Ty Dolla $ign‘s debut album Free TC is dedicated to a close friend who the rapper claims has been wrongly incarcerated. It’s a bold move, one that could have invited unwanted dialogue, but against all odds Ty Dolla $ign nails it, impressing with both his voice and writing. There are a host of guests who join the party, and while that’s normally a sign of weakness he uses it as a springboard to show off his chameleon like abilities; adopting styles from old school, peach fuzz R&B to modern day booty jams.
Each song compliments the other and the multitude of styles being expressed makes it the type of album that can be listened to from front to back. A rare occurrence by today’s standards. The beats are just as dexterous reflecting his understanding of past and present trends. It allows him to be flexible with his writing and he tackles everything from relationships and love to altruism, all pulled off with an indelible sense of style.
The album is not overtly political, there’s very little of that going on. But it works in that there are several creative layers and each is executed with commitment and care. And in a world where everything is half-baked and microwave ready, it’s a welcome break from the norm and about as good a debut as Ty Dolla $ign could have hoped for.
‘L.A.‘
A decidedly understated way to kick off a long awaited debut; made from light piano licks, hungry bass and broken dreams. It’s part introductory statement, part homage to a city that has both given and taken away. The mood is decidedly mellow, which is a sly way to start a project that is meant to do more than top charts and occupy strip clubs. The hope is that the concept will echo throughout:
‘Saved‘
Snoop said it best when he said “we don’t love them hoes” and Ty is taking that wisdom to heart and embedding it into his psyche. It’s sage advice that unfolds over a thumpin’ beat, and a mantra that’ll likely be passed down for generations to come. E-40 with his distinct, bubbly voice, makes his presence known by supporting the narrative all the way through. Songs of experience from two stars:
‘Straight Up‘
While the beat may be a on the thin side—more anemic than minimal—it does allow for a clean canvas for Ty to paint his piece. His voice glides and with the help of some old friends (legends actually) they concoct a silky jam. Yet even when in mack mode he doesn’t let the creativity wane, he’s offering yet another nugget of wisdom: don’t get emotionally involved; it’s more fun that way:
‘Solid‘
A surprising departure from your typical, formulaic r&b beat. The acoustics match well against the edgy lyrics, which makes for a pleasantly soulful listen, a simple yet crucial recipe that allows for maximum flavor. Babyface is a champion of that sound and his contributions help elevate Ty to a whole new strata. And once again it’s laced with sound advice; keep it real and the rest will follow.
‘Horses in the Stable‘
It was with almost a 100% certainty that he’d resort back to mainstream form, which is acceptable so long as it’s done in small doses. Otherwise one would slip into a one dimensional world. The theme is yet another classic trope, set earlier by a generation of pimps, players and hustlers; Iceberg slim included. Ty is simply carrying on that illustrious and well embraced tradition. Pimp on:
‘Know Ya‘
Future-esque in both style and delivery, which is Ty showing off his versatility. One moment he can be allusive and subtle, and in the next he can be direct and unapologetic. It works in that there’s been variety all throughout, so it sounds freshers than usual in this context. He pairs up with Trey Songz and they do what they do best; pontificate about all the wonderful types of baby mama drama:
‘Credit‘
Smooth r&b harmonies with modern day percussion, a cushy blend of past and present styles. Ty is letting it all out here, divulging some of his most pressing concerns. He wants his lady to know that he’s in it and committed, and he’s got the presence of mind to be cordial about it. Not accusatory but firm enough to make sound sense. A graduated form of r&b from a talented vocalist:
‘Guard Down‘
When hearing Puffy‘s voice the immediate reaction is to turn the music off, set your house on fire and jump out the window. Luckily it’s only a brief cameo. The tinker-toy beat is a mishmash of samples and seems to be in direct contrast to the theme of the song, which is full of hope and altruism. The intent is good, but the execution is disastrous—the Puffy curse making its presence known:
‘Sitting Pretty‘
Sometimes you see a butt so nice and supple that all you can do is commemorate it; place it on a mantle somewhere and call it a work of art. Ty does that here in song form over a molasses beat. Unfortunately it’s about the same as any other song you’d hear from the mainstream. But then again when you’re talking about butts you can only say so much:
‘When I See You‘
Adopting a current trend and running with it, unfortunately it reads as petty and cheap. The beat sounds like a dying frog, and the percussion ins’t any better; Dollar Tree sounds with no punch. Lyrically it’s about being being top dog and how the lady he’s crooning shouldn’t worry about anyone but him. In other words it’s about nothing at all, a lull in an otherwise steady approach:
‘Blasé‘
A drug induced anthem meant for all kinds of rich guy hijinks. It’s average as far as bangers go, but Future’s drop will be enough to lure some fans in. Ty does his best to add some flavor, even shouting out Nate Dogg at one point. But overall it’s a song whose style belongs to a whole different faction of R&B singers, one that’s more up Future’s alley than his. A vanilla jam worth forgetting:
‘Only Right‘
Ty takes a step back and lets his rapper buddies get their moment in the sun. It’s more menacing than other songs, and doesn’t mince words as far as ideas go. This is an unabashed homeboy decree, a schooling on how buddies should treat each other. And while we all can’t buy cars for our friends it is a notion that can be extended by showing love, like he does in dedicating this album to a comrade:
‘Bring it out of Me‘
Taking it a step further than he needed to with a toxic bro anthem, basically one giant audible fist pump. It sounds like an Usher song that just never made it to the surface, and one that Ty could have avoided altogether had he consulted another head. You do have to admire the attempt though, but it’d be wise to skip it and forget it ever happened:
‘Actress‘
Everybody is an actor or actress and wherever there’s young vulnerable people looking desperately to make a name for themselves you’ll most certainly find R. Kelly lurking somewhere nearby. There’s a strange Sybaris type air to the beat that makes it an unusual addition to the album. And while there are worse ways to croon a lady, this one simply feels old and creepy:
‘Finale‘
An unorthodox style that fits nicely in this context. The beat, a product of the Sa-Ra tribe, is a tapestry of melodies and rhythms, which gives Ty the latitude to get pleasantly blunted. The diversity of it is a challenge and instead of poisoning it like some of the other rookie’s out there he goes with the flow, like floating down a lazy river. An appropriate end to a rock solid album:
