Phantom_rydaz

T.I. - T.I. Vs T.I.P. Review

Rap personality disorder reaches a new high.

by Spence D.

July 6, 2007 - Rappers have always been two-faced, dwelling in a world where MC monikers and birth names collide with conflicting personality distinctions. The very nature of the life of a rapper has always revolved around the alter-ego. Eminem vs. Marshall Mathers, 50 Cent vs. Curtis Jackson, and so on. Now Atlanta rapper T.I. joins the split personality contingency with his fifth full-length effort, showing off both his thug and legitimate businessman sides. This is made abundantly clear via the album cover which has T.I. swanked out in suit and tie on one side and stripped down for street fighting in white T and hoody on the flip side. It's taken a step further on the inside cover that has images of the "thug" T.I. staring into a mirror as suited T.I. stares back and vice/versa.

Image, however, isn't everything, and even though the album is broken up into three segments, Act I: T.I.P. Act II: T.I., and Act III: T.I. Vs T.I.P. The Confrontation, one will have to pay close attention to denote the stratifications between the acts as they shift ever-so-slightly both lyrically and musically. For the most part each segment features T.I. ripping the mic with his guttural growl and raspy snarl alternated with some superman lover smoothness over a cache of pretty solid beats that will sound equally at home in the car, on the street, and in the club. While T.I. seems to resonate vocal stylings that pluck key elements from his contemporaries (think Luda, Nelly, 50 etc.) it all melds into a cohesive flow that is infectiously inescapable. For example his languid flow on "You Know What It Is" sounds like the sing-song demeanor of some of his fellow dirty South microphone wielders, but it has a smoother, more even keeled vibe to it.



On the production tip T.I. hits up the likes of Mannie Fresh, Wyclef Jean, Just Blaze, Eminem, as well as Danja, Keith Mack, the Runners, Tony Galvin, Kevin "Khao" Cates, yet despite the various board operators the overall sonic flow is consistent and well-tailored, never sounding like a mish-mash of disparate beats and conflicting rhythms, at least as both separate Acts are concerned (i.e. all of Act I—tracks 1-7—sounds consistent and all of Act II—tracks 8-14, sound consistent in their own context). If anything it sounds as if all the various producers were in the studio collaborating on a distinct ambient aura. I don't need to tell you how rare that is, since usually an album featuring a myriad of top-notch producers ends up sounding like a hodgepodge of varying degrees.

Additionally, even though T.I. enlists the services of some extremely high profile guests—Wyclef, Jay-Z, Busta Rhymes, Eminem—it never sounds like he's taking a backseat and calling in favors to make up for lack of material. We all know that too often the guest stars get out of hand and end up showboating and outshining the actual star, effectively turning an album into an exercise in star-crossed futility. Such is not the case here, with T.I. commanding the tracks and the guests doing what they're meant to do: add a touch of flair and depth to the proceedings, but always remaining in the shadows or on the sidelines where they ultimately compliment the main player.

The first part of the album, Act I: T.I.P. goes from "Big Things Poppin' (Do It)" on through "Watch What You Say To Me," resonates with a mid-tempo flair that floats from piano/keyboard laced sway ("Big Things…") to stripped down synth symphonia ("Raw") and electro ragamuffin filter ("You Know What It Is") and everything in-between, including slinky blaxploitation overdrive ("Watch What You Say To Me"). The tempo is all kept around the same cadence, except when Act I comes to a close with the fist pumping "Hurt," which is all rife with faux horns and thundering click boom blasts. It's like a step show rhythm cavalcade on overdrive.

Act II kicks it on the T.I. tip. Musically this portion of the album gets more low and slow, evaporating on a contemporary R&B vibe that distinguishes this as the playboy/superman lover portion of the album. Lyrically speaking the slant seems to be a bit more introspective, as well, with less of the stress being on the streets and more of the themes being about life on the DL, staying around the house, working on an album, and maintaining things with one's Queen. This portion kicks off with the Just Blaze flurry of "Help Is Coming," a symphonic surge of synthetic whirl that has T.I.P. discussing market shares and delving into a repetitive flurry that will leave your head spinning. Meanwhile "My Swag," is pretty self-explanatory. This is the second track laced up by and featuring Wyclef. It has a loping West Indies synthesized float about it.

The vibe continues to be laid back and profiling on tracks like "We Do This," which has plenty of soothing swagger. The track succeeds most on the verses, however the chorus feels a little lurch and groggy. "Show It To Me" goes for a crazy piano stutter that is reminiscent of early vaudeville. It quickly turns into a song and dance number stripped out of some jazzy musical. The bass licks are impulsive and T.I.P. kicks a strong flow. "Don't You Wanna Be High" is the requisite quiet storm love jam that will resonate with all the ladies and Casanovas out there. Surprisingly Eminem steps up and delivers some solid production on the rather upbeat "Touchdown," leaving his normal turgid, dark and ominous sound stylings at home.

By the time we've flown into Act II: T.I. vs. T.I.P. The Confrontation (tracks 15-18) the two distinct sounds merge into one bringing things full circle. The final act begins with T.I. having a Sybil/Tyler Durden-like argument with himself before slipping into the silky swagger of "Tell 'Em I Said That." With "Respect This Hustle," T.I. (or is it T.I.P.?) comes with a slithering slice of scintillating smolder proving that perhaps when he has both personas under control, letting them quietly struggle for supremacy inside his brain, that he makes his best music.

There's no question that T.I. Vs T.I.P. is an interesting concept, showcasing the yin/yang that resides inside of us all. Breaking the album into three acts makes it unfold like a loose Hollywood drama, separated into distinct flavors. It also helps the concept work as an album, keeping the flow consistent, then switching it up, and eventually tying it all together in the final act. Yet when all is said and done, for my tastes I think I prefer T.I.P. over T.I., at least in this context. However, one needs both sides of a coin to make a whole. Basically, you can't have the superman lover, between the sheets tracks without the hardcore for the streets numbers; one balances out the other. Where T.I./T.I.P.'s conflicting personalities succeed is in taking the formerly bling and bravado nuances of Southern rap into a new direction, delivering surprisingly introspective lyrical escapades that showcase an artist maturing (listen to the very last track, "My Type," for a perfect example of such) within the confines of his chosen medium.

Definitely Download:
1. "You Know What It Is"
2. "Da Dopeman"
3. "Watch What You Say To Me"
4. "Help Is Coming"
5. "Tell 'Em I Said That"
6. "Respect This Hustle"

IGN's Ratings for T.I. - T.I. Vs T.I.P.
out of 10 click here for ratings guide
7.8 OVERALL

Source:

AlterEgo

thats a wack ass review

Indygangsta

^^^cuz ign is mostly a video game site

GmNRecords

got a 8 in my book.

Marky G

this album got 2 much stick.

fair enough it wasnt as good as some of his old albums but you gotta give it to TI jus 4 the concept

sammie

It took me a few spins...but I'm feelin it now

Raezr Productions

^pretty much tha same thing for me

supermanrb02

those six are really alll u hav 2 listen 2 from tha album

dipsetallday4

thats ture but not bad

dipsetallday4

i thought it was a good album