t-pain – oblivion album download Listen to T-Pain’s New ‘Oblivion’ Album. After a lengthy wait for fans, T-Pain releases his highly anticipated OBLiViON album, which marks as his fifth studio LP. The new project, which is reportedly his last under his deal with RCA Records, contains a total of 16 new tracks from the Atlanta hitmaker, including a star-studded lineup of guest features. T-Pain keeps things pretty heavily in the R&B department as far as guests, recruiting the likes of Chris Brown, Ne-Yo, Tiffany Evans, Ty Dolla $ign and more. There is, however, appearances from superstar rappers such as Blac Youngsta and Wale, which help the Southern entertainer tap into his hip-hop element. OBLiViON follows in the footsteps of his 2011 album, rEVOLVEr , as well as his 2015 mixtape, The Iron Way . Earlier this year, Pain also spontaneously dropped his long-awaited T-Wayne joint project with Lil Wayne, which was previously scrapped back in 2009 when they were slated to release it for fans. Take a listen to the full album from T-Pain below, and check out the official tracklist. T-Pain's OBLiViON Tracklist. 1. "Who Died" (Prod. by Dre Moon & Tommy "Tbhits" Brown) 2. "Classic You" Feat. Chris Brown (Prod. by T-Pain and Floyd "A1" Bentley) 3. "Straight" (Prod. by Dre Moon) 4. "That's How It Go" (Prod. by Allstar) 5. "No Rush" (Prod. by ISM & Floyd "A1" Bentley) 6. "Pu$$y On The Phone" (Prod. by Dre Moon) 7. "Textin' My Ex" Feat. Tiffany Evans (Prod. by Dre Moon) 8. "May I" Feat. Mr. Talkbox (Prod. by T-Pain) 9. "I Told My Girl" Feat. Manny G (Prod. by Dre Moon, Xplosive, & Abaz) 10. "She Needed Me" (Prod. by T-Pain) 11. "Your Friend" (Prod. by Dre Moon, Tommy "Tbhits" Brown, & Mr. Franks) 12. "CeeCee from DC" Feat. Wale (Prod. by Major Seven) 13. "Goal Line" Feat. Blac Youngsta (Prod. by Dre Moon) 14. "2Fine" Feat. Ty Dolla $ign (Prod. by Dre Moon) 15. "That Comeback" Feat. Ne-Yo (Prod. by T-Pain) 16. "Second Chance (Don't Back Down)" Feat. Roberto Cacciapaglia (Prod. by T-Pain) COTMA. Unpopular opinion: I think T-Pain is underrated. The Tallahassee-based singer/rapper came out of nowhere in the early 2000’s with his brand of melodic R&B that was drenched in a newfangled voice effect at the time, auto-tune. Of course, since T-Pain and a few others popularized the effect, auto-tune has become nearly inescapable in modern music. Some don’t mind it, and others want it buried six feet under and left alone. Yet T-Pain was one of those artists who could make the effect work by utilizing some killer vocal layering, mostly interesting instrumentation, and a sense of charisma that other artists never really caught on to with auto-tune. While none of his albums have blown me away or anything like that, I think 2007’s Epiphany and 2008’s Thr33 Ringz are solid projects that I enjoy coming back to once and awhile (and his mountains of guest spots aren’t too shabby either). His last record, 2011’s rEVOLVEr , had its moments for sure, but it felt like T-Pain was throwing a bunch of things against the wall with not everything sticking (and most other critics weren’t too kind to that record either). But some of T-Pain’s recent projects – his stripped-down NPR Tiny Desk concert from 2014, 2015’s The Iron Way Mixtape, and even the FINALLY released T-Wayne Mixtape with Lil’ Wayne from earlier this year – had me curious to see what kind of record he would follow up rEVOLVEr with. Maybe there was room for the “rappa turnt sanga” in today’s music landscape? So what did we end up getting with Oblivion ? Well, I’ll say this: overall, the feel and style of T-Pain is still here and, as a fan of that style, I appreciated a lot of this record. But, at the same time, it doesn’t necessarily feel like a maturation of T-Pain’s style and merging that style with more “modern” sensibilities are here to mixed results. That consensus is disappointing to say because, like I said, there’s some really good stuff on this record. One of the things T-Pain has always been great at is infusing otherwise basic beats with interesting production and layering auto-tuned vocals together. There are some absolutely fantastic tracks on this record that not only maintain those sensibilities but also don’t feel dated, which was a fear I admittedly had. Easily the best track here is “May I”, featuring Mr. Talkbox, a nearly 8-minute song featuring