His hoarse, guttural voice doesn't possess any of the relaxed menace of classic West Coast rappers he sounds more like Tha Dogg Pound member Daz Dillinger than Eazy or Snoop or The D.O.C. The Game is not a particularly singular rapper. The end result is a rich, triumphant sonic tapestry you can hear every dollar that went into it. Superstar beatmakers like Timbaland and Kanye West hold back on their signature tics, fitting their usual approaches into the album's fabric. Dre produces five of the album's 17 songs, applying his recent stripped-down cinematic style, and many of the record's other producers follow his lead. All of the G-Unit solo albums thus far have been aesthetically unified, a rarity in hip-hop the tracks on The Documentary actually sound like they belong on the same album. Now he has: The Documentary is the best West Coast street-rap album since DJ Quik's 2002 LP Under tha Influence. And having spent the past few months embroiled in pointless beefs with also-rans like Joe Budden and Yukmouth- and getting hammered from all sides- Game needs more than ever to deliver a debut to back up his talk. The Compton MC made a name for himself on the mixtape scene that made 50 Cent a star it made perfect sense for him to become the first West Coast representative of G-Unit.

So The Game, Dre's newest protégé, has a lot riding on him.

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