As much as artists (and fans) may not want to admit, comparisons are one of the most prevalent pillars in Hip-Hop. When looking at music from a roundabout point of view, it only makes sense in a genre which prides itself on a “I’m-better-than-you” mantra. The other day I found myself listening to nothing but Southern rap music. It’s not that I intended for this to happen; it just did. ‘Face, Goodie Mobb, UGK, Outkast, Devin The Dude, Slim Thug, Z-Ro, The Hot Boys, Luda, Jeezy…you name it, damn near everybody below the Mason-Dixon line was in rotation. That’s when I came to the conclusion (well, question) which is sure to ruffle a few feathers and likely lose me a few followers on Twitter.

Could T.I. really be the greatest Southern artist…ever? Read the rest of this entry »

Words by Corey Bloom

With the release of his fifth studio album T.I. Vs T.I.P., our exalted Sir Clifford Harris reintroduces a topic he first brought to light on his second album, Trap Muzik – that of his dual personalities. On one hand we have T.I.P, the hard headed, sock a mother fucker at an industry party and on the flip we have T.I., the cool, clam and collect one man enterprise. In the following we will take a look at the root of this split personality, musically speaking, and through this writers opinon how those personalities have evolved.

As legend goes, the division of these characters began in 2001 after signing to Arista/LaFace, when he was asked (politely, no doubt) to drop the P from the T.I., to avoid confusion with label mate Q-Tip for his debut album I’m Serious. This never made much sense to me, but then again I don’t think much like a label exec. Although the character split wasn’t explicitly presented I’m Serious did introduce T.I. as a very versatile and balanced emcee. Fitting, the first track features a introspective T.I. on “Still Ain’t Forgave Myself” where he laments, “what I am today, I made myself, but I still ain’t forgave myself.” It’s an interesting way to kick off a debut, and by the second track we begin to see the the contrast of his characters with “Dope Boyz,” which is undoubtedly the fiery T.I.P. speaking. Both of the albums singles, the Neptunes produced “I’m Serious” and “What’s Your Name” seem to capture the the best of both of these characters, with “I’m Serious” leaning more to the street minded and “What’s Your Name” touching, caressing, and pumping on the smoother side. If you needed imagery, the boots and denimed up T.I.-P. on the cover is juxtaposed by a glasses and robe clad T.I. surrounded by eight competitively eager and adoring lingerie models, one of which who is fixated on a Playstation control. Complex indeed.

Come his sophomore, Trap Muzik, T.I. addresses this dual personality with the superbly executed concept track “T.I. vs. T.I.P.,” where the two actually square off over a slumping T.I.P. beat (just another bullet point in the resume!). Parlaying into the wise man role, T.I. schools his hard-headed other half, “I wanna talk to you shawty (Why?)/Cause you be trippin’ sometimes/(Man I’m just trying stay true to what I say in my rhymes)/It ain’t a doubt in my mind, but you got a lot on the line/You need to think ’bout yo’ actions (Why?)/You be overreactin’ (Maaaan).” Going back and fourth, they find resolve at the end of the song finishing, “(I’m really glad we had a chance to sit it down and rap a tad)/(I admit you had a couple points, sometimes I act a ass)/Ay but it is so important to keep it real though just like ya said/No record deal, no amount of mil’ shall go to my head/(And with that said can’t nobody tell us shit, so fuck the hatin’)/How many niggaz real enough to stand and give theyself a straightenin’?” It’s the single most important song in understanding T.I., and most relevant examining the two personalities; their foundation, view points, desires and goals, and how the two could come together as one. I can’t think of another song where an individual challenges them self, and turns the mirror on them self (or themselves in this example) in such a personal and creatively genius way. As he indicates in the last line of the song writing it out was a self-therapy of sorts, setting guidelines for himself as his career was about to really pop-off. Mind you he was just 23. Read the rest of this entry »