T.I. vs. T.I.P.

Shortly after the release and major success of his 2006 efforts (his big screen acting debut ATL and his critically acclaimed fourth studio album King), T.I.'s friend, personal assistant, and an employee of his Grand Hustle Records, Philant Johnson was shot dead after a nightclub brawl between T.I.'s entourage and some Cincinnati thugs. After Johnson's death, T.I. mentioned that the business of rapping no longer felt good and admitted that he was seriously considering quitting music altogether.[5][6] In the leaflet included with the album, T.I. dedicates the album to Philant "Big Phil" Johnson as well as his daughters Leiah Amoré Harris (who was born stillborn) and Deyjah Princess Harris; his three sons Messiyah, Domani, and Clifford Harris, and the mother of his children Tameka "Tiny" Cottle.[7]

On March 19, 2007, via phone from Atlanta with MTV News, T.I. revealed some of the album's collaborators. T.I. stated that he was anticipating going in recording with Eminem. He also stated that he and Eminem had a hot concept that they spoke about over the phone. T.I. stated "It's gonna be on some real creative shit. JT, Justin Timberlake, we're just waiting on the proper song to get him on my album as well." That's just the beginning, the two-time Grammy Award winner said that he had about 60 songs in the can and will again be working right up to the deadline to turn the album in. T.I. stated that he was working with everybody who he had an opportunity to work with, he added, He confirmed that he was working with Timbaland working with Danja Timbaland protégé Nate Hills on that same day. Scott Storch, Mannie Fresh, and he stated that Wyclef Jean came through with some real worldly music and great vocals. Nelly, Lil Wayne, R. Kelly. T.I. stated that he reached out to R&B singer Ciara.

He confirmed that Akon had contributed to the album, along with most of the Grand Hustle Records producers including Kevin "Khao" Cates, Black Mob and others. T.I. confirmed that Just Blaze, did a song called 'Help Is Coming.' T.I. stated that the song was basically talking about how they say the industry is suffering. Well, help is on the way. Fret not." T.I. vs. T.I.P. is undoubtedly the film/mic star's most conceptual album to date. T.I. is the persona we hear in songs like "My Love" and "Why You Wanna". T.I.P., on the other hand, takes care of the much more gutter material like "Bring Em Out" and "You Don't Know Me". T.I. stated that the LP would give you doses of T.I. and T.I.P. solo records as well as the two collaborating on the same track. There will be interlude's throughout the LP, telling a story — and don't be surprised if more than one single from the project is released at once. T.I. stated "I'm not just making an album, I'm making f---in' opera here," he chuckled. With such a high concept, he says that he's making sure to take extra time and critique every song to be sure he doesn't lose anyone, it'd be easy for me to go over people's heads," he rationalized. "Sometime people might see me act a certain way one time and another way one another time. They might not believe the same cat you see dressed so sharp and winning awards and speaking eloquently is the same cat you see fist-fighting with hoodlums outside a nightclub. This album will be an explanation of all of this" he states.[8]

Wyclef Jean appeared and produced two songs on the album.

On April 12, 2007 T.I. stated that he was just about done with his T.I. vs. T.I.P. album. He's stated already that he recorded with Eminem, Nelly and Ciara among other guest stars, and the first single is ready to hit radio, officially debuting April 17, 2007 the song is another collaboration for the King of the South and Mannie Fresh and was called "Big Things Poppin' " — the clean version of the record, anyway. T.I. stated "Big Shit Poppin' is really just him talking to these people who say things and can't back it up," T.I. said, referring to the song's title as it will probably appear on the album. Mannie Fresh stated that he and T.I. clique up and the songs are magic, who's was in Atlanta working on a bunch of LPs that T.I. was overseeing, like B.G.'s new album. T.I.P. even has co-production credit on "Big Things Poppin'". The songs we're doing for his album are definitely right, yes indeed Mannie Fresh added. The beat Mannie Fresh and his accomplice came up with is another energetic brouhaha in step with some of their proven street ditties such as "Top Back".[9] One of the more recent sessions he held for the album was with Eminem, someone who has his own dual-identity issues. T.I. stated that it was an experience, about working with Eminem. T.I. also stated that Eminem is probably one of the most lyrical cats in the game right now. T.I. stated being known as one of the most lyrical cats in the game, he stated that he had to get himself up. also stating He lived up to all his expectations. He's a rappin' fool. T.I. stated that Eminem made him step his game up. T.I. stated that he did three records with Eminem. T.I. said that he did one for him. You know how Marshall Mathers and Slim Shady have their beefs? Well on that song, T.I. is trying to tell Marshall how to deal with Slim based on how he deals with Tip. Then Tip butts in, like, 'You can't tell nobody nothing.' Then Em comes in and tells me, 'Who are you to tell me anything?' I was like, 'I'm just trying to help, homie, T.I. added. Their other two collaborations could end up on T.I. vs. T.I.P., including a song called "Touchdown".[10]