everything from lo-fi keyboards to lounge style piano to a drum breakdown (seriously, when was the last time you heard a drum breakdown in a hip-hop song?). This was the first song I heard from this record and the ambition and diversity I heard on it set my expectations quite high. Other standouts include the album opener, “Who Died”, the incredibly catchy “That Comeback”, featuring Ne-Yo (who I’d like to hear collaborate with T-Pain more frequently); the string-infused “CeCe from DC”, featuring Wale, who sounds completely at home on this song; and the album closer “Second Chance (Don’t Back Down)”, featuring Roberto Cacciapaglia. These tracks are full of instrumentation and charisma. I was having a lot of fun with these songs and they are worth checking out. So what exactly is the problem? A good chunk of this album is T-Pain trying his style on trap-style production, and it just doesn’t flatter him. “Straight” is basically just T-Pain on a really bad Migos beat. “No Rush”, sounds like his production style, but buried under the same keyboard and snap sounds you’ve heard anywhere on pop radio (which I didn’t need more of in my life). “Goal Line” featuring Blac Younsta is easily the least interesting song on the album – a synth that I’m convinced is just a distorted radar noise, the most standard trap drum machine I’ve heard in a while, and Blac Youngsta’s lackluster verse and annoying interjections add up to a song that just frankly was no fun to listen to. To be fair, those songs are mostly in the first half of the record (the second half feels much more full and interesting, I’ll give it that). But here’s the thing: the album is 16 tracks at a little over an hour long. The aforementioned standouts, “Who Died” and “May I”, have 6 tracks between them. Say what you will about a project like T-Wayne , but that record didn’t feel nearly as messily paced as Oblivion does. Sure, it was scattershot, but the tracks all flowed quickly enough to keep interest. Here, an 8-minute song like “May I” actually feels like it goes by faster than a 3-minute song like “Goal Line.” The good stuff feels like it takes way too long to get here, and I feel bad even considering saying skip the first half of the album, but that’s the kind of record this is. Overall, I like Oblivion . The majority of this record contains a great selection of well-produced and interesting tracks, with some I would consider some of the best T-Pain’s ever released. That being said, I would be a lot more interested had the album utilized more of the elements of those standout songs. The ratio of standouts to disappointments is quite jarring – it made me appreciate the good stuff even more, but repeat listens just had me rolling my eyes at the lackluster songs. Make no mistake, if you’re a fan of T-Pain, give it a listen because you really might enjoy it. While I’ve definitely heard better, it was a really good feeling to hear another T-Pain record in today’s music landscape, and the growth that he’s showing here at least interests me, which is more than I can say for some of his imitators. Oblivion. T-Pain’s first studio album in six years cashes in on the good graces he’s received in the interim, but also retreads vastly familiar territory that is more fun than illuminating. Featured Tracks: It’s somewhat unbelievable that T-Pain would ever feel the need to reintroduce himself, but here we are. Six years removed from his last proper album, he opens Oblivion in grand fashion, kicking open the casket at his own funeral. He offers his gratitude to loyal fans and fuck-yous to those who wrote him off—all before he settles into his lead verse with a succinct reminder of his resume: “I hit the Billboards with a baseball bat.” The charismatic “rappa ternt sanga” dropped his debut single “I’m Sprung” in 2005, setting off the Midas touch era of T-Pain. His signature Auto- Tuned voice landed in the the Hot 100 over 30 times in a five-year period, and everyone from Kanye West to Black Eyed Peas adopted their own renditions. It feels like a musical lifetime has passed since then, but nostalgia and excitement still follow him wherever he goes. The wave crested with his 2014 Tiny Desk concert when a portion of the world learned T-Pain can actually sing without digital assistance. The moment spawned a brief acoustic tour this year and, probably, a