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Doctor's Advocate is the second studio album by West Coast rapper The Game. The album was released on November 14, 2006 through Geffen Records. Due to his disputes with 50 Cent, The Game left Aftermath Entertainment and signed with Geffen Records another label under Universal Music Group's Interscope-Geffen-A&M division to terminate his contractual obligations with G-Unit in the summer of 2006.

After The Game had a falling out from his home at Aftermath Entertainment and G-Unit Records, he retained his deal with Interscope Records while merely swapping roofs with subsidiary, Geffen Records. The move was ideal and the situation helped tremendously; No longer playing for a team that didn’t want his services and which he could be become his own captain.

Despite the absence of the aforementioned Dr. Dre. The album was produced by three producers from The Game's debut album—Kanye West, Just Blaze and Scott Storch—as well as newcomers like will.i.am and Swizz Beatz. Production for the album would also be contributed by DJ Khalil, Hi-Tek, Jellyroll, Jonathan "J.R." Rotem, Mr. Porter, Nottz, Reefa, Ervin "E.P." Pope and D-Roc, among others.

Doctor's Advocate debuted at number one on the U.S. Billboard 200, selling over 358,000 copies in its first week, making it The Game's second number one album in a row. According to The Game himself and Geffen Records, the album has sold nearly 3,000,000 copies worldwide. In 2007, the Recording Industry Association of America certified the album platinum and has sold 2 million copies worldwide.

Guests featured on Doctor's Advocate include Busta Rhymes, Kanye West, Nas, Nate Dogg, Snoop Dogg, Tha Dogg Pound, Jamie Foxx and Xzibit. Upon its release, the album received generally favorable reviews, with music critics praising the album's production. The Game made a point to prove that he could still make good music and be a successful artist, as he did on The Documentary, without the help from Dr. Dre or 50 Cent.

Background

When The Game signed onto Aftermath Entertainment, it was later arranged that he would work with 50 Cent and his hip hop group G-Unit. The sudden feud between the pair, who had been marketed as having a mentor/protégé relationship, started soon afterwards. The two were able to put their differences aside for the release of The Game's debut album, The Documentary which was released on January 18, 2005. The album was a success for The Game and had three singles that featured 50 Cent. The release date of 50 Cent's second album, The Massacre, was pushed back in order to accommodate The Game's album, causing a rift between 50 Cent and Interscope Records. Tensions would rise during the filming of the music video for The Game's third single, "Hate It or Love It", when 50 Cent refused to shoot a scene in the front seat of a car with The Game, instead sitting in the back (The Game's brother, Big Fase 100, would replace him).

50 Cent later dismissed The Game from G-Unit on Hot 97 radio. 50 Cent also claimed that he was not getting his proper credit for the creation of The Game's debut album and he claimed that he wrote six of the songs, which The Game denied. After the announcement, The Game, who was a guest earlier in the evening, attempted to enter the building with his entourage. After being denied entry, one of his associates was shot in the leg during a confrontation with a group of men leaving the building. When the situation escalated, both rappers held a press conference to announce their reconciliation. Fans had mixed feelings as to whether the rappers created a publicity stunt to boost the sales of the albums they had just released. Nevertheless, even after the situation deflated, G-Unit criticized The Game's street cred. The group denounced The Game and announced that he will not be featured on their albums. During a Summer Jam performance, The Game launched a boycott of G-Unit called "G-Unot".

After the performance at Summer Jam, The Game responded with "300 Bars and Runnin'", an extended "diss" aimed at G-Unit as well as members of Roc-A-Fella Records on the mixtape You Know What It Is Vol. 3. 50 Cent responded through his "Piggy Bank" music video, which features The Game as a Mr. Potato Head doll and also parodies other rivals. Since then both groups continued to attack each other. The Game released two more mixtapes, Ghost Unit and a mixtape/DVD called Stop Snitchin, Stop Lyin.

G-Unit posted a cover of The Game's head on the body of a male stripper for "Hate It or Love It (G-Unit Radio Part 21)" mixtape, as a response to The Game displaying pictures of G-Unit dressed as Village People. Although he was signed to Aftermath Entertainment, The Game left the label Due to his disputes with 50 Cent and signed with Geffen Records (another label under Universal Music Group's Interscope-Geffen-A&M division) to terminate his contractual obligations with G-Unit in the summer of 2006 (although others claim 50 Cent pressured Dr. Dre to kick him off). G-Unit member Spider Loc had also begun to insult The Game on various songs. In addition, The Game released "240 Bars (Spider Joke)" and "100 Bars (The Funeral)" both attacking G-Unit, Spider Loc and others. 50 Cent's response was "Not Rich, Still Lyin'" where he mocks The Game. Lloyd Banks replied to the Game on a Rap City freestyle booth session. The Game quickly released a "diss" record called "SoundScan" where The Game pokes fun at Lloyd Banks' album Rotten Apple falling thirteen spots on the Billboard 200 chart and disappointing second week sales. Lloyd Banks replied on his mixtape Mo' Money In The Bank Pt. 5: Gang Green Season Continues with a song called "Showtime (The Game's Over)". Lloyd Banks states that 50 Cent wrote half of The Game's first album The Documentary and pokes fun at The Game's suicidal thoughts.

In October 2006, The Game extended a peace treaty to 50 Cent, which was not immediately replied to. However, a couple days later, on Power 106, he stated that the treaty was only offered for one day. On The Game's album, Doctor's Advocate, he claims that the feud is over on a few of the songs.

Music

Musical style

Without Dr. Dre aboard the project and manning the boards, speculation whether The Game could top his debut The Documentary, or even release a sophomore album, ran rampant among fans and naysayers alike. Well, Doctor's Advocate has arrived—-just on Geffen Records, and not Aftermath Entertainment. And instead of Dr. Dre, you've got a plethora of impersonators, all who admirably simulate, but never quite replicate, the doctor's signature sound. For an album with no Dre beats, the producers manage to saturate Doctor's Advocate with the west coast sound. Game and will.i.am cruise through the streets in a '67 Impala on the hard body "Compton", where the breaks don't cause minor whiplash but snap necks. "Remedy" finds Just Blaze continuing his recent foray into old-school revivalism by turning Public Enemy's "Black Steel in the Hour of Chaos" into a veritable west coast anthem. Swizz Beatz' stark minimalism on "Scream on 'Em" both allows The Game to flex his updated rapping acumen and proves to Eminem that you can produce dark, ominous tracks without them sounding like industrial (no Trent Reznor) disasters. When the producers Dre-ify their beats, the results range from uncanny (Hi-Tek's "Ol' English") to cheap imitation ("Bang") to this-has-to-be-a-Dre-beat (either of Scott Storch's tracks).

Since the release of The Documentary, The Game has shed his puppet-by-the-strings persona and become a living, breathing person, not to mention a markedly improved rapper. The Game still namedrops like his audience suffers from Alzheimer's, but this time there's a pervading uncurrent of old-school reverence; instead of sounding like a shallow game of legitimacy-by-association, it seems The Game genuinely idolizes the legends he so often mentions. What is the point of referencing Rakim or Eazy-E if the majority of the fifteen-year-old wannabe thugs who buy Game's record have no clue they are? The Game wants to make his own Illmatic; what better way to do that than bring Nas out for a standout guest spot ("Why You Hate the Game")? There's little chance The Game didn't recognize the source of the vocal samples Kanye brings back on "Wouldn't Get Far"; let's just say the common thread is Nas.

The gangster posturing and requisite raps about bringing the west coast back, gang affiliation, and the trife life consist the brunt of the topical variety on Doctor's Advocate. The Game isn't re-inventing the wheel, he's just adjusting the size of the rims and maybe the paint job on the vehicle the wheels are attached to. The at times (read: 75% of the time) clumsy wordplay hasn't totally disappeared, but it's been supplemented by candid me-against-the-world tirades. When Game revisits the drunken rap concept from "Start From Scratch" on the Busta Rhymes-assisted title track, his pangs of regret reveal a human side not often heard in gangster rap.

