Friday, October 21st, 2011

T.I. ft. Big K.R.I.T. – Flexin’

T.I. and T.I. Jr., together at last!


[Video][Website]
[6.40]

Brad Shoup: “Big banks, no whammies”: I guess they get GSN in prison. A taut gem of a comeback; thank God he doesn’t have lessons to impart.
[7]

Alfred Soto: It would be enough for me to award him a comeback award by virtue of showing up on a decent track; luckily he puts his long vowels and motormouth at the service of a… well, yeah, I guess it is a comeback song after all. Turns out he’s learned humility in prison — calls himself “stupid” and everything!
[6]

Hazel Robinson: “Country Shit” was immense, so I had reasonably high hopes for this — it’s certainly had everything thrown at it, from that opening riff sample to the ludicrous, gothic piano under the verses and the tick-and-ting chorus. I might be allowing too much for the fact I’m desperate for T.I. to make some decent music again but this is great; threatening, overcocked and show-offy, a song that refuses to put itself down a difficulty level on Guitar Hero even though it’s too drunk to remember more than the opening phrase.
[8]

Katherine St Asaph: T.I. must still be under probation terms that mandate regular check-ins with whatever musty decade the guitar riff came from. It’s the only reason he’d let it sully such an otherwise-sinuous track.
[6]

Jonathan Bradley: It’s easy to mistake this as proficient just because it reads as street shit: that is, rap-heavy and hook-light. And cool, cool; I’m glad Tip’s latest celebration of freedom eschews the stadium melodrama of “Dead and Gone” in favor of his trap music bread and butter. But this isn’t Trap Muzik; it lacks his best work’s precision and personality. T.I. could always flow, but he used to squeeze so much more from that base talent. 
[5]

3 Responses to “T.I. ft. Big K.R.I.T. – Flexin’”

  1. “But this isn’t Trap Muzik; it lacks his best work’s precision and personality.”

    I feel like he got worse as he got more precise, and by precise I mean overly enunciated super-polysyllabic delivery.

  2. Great song.

  3. @Tray Yeah, I agree that his overenunciated period was nothing exciting. I suppose I’m referring more to rhythmic precision. He can still flow, but he used to have this great talent for creating really intricate rhythms just from the sound of his words (see, most obviously, “What You Know”) that he can’t recreate in this new stuff.