What follows is an album review for the 2010 release of How I Got Over, the ninth studio release by hip-hop group The Roots. It was originally published August 2010 by Seeds, the arts and entertainment section of the UNL student satirical newspaper The DailyER Nebraskan. Thought my time writing for Seeds was short, I had a blast. This piece was my favorite. What better way to start than by looking back.
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Its not very often that a group’s ninth studio album is anything to fawn over. Hell, its not very often that a group even makes a ninth studio album. Either obscurity or non-existence are the most likely outcomes. For the Roots, however, another album seems to comprise only part of their current picture. In the midst of fulfilling a laundry list of obligations (including extensive touring, serving as the house band for Late Night with Jimmy Fallon, and a host of side-projects) the Legendary Roots Crew has found time to dominate yet another studio release. How I Got Over is considerably different than their last few projects in many respects. Unlike both Rising Down and Game Theory, which treated relatively dark subject matter, the Roots’ latest is far more positive, as MC Tariq “Black Thought” Trotter reflects on his journey to the present through his life and career. The group has also continued to evolve musically, adopting a smoother, more groovy sound, as well as blending an interesting combination of influences and styles. It takes only the first ten minutes of the album (which features guest vocals from the Dirty Projectors and Monsters of Folk) to realize that the band might have been exposed to some indie Kool-Aid. While Rising Down took off like a rocket and never slowed down, the Roots ease the listener into How I Got Over with similar dexterity. From the haunting keys and rhythm of all three MCs (Truck North, P.O.R.N., and Trotter) on “Walk Alone” through the album’s title track, the first half of How I Got Over flows without faltering through jazzy grooves driven by Amir “Questlove” Thompson on drums and Kamal Gray on keys. After the deep breath in the middle of the record, “DillaTude,” lyrics turn from reflection to thoughtful (and wholly confident) celebration. The music follows suit, becoming more upbeat while maintaining the soulful quality of the first half. “Web 20/20,” bounces the album to a finish with bare-bones rhythm and great verses by Trotter, Peedi Crack, and Truck North. In short, the essential feel of the album is as follows: the band provides an excellent landscape to showcase Trotter’s skillful writing and excellent rhythm, which (with the help of equally talented guest MCs) level buildings and steal souls. In a good way.
The Replacement-Level Lebowski 