T.I. also stated it's out of Eminem's norm, if Eminem has a norm," T.I. said of the track. T.I. stated it's a record you wouldn't expect to hear him on, kinda like how you heard him on 'Smack That' for Akon or [Em's] 'Shake That' with Nate Dogg. You'll be like, 'OK, he's switching it up.' ['Touchdown' is] basically [him] talking about when you touch down in everybody's city, what you do. Hit the mall, buy a car or leave the club with all the girls. We have yet to finish that one. T.I. stated the one we finished is 'Whatever You Want It to Be,' " he added. "It's saying, 'I'm a man, if I ain't nothing else. Before I'm a rapper, before I'm anything else, I'm a man. If you don't respect that, it can be whatever you want it to be.' The producer Tip went the most in-depth with for this project, however, was — of all people — Wyclef Jean. It has yet to be determined if all their records will make the cut, but two front-runners are "Swagger" and "U Know What It Is". T.I. stated that you can quote me," Tip burst out with a grin. " 'U Know What It Is' will tear the clubs up this summer." T.I. stated that he and Wyclef got together over a weekend, he explained about the collaborations. "We wasn't on each other's itinerary to work with each other. He hit me one day when I was in L.A. and was like, 'I gotta come to Atlanta. You got anywhere I can record?, T.I. graciously turned over the main room in his studio and it was on from there. T.I. came home about a day into Wyclef's sessions and immediately started snatching up tracks for himself. T.I. stated he started pulling up beats and he was like, 'Who is that for?' He said, 'You, if you want it.' We wound up knocking seven songs from Friday to Monday. It's just us having a good time. We just bonded, T.I. added.

Show It 2 Me," which features Nelly, sounds like it could easily be a sequel to their previous teaming on Urban Legend's "Get Loose." The two go back and forth at points and Nelly uses an old-school flow like UTFO on "Roxanne Roxanne." Lil Wayne appears on "Yeah" and drops lines such as, "I'm flyer than a vampire. T.I. also stated Andre 3000 could also possibly check in, on a song called "Life of the Party." On that track, Tip talks about maturity, why he's now "too grown to be the life of the party," and how he has no time to argue with bouncers, overzealous fans or pestering playa haters.[10] On May 16, 2007 T.I. stated that he was putting the final touches on his forthcoming personality-splitting project, T.I. vs. T.I.P.[11]

Professional ratings

Aggregate scores
Source	Rating
Metacritic	61/100
Review scores
Source	Rating
AllMusic	[20]
The A.V. Club	C+[21]
Entertainment Weekly	(B)[22]
Okayplayer	[23]
Pitchfork Media	(6.4/10)[24]
PopMatters	(7/10)[25]
Rolling Stone	[26]
Stylus Magazine	(C)[27]
Tiny Mix Tapes	[28]
XXL	[29]

