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The Documentary
Studio album by
the Game
ReleasedJanuary 18, 2005 (2005-01-18)
Recorded2003–2004
Studio
Genre
Length69:57
Label
Producer
The Game chronology
Untold Story
(2004) 		The Documentary
(2005) 		Doctor's Advocate
(2006)
Alternate cover
Special edition cover
Singles from The Documentary
  1. "Westside Story"
    Released: September 7, 2004
  2. "How We Do"
    Released: October 30, 2004
  3. "Hate It or Love It"
    Released: January 22, 2005
  4. "Higher"
    Released: March 15, 2005
  5. "Dreams"
    Released: May 28, 2005
  6. "Put You on the Game"
    Released: August 30, 2005

The Documentary is the debut studio album by American rapper the Game. It was released on January 18, 2005, by the Black Wall Street Records, Czar Entertainment, Aftermath Entertainment, G-Unit Records, and Interscope Records. The record serves as his major-label debut, preceded by his independently released debut Untold Story in 2004. In 2001, while the Game was in hospital recovering from a shooting, he decided to pursue a career in music. He released the mixtape, "Q.B. 2 Compton" under his then record label "Get Low Recordz" in 2002, which was later discovered by Dr. Dre and led to him signing the Game to his label, Aftermath Entertainment. The album includes production from high-profile producers such as Dr. Dre, Kanye West, Scott Storch and Timbaland, among others, and guest appearances from 50 Cent, Eminem, Nate Dogg and Faith Evans, among others. This would be the Game's only album on Aftermath and G-Unit Records, as he left the label later in 2006 after a feud began between him and fellow G-Unit label-mate 50 Cent.

The Documentary debuted at number one on the US Billboard 200, selling 586,000 units in its first week. In March 2005, the Recording Industry Association of America certified the album double Platinum, and by November 2005 the album sold 2.5 million copies in the U.S. The Documentary received generally positive reviews, with critics praising the album's production. It is also often debated by critics between itself and Doctor's Advocate as Game's best album. Since the album's release, the Game was credited as a "driving force" in reviving the once-dominant West Coast hip hop scene that had since been overshadowed by artists from the East, Midwest and South during the early 2000s. The Documentary remains the Game's best-selling album to date. On June 16, 2014, the Game announced a sequel to the album, The Documentary 2, which was released on October 9, 2015, followed by the release of The Documentary 2.5 a week later.

Recording

[edit]

After the Game signed with G-Unit, he recorded nine songs with fellow American rapper 50 Cent in his home studio in Farmington, Connecticut, and then went back to Los Angeles, California to complete the album with American record producer Dr. Dre.[1][2] While continuing the recording sessions on the album, he began working with rapper and record producer Kanye West on a song, where Kanye did the chorus. However, the song was left on the cutting room floor.[3] The Game was also inspired to revive the hip hop scene in the West Coast, which had been overshadowed since its heyday in the 1990s by rappers from the East and the South.[4] In 2005, in the interview with Vibe magazine, 50 Cent stated that he was brought in by the Interscope Records to work on the album, claiming that it was on the verge of being shelved and the Game was being dropped from the label. However, in the interview with Funkmaster Flex, the Game said that his status was never uncertain that he would be dropped from the label.[5] 50 Cent also wrote 6 choruses of The Documentary's eighteen tracks—"Hate It or Love It", "How We Do", "Church for Thugs", "Special", "Higher", and "Westside Story"[6]—and didn't receive proper credit for his work.[7]

According to Aftermath A&R Mike Lynn, an early version of the album was rejected as the music was deemed unsatisfactory; "Dreams" was the only song from this iteration that made the final tracklist, with both Lynn and Dr. Dre considering it the song that proved to them The Game was capable of putting together a quality record.[8]

Music

[edit]

Lyrics

[edit]

The Game for the album recorded tracks based on his life experiences from his childhood to his success as a rapper. When asked about the album, he stated:

I grew up in a boys home and I was taken away from my parents when I was like 8 years old... Here I am, 24. When my album drops I will be 25 so that's 17 years I have been going through my struggle by myself. There are 17 tracks on my album and every track sheds light on a different situation I went through the last 17 years.[9]

The rapper commented on the album's perception before its release, saying, "I know everybody was expecting gang-bang, 40-ounce, low-rider music, but that's not what I gave them... I'm telling a real story, and maybe there are people out there who can relate to my experiences."[4] Rolling Stone observed that "every song has a well-massaged hook and some immediate appeal, and verses that don't waste a lot of time getting to the point."[10]

Production

[edit]

The Documentary's big budget production from high-profile hip hop producers was well received from critics.[11] The first half of the album contains "upbeat, gangsta boogie" tracks with the other half relegating "smoothed out R&B maneuvers".[12] At seven tracks, Dr. Dre co-executive produced the album with his "stripped-down cinematic" approach.[13] "Westside Story" contains an "evil sounding piano plink", "Dreams" has a "simultaneously smooth and eerie" beat, and "Hate It or Love It" unveils a "smoothed out R&B funk vibe".[12] "Higher" revolves around a pounding synth blast and "How We Do" contains syncopated hand claps[12] with a beat described as "a hypnotic blast of sinister seduction powered by a deliciously primitive 808 pattern and a slinky synth."[14] "Don't Need Your Love" samples Mary J. Blige's "Not Gon Cry" and is one of the album's more soulful songs.[15] "Church for Thugs" delivers a "sing-song stylee over an accentuated sonic bed" and "Put You on the Game" is a club track containing "dark dirge[s] of synth".[12]

Although "Start from Scratch" features R&B singer Marsha Ambrosius, the beat "eschews the traditional R&B vibes" for more "aural intimidation". IGN called it "the most haunting inclusion on the album."[12] "The Documentary" features a "busy backing track" of "crashing symphonics and tinny flares of synth", which one critic believed overshadowed the lyrics.[12] "Runnin'" is a "dark, Stygian tune augmented by tinges of R&B mellowness."[12] "No More Fun and Games" has a fast-paced beat[16] that takes inspiration from early 1990s production.[17] "We Ain't", which samples Dr. Dre's "The Watcher", takes Eminem's "chug laden synth gurgle" and is described as "one of the most menacingly catchy numbers on the entire album."[12] Nate Dogg features on two "smoothed out"[12] tracks; "Special" and the G-funk-inspired "Where I'm From".[18] "Don't Worry" is an R&B flavored track and despite its "minimal production", one reviewer wrote the song "still hits hard."[15] The final track, "Like Father, Like Son", is driven by a "melodramatic, string-laden" beat.[13] Originally, Brandy Norwood was supposed to be on "Don't Worry", but Jimmy Iovine did not want a gangsta rapper like the Game on a song with Brandy.[19]

Title

[edit]

The album's title was initially called "Nigga Witta Attitude Vol. 1" (a reference to N.W.A),[20] but was changed to "The Documentary" because legal issues with an injunction filed at the request of Eazy-E's widow Tomica Woods-Wright prevented him from using N.W.A's name in the album title.[19]

