5 Best Songs on the Game’s ‘1992’

He doesn't spend too much time rapping about Meek Mill. But when he does, it counts.

By Rahul Lal

The Game has been all over the news in the last few month due to his recent beefs with Meek Mill; it’s a prolific period for the Compton MC, who has released two mixtape, multiple singles and now, a brand new album, 1992.

1992 is inspired by the landscape of Los Angeles marred by the deadliest sweep of gang violence, racial tension and police brutality. The album cover shows a 13 year old Game in the middle of being drawn in by both sides of the LA gang wars being shadowed by OJ in the white bronco and Rodney King being beaten. The album gives an old school feel sampling classic songs for the listener and is sure to leave you wanting more.

Here’s our top five songs from the album.


The same guy who was discovered by Dr. Dre and once famously said “Ice Cube my favorite rapper y’all n—-s can’t tell me nothin’” is back at it again. He channeled Dre and Cube by sampling The D.O.C.’s “It’s Funky Enough” from 1989. From the very first line you instantly get launched into the city of Compton back in that era. Game describes the block wars that existed as you drove down each street and the tension with the police. If you’re looking for a new song that makes you feel like crusin’ down the street in your six-four, you found it. Just make sure to get your lo-lo first.

“Savage Lifestyle”

This is one of the marvels of the album. The beginning sounds like a newscast commenting on the brutality of gang violence and immediately delves into Marvin Gaye’s “Inner City Blues.” For those unfamiliar with the classic soul song, Marvin used his voice as a platform to speak to the inner cities and specifically speak against the violence in black communities. Game goes in talking about the prevalence of police brutality even mentioning the famous Los Angeles district attorney, Gil Garcetti, who often defended some of the questionable actions by the L.A.P.D. most especially during the O.J. Simpson and Rodney King Trials. The mood changes as the sample ends and Game’s patience ends when he mentions the deaths of Martin Luther King Jr., Malcolm X and Huey P. Newton.

“I Grew Up On Wu-Tang”

Game pays respect to one of the legendary rap groups born and bred on the opposite coast. As the song goes on, he speaks about his appreciation for the legendary Wu-Tang Clan shouting out members such as RZA, Ol’ Dirty Bastard and Method Man. The samples from “C.R.E.A.M.” In an album so dominated by west coast sounds, it’s refreshing to hear someone give credit to the other side. Talk about an old school feel.

“True Colors/It’s On”

It starts out with a conversation where you hear two African-American individuals speaking about the colors of the flag. The first part brings brings up that African-Americans chose red and blue, alluding to bloods and crips, leaving only white left. The second part really makes you feel like you’re back in 1992 as it is the intro for Game’s verses. Game details personal stories of his father’s gang affiliation and his sister being molestated by his father. Game shows his true storytelling talent as he takes you on a ride of his wild childhood.

“92 Bars”

“Nicki won’t get no sleep, I’m coming through at 4 a.m./Four deep, to leave his dead body on the soaked sheets/It could happen lowkey/You better have Ross call me or you gon’ be eye level with a roach feet”

Sorry, Meek, this one must sting. As most of the hip-hop community must know by now, Game and Meek Mill have been in a feud stemming from a mirky incident that featured clubs, chain snatching, Beanie Sigel and a brief Sean Kingston cameo. While Meek dropped a respectable diss track, Game delivered two in the form of “Pest Control” (not included on the album) and “92 Bars.” Remember the days where Ice Cube was beefing with N.W.A., Nas dropped “Ether” against Jay Z and Eazy-E brought up Dr. Dre’s lipstick wearing days in “Real Compton City G’s?” Game does his best impression to give fans a feel of this stripping out the chorus, stripping down the lyrics and truly just lyrically attacking Meek on this track.


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