Game Theory [Clean Lyrics]

Editorial Reviews

All Music Guide - Andy Kellman
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 ...
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Editorial Reviews

All Music Guide - Andy Kellman
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
oiling 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. [A clean version of the album was also released.]
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Product Details

  • Release Date: 9/12/2006
  • Label: Def Jam
  • UPC: 602517040953
  • Catalog Number: 000722201
  • Sales rank: 23,004

Tracks

Disc 1
  1. 1 Dilltastic Vol Won(derful) (0:28)
  2. 2 False Media (2:43)
  3. 3 Game Theory (4:01)
  4. 4 Don't Feel Right - Maimouna Youssef (4:08)
  5. 5 In the Music - Porn (4:06)
  6. 6 Take It There - Wadud Ahmad (2:51)
  7. 7 Baby (2:50)
  8. 8 Here I Come (4:11)
  9. 9 Long Time (4:22)
  10. 10 Livin' in a New World (1:47)
  11. 11 Clock with No Hands - Mercedes Martinez (4:23)
  12. 12 Atonement - Jack Davey (2:35)
  13. 13 Can't Stop This (8:35)
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Album Credits

Performance Credits
The Roots Primary Artist
Bunny Sigler Vocals, Choir, Chorus
Davis A. Barnett Viola
Larry Gold Cello, Conductor
Malik B. Vocals
Rahzel Vocal Percussion
Black Thought Rap
Emma Kummrow Violin
Igor Szwec Violin
?uestlove Drums
Leonard Hubbard Bass Guitar
Michael Heinzer Vocals, Choir, Chorus
Gloria Justin Violin
Peedi Peedi Vocals, Guest Appearance
Wadud Ahmad Vocals, Choir, Chorus, Spoken Word
Maimouna Youssef Vocals, Choir, Chorus
Mercedes Martinez Track Performer
Jack Davey Vocals, Choir, Chorus
Captain Kirk Douglas Guitar
Kamal Gray Keyboards
Frank "Knuckles" Walker Percussion
Charles Parker Violin
Technical Credits
Bunny Sigler Composer
L. Ron Hubbard Composer
R. Bell Composer
Russell Elevado Engineer
Larry Gold String Arrangements
Brian Holland Composer
Steve Mandell Engineer
Jon Smeltz Engineer
S. Stewart Composer
E. Sadler Composer
Richard Nichols Producer, Executive Producer, Art Direction
The Roots Producer, Audio Production
A.P. Thompson Composer
Pedro Martinez Producer
Alli Truch Art Direction
Kenny J. Gravillis Art Direction
Doug Joswick Package Production
David Kutch Mastering
?uestlove Producer, Engineer
Sly Engineer
K. Gray Composer
Kamiah "Little Klang" Gray Producer
John McGlinchey Producer, Engineer
Omar Edwards Producer
Adam Blackstone Producer
J Dilla Producer, Engineer
Robert "LB" Dorsey Engineer
Tahir Jamal Producer
Brook D'Leau Producer
Randy Watson Experience Producer
Owen Biddle Producer
Family Stone Engineer
Kevin Hansen Producer
Khari Mateen Producer, Engineer
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