The Game is caught between opposing loyalties ("I'm not asking you to take my side in the beef, but you told me it was okay to say 'fuck the police'") and a conflicted sense of integrity that causes more problems than solutions. Somehow, he manages to make us empathize with his plight while still upholding his gangster image. He even finds time to discover a sense of humor not present on his debut on songs like "One Night" and "Let's Ride (Strip Club)". The Game won't be mistaken for Ludacris anytime in the near future, but his humor adds much-needed dimension to a rapper that could have easily started to wear his welcome out. For The Game, losing Dr. Dre's services is a double-edged sword. From Game's perspective, it's like losing a father. In reality, it's probably more akin to Obi-Wan Kenobi's death in 'A New Hope.' Which would make Game Luke Skywalker and Fiddy Darth Vader. Which would make 50 Cent Game's father, and that's more incestuous than I intended this analogy to be. But somehow, it's still fitting. To continue with the analogy: if The Documentary is 'A New Hope,' that would make Doctor's Advocate 'The Empire Strikes Back,' where Game must establish himself on his own, without guidance of former father figures (the good doctor that gave him life) and friends (50 and his pop sensibilities), and resurrect an empire (the west coast).

Lyrics

Doctor's Advocate contains various staples of West Coast hip hop albums including explicit rhymes about gang violence, drug use and sex. The album looks into The Game's relationship with his former mentor Dr. Dre on several tracks, most notably Doctor's Advocate which also features former Aftermath Entertainment rapper Busta Rhymes. This album is known for its heavy West Coast hip hop sound, something that didn't feature much in his debut The Documentary. He worked with a number of west coast artists such as Nate Dogg, Snoop Dogg, Xzibit and Tha Dogg Pound giving more west coast oreientated lyrics. Rapreviews said "He is absolutely quintessentially relentlessly and unapologetically thugging it up on this CD, but unless your name is Joe Lieberman or Tipper Gore you're gonna enjoy the hell out of the dope beats and lyrical bravado and be begging for more." DJBooth praised his lyrical skills by saying "to briefly touch on the lyrics, only Eminem and Lil’ Wayne are currently equals." However, once again many critics panned The Game's namedropping throughout the album, but Steve Juon of Rapreviews says that "some accused him of being a "name dropper" back then and still will today, the references seem more in keeping with his "soldier of the West" philosophy and less like a filler for lack of content."

Production

While The Game originally claimed Dr. Dre would still do production on the album in the November issue of XXL magazine, he admitted in September (after the XXL interview was conducted) during an interview on radio station Power 105 that Dr. Dre would not be producing any tracks (although four previously unreleased tracks produced by Dr. Dre were released on the internet, but no reason was given as to why they were not included on the album).

The production on the album was praised by critics. Allmusic writer David Jeffries stated: "beat-makers like Kanye West, Just Blaze, Scott Storch and Swizz Beatz are all on fire" and went on to praise will.i.am's return to his "hood sound after years with the polished The Black Eyed Peas". A.V. Club's Nathan Rabin noted that the beats created a "gleaming, hydraulics-enhanced '64 Impala of an album to ride".

With its use of more West Coast-type beats, crispier drums, and deeper bass, the album leans more towards the West Coast sound than The Documentary. The album's production stands out with its combination of sampling and live instrumentation. Tracks like "Why You Hate the Game" combine soul samples with string arrangements, and piano-playing, while other tracks like "Remedy" rely heavily on sped-up funk samples. "Too Much" was noted for being an "ABBA-inspired disco-thump", while "Remedy" revolves around "pilfering Public Enemy's hard-hitting sound". The production on "Ol' English" was depicted as "slow-rolling" music, and "Compton" was declared a "return to old-fashioned gangsta rap". "Why You Hate the Game" was driven by a "sparkling piano-heavy...track". Production for the album would also be contributed by DJ Khalil, Hi-Tek, Jellyroll, Jonathan "J.R." Rotem, Mr. Porter, Nottz, Reefa, Ervin "E.P." Pope and D-Roc.

Guests

The Game confirmed that guests on the album would include Junior Reid, will.i.am, Nate Dogg, Kanye West, Swizz Beatz, Busta Rhymes, Dion, Snoop Dogg, Xzibit, Tha Dogg Pound, Jamie Foxx, Nas, Marsha Ambrosius, Fergie, Keyshia Cole, Riz, Nu Jerzey Devil, Yummy Bingham, Anthony Hamilton, Kokane and his mentor Dr. Dre.

Concept

This album was set out by The Game to prove that he is able to make good music and be a successful artist without the help of Dr. Dre or 50 Cent. If you ask the common hip-hop fan which Jay-Z album is the best, they will say his first: Reasonable Doubt. The same will be true of The Notorious B.I.G. and Ready to Die, or Nas and Illmatic. When The Game released The Documentary in January of 2005, it was his first and best album. Two months short of two years later comes the Doctor’s Advocate, which let the record show, officially is his new best album. Not his first, but his best. For an album which doesn’t feature a single track produced by Dr. Dre, The Game was awfully kind when he decided not to change the title at the 25th hour (I’m thinking the marketing team said to leave it alone). The Doctor’s Advocate, the second major label release from The Game, Was one of the most anticipated albums of 2006. Other than the inevitable (but long overdue) Detox album from Dr. Dre himself, The Game’s sophomore album has generated its fair share of buzz and in the end does not at all disappoint. As the saying goes, the best laid plans are never.

After The Game had a falling out from his home at Aftermath Entertainment and G-Unit Records, he retained his deal with Interscope Records while merely swapping roofs with subsidiary, Geffen Records. The move was ideal and the situation helped tremendously; No longer playing for a team that didn’t want his services and which he could be become his own captain. Despite the absence of the aforementioned Dr. Dre, top notch production comes courtesy of Hi-Tek, Jonathan Rotem, Just Blaze, Kanye West, Mr. Porter, Nottz, Reefa, Scott Storch, Swizz Beatz and will.i.am don’t think that The Game doesn’t appreciate the amazing production work he was dealt too, as he name drops almost every producer in the lyrics to their own cut. And to briefly touch on the lyrics, only Eminem and Lil Wayne are currently equals. With inconsistent success from West coast hip hop artists over the past 15 years or so, The Game offers both pride and hope. The album is crafted perfectly to the fit the gangsta rap sound, but with a more modern flair. By the end of the nine minute and twenty-two second final track which features New York native Nas (and production from Just Blaze), you find yourself pondering two questions: Did he just top his first album and do I have time to listen to this again.

Title

Just like The Documentary, Doctor's Advocate is obsessed with the West Coast, especially Dre. The Doctor's name is dropped incessantly, to the point it will drive haters and anyone unfamiliar with The Game's history crazy. The ghost of Dre is there in every instantly grabbing club-banger and fierce street track that arcs up to the key title track, where The Game lays it all on the table with an open letter to the producer. He uses words like "family" and "father" to pay tribute to their relationship before Aftermath Entertainment and Dre associate Busta Rhymes is brought in as a guest just to amp up the desperation question. On paper, Doctor's Advocate sounds like the blueprint for the most desperate follow-up ever, with The Game treating the universe as his fanboy while constantly referencing people who aren't here and an era of which he's not a part, the golden age of the West Coast. "It's called the Doctor's Advocate," The Game revealed the name of the album back in November of 2005 at the Vibe Awards, "It means Dr. Dre's the man; what he says goes. He's got the formula, and we gonna make it happen." The Game said.

Artwork

In the final moments, it was revealed that the cover art shamelessly references his debut, and then — towering above it all — there was Dr. Dre's absence from the final product, and yet the album's original, Dr. Dre-boasting title sticks like a final "screw you"/"bring it on" pointed right at the haters. As all this drama spills into the actual album and feeds the cocksure rapper's craving for chaos, it becomes obvious the "sophomore slump" wasn't enough of a challenge for The Game, and even more obvious that he's following a career path of his own.

