Retrospective Review: Paper Trail by T.I.

T.I.’s clamor and depth of self-reflection are touched on in ‘Paper Trail' with a mix of commercialism.

Sep 30, 2023

T.I. was on a quest for personal and artistic redemption. His reputation as the South’s reigning rap monarch was firmly established with the release of his critically acclaimed albums Trap Muzik, Urban Legend in 2004, and King in 2006. However, his 2007 album, T.I. vs. T.I.P., did not receive the same accolades as its predecessors. The album faltered due to a poorly executed concept, and this misstep coincided with the rise of another rapper, Lil Wayne, who was steadily climbing the ranks of hip-hop royalty. This threatened T.I.’s position in the rap hierarchy.

Compounding this professional setback, T.I. was also grappling with personal challenges. In October 2007, he was arrested and charged with purchasing illegal firearms and silencers. The arrest occurred just hours before he was scheduled to perform at the BET Hip-Hop Awards, a scenario that epitomized a recurring theme in T.I.’s career—his tribulations often overshadowed his public triumphs.

With mounting pressures in different aspects of his life, T.I. could easily have faltered and lost his standing. However, a legal reprieve allowed him to maintain his footing. He negotiated a plea deal that postponed his prison term until 2009, allowing him time to complete community service and create an album addressing his trials. With Paper Trail, T.I. demonstrated remorse to the legal authorities while balancing this contrition with assertiveness, reminding fans of the talent that initially captivated them.

T.I. kicked off the album with two lyrical powerhouses: “56 Bars (Intro)” and “I’m Illy.” In the former, he collaborated with DJ Toomp, the producer who helped T.I. shape his distinctive sound and popularize the subgenre known as Trap music. Their rapport is evident on the intro track, with T.I. sounding as comfortable and effortless over the beat as ever, boasting with an ease that suggests a carefree existence.

T.I.’s on-mic confidence is instinctual, but he deliberately showcases it to counter the odds against him. He raps:

“World hopped off my jock, I got ‘em right back on it
Oh! Step back, brush myself off
Picked bidness back up right where I left off.”

Here, T.I. acknowledges that his legal issues led to doubts among his fan base. However, he is resolute in his determination to remind them why they were fans in the first place. True to form, T.I. spends the remainder of the song distinguishing himself from his competitors and asserting his place among hip-hop’s elite.

The bravado continues in “I’m Illy,” but this time, it’s more fervent, as T.I. seems intent on proving a point. He rhymes:

“Consider it a blessing if you get to stand next to me
Five-star general, OG veteran
Caked like Entenmann’s, blowin’ that celery
Stack that cash like the U.S. Treasury.”

Throughout the song, T.I. fires off punchlines with the consistency of a boxer hitting a speed bag. The more he raps, the more affronted he seems by doubts that he can keep pace with Lil Wayne or any other contemporary. It’s hard to dispute his claim after hearing “I’m Illy,” which is precisely what T.I. aimed to achieve.

The Atlanta rapper transitions from his most boastful to his most introspective on “Ready for Whatever.” T.I. addresses his gun charges by accepting responsibility while also explaining his rationale.

“Killed my folk a year ago, still in my sleep they threaten me
Paranoia stressin’ me, ain’t nobody protectin’ me
I’m dealin’ with the pressure from my partner dyin’ next to me
Thinking no one’s arrested, they comin’ for me eventually.”

In these lines, T.I. refers to the murder of his close friend and bodyguard, Philant Johnson. The trauma of first-hand witnessing Johnson’s death drove him to arm himself illegally. To some, T.I.’s crime was an irrational risk, jeopardizing everything he had achieved for himself and his family. But rationality is often distorted by emotion, and few feelings are as potent as trauma.

This tension between logic and emotion makes “Ready for Whatever” a raw portrayal of a man grappling with life-altering events. T.I.’s oscillation between justifying and regretting his crime may seem contradictory. But it also indicates that T.I. is wrestling with his circumstances. The song is not a polished statement crafted for the media but rather a candid moment shared with his fans.

“On Top of the World” is an upbeat song featuring B.o.B and Ludacris, marking one of the first collaborations between T.I. and Ludacris following their feud. The rappers seem pleased to have moved past their differences, and they celebrate by reflecting on their achievements in the rap industry. This is followed by the Rihanna-assisted “Live Your Life,” a song destined to be a hit, thanks to its anthemic hook and upbeat, string-based production from Just Blaze.

