Also since the 1990s, it describes releases used to promote one or more new artists, or as a pre-release by more established artists to promote upcoming "official" albums. Blend tapes became increasingly popular by the mid-1990s, and fans increasingly looked for exclusive tracks and freestyles on the tapes. Ron G moved the mixtape forward in the early 1990s by blending R&B a cappellas with hip hop beats (known as "blends"). In the mid-1980s, DJs, such as Brucie B, began recording their live music and selling their own mixtapes, which was soon followed by other DJs such as Kid Capri and Doo Wop. (who later became known as Whiz Kid) and DJ Super V would create personalized House Tapes which would eventually circulate throughout New York City. In the late 70's into the early 80's DJs began recording mixtapes out of their homes, referring to them as House Tapes. As more tapes became available, they began to be collected and traded by fans. Hip hop mixtapes first appeared in the mid-1970s in New York City, featuring artists such as Kool Herc and Afrika Bambaataa. Nitpicks aside, Lloyd truly finds himself as an artist when he strips away the facade of the music industry.In hip hop's earliest days, the music only existed in live form, and the music was spread via tapes of parties and shows. And a couple tracks (“My Bestie” with Sevyn Streeter and “Porcelain”) are OK but largely forgettable. But there are caveats – some of the album’s best songs have been floating around for years, so they’ll sound dated to devoted fans. On the surface, Tru is by far Lloyd’s best album.
“This is me, so please accept me for who I am/and please accept me for what I do/I’m just doing everything that I can/cuz all I wanna be is true.” The hook is almost heartbreaking in its honesty. Lloyd provides a deep dive into his psyche, addressing everything from his long hiatus, to raising his sister’s child and struggling with his partner’s decision to have an abortion. 3 in our 100 Greatest R&B songs of 2016 list. Of course, the crowning achievement is the title track, a song that landed at No. He’s assisted by the Spelman Woman’s Choir and showcases a somber vulnerability that’s pretty rare in today’s music – and pretty absent from all of Lloyd’s releases until now. “Infinity” is an introspective ode to his son, where he tells the child “don’t be like me, I need you to be better.” It shifts directly into “Lil Sis,” an especially touching tribute to his deceased sister. While the first half of the LP is business as usual, it’s the second half where Lloyd really bares his soul. Lil Wayne contributes to the ride or die anthem “Holding,” where Lloyd serenades the Bonnie to his Clyde (or as Wayne calls it, the Thelma to his LilWeeze).Īs with many of the tracks here, it blends hip-hop elements with 90s-era R&B, which is best showcased on the Rick Ross-assisted “Heavenly Body” and current single “Caramel.” Now, no one will never accuse Lloyd’s songs of being lyrical masterpieces – I swear 40 percent of “Caramel” is just him saying “dripping” over and over again – but the exceptional production quickly lures you in. Speaking of guests, Tru is filled with more high-profile names than a Marvel movie. “Blown” is a woozy smokers anthem where Lloyd gets his advocacy on: “the government should legalize it, watch the crime rate drop and all the hating stop.” Of course Currensy, the crown prince of chronic, stops by for a co-sign. “Appreciation Day” is a warm shoutout to his supporters, from his parents to his teachers and even to Irv Gotti for launching his career. The first half of the album stay true (see what I did there?) to Lloyd’s trademark sound. On the bright side, all four of those songs are pretty strong, so they’ve earned their spot here. Four of the tracks here – “Holding,” “Excited,” “Heavenly Body” and “Tru” – were also featured on that release, which could be a mild disappointment for you early adapters out there.
There’s one big issue to keep in mind while dissecting this album: This version of Tru is essentially an extension of Lloyd’s 2016 EP of the same name. It takes a lot of boldness to travel down this road, both visually and professionally. Tru, Lloyd’s fifth LP and his first following a seven-year layoff, is the singer’s most revealing and vulnerable album to date. Of course, that provocative cover is more than just a thirst trap. Unless that’s your thing, and if so, congratulations. My apologies to my beloved readers for clicking this link seeking sage R&B wisdom and being served with a cell phone nude of Lloyd standing in some Walking Dead looking forest with a guitar on his scrotum.
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