2Pac Loyal To The Gameincludes the lead single "Thugs Get Lonely Too" in addition to 11 other previously unreleased songs and 4 bonus tracks. Featured Artists include 50 Cent, Jadakiss, Lloyd Banks, Nate Dogg, Obie Trice, Outlawz, Ron Isley, Sleepy Brown, and Young Buck.

On their third outing, Guru and Premier continue to deliver intellectual hardcore, mixing deft rhymes with serious beatology. Premier continues to mine the jazz vaults, uncovering some seriously dusty grooves, with which he concocts some of the best minimalist hip-hop to ever be committed to wax. Just listen to "The Place Where We Dwell." Made up of nothing more than a looped drum track and scratching, it illustrates the less-is-more aesthetic to a T. Guru once again lets loose with the monotone flow that is his trademark--a flow that tastes like slow-roasted butter. Furthermore, jams like "Ex Girl to the Next Girl" prove that there is such a thing as a good hip-hop love song that exudes street cred rather than syrupy wackness. The album is especially noteworthy for containing the progressive "I'm the Man," which marked the recorded debut of both Jeru the Damaja and Little Dap. Plus, "Soliloquy of Chaos" not only gets the Mensa award for word choice but also serves as an eloquent condemnation of the violence that had become de rigueur at hip-hop shows. --Spence Abbott

The Documentary, (Aftermath/G Unit/Interscope), the debut album from The Game(a/k/a Jayceon Taylor), announces the arrival of the most significant West Coast gangsta rapper since Snoop Dogg more than a decade earlier. With guest spots from 50 CENT, Nate Dogg and several others, as well as producers from Dr. Dre to Kanye West to Just Blaze and tracks such as "How We Do" feat. 50 Cent, "Like Father Like Son," "Church For Thugs," "Dreams," "Where I’m From" and "Westside Story," The Documentaryresurrects the truth, spirit and hope of hardcore rap.

2Pac's been dead for more than six years, and in that time his estate has released a dizzying array of questionable posthumous material--with much more to come in 2003, by the way (the liner notes list documentary soundtracks, another unreleased double album, DVDs, etc.). On the first disc's "Intro," an unnamed street reporter wonders, "Where are these songs coming from?" After repeated listens, your best guess would be from his unfinished studio outtakes. Nevertheless, these tracks were apparently recorded during his prolific, vexed Makaveli stage. "When We Ride on Our Enemies" demonstrates much vitriol, as Pac's verses are littered with fightin' words for rappers like Mobb Deep and Da Brat. Likewise, "F*** 'Em All" hurls threats at the late Notorious B.I.G., reminding fans of the time when media-induced East Coast-West Coast feuds were way out of control. The ghetto Elvis's tales of slum grandeur reach their zenith when he serves up his explicit boasts to women on "Fair Xchange." Gripping. It's too bad the first disc's last track, an acoustic version of "Thugz Mansion," undermines much of the credibility of this project. When Pac's alleged enemy Nas's vocals are mixed in to appear like he's sitting next to Pac by a fireplace all warm and toasty, sharing rhymes, you immediately smell the influence of executive producer Suge Knight. The second disc is just as dodgy, but might resonate more with new fans simply wanting to hear good beats and rhymes. "Never Call U B**** Again" is a tidy love song that R&B crooner Tyrese complements well, while the title track featuring Ronald "Mr. Biggs" Isley provides a necessary escape from much of Pac's brooding imagery. In the end, the quandary of this double disc has nothing to with Pac but with producer Johnny "J"'s middling G-funk-lite beats and Suge Knight's involvement. This one's for collectors and curious onlookers. --Dalton Higgins