Upon its release, T.I. vs. T.I.P. received mixed reviews from music critics. It holds a score of 61 out of 100 on Metacritic, indicating generally favorable reviews from critics.[30] AllMusic writer Andy Kellman gave the album a 3 out of 5 stars stating "the MC constructs an entire album around the penthouse and pavement concept, dividing the program into three acts: T.I.P. (seven tracks), T.I. (seven tracks), and T.I. vs T.I.P. (four tracks). This is also signified in the album's outer sleeve and booklet photos. After the sustained greatness through Trap Muzik, Urban Legend, and King, a fall-off of some degree had to be expected -- especially after reaching the top after a steady climb -- and that's exactly what happens. Though he undeniably remains one of the top MCs, T.I. tends to either reheat familiar material with less fire or tread dangerously close to unrelatable Kingdom Come-like "Look at who's obnoxiously shedding his underdog status!" routines (as on "My Swag"). The productions similarly do not match up to past successes, and even some of obvious choices for singles fall short of past tracks that were never thought to be released as singles. The album is generally enjoyable, and it's doubtful T.I. has to worry about being dethroned within the near future."[20] Nathan Rabin of The A.V. Club stated "T.I.'s honey-dripping Southern drawl and outlaw swagger is irresistible in bite-sized doses, but it isn't enough to sustain an entire album. This holds true for his ambitious yet muddled new project, T.I. Vs. T.I.P, a three-act concept album that clocks in at just over 73 minutes. Sonically, the album has a frantic, indistinct busyness that all too often passes for excitement and momentum. The album's first third concentrates on T.I.P., the second on T.I., and the third on an epic battle between the rapper and his flamboyant alter ego. T.I.P. is ostensibly T.I.'s belligerent, untamed id, but in a blind taste test, nine out of 10 hip-hop heads would have difficulty telling them apart. In the grand hustling tradition of half-assed concept albums, Vs. boasts an overarching premise that's fuzzy to the point of meaninglessness until the climactic final confrontation. On Vs., one of the South's hottest rappers declares war with his dark side. Maybe next time he'll finally wage combat with a more worthwhile adversary, like bloated album lengths or the homogenizing effects of major-label politics."[21]

Neil Drumming of Entertainment Weekly stated "The Atlanta native breaks his fifth album, T.I. vs. T.I.P., into three acts depicting an ideological battle between split personae: the irascible thug T.I.P. and the nouveau-riche recording artist T.I. It ain't Shakespeare, but the dual protagonists make for an intriguing bout."[22] Tom Breihan of Pitchfork Media noted "T.I.'s new album, T.I. vs. T.I.P. operates on the thin and dubious concept that T.I. the businessman and T.I.P. 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. apart. Apparently, those two sides aren't as indivisible as they once seemed. T.I. first explored this dichotomy on Trap Muzik's "T.I. vs. T.I.P.", crafting an argument that movingly dramatized his internal struggle. That struggle also serves as the concept for the new album: T.I.P. gets the first seven tracks, T.I. the next seven, and the two sides spend the last four songs hashing out their differences. 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. For one thing, it's a pacing disaster; by lining up all his sugary for-the-ladies tracks in a row, T.I. leaves a long dead-streak in the second half of the album. For another, it plays against his strengths. His music works best when both sides of his personality are allowed to co-exist in the same track. When they're separated, they both sound emaciated and half-formed. And he never quite commits to the concept. If T.I. represents the rapper's pop half, why do the album's first two singles come from the 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"? Even if the concept falls flat, though, T.I. vs. T.I.P. still warrants a listen, if only because T.I. seems constitutionally incapable of releasing an album full of uncompelling music. As a rapper, he's still a dominant voice; his slurry, guttural drawl is a great instrument, and always keeps it deep in the track's pocket, occasionally whipping out tricky double-time patterns or murmuring singsong melodies. The album is perhaps best heard in chunks; only a few of these songs wouldn't sound great on shuffle. Heard as a piece, though, the album's momentum sputters and dies more than once; after a few consecutive listens, T.I. sounds dour and joyless, like he's just punching the clock. T.I. vs. T.I.P. may be self-obsessed and self-indulgent, but maybe T.I. needed to make this album to keep himself interested. Let's hope he's gotten it out of his system."[24]