Release and promotion

As the release date of his heavily anticipated Doctor's Advocate approached, things got weird because of the G-Unit contract, nobody was sure if the album would say Aftermath Entertainment or Interscope Records on the back. Due to his disputes with 50 Cent, The Game left Aftermath Entertainment and signed with Geffen Records another label under Universal Music Group's Interscope-Geffen-A&M division to terminate his contractual obligations with G-Unit in the summer of 2006. The rapper's second album Doctor's Advocate was released on November 14, 2006 through Geffen Records.

While his big rival and former employer, 50 Cent, squandered his success by spreading himself too thin with video games, films, and a whole lot of time devoted to the G-Unit empire, The Game spent his time working the streets with beef-minded, sometimes-epic freestyles landing on mixtapes. Every time the G-Unit versus Game beef was just about to be settled, The Game showed up late to sign the treaty, and then, when he was called out on it, he would retaliate as hard as before, bringing everything back to square one. His mentor, Dr. Dre, told him to lie low, but give The Game good advice and he would do the opposite, as if he were compelled to do so by some unseen force probably his mile-high ego. On November 7, 2005 The Game released a promotional Mixtape entitled Ghost Unit through 101 Distribution and West Side Entertainment. The Mixtape was used to promote his second studio album, Doctor's Advocate.

Also somewhere around 2006 The Game released another promotional mixtape album/DVD entitled Stop Snitchin–Stop Lyin through The Black Wall Street Records. The mixtape features artists like Lil' Kim, Ice Cube, Lil Rob, Chingy, WC, Paul Wall and others. The DVD is directed by Éngel Thedford of AREA51 Media Group. This mixtape is the third of three diss mixtapes aimed at the G-Unit members. It is quite possibly the most popular of the three due to the DVD advertisement. It also features disses by other Black Wall Street Members. Repeatedly DJ Clue? says "Come on Game it's the last one" suggesting there would be no more diss tracks or mixtapes aimed at G-Unit any more. The track "Niggaz Bleed" is a subliminal diss to Suge Knight. The mixtape was used to promote his second studio album, Doctor's Advocate. In 2006 the mixtape was certified platinum in Ireland, which sold 15,000 units and the DVD was also certified gold.

Singles

The first single, "It's Okay (One Blood)", peaked at 71 on the Billboard Hot 100". The Game himself revealed that the song would be released on July 31, 2006, but actually was released on July 24. The song was originally to be released on July 4, but got pushed back by The Game. Jimmy Rosemond, head of Czar Entertainment and The Game's manager, explained how "One Blood" would receive positive radio airplay and prove the talent that The Game has. It features Junior Reid and is produced by Reefa. The second single, "Let's Ride", peaked at 46 on the Billboard Hot 100". The song was written by The Game and Scott Storch and was released as the album's second single on September 25, 2006. The Game mentioned on radio station KDAY in Los Angeles, California that the track was recorded in Miami, Florida, but had the feel of a West Coast Dr. Dre record. The song peaked at number 46 on the Billboard Hot 100 chart. The song heavily references Let Me Ride released by Dr. Dre in 1993. "Let's Ride" received mediocre reviews from music critics. MusicOMH wrote that the track "lacks in any of the vigour and enthusiasm that came with his debut major release album". Pitchfork Media gave the song a negative review saying, "What an embarrassment this song turned out to be, lumberingly obvious and poorly crafted from the first awkward gang reference to the last Dre namedrop." About.com's Henry Adaso called the track "just another boring mantra devoid of substance" with The Game delivering "a lethargic sprawl, replete with 50 Cent-esque crooning and tautological Dre odes ("Ain't nuthin' but a G thang, baby, it's a G thang")." Entertainment Weekly, in a review of Doctor's Advocate, wrote that that the song "recycle Dre's signature high-pitched synths and plinking pianos" and is "marred by stale rhymes chronicling cartoonish gangbanging." Chocolate magazine said the track "lacks charisma and substance, and is filled with 50 Cent-style tuneless crooning, endless name checks for Aftermath, Eminem and Dr. Dre and empty lyrics". The third single, "Wouldn't Get Far", peaked at 64 on the Billboard Hot 100". The song is produced by and features a verse from Kanye West. It contains a sample from Creative Source's "I'd Find You Anywhere" (which was also sampled on Jadakiss' "By Your Side"), and a sample from "Long Red (Live)" by Mountain. Kanye West revealed that the beat for the song was originally made for Common, and if The Game had turned it down, Kanye would have used it for himself.

