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On "Hurt", he keeps pace with Danja's royal horns and riotous drums and the fiery guest-verses from Alfamega and (surprisingly) Busta Rhymes. "Watch What You Say" boasts a bluesy organic thump and the most authoritative Jay-Z guest-verse in a couple of years, and T.I.'s throaty snarl conveys menace infectiously. On "You Know What It Is", he rides Wyclef Jean's sublimely summery rubber bassline, intuitively sinking into the beat and savoring the sound of his voice. tracks would've been highlights even on King. On songs like the underwhelming first single "Big Shit Poppin'" and the clichéd drug-dealer instruction-manual "Da Dopeman", the rapper seems to be on autopilot, but a few of the T.I.P. Unsurprisingly, the strongest stretch of the album comes from T.I.P. section? If the album's final stretch is meant to unite both sides, why do they confront each other in song only once, on the second verse of "Respect My Hustle"? represents the rapper's pop half, why do the album's first two singles come from the T.I.P. And he never quite commits to the concept. When they're separated, they both sound emaciated and half-formed. His music works best when both sides of his personality are allowed to co-exist in the same track.
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For another, it plays against his strengths. leaves a long dead-streak in the second half of the album. For one thing, it's a pacing disaster by lining up all his sugary for-the-ladies tracks in a row, T.I. It's an interesting conceit, but it doesn't really work as a hook for an entire album, and the record's exhaustingly long running time pushes the conceit far past the breaking point. the next seven, and the two sides spend the last four songs hashing out their differences. That struggle also serves as the concept for the new album: T.I.P. T.I.P.", crafting an argument that movingly dramatized his internal struggle. first explored this dichotomy on Trap Muzik's "T.I. Apparently, those two sides aren't as indivisible as they once seemed. the unreformed hustler are two completely different entities, and that the strain of balancing the two personas is enough to tear Clifford Joseph Harris Jr. operates on the thin and dubious concept that T.I. Titanic bangers like "What You Know" and "Top Back" didn't work in spite of T.I.'s guttural sneer they used that harshness as fuel. By the time he released King, though, the emotional resonance was all but gone from his music, replaced by a world-conquering confidence unmatched in rap. built an image of himself as a haunted, remorseful drug-dealer, balancing triumphant anthems like "Rubberband Man" with sad, introspective laments like "Be Better Than Me".
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On older records like 2003's Trap Muzik, T.I. On last year's King, T.I.'s scrappy street-kid swagger seemed indivisible from his pop instincts, and that's partly why it was one of the year's best rap albums.