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The Roots Game Theory (uk Retail) 2006 Vag Int

Posted at 06:11 on 2009-Nov-5 in

Roots - Game Theory (UK Retail)

The Roots Game Theory (uk Retail) 2006 Vag Int

ARTIST: The Roots
TITLE: Game Theory
LABEL: Def Jam
GENRE: Hip-Hop
GRABBER: EAC (Secure Mode)
ENCODER: Lame 3.98b4 / -V2 --vbr-new
QUALITY: 185 Kbps Avg / 44.1 KHz / Joint Stereo
PLAYTIME: 0h 50min 51sec total
SIZE: 67.31MB
RELEASE DATE: 08-29-2006
RIP DATE: 08-08-2007

Track List
----------
01. Dillatastic Vol Won(derful)? ? ? ? ? ? ?0:28
02. False Media? ? ? ? ? ? ? ? ? ? ? ? ? ? ?2:44
03. Game Theory? ? ? ? ? ? ? ? ? ? ? ? ? ? ?4:01
04. Don't Feel Right? ? ? ? ? ? ? ? ? ? ? ? 4:08
05. In The Music (Feat. Malik B.)? ? ? ? ? ?4:07
06. Take It There? ? ? ? ? ? ? ? ? ? ? ? ? ?2:50
07. Baby? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 2:50
08. Here I Come (Feat. Dice Raw & Malik? ? ?4:11
? ? B.)
09. Long Time (Feat. Peedi Peedi & Bunny? ? 4:21
? ? Sigler)
10. Livin' In A New World? ? ? ? ? ? ? ? ? ?1:47
11. Clock With No Hands? ? ? ? ? ? ? ? ? ? ?4:23
12. Atonement? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?2:36
13. Can't Stop This? ? ? ? ? ? ? ? ? ? ? ? ?8:39
14. Bread & Butter (UK Bonus Track)? ? ? ? ?3:40

Release Notes:

Game Theory is the Roots' equivalent of a Funkadelic playlist containing "Wars
of Armageddon," "Cosmic Slop," "Maggot Brain," "March to the Witch's Castle,"
and "America Eats Its Young." It's a vivid reflector of the times, not an escape
hatch (of which there are several readily available options). Spinning
turbulence, paranoia, anger, and pain into some of the most exhilarating and
startling music released in 2006, the group is audibly galvanized by the world's
neverending tailspin and a sympathetic alignment with Def Jam. Batting around
stray ideas and squeezing them into shape was clearly not part of the plan, and
neither was getting on the radio. The songs flow into and out of one another to
optimal effect, with an impossibly stern sense of peak-of-powers focus, as if
the group and its collaborators instantly locked into place and simply knocked
the thing out. With the exception of the elbow-throwing "Here I Come," nothing
here is suitable for any kind of carefree activity. The extent of the album's
caustic nature is tipped off early on, after glancing at the hangman on the
cover and hearing Wadud Ahmad's penetrating voice run through lines like
"Pilgrims, slaves, Indians, Mexicans/It looks real f*cked up for your next of
kin." The point at which the album kicks into full gear, just a couple minutes
later, arrives when tumbling bass drums and a Sly & the Family Stone sample
("This is a game/I'm your specimen") are suddenly overtaken by pure panic --
pulse-racing drums, anxious organ jabs, pent-up guitar snarls, and breathless
rhyming from Black Thought and Malik B. "In the Music" exemplifies the deeply
textured nature of the album's production work, with its rolling/roiling rhythm
-- throbbing bass, clanging percussion, tight spirals of guitar -- made all the
more claustrophobic by Porn's amorphous chorus and Black Thought's and Malik
B.'s hunched-shoulder deliveries. Even "Baby," the closest thing to a breather
in this patch of the album, arises from a sweltering jungle bog. After "Long
Time," the ninth track, the levels of tension and volume decrease, yet the moods
are no brighter, even if the surfaces leave a different impression. "Clock with
No Hands" is introduced as a sweet slow jam with a light vocal hook from
Mercedes Martinez, but it's as paranoid as anything else on the album. Jack
Davey projects the chorus of the slower, Radiohead-sampling "Atonement" in a
druggy haze while Black Thought speaks of "being faced with the weight of
survival." The closer, an eight-minute suite titled "Can't Stop This," features
a J Dilla production -- previewed on his Donuts, released the week he left this
planet -- that opens and closes with testimonials to the musician's talent and
humanity. Taken with or without this staggering finale, Game Theory is a heavy
album, the Roots' sharpest work. It's destined to become one of Def Jam's
proudest, if not most popular, moments.

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