T.I.’s King really earns its royal status

If Big Boi’s performance last night at the Coliseum left a thirst deep in your soul that can only be quenched by an 808 drum machine, syncopated snare hits and bowel-moving bass, lend an ear to Big Boi’s movie co-star and fellow Atlanta rapper Clifford Harris, better known to the hip hop world as T.I. In addition to his newfound stardom as an actor, T.I. boasts a substantial list of mainstream rap singles as long as his prison rap sheet. Is it surprising then that to coincide with the premier of his first movie, ATL, he has also released his fourth album, boastfully entitled King?

Among those considered kings in the hip hop world, T.I. lacks the pedigree of Jay-Z, the high-brow intellect of Nas or even the popularity of Eminem. What then qualifies T.I. as self-proclaimed “King of the South?” In the illustrious words of Pimp C, one half of Houston-based underground rap legends UGK, a king is “someone who takes care of his business and does king shit.” Although this appears to be a rather broad mandate for kingship candidacy, it is clear that T.I. is a king among men. One measure of a rapper’s clout is his ability to draw other established artists into his personal circle of confidence. On King, T.I. continues this trend with a checklist of such highly visible producers and guests as Swizz Beats, DJ Drama and Jamie Foxx. Yet T.I. does not abandon those who helped him along the road to stardom.

Atlanta native DJ Toomp, mastermind behind previous bangers “Be Easy” and “24’s,” once again lays down the framework for T.I.’s latest single “What You Know.” The song showcases T.I.’s languid flow over a torpid buzz of distorted synths that sounds like a Lil Jon production spiked with Promethazine, Codeine and a Jolly Rancher. No doubt the end result of copious amounts of marijuana smoke and sizzurp consumption, “What you Know” epitomizes the slow-rolling M.O. of Atlanta Crunk and Houston Screw Music. The point is reinforced by appearances from southern rap luminaries like UGK on the “Front Back” remake and Young Buck and Young Dro on “Undertaker.” Former Cash Money Millionaire B.G. and Atlanta’s own ubiquitous snowman Young Jeezy collaborate with T.I. on ”I’m Straight,” one of the smoothest anthems sure to heat up this summer. Other album highlights include “I’m Talkin’ to You,” a frenetic diss track with beat laced by the highly underrated Just Blaze and “Ride Wit Me,” the most obvious choice for King’s second single.

Despite these surefire hits, T.I. does commit a number of missteps, most notably on tepid R’n’B-influenced tracks such as “Goodlife,” an awkward collaboration with Pharrell Williams and conscious rapper Common. His unconvincing songs of sensitivity and moralization only highlight T.I.’s limitations as a lyricist. However, those who will pigeonhole T.I. as only talking about “money, hoes, cars and clothes” are missing the point. It precludes insightful commentary on songs such as “Live in the Sky” and “Be Better than Me.”

So often rap blurs the distinction between entertainment and real life, but its popular appeal derives from the fantastical rags-to-riches story to which the majority of rap’s audience cannot relate. If T.I. habitually proclaims the world of drug dealing, materialism and gang violence, it is because that is what he has been given and what he knows about. T.I. has taken care of his business by using the rap game as a means to his end of success and popularity. And now he can relax on his throne as King of the South.