Despite the absence of Dr. Dre, who executive produced Game's debut record, The Documentary, the album featured production by four other returning producers—Kanye West, Just Blaze, Scott Storch and Hi-Tek—as well as will.i.am and Swizz Beatz.

Production for the album was also contributed by DJ Khalil, Jellyroll, Jonathan "J.R." Rotem, Mr. Porter, Nottz, Reefa, Ervin "E.P."

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.

[4][5] As with The Documentary, Doctor's Advocate was distributed in the United Kingdom by Polydor Records, which is the British distributor for Interscope Geffen A&M releases.

[6] When Game signed onto Aftermath Entertainment, it was later arranged that he would work with 50 Cent and his hip hop group G-Unit.

After being denied entry, one of his associates was shot in the leg during a confrontation with a group of men leaving the building.

[9] Fans had mixed feelings as to whether the rappers created a publicity stunt to boost the sales of the albums they had just released.

[12] After the performance at Summer Jam, 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.

Doing so, he was drafted from Interscope Records to its subsidiary label, 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 reports claim 50 Cent pressured Dr. Dre to kick him off.

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.

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.

"[20] 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.

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 Black Eyed Peas".

Club's Nathan Rabin noted that the beats created a "gleaming, hydraulics-enhanced '64 Impala of an album to ride".

[25] The production on "Ol' English" was depicted as "slow-rolling" music, and "Compton" was declared a "return to old-fashioned gangsta rap".

[27] 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."

Doctor's Advocate explicitly refers to Game's former mentor and producer Dr. Dre, whose name is dropped on every song from the album except "Wouldn't Get Far".

[28] During several of the songs, Game uses words like "family" and "father" to pay tribute to their relationship before at Aftermath Entertainment.

Due to his disputes with 50 Cent, in summer 2006 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.

On December 3, 2005, the Game released another promotional mixtape album/DVD, Stop Snitchin–Stop Lyin, through The Black Wall Street Records.

"[35] Entertainment Weekly, in a review of Doctor's Advocate, wrote that the song "recycle[s] Dre's signature high-pitched synths and plinking pianos" and is "marred by stale rhymes chronicling cartoonish gangbanging.

"[36] 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".

[43] 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.

[25] 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."

[52] 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".

Club wrote that the Game "boasts a raspy-voiced, belligerent charisma" and that the album "succeeds primarily on the strength of its beats.

"[47] Jeff Vrabel of PopMatters wrote "Slapping Dre’s name so front and center just tastes weird, like Alanis re-recording Jagged Little Pill or Queen touring without Freddie Mercury: Awk-ward.

"[48] Stylus Magazine 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.