Release and promotion

[edit]
The Game (right) with Kool G Rap in New York City, November 2004

The album was initially meant to be released in October 2004; however, since the other high-profile albums—including Eminem's Encore—were to be released around the same time, it was pushed back to January 18, 2005.[21] On September 28, 2004, the Game released a promotional mixtape entitled Westside Story through Aftermath Entertainment and G-Unit Records. The mixtape was used to promote his major-label debut album, The Documentary. In October 2004, the Game released his first independent album, titled Untold Story, through Get Low Recordz (owned by JT the Bigga Figga). The album sold over 82,000 copies within its first three months.[22] The album featured artists such as Sean T, Young Noble (of the Outlawz) and JT the Bigga Figga.[23] The Game also appeared on various mixtapes, which has been hosted by DJ's such as DJ Kayslay, DJ Whoo Kid and DJ Clue?. The Game also released a second mixtape You Know What It Is Vol. 2 through his own record label and appeared on the video game NBA Live 2004 on a song produced by Fredwreck called "Can't Stop Me".[24] On November 15, 2004, the Game released a promotional mixtape, titled Charge It to the Game: The Mixtape, through Westside Records. The tape was also used to promote The Documentary.[25]

Singles

[edit]

"Westside Story" was the first official single to be released from The Documentary. The song features guest vocals from American rapper 50 Cent, while the production was handled by Dr. Dre and Scott Storch. The single entered on the US Billboard Hot 100 at number 93, charted at number 55 on the Hot R&B/Hip-Hop Songs, and at number 29 on the Rhythmic Top 40 charts.[26] Rolling Stone described it as "a kind of L.A. version of "In Da Club" with "a simple keyboard part, a spare 808 beat and strings that manage to sound both stressed-out and catchy."[10] The Game has stated that this song is a tribute to Tupac Shakur, with a direct reference to him, saying "I got California love fuckin bitches to that Pac shit." The Game also makes references to Tupac's songs "California Love" and "Against All Odds". Other references includes, Nate Dogg, Tha Dogg Pound (D.P.G.) and their song "New York", Westside Connection, Michael Jackson with his album Thriller, DJ Pooh, and Kool G Rap. There is a remix featuring Snoop Dogg singing the hook and a version with both Snoop Dogg and 50 Cent on it.

"How We Do" was the second official single to be released from The Documentary. The song features guest vocals from American rapper 50 Cent, while the production was handled by Dr. Dre and Mike Elizondo. The single entered on the US Billboard Hot 100 at number four, and stayed for over four weeks.[26] The single also charted at number two on the Hot R&B/Hip-Hop Songs, at number two on the Hot Rap Tracks, at number one on the Rhythmic Top 40, at number three on the Hot Digital Songs, at number 38 on the Latin Tropical Airplay, at number 11 on the Pop 100, at number 14 on the Pop 100 Airplay, at number 14 on the Top 40 Mainstream, and at number 16 on the Top 40 Tracks charts.[26] The single attained respectable international charting. In the United Kingdom the single entered on the UK Singles Chart at number five, in Germany the single entered on the German Singles Chart at number nine, in the Republic of Ireland the single entered on the Irish Singles Chart at number eight, and in Australia the single entered on the Australian Singles Chart at number 18. The single was an instant hit with major air play. It was also moderately successful worldwide, reaching the top twenty in most countries.[27] The music video was directed by Hype Williams". The Recording Industry Association of America certified the single Gold.[28]

"Hate It or Love It" was the third official single to be released from The Documentary. The song features guest vocals from American rapper 50 Cent, while the production was handled by Cool & Dre. The single was the most popular single from the album. The single entered on the US Billboard Hot 100 at number two, charted at number one on the Hot R&B/Hip-Hop Songs, at number one on the Hot Rap Tracks, at number six on the Hot Digital Songs, at number 39 on the Latin Tropical Airplay, at number nine on the Pop 100, at number 13 on the Pop 100 Airplay, at number one on the Rhythmic Top 40, and at number 16 on the Top 40 Mainstream charts.[26][29] The single attained respectable international charting. In the United Kingdom the single entered on the UK Singles Chart at number four, in Germany the single entered on the German Singles Chart at number 14, in the Republic of Ireland the single entered on the Irish Singles Chart at number five, in Australia the single entered on the Australian Singles Chart at number 23, and in Denmark the single entered the Danish Singles Chart at number 17.[30] The track uses a sample from the song "Rubber Band" performed by the Trammps. At the 2006 Grammy Awards, it was nominated for Best Rap Performance by a Duo or Group and Best Rap Song.[31] The music video, which was directed by the Saline Project, was nominated at the 2005 MTV Video Music Awards for Best Rap Video, but lost to Ludacris' "Number One Spot". The Recording Industry Association of America certified the single Gold.[28]

"Dreams" was the fourth official single to be released from The Documentary. The single entered on the US Billboard Hot 100 at number 32, charted at number 12 on the Hot R&B/Hip-Hop Songs, at number five on the Hot Rap Tracks, at number 74 on the Hot Digital Songs, at number 62 on the Pop 100, and at number 13 on the Rhythmic Top 40.[26] The single attained international charting. In the United Kingdom the single entered on the UK Singles Chart at number eight, in Germany the single entered on the German Singles Chart at number 71, in the Republic of Ireland the single entered on the Irish Singles Chart at number 11, and in Australia the single entered on the Australian Singles Chart at number 42. The song was produced by Kanye West. The track features a sample of "No Money Down" performed by Jerry Butler. Co-Written by Jimmy "Henchmen" Rosemonds' artist, "Beloved". The song was dedicated to Yetunde Price who was shot dead in 2003.[32] One critic wrote the Game "sews together a soulful Martin Luther King Jr. type speech with the acerbic wit and hustler charm of Malcolm X."[16] Phillip Atwell directed the music video. The song is also known for having an incorrect lyric in 'I woke up from that coma 2001, about the same time Dre dropped 2001'. This references the Dr. Dre album 2001, actually released in 1999. The song was placed 16th on about.com's Best Hip-Hop Songs of 2005. And had singer Mýa Harrison in the music video.

"Put You on the Game" was the fifth and final official single from The Documentary. The single was the lowest charting single from the album, reaching only at 96 on the Hot R&B/Hip-Hop Singles & Tracks.[26] The single attained respectable international charting. In the United Kingdom the single entered on the UK Singles Chart at number 46, and in the Republic of Ireland the single entered on the Irish Singles Chart at number 22. The single was produced by Timbaland and co-produced by Danja. This was the first single released by the Game after his truce with 50 Cent fell apart and after the Game released You Know What It Is Vol. 3. It was recently that a lawsuit has been filed from a Major India Record Company Saregama India, Timbaland, co-producer Nate "Danja" Hills, the Game, Interscope Records, along with a few other Production companies are being sued for using an uncleared sample from artist.[33] The music video features the Game with many appearances by his current and former Black Wall Street affiliates. The video shows various places in Los Angeles County; including downtown Los Angeles and Compton. The music video showed these landmarks down at Los Angeles such as Staples Center, the Watts Towers, and LAX. The Game refers to a number of artists, songs and albums in "Put You on the Game"; including The Chronic, N.W.A, Makaveli, the Notorious B.I.G., Public Enemy, Flavor Flav, G-Unit, 50 Cent, Dr. Dre and his song "Let Me Ride", Eve, and Snoop Dogg. During the DVD Stop Snitchin, Stop Lyin, the Game watches the video for this song pausing at specific spots in the video which shows a dead man on the ground blocked off by police tape. The Game then repeatedly states that he is wearing G-Unit sneakers, a diss at 50 Cent saying his career is dead. Damon Johnson directed the music video. Entertainment Weekly called it a "club track so crunkalicious, it's almost shocking that a California newbie — not a Ludacris — was the recipient of its deep-fried Southern charms."[34] The song was placed 44th on about.com's Best Hip-Hop Songs of 2005.

