-year gap between “1992” and the height of this style’s popularity.
For example, the opener “Savage Lifestyle” sets the tone and perpetuates Game’s rue at the violence he witnessed growing up in his hometown of Compton, Calif. Through vivid descriptions and relevant narratives, Game articulates the murkiness of gang and general black-on-black violence, painting a picture depicting precisely the track title.
Another standout song, “Young N—,” tells the story of Game’s childhood best friend from whom he was torn by affiliation with rival gangs, and who he is ultimately forced to kill. One riveting line in particular brilliantly contrasts his sentiments on such violence: “How can I hate this n— with all this love up in my heart?” Through graphic, emotional storytelling, Game properly articulates his pain, reflecting on the harsh environment he grew up in, while championing social change so other youth don’t have to go through the same type of hardship.
Besides violence and life in the mad city of Compton, other subjects covered include what one would expect out of a ’90s hip-hop album: drugs and various other vices, women and sex, rap influences, street credibility and respect and fame. Oftentimes, Taylor utilizes a shock and awe factor to effectively communicate the squalid state of living in the projects. When describing an episode where his sister was assaulted, Game raps in “True Colors / It’s On”: “Blood on her face, blood on her hands, blood on her legs / Turned on the light and everything was red.”
The album is hardly original and follows a very tried-and-true formula, one which characterized an entire decade, but this is precisely what makes Game, The Game. He brings the spirit of the ‘90s into the 21st century. Innovation can rest in the hands of others.
In this sense, the throwback subject matter, working in conjunction with old-school production style, truly makes “1992” a period piece. The album pays its respect to hip-hop legends while simultaneously cementing Game’s own legacy as an old-school presence today. All these elements combine to make sound “1992” undeniably like 1992.
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