Review Roundup: The Game – ‘L.A.X.’

The Game’s third album L.A.X. is available now. Find out what the critics are saying…

The New York Times: On L.A.X., his third album, for the first time he’s a joyless name checker; it’s as if the letters of his album title were all in lowercase. Almost everything here, from the boasting (“Money”) to the baiting (“L.A.X. Files,” “Cali Sunshine”), is pro forma. Worse, the Game, never a fluid rapper, sounds positively lumpy, as if he were delivering verses while running up a steep flight of stairs, or as if the last few years of pugnacity have finally left him winded.

Los Angeles Times: The Compton-raised rapper’s conservative inclination to stick to the gangsta tropes of money, drugs and guns feels limiting at times, as does the album’s bloated 1-hour-and-16-minute running time. While L.A.X. boasts several tracks too many, few remain outright duds, with the album heavily boosted by The Game’s all-star squad of guest performers.

The Boston Globe: L.A.X. spins beautifully at first, but, like a ’64 Chevy with chrome rims that hasn’t paid a visit to the mechanic in 20 years, it doesn’t take long before the wheels come off entirely.

Newsday: When The Game is on—in the mournful “My Life” with Lil Wayne, where he says, “My life used to be empty like a Glock without a round,” and in the old-school tribute to civil-rights leaders “Letter to the King,” in which he’s smart enough to let Nas shine as well—he proves himself to be one of hip-hop’s best. B