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic72/100[35]
Review scores
SourceRating
AllMusicStarStarStarStar[36]
BlenderStarStarStarStar[37]
Entertainment WeeklyB+[34]
Los Angeles TimesStarStarStar[38]
NME8/10[39]
Pitchfork8.3/10[13]
Rolling StoneStarStarStar[10]
SpinB+[40]
USA TodayStarStarStarHalf star[41]
The Village VoiceC−[42]

The Documentary received generally positive reviews. On Metacritic, The Documentary received an aggregate score of 72 out of 100 based on 19 reviews.[35] Pitchfork Media called it "the best West Coast street-rap album since DJ Quik's 2002 LP Under tha Influence" and described the production as "a rich, triumphant sonic tapestry".[13] Allmusic wrote the album was an "excellent debut" that "hints at a lot of potential" and observed the "most remarkable aspect of the Game is how he can be such a blatant product of gangsta rap... and leave a mark so fast."[36] Rolling Stone noted the Game was "going for emotional impact rather than dazzling wordplay or laughs"[10] and PopMatters described him as "a self-conscious, malicious, nihilistic gangsta rapper with a heart and lyrical content".[16] On the other hand, Robert Christgau believed the album was "dull even when he isn't describing his medical problems, this no-talent is masscult rock at its most brazen".[42] The A.V. Club praised the production for being "a sonic classic of slow-rolling G-funk and glossy hyper-soul", but panned the Game for his name dropping, suggesting if he "cut all the references to rappers and albums... it'd be a good 15 to 20 minutes shorter—and probably a lot more compelling."[14] Billboard declared it "one of the best rap albums of the year"[43] and Entertainment Weekly suggested "with the brightest hip-hop stars aligning for him, the Game may have willed himself a popular masterpiece."[34]

IGN criticized the large number of guest appearances, stating "the propensity of guest artists makes it hard to actually get a grasp on the rising star's own voice."[12] MusicOMH observed "like many rap albums The Documentary is too long, but it maintains a high level of interest" and overall, it was "an impressive effort" that "introduces a strong presence to the West Coast".[44] Stylus Magazine wrote "no one disappoints" and despite the record being "so obviously and deeply grounded in marketing, it's still an outstandingly solid and enjoyable" debut.[11] The New York Times noted the Game's "tough but straightforward rhyme style is appealing but not, usually, enthralling... This is a rapper who almost never forgets himself, who almost never loses himself in syllables just for the fun of it."[45] The Village Voice criticized the rapper's lyrical skills, saying, "the Game's rhymes are about six degrees from totally artless".[46] Yahoo! Music also panned the lyrics for "almost totally lacking in shock value, humour or insight", but praised the production, writing that "musically, this is probably the greatest major label hip-hop album of recent years – a near faultless succession of hi-tech beats and ominously catchy hooks".[18]

Accolades

[edit]

The album appeared on numerous music critics' and publications' end-of-year albums lists. Pitchfork Media placed the album at number 35 on their list of Top 50 Albums of 2005.[47] At the 48th Annual Grammy Awards, the Game was nominated with a total of two nominations, including Best Rap Song and Best Rap Performance by a Duo or Group for the smash single "Hate It or Love It".[48] In 2012 Complex named the album one of the classic albums of the last decade.[49]

Commercial performance

[edit]

The Game is often credited as a driving force in bringing the West Coast hip hop scene back to recognition.[50][51] Before its release, he expressed his desire to have high opening week sales, saying, "I want to sell a million albums in my first week. And if I only sell one album the following week, I'm good."[4] He also admitted feeling nervous about not being able to live up to the industry expectations, saying, "Yeah, I've got some butterflies. I'm worried about my first-week numbers, and I'm worried about living up to the hype."[4] The album debuted at number one on the US Billboard 200 chart, selling 586,000 copies in the first week.[52] The Recording Industry Association of America certified the album double Platinum on March 23, 2005,[28] and it was the tenth best-selling record of the year.[53] As of March 2005, the album has sold over 2.5 million units in the United States.[54]

The Documentary peaked at the top fifteen in most European charts it entered. It peaked at number seven on the UK Albums Chart and remained on the chart for thirty-three weeks. It reached the top ten in the Netherlands, France, Ireland, Switzerland, and the top twenty in Belgium, Germany, and Norway.[55] The album topped the Canadian Albums Chart for three weeks and on March 8, 2005, it was certified Platinum with 100,000 units shipped.[56] It has since sold over five million copies worldwide.[57]

Track listing

[edit]
No.TitleWriter(s)Producer(s)Length
1."Intro" 
0:32
2."Westside Story" (featuring 50 Cent)
  • Dr. Dre
  • Storch
3:43
3."Dreams"
West4:46
4."Hate It or Love It" (featuring 50 Cent)
3:26
5."Higher"
  • Dr. Dre
  • Batson
4:05
6."How We Do" (featuring 50 Cent)
  • Taylor
  • Jackson
  • Young
  • Elizondo
  • Dr. Dre
  • Elizondo
3:55
7."Don't Need Your Love" (featuring Faith Evans)
4:26
8."Church for Thugs"
Just Blaze4:00
9."Put You on the Game"
4:14
10."Start from Scratch" (featuring Marsha Ambrosius)
  • Dr. Dre
  • Storch
4:07
11."The Documentary"
  • Bhasker
  • Reed[b]
4:11
12."Runnin'" (featuring Tony Yayo and Dion)
Hi-Tek4:26
13."No More Fun and Games"
  • Taylor
  • Smith
Just Blaze2:37
14."We Ain't" (featuring Eminem)
4:46
15."Where I'm From" (featuring Nate Dogg)
Focus...3:08
16."Special" (featuring Nate Dogg)
Needlz3:57
17."Don't Worry" (featuring Mary J. Blige)
  • Dr. Dre
  • Elizondo
4:11
18."Like Father, Like Son" (featuring Busta Rhymes)
Buckwild5:28
Special edition bonus track
No.TitleWriter(s)Producer(s)Length
19."Til’ The Wheels Fall Off" (featuring Mr. Porter)
Mr. Porter3:17
Notes
  • ^[a] signifies an additional producer.
  • ^[b] signifies a co-producer.
Sample credits

Information taken from The Documentary's liner notes.[58]

Personnel

[edit]

Credits for The Documentary adapted from Allmusic.[59]