Colin McGuire of PopMatters states "Here, he overshadows any work he has previously done by keeping his Southern hip-hop roots intact while putting just enough attention on the hooks that one could easily find half of these songs that paint T.I. vs. T.I.P's canvas on your favorite Hot 100 radio station. And he does it better than he has ever been able to do it before. Harris has come a long way from initially snapping back as the rubber band man. And now, with another hip-hop masterpiece under his belt, maybe Cohen can have a laugh himself as well."[25] Ian Cohen of Stylus Magazine stated "The biggest failing of T.I. vs. T.I.P.: though his singles are obsessed with knowledge of self and others, during the span of a seemingly endless album that centers around an identity crisis, T.I. mostly fails to realize the difference between introspection and self-absorption. It's more of a hastily assembled construct grafted onto the persona of a generic trap star who doesn't seem capable of taking real artistic chances. In his mind, anyone who criticizes T.I. is "just another hater who's broke again," waiting for some backpacker epiphany that will never come, like Little Brother becoming commercially relevant or Freddie Foxxx coming out of hiding to lyrically knuckle this guy down. It's like T.I.'s been speaking in code to us all along: What you know about that? You know what it is. You don't know me. But you know what? After spending hours with T.I. vs. T.I.P. chasm-like emptiness, I can't see why anyone would care."[27] Nick Marx of Tiny Mix Tapes noted "After reaching his creative apex, is there a more predictable and plodding step down for an artist than a concept album? Did anyone even know (or care) that the two iterations of Clifford Harris' moniker represent, respectively, his business and street sides? T.I. vs T.I.P. is mercifully light on the requisite skits illustrating its dichotomy, but you almost wish there were more of them to explain the album's weird alchemy of simultaneously overwrought and undercooked production and flaccid, self-absorbed lyricism."[28] Brendan Frederick of XXL Magazine notes "Atlanta rapper Clifford Harris opened this old wound four years ago on "T.I. vs. T.I.P.," a highlight from his sophomore opus, Trap Muzik, where T.I.P., his reckless, shit-talking core, battled T.I., the consummate professional/smooth operator. After a tumultuous 2006 filled with highs (King solidified his place as one of hip-hop's illuminati) and lows (the senseless murder of his best friend), Tip re-examines his schizophrenic psyche on his fifth album, T.I. vs. T.I.P. Call it trap therapy. Hopefully, someday we'll find out what really makes T.I. tick."[29]

T.I. vs. T.I.P. debuted at number one on the US Billboard 200, selling 470,000 copies in its first week of release, according to Nielsen SoundScan.[31] This become T.I.'s second consecutive US number-one debut and his fourth US top-ten album.[31] The album also charted at number one on the Top R&B/Hip-Hop Albums and the Top Rap Albums charts. In its second week, the album remained at number one on the chart, selling an additional 185,000 copies.[32] In its third week, the album slipped to number three on the chart, selling 94,000 more copies.[33] In its fourth week, the album slipped to number five on the chart, selling 65,000 more copies.[34] On August 30, 2007, the album was certified platinum by the Recording Industry Association of America for selling over a million copies in the United States.[2]

In Canada, the album entered the Canadian Albums Chart at number seven, in France the album entered the French Albums Chart at number 108, in Japan the album entered the Japanese Albums Chart at number 21, in New Zealand the album entered the New Zealand Albums Chart at number 37, and in Switzerland the album entered the Swiss Albums Chart at number 59. In Canada, the Canadian Recording Industry Association certified the album gold for sales of over 50,000 copies in Canada.[35]

Notes

• ^{^[a]} signifies an additional producer.
• ^{^[b]} signifies a co-producer.

Sample credits

T.I. released his Bonus DVD to T.I. vs. T.I.P. This DVD is only in exclusive double-pack in BET Edition available at Wal-Mart or Sam's in its edited version.

DVD features are:[38]

• ACCESS GRANTED: "Big Things Poppin"
• 106 & PARK: T.I. Interview
• 2006 HIP-HOP AWARDS: "Top Back" Performance
• BET PROMO: T.I. Exposure

Music Videos:

• "Rubberband Man"
• "Big Things Poppin'"
• "Hurt'"

Target released an exclusive as well, including a bonus DVD which featured T.I. vs. T.I.P.: Conflict Resolution a full version of the therapy T.I. and T.I.P. receive in many of the commercials.

Credits for T.I. vs. T.I.P. adapted from Allmusic.[39]

• T.I. vs. T.I.P. at Discogs
• T.I. vs. T.I.P. at Metacritic