Remember when Def Jam used to make classic records? The Roc-A-Fella imprint era of Jay-Z or Kanye West doesn’t count, either.  Referring to Def Jam, the label itself. It’s been so long, that a lot of you probably don’t remember something like this ever happening. That was back in the 1980′s - when the label launched the careers of several artists - including, but not limited to, Public Enemy, The Beastie Boys, LL Cool J, and Slick Rick, each with classic records under their belts. But just as hip-hop lost its way, so did the house of Russell Simmons, never again recapturing the perfect sound of the glory years. Sure, the label’s influence in the 90′s and throughout today is unprecedented - with solid albums from Redman, Ludacris, Scarface, (arguably) Method Man, and the Roc-A-Fella dynasty under it’s belt. But there’s also the disposable cash cow LP’s from DMX, Foxy Brown, Warren G, Ja Rule, and tons of forgettable others to take in consideration. (Case or Montell Jordan, anyone?). 

      Today, hip-hop is no longer considered an art, but instead a business. So who better to run Def Jam than a man who is equally versed in both schools of thought? New label president, Jay-Z, has maintained a fine balance since his inauguration, with chart-topping successes in the form of Rhianna and Young Jeezy, while maintaining the artistic integrity the label was founded on, through the signings of artists like The Roots and Nas. The first of these two projects, The Roots’ Game Theory, is the group’s first record for the label, and beginning of a new, post-Geffen era for the crew. 

     While the group had an illustrious career with Geffen, one couldn’t help but feel like they were pressured to alter their sound in order to get commercial airplay, leaving their last few records sounding a bit disjointed. Case in point, we all loved “Don’t Say Nuthin’”, but it was an obvious (albeit bitingly sarcastic) dumbing-down of the group’s core sound. Sure, producer Scott Storch was an original member of The Roots back in the Organix days, but he was also conveniently the go-to-guy during The Tipping Point’s era. At the end of the day, The Tipping Point did not disappoint, but it did pack somewhat of a more polished, commercial sound than we were used to hearing from the legendary Roots crew. 

     Enter Game Theory. All bets are off. The Roots continue to surprise their audience by reinventing themselves once again, this time doing it with perfect results. Abandoning the studio shine of The Tipping Point, Game Theory takes things in a much darker direction, examining the problems America as a whole, not just the issues with hip-hop itself. The album is The Roots tightest knit project yet, each track seamlessly bleeding into the next, lending a true sense of cohesion - something that their last few efforts, although still solid, have somewhat lacked.  

     ?uestlove’s snapping funk drums kick off “False Media”, as the deep, unapologetically soulful voice of Wadud Ahmad reanimates Chuck D’s lyrics making them relevant to today’s issues. Black Thought delivers a one verse introduction that sets the precedent for the record, subtly touching upon topics like crime, 9/11, slavery, police brutality, foreign policy, racism, and media spin control, without ever pointing fingers directly at anyone, just for the sake of shock value. From there, the title track, “Game Theory” leads right in, as a familiar Sly and The Family Stone breakbeat knocks the door down (just as “Star” did last LP). Layered together with ?uesto’s drums, a reunited Black Thought and Malik B trade mics like it was the Do You Want More?!? era, still repping Philly to death, despite international fame. The fusion of samples and live instrumentation continues on “Don’t Feel Right”, as chopped bits and pieces of Kool and The Gang’s “Jungle Boogie” and Ohio Player’s “Ecstasy” act as the skeleton that The Roots ensemble plays over. Black Thought takes things back out of the Philly microcosm, examining the global issues of why things just aren’t right in the world today.   

    Once they’ve got you open, things travel in a more brooding direction, with the echoing snare and almost paranoid bass/keyboard backdrop of “In The Music”, followed by “Take It There”, beginning like a bare-bones beatbox track, evolving into something much richer and fuller, with another assist from Wadud Ahmad. Not missing a beat, The Roots once again experiment with their rock-influenced style on “Baby” (last heard on “The Seed 2.0″), this time finding Black Thought doing the singing, with help from Dice Raw’s new outfit, Nouveau Riche. Dice also chimes in on the abrasive, Public Enemy-esque “Here I Come”, while mellow Nouveau Riche vocalist John John provides a breezy hook to “Livin’ In A New World”. 

    Things end on a somber note, with a pair of mellow tracks, “Clock With No Hands” and “Atonement”, both performed in the jazzy, soulful Roots tradition that they are best known for. But the kicker comes in the closing “Can’t Stop This”, an eight minute tribute to the late great J. Dilla – which, when the first note of that familiar “donut” kicks in after ?uest’s kind words about the artist, brings a tear to the eye. Black Thought chooses to honor Dilla symbolically by honoring hip-hop itself, remembering both a lost artist and a lost artform. Followed by a depressing funeral of sorts for Dilla, a host of artists and friends speak on a genius that died too soon.

      If hip-hop itself never lost its way, The Roots’ Game Theory would be an example of what all modern rap records would sound like. The fact of the matter is however, that things have changed in hip-hop, but that’s what makes this record special. Nevertheless, it will influence other artists (and labels) to re-examine the kind of music they are putting out, even if only on the smallest scale. Game Theory is arguably the best Roots LP since Things Fall Apart, if not the best record of their career. It’s nice to re-coin the term “Def Jam Classic”, after so many years.