  • 50 Cent – executive producer, writer, vocals
  • Marcella "Ms. Lago" Araica – assistant engineer
  • Mark Batson – producer
  • Steve Baughman – engineer
  • Jeff Bhasker – musician, producer
  • Jose Borges – assistant engineer
  • David Brown – assistant engineer
  • Buckwild – producer
  • Tony Campana – engineer
  • Demacio Castellon – engineer
  • Mark Catson – keyboards
  • Larry Chatman – production coordination
  • Kevin "KD" Davis – engineer
  • DJ Hi-Tek – engineer, producer
  • Michael Dobmeier – assistant engineer
  • Dr. Dre – executive producer, mixing, producer
  • Jimmy Douglas – mixing
  • Mike Elizondo – bass, keyboards, musician
  • Eminem – mixing, producer, vocals
  • Focus... – musician, producer
  • Scott Gutierrez – assistant engineer
  • Robert Hannon – engineer
  • Havoc – producer
  • Nathaniel "Danjahandz" Hills – producer
  • Keenan "Kee Note" Holloway – bass
  • Lionel "LJ" Holwan – keyboards
  • Ken Huffnagle – engineer
  • Mauricio "Veto" Irragorri – engineer, mixing
  • Glenn Jefferies – guitar
  • D. Diana Jenkins – vocals
  • Just Blaze – producer
  • Rouble Kapoor – assistant engineer
  • Wayne Kee – guitar
  • Steven King – bass, engineer, guitar, mixing
  • Mike Lynn – A&R
  • Jonathan Mannion – photography
  • Natasha Mathis – vocals
  • Kyla Miller – engineer
  • Needlz – producer
  • Ervin Pope – keyboards
  • Oscar "Filtrate" Ramierez – engineer
  • Jeff Reed – engineer, producer
  • Luis Resto – keyboards, producer
  • Angelo Sanders – A&R
  • Jason Schweitzer – engineer
  • Ed Scratch – engineer
  • Justin Smith – mixing
  • Scott Storch – musician, producer
  • Tank – scratching
  • Jayceon Taylor – writer
  • Timbaland – mixing, producer, vocals
  • Che Vicious – producer
  • Joe Warlick – engineer
  • Kanye West – producer
  • Ryan West – engineer, mixing

Charts

[edit]

Certifications

[edit]
Region Certification Certified units/sales
Australia (ARIA)[91] Gold 35,000^
Canada (Music Canada)[92] Platinum 100,000^
Denmark (IFPI Danmark)[93] Platinum 20,000‡
Germany (BVMI)[94] Gold 100,000‡
Ireland (IRMA)[95] Platinum 15,000^
New Zealand (RMNZ)[96] Platinum 15,000^
United Kingdom (BPI)[98] Platinum 413,519[97]
United States (RIAA)[99] 2× Platinum 2,000,000^

^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Documentary

View on Grokipedia
from Grokipedia
The Documentary is the debut studio album by American rapper The Game, released on January 18, 2005, through , , and . Executive produced primarily by , with additional production contributions from , , , , , and others, the album blends West Coast gangsta rap with influences and features high-profile guest appearances from artists including , , , and . It debuted at number one on the US Billboard 200 chart, selling 587,000 copies in its first week according to Nielsen SoundScan, marking one of the strongest opening weeks for a debut rap album at the time. The album's creation stemmed from The Game's discovery by Dr. Dre and 50 Cent in 2003, after Jimmy Iovine of Interscope shared a mixtape of his freestyles, leading to a signing with Aftermath and G-Unit. Recording took place over 2004 at studios including in and Dre's personal facilities, with The Game drawing lyrical inspiration from classic West Coast albums like N.W.A's and Dr. Dre's . Thematically, The Documentary explores Compton street life, gang culture, personal struggles, and the rap industry's glamour, delivered through The Game's dense, reference-heavy bars that homage 1990s hip-hop pioneers. Commercially, the album achieved widespread success, eventually selling over five million copies worldwide and earning double platinum certification from the RIAA on March 23, 2005, for shipments exceeding two million units in the . Standout singles like "How We Do" and "," both featuring and produced by , became top-10 hits on the *, further boosting its profile. Critically, it received widespread acclaim for revitalizing West Coast rap during a period dominated by East Coast and Southern styles, with reviewers praising its polished production and The Game's authentic storytelling, though some noted occasional reliance on formulaic gangsta tropes. In the years since, The Documentary has been recognized as a landmark release that launched The Game's career and bridged generational gaps in hip-hop, influencing subsequent West Coast artists and earning retrospective honors in lists of essential rap albums. Its legacy endures through editions and cultural references, solidifying its status as a modern classic of the .

Background

The Game's early career

Jayceon Terrell Taylor, known professionally as the Game, was born on November 29, 1979, in , to parents George Taylor and Lynette Baker, both affiliated with the gang. Growing up in the gang-ridden Santana Block neighborhood, Taylor became deeply involved in street life from a young age, eventually joining the himself and engaging in drug dealing and gang activities. In late 2001, a near-fatal shooting left him in a three-day with five gunshot wounds, an experience that prompted him to abandon his criminal pursuits and pursue a career in hip-hop; during his recovery, he spent five months intensively studying influential albums such as Nas's Illmatic, Jay-Z's Reasonable Doubt, and Dr. Dre's . Inspired by his half-brother Charles "Big Fase 100" Wilson, Taylor co-founded the independent label Get Low Records in 2002 and released his debut , You Know What It Is Vol. 1, later that year. The project, distributed through JT the Bigga Figga's label, featured freestyles over classic West Coast beats and raw narratives of Compton street life, quickly generating underground buzz in the local hip-hop scene. Building on this momentum, he followed up in 2003 with additional mixtapes, which further showcased his lyrical prowess and deepened his reputation among West Coast rap enthusiasts. Taylor's mixtapes soon attracted industry attention; a copy of one of his 2002 projects reached Sean Combs, who considered signing him to Bad Boy Records, but five months later, Dr. Dre discovered his music and signed him to Aftermath Entertainment in 2003. Recognizing the need for a West Coast voice in his roster, Dre paired Taylor with 50 Cent, who had recently risen to prominence and was expanding his G-Unit crew; 50 Cent championed Taylor's talent, leading to a joint venture deal that placed him under both Aftermath and G-Unit Records, with Jimmy Iovine facilitating the arrangement at Interscope. In 2004, as preparations for his major-label debut intensified, Taylor released promotional mixtapes such as Westside Story in September and Charge It to the Game in November, both hosted by DJs like and featuring collaborations with emerging artists while incorporating disses toward East Coast figures like to assert West Coast dominance. These projects amplified his underground through aggressive street anthems and rivalries in the rap circuit, solidifying his to mainstream success under Aftermath and G-Unit. This foundation of Compton-rooted narratives naturally evolved into the conceptual framework for his debut album.