“Live Your Life” is the quintessential radio song, and T.I. aims for the same effect with “No Matter What.” The song has a guitar-based beat that is mellow yet uplifting. T.I. mirrors the beat’s mood by reflecting on his case and offering fans advice on dealing with adversity. T.I. exhibits maturity on “No Matter What,” but he clarifies that he has not completely transformed. He still takes a moment in the song to address a jab thrown at him by the late Shawty Lo. It indicates that a rapper relishes a feud when he includes a diss in an otherwise positive song. And if there were any doubts about this, T.I. later on the album lashes out without any pretense.

T.I.’s definitive response to Shawty Lo (R.I.P.) comes on “What Up, What’s Haapnin’.” Shawty Lo had questioned T.I.’s credibility in Bankhead, the Atlanta neighborhood where both rappers hailed from. T.I. responded by filming the video for his rebuttal in Bowen Homes—the housing project where Shawty Lo grew up. This was a strategic move. T.I. also made sure to disrespect Shawty Lo on the track.

“Still hit the door and make it rain with the loose change
I bet that what he gets a show, now that’s a damn shame
I guess that what he hatin’ fo’, boy you so damn lame
Your clique the same, just a bunch of walkin’ sh*t stains.”

While lines like these are entertaining, the rappers’ feud was ultimately trivial. T.I., of all people, knew that petty conflicts can lead to serious repercussions. Fortunately, the rivalry passed without either party suffering significant harm. A few songs later on Paper Trail, T.I. shifted his focus to a much healthier form of competition.

For the wrong reasons, one of the album’s standouts is “Swagga Like Us.” The ensemble track featured the four hottest rappers at the time, with T.I. joined by JAY-Z, Kanye West, and Lil Wayne. This lineup promised an all-time great collaboration, but the outcome fell below expectations. The verses from JAY, Wayne, and Kanye are alright but fail to live up to the hype that preceded the song. Ye and Weezy overuse auto-tune to the point that they sound like robotic versions of themselves. Meanwhile, it needs to be clarified whether JAY was mocking Kanye’s singing on the track or if he genuinely thought he sounded good.

Fortuitously, T.I. doesn’t just meet the bar; he vaults over it with an ease that distinguishes him from the cohort. Every utterance, every stanza, doesn’t merely contribute to the song’s allure but carves out a quintessential moment for T.I. Amidst a cadre of eminent names, some hailed as the G.O.A.T., T.I.’s artistry exudes a distinctive resonance, placing him in a league distinctly his own.

“Swagga Like Us” isn’t just a notch on T.I.’s belt. It’s emblematic of his art. Even amidst the crescendo of success, the lyrics echo the gravity of T.I.’s tribulations, painting the essence of Paper Trail. The looming shadows of incarceration prompt a profound self-reckoning, and T.I. emerges as the epitome. In “Dead and Gone,” he dissects the detrimental proclivities that trapped him, pledging their cessation. Conversely, “You Ain’t Missin’ Nothing” sheds light on the solidarity amidst his comrades in confinement, reflecting on the precarious ledge on which fate teeters.

The album lacks light-hearted reverie, as T.I. intersperses fun moments amidst the contemplative ambiance. “Whatever You Like” is a breezy serenade, while “Swing Ya Rag” amplifies T.I.’s repertoire of pulse-pounding club bangers. In aggregate, the tracks concoct a harmonious oeuvre, resonating across T.I.’s fandom. The resonance wasn’t merely theoretical; the figures bore testimony—with Paper Trailstorming the bastion at No. 1 on The Billboard 200, selling 568,000 copies in its maiden week in the U.S. It was T.I.’s grandest sales spectacle, scaling the peak of popularity even when faced with adversities threatening to eclipse his career.

The commercial triumph wasn’t a solitary feat but by the musical finesse exhibited on Paper Trail. T.I.’s approach was a blend of voracious ambition and meticulous strategy. He engineered chart-topping melodies, ensuring his vocal essence remained omnipresent even in physical absence. His verses were razor-edged, poised to counter underestimations of his lyrical ability. T.I. wasn’t coy in articulating his musings, addressing accolades and cynicism. The shackles threatened to constrict his civil liberties, yet through Paper Trail, T.I. wrested back the reins of his vocation. Legal adversities loomed large, yet T.I. remained ensconced on his regal perch.