Music Review: “Identity Crisis”

By C.E. Moore

GENRE: HIP-HOP/RAP

LABEL: REACH RECORDS

RELEASE DATE: MAY 26, 2009

RATING: 4 OUT OF 5

The wait is over people. The question that looms large now is, “Was it worth it?” Simply put, that depends on whom you ask. It’s been a while since Tedashii (aka T Dot) dropped his Kingdom People project. Since then, he’s been popping up as an amazing guest artist on the albums of his label mates and a few select artists he has chosen to partner and build with. These appearances have only served to enhance the desire for the Reach artist to drop his sophomore project. After a year-long delay, that album has finally arrived in our hands. And, to answer your question, “Yes. Tedashii’s Identity Crisis is well worth the wait.”

However, I’m afraid some might be somewhat harsh with this album. Kingdom People was “the hotness” and fired on all cylinders. Banger after banger after banger characterized that album, all the while laced with Biblical wisdom that would throw even John Piper for a loop. Contrastingly, Identity Crisis is a lot more chill. There are quite a few mid-tempo and contemplative numbers on this joint than one would not expect. Don’t get me wrong. There are definitely some hardcore bangers that bring the heat, like “26’s” and “Make War.” But, overall, Tedashii slows things down considerably on this one. Given the weight of the subject matter and the general trajectory of the album itself, the change of pace is understood and merited. And if you question whether Tedashii’s Luda-esque baritone is adaptable to a more deliberate pace, then allow me to help ally your fears. This is a phenomenal work of Christian maturity.

That is what it is going to take in order to fully appreciate this album. Maturity. This is a more grown up Tedashii, shouldering the responsibility of the ministry with which he has been blessed. One listen will reveal the time and effort that went into the crafting the knowledge Tedashii spits over beats. I was afraid we’d get more of the same “We Don’t…” approach that allows Christian rappers to talk about cars, girls, and ice without talking about cars, girls, and ice. But, Tedashii takes us deep into the growth process that is our relationship with Jesus Christ, looking specifically at taking the image/identity that we each do/should bear—the imageo Dei (image of God).

A sweet piano line that opens the project’s intro is powerful and emotive, Tedashii’s vocals rising up over the live instrument to let listeners know that he’s back with more God-glorifying hip-hop. “Work” is the first full-length track and Tedashii deftly proves that his time away has in no way diminished his ability to command the microphone. Pushing the lyrical envelope, TDot challenges the listener to put in the work it takes grow deeper in the faith. “26’s” is the song that has been burning up the airwaves for a couple of months now. Drawn from a chopped-and-screwed line out of Lecrae’s “King” from his After The Music Stops album, the song is wall-to-wall about lifting Christ up and pointing out the idolatry of our current culture. In addition to the lifted line, Lecrae guests. “Identity: We Fell” is the first of 3 interludes placed throughout Identity Crisis and juxtaposes the text of Genesis 3 against TDot’s lyrical commentary regarding it. The track is appropriately haunting and sober as the effects of that day continue to haunt humanity and its implications are indeed sobering.

“Make War” is my favorite track on the album. Sampling John Piper’s “How To Kill Sin” sermon to open the track, this number fire on about 1000 cylinders…out of 100. Truth be told, this review could have been based entirely around this one track if I had wanted to. This song has been on repeat all weekend. The subject of this song is that part-and-parcel of the Christian walk is warring against the attacks of Satan and his demons. And lest you think this is a T-Bone-esque number, foolishly talking about 186ing demons and slitting the devil’s throat with a switchblade, let me assure you that this is a mature understanding that takes aim at the seeming enamoring of Christendom with “the struggle” and “the mystery” that many Christians never move beyond to victory. I…love…this…track. Cross Movement recording artist Flame guests.

“Identity 2: Adoption” is the second interlude piece and this one adopts more of a R&B vibe, as opposed to the spoken word/rap combination established in the first interlude. This one considers the adoption we experience as Jesus dies, raises from the dead, and brings us into right relationship with God the Father. “I’m A Believer” is the second radio single from this album and is one of the album’s few “bangers.” Featuring guest spots from Trip Lee and Soye’, this is likely one of the ones that fans of Tedashii’s first project will be clamoring for more of. Even still, as a banger, he’s scaled things back a bit to keep with the album’s overall slower tempo. “Fresh” works in more ways than I can adequately communicate here. It’s got a “creep/dip-lean” sensibility to it and the breakdown is just so tight. “Thank You” seriously sounds like TDot took a page out of Mase’s “Welcome Back.”

There is one track that was a bit hard for me to get into, though. “Hollywood” was difficult for me to take seriously for one reason—I couldn’t understand it. Tedashii gets a little “mush mouth” with his lyrics here and, no matter how many times I played the track back, I just couldn’t make out what was being said. The message might be great. I just don’t know what it is and, in frustration, I skipped forward.

“Identity 3: Church” is the final interlude and it leads into the album’s “official” final track, “Community,” which features hip-hop theologian Stephen the Levite and label mate Sho Baraka. Thematically, I like the way this album was put together. If you’re not paying attention, it’s easy to miss. But to end an album with an overriding theme of Christian growth with a piece that considers the importance of involvement of the fellowship of believers is a very smart distinction to make. In an era where people are taught to be autonomous Christians, Tedashii reminds listeners that Christianity does not happen in a vacuum and it does not happen alone. We need each other.

I’m going to include in this review the two b-sides that were released free via Reach Records’ website to atone for making listeners wait another week to hear Tedashii’s latest. This raises the official track count to seventeen. The first, “From the Concert, Classroom, Corner” is a track that was originally released on The Legacy, Vol 2.: Heroes of the Faith, an album that was made available only by attending the Lecacy Conference. So, it’s not a new track, nor does it necessarily fit this project’s thesis, but I’m glad to have anything to lengthen the experience. The track is a chopped and screwed take on what it means to take what we hear at Reach Concerts, take what we hear from our classrooms about Christ and apply that in the world—living for and telling others about Jesus. “Transformers” has also been out for a little while, but has likely been heard by less people. I remember hearing about this track a while ago through some message board posts. After jumping through several flaming hoops and paying off a government official (that’s a joke—but, seriously, it seemed to take that much), I found an IMeem stream of the song. At the time there was no indicator that this one wouldn’t be on the album. Given the fact that Transformers 2 would be hitting theatres this summer, it seemed even more likely. Then I heard the produced beat in the first DWYL commercial. So, I was disappointed when I heard that it wouldn’t be. One can imagine my pleasure, then, to find out that it was being released for free as a b-side. Anyhow…”Transformers” is hot, and that’s not even taking into consideration that both Lecrae and Trip Lee appear on the track. This one definitely fits the overall theme of the album,  how our identities have been transformed by God and what that means for how we should act.

All told, Identity Crisis is a solid effort that deserves not only to be listened to and jammed to; Tight hooks, smooth beats, and live instrumentation aside, this album deserves heavy contemplation. I have been making an allowance for the weightiness of his project for the better part of the weekend and I presume it will stick with me for some time.