Album concept and title

The Game conceived The Documentary as a vivid chronicle of Compton's street life and gang culture, drawing inspiration from his personal experiences in to capture the raw realities of West Coast urban existence. This thematic foundation positioned the album as an unfiltered narrative, emphasizing authenticity over sensationalism, much like a exposing the socio-economic struggles and resilience of his hometown. The album's title, The Documentary, was selected to underscore this storytelling approach, reflecting The Game's aim to provide an honest portrayal of his upbringing and the broader hip-hop landscape. Originally titled Nigga Witta Attitude Vol. 1 as a homage to N.W.A., the name was changed due to legal concerns from Eazy-E's estate, with the final choice announced during early 2004 promotional efforts to highlight its documentary-style essence. Building on his early mixtape success, which laid the groundwork for this vision, The Game sought to revive West Coast hip-hop in the post-Death Row era, blending classic G-funk elements with contemporary production to bridge generational gaps in the genre.

Recording and production

Recording sessions

The primary recording sessions for The Documentary took place from late 2003 through late 2004, following The Game's signing to Dr. Dre's label. Sessions were held at several key facilities, including Studios in Sherman Oaks, —closely associated with Dr. Dre's work—and Can-Am Studios in Tarzana, , alongside additional locations such as 50 Cent's home studio in , Baseline Studios in New York, and Jimmy Iovine's residence. These sessions emphasized collaborative energy under Dr. Dre's meticulous oversight, which shaped the album's cohesive sound. Guest artists participated actively in live recording environments to capture spontaneous chemistry, notably , who laid down verses and hooks on-site during visits to and New York for tracks like "Hate It or Love It" and "How We Do." This on-location approach facilitated real-time adjustments and contributed to the album's dynamic features from artists including , whose verse for "We Ain't" was recorded over several days in . The album's tracklist was finalized at 18 songs for the standard edition, released on January 18, 2005, by Aftermath, G-Unit, and , with select regional and special editions incorporating bonus tracks such as "Like Father, Like Son" featuring .

Production contributors

served as the for The Documentary, alongside , overseeing the album's sonic direction and contributing to six tracks as a primary producer. These included "Intro" (co-produced with Che Vicious), "Westside Story" (co-produced with ), "Higher" (co-produced with ), "How We Do" (co-produced with ), "Start From Scratch" (co-produced with ), and "Don't Worry" (co-produced with ). His production style emphasized influences, incorporating synthesized bass lines, live instrumentation such as guitars and keyboards, and layered samples to create a polished West Coast sound. For instance, on "How We Do," Dre blended funky bass grooves with crisp drum patterns, drawing from classic gangsta rap aesthetics while adding modern sheen through meticulous arrangement. Other notable producers brought diverse elements to the album, enhancing its eclectic hip-hop palette. handled "Dreams," utilizing soulful samples from ' "Between the Sheets" to craft an introspective, melodic backdrop that contrasted the album's harder edges. , collaborating with Dre on "Westside Story" and "Start From Scratch," employed signature piano loops and orchestral flourishes to evoke cinematic drama, as seen in the sweeping keys underpinning the former track's narrative drive. contributed to "Church for Thugs" and "No More Fun and Games," integrating orchestral samples and booming drums for a grand, anthemic feel that amplified the tracks' confrontational energy. These contributions, recorded across high-end facilities like Studios in , underscored the album's emphasis on premium production quality. Engineering and mixing were handled by a team including Mike Strange, who recorded several tracks such as "We Ain't" and applied precise techniques to capture the album's . Strange, working alongside engineers like and Tony Campana, focused on clean vocal captures and instrumental balance, while Dre's involvement extended to mixing with his characteristic compression for punchy, radio-ready clarity—evident in the tight low-end on tracks like "Higher." This technical precision contributed to the album's cohesive, professional finish.

Music and lyrics

Musical style

The Documentary exemplifies a fusion of West Coast traditions, driven by Dr. Dre's characteristic synth lines and rumbling basslines, with East Coast-inspired soul sampling evident in Kanye West's contributions, such as the sample of Jerry Butler's "No Money Down" on "Dreams." This blend creates a polished yet gritty sonic palette that bridges regional divides in mid-2000s hip-hop. The album's instrumentation emphasizes orchestral and organic elements, including lush strings and piano melodies on Dr. Dre-produced tracks like "Higher," which employs a cinematic to heighten emotional depth, alongside live drum patterns that add propulsion to Hi-Tek's "Runnin'," featuring explosive, textured percussion for an urgent street narrative feel. Most tracks maintain a mid-tempo range of 80-100 BPM, cultivating a laid-back cruising aesthetic reminiscent of classic West Coast drives. Dr. Dre's oversight ensures stylistic cohesion across the project. Overall, The Documentary revives the raw Compton sound of N.W.A. and the smooth G-funk flows of Snoop Dogg, positioning it as a pivotal 2005 effort in the resurgence of West Coast gangsta rap.

Lyrical content

The lyrical content of The Documentary centers on the harsh realities of gang life in Compton, drawing from The Game's personal experiences to depict street survival, violence, and the cycle of poverty. Tracks like "Dreams" vividly evoke Compton's underbelly through lines such as "Compton hat, jheri curl dripping on Ronald Reagan's shoes," illustrating the intersection of local culture and systemic neglect. This theme extends to raw accounts of near-death encounters, including The Game's own shooting over "two pounds of weed," underscoring the precariousness of gang involvement before his music career. Redemption emerges as a counterpoint, with introspective verses reflecting on survival and fatherhood, as in "Like Father, Like Son," where he raps, "I’ll die before you grow up and be just like your daddy," revealing vulnerability amid the bravado. Homages to hip-hop history infuse the lyrics with reverence for West Coast legends, positioning The Game as a torchbearer. He name-checks figures like , , 2Pac, and Biggie Smalls, weaving their influence into his narrative, such as comparing his pre-fame shooting to "'Pac before the deal." This storytelling adopts a first-person "documentary" style, presenting autobiographical episodes—like at age seven and escaping a attempt—as unfiltered survival tales, blending gritty realism with aspirational resolve. Critics note how this approach humanizes the archetype, moving beyond mere glorification to explore personal transformation. Collaborations amplify lyrical dynamics, particularly in "How We Do," where 50 Cent's assertive bravado contrasts The Game's more tone, creating a of street confidence and introspection. While braggadocio dominates boasts like "Put 25’s on a – why not? / I’ma be here for the next ten summers," it is tempered by on poverty's toll and prison's grip, as in "Church for Thugs" with "I spit for the niggas doing 25 on they fifth year, ready to throw a nigga off the fifth tier." This balance critiques the very lifestyle it portrays, offering a nuanced view of Compton's struggles without romanticizing them.

