Send "Young Jeezy " Ringtones to your Cell 
| Pitchfork |
 Young Jeezy might have the most limited delivery of any A-list rapper, an aging-attack-dog wheeze that he uses to bulldoze through tracks, hardly ever varying cadence or intensity. But he also has arguably the best ear for beats of any of his contemporaries, which turns his handicap into an asset more often than anyone could've imagined. Jeezy likes his tracks to be huge, oppressive things, their heavy gothic melodies only underscoring the titanic chaos of the drums. That lends him an urgency; he must really have some shit to say if he's willing to scream over that insanity. On his last album, 2008's The Recession, Jeezy found a loose unifying concept that channeled all his strengths into something better, turning him into a voice for the anxiety about the then-nosediving markets. Among other things, that was a smart way out of the endless drug-talk that his previous records had threatened to turn into cliche. But now he's back with the sequel to the mixtape that first put him on the radar, talking that same old drug-talk once again. And guess what? It still sounds pretty great.For the first 10 or so tracks of Trap or Die II, Jeezy's in rare form, finding tracks denser and more feverish than anything he's ever rapped over. Drum patterns frantically jackhammer each other, trebley synth figures erupt out nowhere, and even the tracks that sample old-school soul seem to be almost entirely horn-stab. It's severe, physical music, almost a circa-2010 Southern gothic take on the Bomb Squad's dizzying barrage. It might be no accident that the two strongest songs here are called "Insane" and "Lose My Mind". The latter is, incredibly enough, Jeezy's new single-- a bold move, considering that the thing can make you feel like you've got voices in your head screaming at you. Jeezy and guest Plies come almost completely unhinged, screaming hoarse self-aggrandizement over what sounds like a symphony composed for car-alarms....full text |
| Djbooth |
| I’ve been writing a lot lately about how Young Jeezy’s slowly but surely won me over, but he’s taken a substantial step backwards with his new single Trap or Die 2. As opposed to the original certified banger, this iteration of Trap or Die is so anemic it’s barely breathing. Now I’m all for minimalistic production, but Zaytoven’s beat on the track is barely there – just the occasional snare roll, a slowly paced high-hat and literally three notes. Verbally Jeezy isn’t much better, sounding like he drank a bottle of Robitussin before he hit the booth and becoming the 117th rapper to spit a “quarterbackin like Brett Farve” line. The Snowman can do much better than this (like for example his last single I Got This). I guess they can’t all be winners. Jeezy’s new album Thug Motivation 103 (for which Thug Motivation 101 and 102 is a prerequisite) still has no release date....full text |
| Cokemachineglow. |
| The revelation seeps out from under the predictably reverberant 808 ticks and tsunami synth splashes like a carbon monoxide leak: Young Jeezy is one of the most essential rappers of his generation. He’s certainly not one of the best—his raps are C-grade Jigga with splashes of drowsy Dipset; his flow vacillates between a whine, a croak, and a low howl; The Recession (2008) felt like a wonderful mistake in the vein of Purple Haze (2004) and Da Drought 3 (2007)—but in a world where rappers promise eight months before being dropped from Interscope, Jeezy is different. With no aspirations to etch himself into rap’s Rushmore, he just wants to cultivate his brand of anthemic street rap and count money. In both endeavors, he has thrived: his albums and mixtapes are obsessed exclusively with hustling, shit-talking, and possessions—they have nary a girl track between them—and all of his major label releases have gone platinum. He makes it seem easy to be Jeezy. Of course, the same can be said for Nickelback, who just closed out a decade of selling some 26 million records while never straying from their formula of being a terrible fucking band. So why should we care about Jeezy? I’ve spent the better part of two years grappling with that conundrum. Jeezy tracks are the Mexican food of rap, variations of the same smallish repertoire of ingredients: hooks big like cartoon villain egos; punchlines too-long winks and harsh sneers. When his flow occasionally hiccups or his rhyme scheme shifts or he picks a beat with a soul sample, it feels seismic, because it upsets a stasis he has spent the better part of a decade establishing....full text |
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