Reception

Commercial performance

Doctor's Advocate The album debuted at number one on the Billboard 200, selling over 358,000 copies in its first week. The album would go on as The Game's second number one album in a row. The album also charted at number one on the Top R&B/Hip-Hop Albums chart, and at number one on the Top Rap Albums chart. The album sold 358,000 copies in its first week and as of March 2008 has sold over 1,000,000 copies in the United States according to Nielsen Soundscan. The album has sold over 3,000,000 copies worldwide. In 2007, the Recording Industry Association of America certified the album Platinum and has sold 3 million copies worldwide.

Doctor's Advocate attained respectable international charting. In Australia the album entered the Australian Albums Chart at number 20, in Austria the album entered the Austrian Albums Chart at number 12, in Canada the album entered the Canadian Albums Chart at number 2, in the Netherlands the album entered the Dutch Albums Chart at number 19, in France the album entered the French Albums Chart at number 9, in Germany the album entered the German Albums Chart at number 17, in the Republic of Ireland the album entered the Irish Albums Chart at number 8, in Germany the album entered the German Albums Chart at number 17, in New Zealand the album entered the New Zealand Albums Chart at number 15, in Norway the album entered the Norwegian Albums Chart at number 14, in Switzerland the album entered the Swiss Albums Chart at number 15, and in the United Kingdom the album entered the UK Albums Chart at number 10.

In the United Kingdom the British Phonographic Industry certified the album Gold, and in New Zealand the Recording Industry Association of New Zealand also certified the album Gold.

Critical response

Professional ratings

Review scores
Source	Rating
Allmusic
The A.V. Club	(favorable)
Entertainment Weekly	(B)
The New York Times	(favorable)
Pitchfork Media	(8.1/10)
PopMatters
The Source
Rolling Stone
Stylus	(B+)
USA Today

Upon its release, Doctor's Advocate received mostly favorable reviews from music critics. It received an average score of 73 based on average critic scores. Allmusic writer David Jeffries wrote that while the album "is nothing new" from The Documentary, "the fact remains that every track here is as good as or better than those on his debut." Entertainment Weekly disagreed, saying "it doesn't live up to the nihilistic brilliance" of his previous album. Christian Hoard of Rolling Stone stated that the album "isn't the classic that message boards are calling it, but it is a middling yet pleasurable record." Hoard also wrote that "lyrically, it's a mixed bag. The Game is still kind of corny, but his skills have improved... He's more nimble and more assured than before, and he switches up his flow more often". . Stylus Magazine noted that The Game "brought his personality—occasionally funny, disarmingly needy, a little lunkheaded—into the booth" and that despite Dr. Dre's absence, "the album sounds just as big-budget and lavishly appointed as The Documentary". The New York Times shared this view saying, "this album sounds much more like a Los Angeles album than its predecessor" and that the rapper "has a terrific voice, bassy and raspy." Similarly, The A.V. Club wrote that The Game "boasts a raspy-voiced, belligerent charisma" and that the album "succeeds primarily on the strength of its beats." The album received a near perfect 4.5 mic rating from The Source. The first single was It's Okay (One Blood) which was met with positive acclaim and it charted moderately in the US and the rest of the world. It has one of the biggest remixes ever with 24 artists featured on it, something which has not been done before. The second single was Let's Ride which was met with mediocre reviews, it charted in the top 50 in the US. The third single Wouldn't Get Far is featured and produced by Kanye West, it was released only for the US.