Release and promotion

Rollout strategy

The rollout of The Documentary was designed to leverage the commercial momentum of following 50 Cent's breakthrough success with Get Rich or Die Tryin' in 2003, positioning The Game as the label's key West Coast representative. The album was released on January 18, 2005, through , , and , capitalizing on the established infrastructure and fanbase built by 50 Cent's platinum-selling debut. Pre-release hype began in earnest during the fall of 2004, with The Game featured prominently on G-Unit mixtapes such as G-Unit Radio, Pt. 8: , released on July 29, 2004, which introduced his style to a broader audience as the group's "fifth member." Snippets from the album and the "How We Do" featuring received early radio play starting in October 2004, further amplifying anticipation ahead of the full launch. This strategy effectively bridged underground mixtape culture with mainstream promotion, ensuring strong initial buzz without relying on extensive live performances at the outset. The album's packaging emphasized its thematic concept, with cover art depicting The Game seated atop a stack of chrome automobile rims against a stark white background, evoking a raw, documentary-like portrait of street life in Compton. Certain editions included a bonus DVD titled The Documentary, offering behind-the-scenes footage such as "A Year in the Life of The Game," music videos for tracks like "How We Do" and "Hate It or Love It," an unreleased bonus track CD, and a 40-page Compton photo booklet to enhance the immersive experience. Regional variations catered to international markets, with editions like the Japanese release in 2005 featuring bonus content to appeal to local fans and support targeted marketing in Asia. Promotional tie-ins with the album's singles, including early video releases, complemented this multifaceted approach to market entry.

Promotional activities

Following the January 18, 2005, release of The Documentary, The Game engaged in extensive post-release promotional efforts to capitalize on the album's momentum and G-Unit affiliation, though these were impacted by his beef with 50 Cent that escalated in late February 2005. High-profile media appearances further amplified visibility in the immediate aftermath of the launch. On January 19, 2005, The Game appeared on MTV's Total Request Live (TRL), where he discussed the album and debuted material to a broad audience of young viewers. The following day, January 20, 2005, he performed "How We Do" featuring 50 Cent on BET's 106 & Park, a staple hip-hop program that drew significant urban demographics and contributed to the single's rising chart traction. These back-to-back broadcasts, timed just days after the album's street date, effectively bridged radio airplay with visual media exposure. Internationally, promotional activities extended The Documentary's reach beyond the U.S. market. Despite the early G-Unit ties, The Game focused on solo efforts and independent European promotions following the beef, with music videos for lead singles like "How We Do" airing globally to reinforce the album's thematic narrative of Compton street life and revival.

Singles

"How We Do"

"How We Do" served as the from The Game's debut album The Documentary, produced by and with a feature from . The track's creation stemmed from sessions at Dre's studio, where the beat—a blend of influences and hard-hitting drums—was crafted to capture West Coast essence while incorporating 50 Cent's signature East Coast edge for crossover appeal. Released on November 23, 2004, it quickly gained traction, debuting on the at number 65 the following month. The music video, directed by , was filmed in , showcasing The Game and cruising lowriders through city streets and partying in clubs, with cameos from , Olivia, and NBA star . This visual narrative highlighted themes of street camaraderie and West Coast pride, bridging regional hip-hop divides through G-Unit and Aftermath affiliations to symbolize unity in the rap game. The clip's energetic depiction of Compton life amplified the song's anthemic vibe, contributing to its cultural resonance. Commercially, "How We Do" peaked at number 4 on the in February 2005, spending 28 weeks on the chart and marking The Game's first top-10 entry as a lead artist. It also reached number 2 on the chart and topped the chart, driven by robust radio airplay that exceeded 100,000 spins in its initial weeks. The single's success, certified gold by the RIAA on February 25, 2005, for 500,000 units sold, played a pivotal role in generating buzz for The Documentary, priming audiences for the album's January 2005 release through dominant urban radio rotation and street-level hype. Lyrically, the song echoes broader album motifs of hustling, loyalty, and rising from adversity, with verses name-dropping West Coast icons to assert The Game's Compton roots amid his G-Unit alliance.

"Hate It or Love It"

"" served as the second single from The Game's debut album The Documentary, released on January 22, 2005, through and . The track was produced by the duo , with additional production contributions from , who mixed the song to enhance its polished West Coast sound. Featuring a guest verse from , the song samples the 1975 disco-funk track "" by , creating a soulful, uplifting beat that evokes the era pioneered by . Lyrically, "Hate It or Love It" explores themes of rags-to-riches perseverance, reflecting The Game's journey from Compton's streets to rap stardom, while 50 Cent delivers a complementary of and success amid adversity. The chorus, performed by 50 Cent, reinforces the underdog ethos with lines like "Hate it or love it, the underdog's on top," capturing a motivational tone that resonated with listeners facing similar struggles. The music video, directed by Damon Johnson, visually narrates The Game's personal story of triumph over hardship, intercutting scenes of his childhood in Compton with images of current luxury and industry acclaim. It features cameos from G-Unit affiliates including Lloyd Banks, Tony Yayo, and Big Fase 100, emphasizing the collaborative support behind his rise. Commercially, the single peaked at number 2 on the Billboard Hot 100 for five consecutive weeks, marking The Game's highest-charting entry at the time and solidifying The Documentary's mainstream breakthrough. It also topped the Hot Rap Songs chart and earned a Grammy nomination for Best Rap Performance by a Duo or Group at the 48th Annual Grammy Awards in 2006. The track received further promotion through a live medley performance with Mary J. Blige at the 2005 BET Awards.

"Dreams" and "Put You on the Game"

"Dreams" served as the third single from The Game's debut album The Documentary, released on May 28, 2005. Produced by , the track features soulful samples and introspective lyrics reflecting on the rapper's rise from Compton streets to stardom, tying into the album's broader themes of aspiration and struggle. It debuted at number 97 on the and ultimately peaked at number 32, spending 12 weeks on the chart. The accompanying music video, directed by Phillip Atwell, employs surreal imagery to depict The Game's life flashing before him after being shot, blending dreamlike sequences with hospital scenes and cameos from and Mýa. This visual narrative underscores the song's dedication to Yetunde Price, the half-sister of Venus and Serena Williams who was killed in Compton in 2003. The video aired on and , contributing to the single's radio rotation. "Put You on the Game" followed as the fourth single, released on August 30, 2005, amid The Game's escalating with and G-Unit. Produced by with co-production from Danja, the track serves as a bold diss response, asserting The Game's dominance in hip-hop while name-dropping West Coast icons like and . It peaked at number 96 on the Hot R&B/Hip-Hop Songs chart. The music video for "Put You on the Game," also directed by Phillip Atwell, showcases posse shots with G-Unit affiliates despite the ongoing , set against urban backdrops emphasizing The Game's Compton roots and crew loyalty. Released under Aftermath/G-Unit/Interscope, it highlighted the tension while promoting unity on camera. Together, "Dreams" and "Put You on the Game" extended the album's radio and video airplay into late summer 2005, sustaining momentum after the earlier hits during a period of internal label drama.

