Shawty Redd produced almost all the great songs off TM 101. Hypnotize (Intro)- The perfect combination of Jeezy boasts, ad-libs, and Southern production. On a side note, this may be a longer review, because I have heard this album countless times:ġ. I believe Young Jeezy is the one thoroughly "mainstream" rapper who stands out from the heap of bullshit clouding the top of commercial rap. Even though the spares probably became mixtape fodder, you don't see Kanye throwing away instrumentals simply because their not album material.
But Jeezy's work ethic sets him apart, most people have heard how he recorded over 100 songs for TM 102 and only chose 17 to make the album. which makes him seem like other southern rap kingpins (T.I. Jenkins releases about a mixtape a month, mixtapes not featuring him, just his face. What separates Jeezy from the rest of the pack is subtle, and something you probably would have never known about. which have gone down in history chronicling actual good Southern music.
and then he released "Thug Motivation 101" and 102. then he started featuring on Akon and company's tracks. I first heard of Jay Jenkins as Lil J, and paid very little mind to him. a decent album that is not worthy of Jeezy's name. I'm obviously not doing the reviews in chronlogical order, so "I'm feeling this cat" doesn't exactly pertain to "The Recession". Jeezy is the first southern rapper that I really could listen to, and "Hypnotize" has got more than 100 plays on my Zune. There’s a timeless quality to the project, one that keeps its influence from fading and each play as absorbed as the last.I will admit I'm biased when it comes to Young Jeezy, this is the first album I ever bought. Listening to Let’s Get It: Thug Motiviation 101 isn’t nostalgic. Then Jeezy’s solo efforts like “My Hood,” “Bottom of the Map,” “Air Forces,” “Trap Star,” “Let’s Get It/Sky’s The Limit” - every song needs its own space. and Lil’ Scrappy on a Jazzy Pha beat, still shining from Black Album Jay Z, Akon’s first major feature. It’s insane: post-Cash Money Mannie Fresh, early solo Bun B, T.I. Urban Legend continued T.I.’s shoot-for-the-singles style in the best way, and Who Is Mike Jones? – a very underrated album – rose to #40 on the charts on the back of “Still Tippin’.” But both pale by comparison. The Massacre fell off and took 50 with it. I spent the second half of 2005 riding around in my buddy’s rundown 92 Chevy listening to TM101 over and over and have spent hours revisiting it since. 2005 saw 50 Cent’s The Massacre earn Billboard’s best-selling album, Urban Legend and Who Is Mike Jones? were 39 and 40 respectively, while Jeezy clocked in at 55. But TM101’s colossal boast is its replay value. Jeezy pulled a three-way combo, with a trap narrative, Shawty Redd’s now-signature trap sound, and a city-first, us-over-everyone attitude that Atlanta thrives on (cc: Freaknik). While describing Atlanta’s increasing dominance in an excellent write-up of Jeezy’s anniversary show, Rembret Brown points out that Atlanta artists held the top spot of Billboard Hot 100 for 42 of 52 weeks, a trend that abruptly ended in 2005 and left a mega-hit void brought on by Outkast, Usher, and Ludacris in years past.Ī clear cut through the stale fog crunk left on Atlanta’s charts was a narrative used by UGK, 8 Ball & MJG, and, for Atlanta, Dungeon Family, and a sound structured two years prior on T.I.’s Trap Muzik. It was familiar in that it was unmistakably coming out of Atlanta, a city that was becoming rap’s epicenter more and more by the week. If you were near a radio 10 years ago, you heard “Soul Survivor,” and you recognized the raspy drawl. The seminal work for the Atlanta rapper was honored with a sold-out anniversary concert and critic re-praise, forums reopened debates of its importance, and the aura of 2005 crept back in the room it built. Young Jeezy’s Let’s Get It: Thug Motivation 101 turned a decade old in July.