CD Review: T.I. Vs. T.I.P.

For the past half-decade, the Southern region has held a firm grasp on the rap game. Many believe its club-centric approach is partly to blame for killing hip-hop, while others claim southerners are the only ones capable of making hits these days.

Last year, T.I.’s King was nominated for Best Rap Album of the Year at the Grammys, and now the self-proclaimed “King of the South” has quickly stepped up to make another statement. He has pieced together a concept album juxtaposing what he deems to be his two conflicting personalities: his business-oriented, level-headed half (T.I.) and his street-minded wild side (T.I.P.).

Such a concept is not all that original, but unfortunately, it does feel somewhat innovative within today’s marketplace of hackneyed hip-hop. Nevertheless, T.I. vs. T.I.P. doesn’t exactly have anything new in store for us.

“Big Things Poppin” starts things off as the guitar-sampled single and T.I. shows us one of the CD’s most versatile flows, but the cut also contains one of the disc's most unbearably grating choruses.

“Touchdown” is an Eminem-assisted number, and a painful reminder of the tragic artistic collapse of Marshall Mathers. Not too long ago, Eminem was arguably the voice of a generation, but it’s been nearly four years since he’s churned out anything praise-worthy. His once clever, provocative lyrics have slowly morphed into nothing more than half-assed, depthless gibberish, and his pitter-patter production sounds like it was made using Fruity Loops and your little sister’s cheap-ass Casio keyboard.

Over the track's bland backdrop, T.I. throws jabs at Oprah Winfrey, and easily outshines the careless Caucasian on the closing verse: “Look at what hip hop has got us / it allowed us to run a business / legitimated our money / got us out of the ghetto / relocated our mommies / I made it all the way here / ain’t no way you takin’ this from me / so excuse me Oprah honey, I’m sorry, really I promise / niggas, hoes, and bitches do exist, I’m just being honest.”

“Watch What You Say To Me” features Jay-Z spouting rhymes rumored to be directed at Atlanta’s Young Jeezy, who verbally attacked the living legend earlier this year: “I hear you baitin’ me lately / I been doing my best just to stay hater-free/ but still, watch what you say to me / sooner or later I’ll take you up on your offer / and put you in your place like I’m replacing your father.” Without even bringing out his best stuff, the Def Jam president (sadly) manages to create one the album’s more memorable moments.

Overall though, the album’s redundant content never strays too far from guns (“Raw”), girls (“Don’t You Wanna Be High”) and money (“We Do This”). The lack of topical variety could be compensated for with some poetic lyrics or undeniable instrumentals, but there’s really not much to speak of.

On “Help Is Coming,” T.I. claims he will “save hip-hop,” but the truth is, Grammys don’t mean a damn thing, and well, he's awfully mistaken.

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