Critical reception

Initial reviews

Upon its release on January 18, 2005, The Documentary garnered generally favorable critical reception, earning a aggregate score of 72 out of 100 based on 19 reviews, indicating broad praise for its revival of West Coast gangsta rap traditions. Critics frequently highlighted the album's authenticity, rooted in the Game's Compton upbringing and street experiences, which lent credibility to its narratives of gang life, survival, and aspiration. For instance, described it as an "excellent debut" that showcased the Game's ability to leave a distinct mark in gangsta rap despite his influences, awarding it 4 out of 5 stars. Spin echoed this sentiment, noting that the album "almost lives up to the hype" with its polished execution and star power, giving it 83 out of 100 (equivalent to 4 out of 5 stars). Pitchfork lauded the production as a "rich, triumphant sonic tapestry" reminiscent of early West Coast rap, calling it the best in the genre since DJ Quik's Under tha Influence (2002), and assigned it an 8.3 out of 10. The review praised the Game's "authoritative gruffness and unforced lyrical toughness," particularly on tracks like "Hate It or Love It" and "Dreams," which blended personal reflection with classic samples. However, some outlets pointed to shortcomings, such as the Game's occasional awkwardness on hooks, leading to an over-reliance on guest features from artists like and to carry choruses effectively. , scoring it 83 out of 100, acknowledged the "truly tasty heat rockets" from producers like and but implied the ensemble approach sometimes overshadowed the Game's solo presence. Regional press outside the U.S. also emphasized the album's cultural significance. In the , portrayed The Documentary as a key force in the West Coast revival, crediting Dr. Dre's production and the Game's raw storytelling—drawn from his time in , drug dealing from age 10, and surviving being shot five times—for restoring the region's dominance in hip-hop after years of East Coast and Southern overshadowing. The Source magazine rated it 4 out of 5 mics, commending the beats as a showcase of Dr. Dre's mastery in crafting hard-hitting, nostalgic elements. Overall, these initial responses positioned the album as a commercial and artistic triumph, setting the stage for its chart success while underscoring debates about authenticity versus commercial polish in 2000s rap.

Accolades and retrospective views

The album earned several notable nominations in the year following its release. At the in 2006, "Hate It or Love It" featuring was nominated for Best Rap Song and Best Rap Performance by a Duo or Group. The Game himself received a nomination for Best New Artist at the 2005 . Additionally, The Documentary was nominated for Album of the Year at the 2005 Vibe Awards. In retrospective assessments, The Documentary has been praised for revitalizing West Coast gangsta rap during a period when the subgenre had waned in prominence. Critics have highlighted its role in reintroducing Compton's street narratives to mainstream hip-hop, influencing a subsequent wave of artists from the region. For the album's 20th anniversary in 2025, Stereogum reflected on its expertly assembled production and cultural significance as a mega-budget revival of aesthetics. Scholarly analyses of gangsta rap have cited The Documentary as a key example of how the genre evolved in the 2000s, blending authentic Compton storytelling with commercial polish to address themes of violence, redemption, and community identity. It has been examined for its contribution to hip-hop's portrayal of urban spaces, bridging earlier N.W.A.-era depictions with more personal, narrative-driven approaches that informed later works by artists like Kendrick Lamar.

Commercial performance

Chart achievements

The Documentary debuted at number one on the US chart, selling 587,000 copies in its first week according to Nielsen SoundScan. It also topped the Top R&B/Hip-Hop Albums chart, holding the position for five nonconsecutive weeks. The album demonstrated strong longevity on the , charting for a total of 35 weeks. Its singles contributed to this success, with "How We Do" featuring reaching number four on the and spending 28 weeks on the chart. Internationally, The Documentary entered several major markets with notable performance. It peaked at number seven on the , where it remained for 36 weeks. In , it reached number one on the Canadian Albums Chart for three weeks. The album also charted at number 42 on the Australian Albums Chart, number 75 on the German Albums Chart, number 18 on the Irish Albums Chart, and number 14 on the Albums Chart. On year-end tallies, The Documentary ranked number 16 on the 2005 , reflecting its commercial impact throughout the year.

Sales figures and certifications

The Documentary achieved significant commercial success, selling over 5 million copies worldwide. In the United States, the was certified double platinum by the (RIAA) on March 23, 2005, denoting shipments of 2 million units. By late 2005, it had sold 2.5 million copies domestically, establishing it as one of the top-selling hip-hop albums of the year. Internationally, the album received multiple certifications reflecting its strong performance. It earned platinum status from for 100,000 units in 2005, platinum certification from the (BPI) for 300,000 units on September 16, 2005, and gold accreditation from the Australian Recording Industry Association () for 35,000 units in November 2006. These awards underscore the album's broad appeal beyond the U.S. market, contributing to its estimated global sales exceeding 3 million certified units across eight countries by 2020. In the digital era, The Documentary experienced a resurgence through streaming platforms. Post-2015, the album's tracks garnered renewed popularity, with the full project accumulating over 1.9 billion streams on as of November 2025, driven by nostalgic interest and playlist inclusions. This streaming growth has bolstered its enduring commercial impact, with RIAA certifications remaining at double as of November 2025.

Credits

Track listing

The standard edition of The Documentary, released in the United States, features 18 tracks with a total runtime of 69:57.
No.TitleFeaturingDurationProducer(s)
1"Intro"0:32, Che Vicious
2"Westside Story"3:43,
3"Dreams"4:46
4"Hate It or Love It"3:26
5"Higher"4:05,
6"How We Do"3:55,
7"Don't Need Your Love"4:26Havoc, (add.)
8"Church for Thugs"4:00
9"Put You on the Game"4:14, Nate "Danja Handz" Hills (co)
10"Start from Scratch"4:07,
11"The Documentary"4:11, Jeff Reed (co)
12"Runnin'", Dion4:26
13"No More Fun and Games"2:37
14"We Ain't"4:46, Luis Resto (co)
15"Where I'm From"3:08Focus
16"Special"3:57
17"Don't Worry"4:11,
18"Like Father, Like Son"5:27Buckwild
Several tracks incorporate samples from classic recordings to evoke West Coast hip-hop influences. For instance, "Hate It or Love It" samples "Rubber Band" by . "Westside Story" samples "Freaks Come Out at Night" by . The standard U.S. edition contains no bonus tracks, though select international releases include additional content such as "'Til the Wheels Fall Off" featuring Mr. Porter.

Personnel

The Documentary credits The Game as the primary vocalist and rapper on all 18 tracks. Guest vocalists include on three tracks—"Westside Story", "Hate It or Love It", and "How We Do"; on two tracks, "Where I'm From" and "Special"; and on one track, "Don't Worry". Additional featured performers are on "Don't Need Your Love", of on "Start From Scratch", on "Runnin'", on "We Ain't", and on "Like Father, Like Son", with background vocals by Natasha Mathis on "Higher", Dion Jenkins on "Runnin'", and on "Put You on the Game". Dr. Dre served as executive producer alongside The Game, Jimmy Iovine, Kobalt, Larry Chatman, and Steve Stoute, and handled production on several tracks including "Intro" (with Che Vicious), "Westside Story" (with ), "Higher" (with ), "How We Do" (with ), "Don't Need Your Love" (additional with Havoc), "Start from Scratch" (with ), and "Don't Worry" (with ). Other key producers were on "Dreams"; on "Church for Thugs" and "No More Fun and Games"; (co-produced by Nate "Danja Handz" Hills) on "Put You on the Game"; on "Runnin'"; (co-produced by Luis Resto) on "We Ain't"; and contributions from , , Focus, , Buckwild, Jeff Bhasker, Jeff Reed, and others across the album. Guest musicians included horns by D.A. Wayne on "The Documentary", with instrumental support from on bass, keyboards, and guitar for several tracks; on keyboards and bass; Glenn Jefferies and Wayne Kee on guitar; and Ervin "EP" Pope and Lionel "LJ" Holoman on keyboards. Recording and mixing engineers featured Mauricio "Veto" Iragorri on the majority of tracks, including recording at in Sherman Oaks, CA, and mixing at Larrabee Sound Studios in Hollywood, CA; alongside Adam Hawkins, Robert Hannon, Ryan West, Demacio "Demo" Castellon, Steve Baughman, Jeff Reed, Mike Strange, Tony Campana, and others for specific tracks recorded at studios such as Encore Studios in Burbank, CA, and 54 Sound in , MI. A&R coordination was provided by Angelo Sanders II for , Mike Lynn for Big Ego Records, Ken Kaldenbach for administration, and Larry Chatman for Kobalt. Art direction was managed by Slang Inc., with creative artwork by Nicole Frantz for Interscope. Mastering was handled by Brian "Big Bass" Gardner at Bernie Grundman Mastering in Hollywood, CA.

