Rex moves with velociraptor dexterity, matching a twitchy club tempo with a springy, hooky flow. “Run a Fortune 500 from a pre-paid,” he boasts on the trim Yo Gotti feature “Where It at.” “Like That” nonchalantly lands the album’s most random punchline: “Have a threesome with the money: just me, you and Oprah.” And on the kinetic “Let Em Know,” the old T. Jeezy seems reinvigorated by the familiar terrain.
#Young jeezy album trap or die 3 movie
“So What” moves with the ruthless efficiency of a slasher movie score, and “Goldmine” is similarly pared down to just the essentials: taut pianos, a few stray string stabs, and a ruthless snap of a beat. That’s not the worst strategy at this stage in Jeezy’s career-by playing it so safe, the project often can’t help but hit its mark. A less charitable read is that he’s just trying to take an easy W after a couple of under-performing projects. So Trap or Die 3 casts Jeezy as a true defender of trap, a music style that isn’t remotely endangered, in his own way every bit as evangelical about the craft as Jurassic 5 used to be about conscious hip-hop. Amid the barrage of battle-cry adlibs and synthesized clatter, opener “In the Air” ends with a rant about “this watered-down shit I keep hearing on radio,” affirming the old truism that rappers only complain about the radio when they aren’t on it. Rich, Trap or Die 3 promises from the outset that won’t happen.
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It used to be that all that distinguished a Jeezy album from a mixtape was the potential that from time to time you might hear his authoritative groan over something other than the same default synth presets and trap snares, but with a tracklist dominated by Jeezy’s old-guard producers Shawty Redd and D. That was three albums and five years ago, so it’s not like he’s ever been one to put the past behind him.
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“Let’s take these bitches back to ’05,” Jeezy rapped on “Way Too Gone,” from 2011’s TM 103: Hustlerz Ambition.