Kelly should be a natural fit but both tracks (‘Know Ya’, ‘Actress’) find Ty at odds with his collaborator instead of finding a sweet spot.
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It is in tracks like this, with labyrinths of swelling vocal melodies, that we hear Ty’s deftness for songwriting and executing layered collaborative work.īut some of the duets on Free TC land weakly despite how good they look in their design.
The album’s opener ‘L.A.’ is an homage to his hometown with contributions from Kendrick Lamar, Brandy and James Fauntleroy, a swooning epic similar to ‘Work’ from his Beach House EP. But Ty is always at his best when he allows himself to go big. This does not mean that the expected paeans to pussy, money and weed are absent from the album and previously-released cuts like ‘Saved’, featuring E-40, and Future-Rae Sremmurd collaboration ‘Blasé’ satisfy those needs. Most up-and-comers would allow Edmonds to just simply take the wheel, but, instead, their songwriting styles coalesce. Elsewhere, he employs the tutelage of legend Kenneth ‘Babyface’ Edmonds on ‘Solid’, which leans toward Edmonds’ ‘When Can I See You Again’ and ‘Fire’ while maintaining Ty’s bravado. This is particularly evident on tracks like ‘Bring it Out of Me’, an EDM ballad indebted to 90s pop-house (La Bouche, Real McCoy) but still slick-tongued and informed by Teddy Riley. The son of Tyrone Griffin, Sr., a member of the group Lakeside (whose ‘Fantastic Voyage’ was famously sampled by Coolio in the early 90s) and a music director for Jermaine Jackson, this has been a part of Ty’s fabric since before he could even remember. Free TC finds the Los Angeles crooner-composer spreading himself across a vast palette with a wide array of guests.īut bandleading is in his blood.
It’s also deft symbolism for his ability to occupy a number of different sounds in his chosen genre without losing his identity. While his place as one of r&b’s finest practitioners of pure hedonism is what makes him so great, the concept that Ty has a varied basket from which to choose does not only pertain to who he can take to bed. It’s a tender ode to the women in his little black book, painting a romantic picture out of his own philandering and applying a gauche metaphor - these ladies are the horses, the stable is his phone contacts and you best believe the word ‘ride’ appears in the lyrics - with no regard for fidelity or feelings. Early into Ty Dolla $ign’s debut full-length Free TC is a song called ‘Horses in the Stable’, which eventually feels like the unsuspecting centerpiece of the album.
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