Legacy

Cultural impact

The Game's debut album The Documentary played a pivotal role in revitalizing West Coast hip-hop during the mid-2000s, a period when the region's influence had waned following the decline of labels like . By blending classic production from with raw narratives of Compton street life, the album reasserted rap's dominance on the national stage, debuting at No. 1 on the and selling over 5 million copies worldwide. This resurgence unified regional pride and inspired a new generation of artists, positioning West Coast rap as a cultural force once more. The album's emphasis on Compton's gang-affiliated heritage directly influenced subsequent rappers from the area, including and . Lamar referenced the album's legacy in tracks like "Black Boy Fly," where he nods to aspiring from the same streets that shaped The Game's storytelling. Hussle, in a 2018 interview, credited The Game as the key figure who "carried the West Coast" after earlier eras, drawing from The Documentary's blueprint for authentic, community-rooted lyricism. These nods underscore how the project served as a foundational text for Compton's hip-hop lineage. In media, The Documentary extended its reach beyond music, with tracks like "Just Another Day" featured on the soundtrack for the 2015 biopic Straight Outta Compton, linking The Game's work to N.W.A.'s foundational gangsta rap narrative. This inclusion amplified the album's role in popularizing West Coast stories on screen. Socially, the record sparked broader conversations about gang culture's portrayal in hip-hop, highlighting the realities of street life while contributing to debates on how such lyrics reflect versus glorify violence—discussions that echoed in ongoing policy scrutiny of rap as artistic expression. The album's enduring framework paved the way for its sequels, notably in 2015, which revisited similar themes of and legacy with guest spots from Lamar and others, extending the original's narrative arc into a series that reinforced The Game's place in hip-hop history.

20th anniversary recognition

In 2025, marking the 20th anniversary of The Documentary's release on January 18, 2005, The Game announced the launch of The Documentary 3, positioning it as the trilogy's capstone and tying directly to the original album's legacy. The project, planned for release on the exact anniversary date but delayed and remaining unreleased as of November 2025, with an expected release in 2026, features contributions from artists including and , as previewed in promotional material shared in early 2025; The Game stated in October 2025 that the album was 99% complete. Media coverage highlighted the album's enduring themes of West Coast revival, with a January 18, 2025, Genius feature article titled "'The Documentary' At 20: How The Game Resurrected The West Coast & Name-Dropped His Way To The Top" analyzing its role in reinvigorating narratives through extensive artist references and Dr. Dre's production. The piece credits the album with bridging early hip-hop divides and sustaining Compton's cultural prominence. Online communities engaged actively with the milestone, as evidenced by a r/hiphopheads subreddit discussion thread launched on January 18, 2025, where users reflected on the album's classic status and tracks like "Dreams" and "Westside Story," though no formal metrics on participation were officially tracked beyond initial upvotes and replies. A limited edition 20th anniversary red marble vinyl was released exclusively through Complex Shop in November 2025, while the original album remained prominently available on streaming platforms like , with curated anniversary playlists emerging from user and editorial recommendations.

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  58. https://www.metacritic.com/music/the-documentary/the-game/critic-reviews/?critic=entertainment-weekly
  59. https://www.theguardian.com/music/2005/jul/24/1
  60. https://www.imdb.com/name/nm1667139/awards/
  61. https://www.billboard.com/music/music-news/2005-bet-awards-nominees-62902/
  62. http://www.thefutoncritic.com/news/2005/10/10/the-third-annual-vibe-awards-on-upn-honoring-the-best-in-hip-hop-and-r-and-b-returns-on-tuesday-nov-15-800-1000-pm-et-pt-on-upn-19465/20051010upn01/
  63. https://digitalcommons.du.edu/cgi/viewcontent.cgi?article=1553&context=etd
  64. https://www.rapanalysis.com/2018/09/rap-analysis-article-every-kendrickdr/
  65. https://www.billboard.com/pro/the-game-wins-sixth-no-1-on-top-rbhip-hop-albums/
  66. https://tsort.info/music/artisa.htm
  67. https://www.billboard.com/artist/the-game/
  68. https://www.officialcharts.com/albums/game-the-documentary/
  69. https://australian-charts.com/showitem.asp?interpret=The+Game&titel=The+Documentary&cat=a
  70. https://www.offiziellecharts.de/album-details-23223
  71. https://www.irishcharts.ie/albumdetails.php?id=2005
  72. https://charts.nz/showitem.asp?interpret=The+Game&titel=The+Documentary&cat=a
  73. https://bestsellingalbums.org/year-end/Billboard_Top_Albums_2005
  74. https://www.riaa.com/gold-platinum/?tab_active=default-award&se=The+Game#search_section
  75. https://bestsellingalbums.org/album/46659
  76. https://kworb.net/spotify/artist/0NbfKEOTQCcwd6o7wSDOHI_albums.html
  77. https://www.whosampled.com/The-Game/Hate-It-or-Love-It/
  78. https://www.today.com/popculture/game-aims-revive-west-coast-rap-wbna6853025
  79. https://genius.com/Kendrick-lamar-black-boy-fly-lyrics
  80. https://www.youtube.com/watch?v=7SHYVJsOqes&t=3s
  81. https://www.imdb.com/title/tt1398426/soundtrack/
  82. https://www.billboard.com/music/music-news/the-game-the-documentary-sequels-album-review-6730793/
  83. https://traktrain.com/blog/the-documentary-3-new-album-by-the-game/
  84. https://www.iheart.com/content/2024-08-05-the-game-says-hes-working-on-the-documentary-3-ahead-of-20th-anniversary/
  85. https://www.hotnewhiphop.com/889151-kanye-west-the-game-documentary-3-jim-jones-hip-hop-news
  86. https://genius.com/albums/The-game/The-documentary-3/q/release-date
  87. https://x.com/AllGenHipHop/status/1975651345244840014
  88. https://www.reddit.com/r/hiphopheads/comments/1i423fp/discussion_the_game_the_documentary_20_years_later/
  89. https://www.complex.com/music/a/complexstaff3/the-game-the-documentary-20th-anniversary-vinyl
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