Words by Rohit S. Loomba (@poombster)
Trae Tha Truth has been around Hip-Hop for a long time. His characteristic thick, bassy voice can’t be confused for anyone else. The Houston native’s work ethic is also one shared by very few in the industry, with Trae having released a number of mixtapes, solo albums, and compilation albums. Trae even has his own cartoon. Trae is now back with his latest, Tha Truth Pt 2, which marks his eight solo album. Being released on ABN Entertainment/ Grand Hustle/ Empire, this effort is a follow-up to Tha Truth Pt 1.
Production on TTP2 comes from a variety of producers. Bizness Boi and Watson the Great make the most production appearances on the album while others such as Watch the Duck and Renegadez also join in. Watson the Great opens up the album with a grandiose effort on the Intro, providing Lil Duval a backdrop on which to vent. Watson the Great shows up again for “Crazy”, a slow-tempo offering driven by a deep, heavy bass line that perfectly complements Trae’s voice. Soot & J Cash take a different, more simplistic approach on “Takers” for which they utilize a piano melody that is almost bare except for a rolling bass line. The Nick Miles produced “Spray” makes use of an airy sample once again matched by a thick, deep bass line. Elsewhere, on “Let Me Live”, Watson the Great returns with a beat driven almost solely by a guitar melody. More lush and thick production returns on “It’s Time” produced by Renegadez although a more simplistic production approach seems to prevail on TTP2. And the approach works. With such a commanding voice, Trae can easily handle a track by himself. Although he sounds at home on more expansive, heavily produced beats he can also command a more stripped down effort with ease as well. All in all, TTP2 is well produced.
Trae doesn’t bring anything unexpected on TTP2. His characteristic deep baritone switches between slower deliveries on “Takers” and quicker deliveries on tracks such as “Fuck With Me” and “I Will Survive”. Trae keeps with his monotone cadence which he is able to use to his advantage, not something many emcees are able to do. The lyrics here don’t stray from previous Trae efforts either and find Trae rapping about the street life he has lived and the more luxurious life he is living now. Features include the likes of Young Thug, Yo Gotti, Ty Dolla Sign, Rick Ross, T.I., B.O.B., Wiz Khalifa, and Roscoe Dash, demonstrating the respect Trae has garnered in the industry. The features work and are welcome without outshining Trae.
Trae has developed his own Houston sound with his unique voice and delivery. For those looking for something more lyrically savvy this may not be their kind of music. But for those who have come to appreciate the consistency and honesty of Trae, this will be a welcome addition to this expansive collection of work. Trae is a veteran in the game and doesn’t show any signs of slowing. Radio support or not, it doesn’t matter, Trae can’t be stopped.
4 (out of 5)