Pitchfork Media stated "As rap music, The Doctor’s Advocate is good; as tangled psychodrama, it's better." Jeff Vrabel of PopMatters wrote "Slapping Dre’s name so front and center just tastes weird, like like Alanis re-recording Jagged Little Pill or Queen touring without Freddie Mercury: Awk-ward. Ultimately, for all its naked ambition, “Advocate” ends up proving that without the guiding hand of Dre, Game can ... sound like Dre. Just listen to him, he’ll tell you. But without that ability to hammer out his own identity, the Game is still in progress." Stylus stated "Despite the fact that Dre had nothing to do with this project, the album sounds just as big-budget and lavishly appointed as The Documentary. Like his mentor, Game knows how to tweak the bone-rattling clap of the snare and play up the percussive aspect of keyboards."

Accolades

The album appeared on numerous music critics' and publications' end-of-year albums lists. Stylus Magazine placed the album at number 35 on its list of their Top 50 Albums of 2006. Kelefa Sannehof of The New York Times named it the sixth best album of 2006, on its list of Best Albums of 2006. Prefix named it the tenth best album of 2006, on its list of Best Albums of 2006.

Track listing

An asterisk (*) indicates a bonus track.

Unreleased tracks

In 2007, The Game released several tracks that did not make the final cut for Doctor's Advocate on Amie Street, an online music store.

Personnel

Credits for Doctor's Advocate adapted from Allmusic.

Charts and certifications

Chart procession and succession

References

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42. ^ Kelefa, Sanneh. Review: Doctor's Advocate. The New York Times. Retrieved on 2010-12-29.
43. ^ Tom, Breihan. Review: Doctor's Advocate. Pitchfork Media. Retrieved on 2010-12-29.
44. ^ Jeff, Vrabel. Review: Doctor's Advocate. PopMatters. Retrieved on 2010-12-29.
45. ^ The Source, The Source. Review: Doctor's Advocate. The Source. Retrieved on 2010-12-29.
46. http://www.rollingstone.com/artists/thegame/albums/album/12372448/review/12451197/doctors_advocate
47. ^ Jayson, Greene. Review: Doctor's Advocate. Stylus. Retrieved on 2010-12-29.
48. http://blogs.usatoday.com/listenup/2006/11/this_weeks_revi_1.html#more
49. Doctor's Advocate. Metacritic. Accessed August 3, 2007.
50. Hoard, Christian. "Doctor's Advocate Review". Rolling Stone. Retrieved July 5, 2008. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
51. Greene, Jayson (November 17, 2006). Doctor's Advocate. Stylus magazine. Accessed August 3, 2007.
52. http://www.stylusmagazine.com/articles/weekly_article/stylus-magazines-top-50-albums-of-2006.htm
53. http://apps.metacritic.com/music/bests/2006.shtml
54. http://apps.metacritic.com/music/bests/2006.shtml
55. Amie Street – The Game's Music Store. Accessed August 3, 2007.
56. Credits: Doctor's Advocate. Allmusic. Retrieved on 2010-12-29.
57. World Chart Positions. aCharts.us. Accessed September 5, 2007.
58. http://www.imdb.com/name/nm1667139/bio
59. http://www.radioscope.net.nz/index.php?option=com_content&task=view&id=79&Itemid=63

External links

• Doctor's Advocate at Discogs
• Doctor's Advocate at Metacritic

• Pages with empty short description
• 2006 albums
• Game (rapper) albums
• Albums produced by Denaun Porter
• Albums produced by Hi-Tek
• Albums produced by J. R. Rotem
• Albums produced by Just Blaze
• Albums produced by Kanye West
• Albums produced by Scott Storch
• Albums produced by Swizz Beatz
• Albums produced by will.i.am
• Albums produced by DJ Khalil
• Albums produced by Nottz
• Geffen Records albums