glimmer of hope that Oblivion would follow suit. Instead, it finds him channeling the ghosts of past. Nearly every song sounds like it could've been a smash several years ago which is, both, admirable and disappointing. On the one hand, his ability to churn out earworms remains untarnished. The selection is everything T-Pain does best: intoxicating computerized crooning mixed with gratuitous sex and flash. On the other, there’s the admittedly unreasonable expectation that one of Rap&B’s most influential artists would hint at the genre’s next horizon or, at the very least, his own. While there may be a few seeds here, Oblivion settles mostly in his established wheelhouse. Songs like “Straight” and “2 Fine” are low-stakes affairs that find T-Pain playing around with his assorted vocals, flows, and ad-libs—it’s genuinely fun. But his ingenuity shines brightest on the Mr. Talkbox-assisted standout “May I.” Running like two passionate robots serenading a jazz lounge, it is the peak use of a computer to make the voice an instrument unto itself—nearly eight minutes of finesse that only T-Pain could pull off. Oblivion ’s most unexpected feature is its mix of sub-genres that T-Pain chameleons himself into perfectly. From trap rap (“Goal Line”) to Latin- flavored pop (“No Rush”) to the percussive lands of go-go (“Cee Cee From DC”), it’s almost like a best-of but with all new music. In his grasp, the respective genres end up sounding poppier rather than like true interpretations, but it's nice to hear an artist push his own creative boundaries— even if the source material is a bit watered down. There’s a masterpiece somewhere in the colors of all these disparate sounds if only it were trimmed just a bit more. As such, Oblivion feels like a “business decision” album: it’s a casual affair that frees him from his label obligation to RCA. It isn’t exactly phoned in, but T-Pain has more in his tank than what he shows here, even though the tracks that reflect his past eras display his versatility and allow for optimistic glimpses of a career resurgence. The free-spirited energy that earned him ubiquity a decade ago remains intact despite his fall from glory. This album reflects the best of what we know of him, but the unknown remains the most intriguing. Projected ambitions aside, this release typifies just how ahead of his time he was and how much those melodic blurred lines influenced the generations that followed—sing-raps can‘t be fully attributed to him, but he certainly played a substantial part. The genre fluidity he shows here helped lay the foundation for artists to come. And even in a landscape that outgrew him or outran him or both, Oblivion T-Pain sounds like a teacher who still feels welcome in his own classroom, and he’s owed at least that. T-Pain "Oblivion" Review. After a long time out of the eye of music listeners, T-Pain has returned with his 5th studio album. But is it too late for the man who brought autotune to the top? Time is incredibly merciless to far too many people in music, especially in the 21st century. An artist can have a hot year one moment, and then, if there is not enough or just the right amount of presence in the public eye-- the same person can be left behind without a second thought. Just as artists can strategically withdraw from public eye or remain a contrived "mystery," an artist can equally overexpose and oversaturate themselves into the market, releasing too many singles or features. Then, when they fail to make the charts for a second, listeners might regard this "deprivation" of a familiar face as a welcome relief from someone that, while they liked at the time, was beginning to overstay their welcome. This is especially difficult for artists who’ve maintained careers and a consistent output over, not only years, but decades, as whole generations grow up with new expectations and desires for what music they want to hear. And as far as modern music goes, nobody reflects that situation better than Faheem Rashad Najm, better known to the public as T-Pain. T-Pain’s an artist who really doesn’t need an introduction, but in retrospect his career inspires a great deal of awe. Coming up out of Tallahassee, Florida under the mentorship of Akon, T-Pain’s debut single “Sprung” in 2005 is, looking back, a groundbreaking moment in pioneering the both beloved and bemoaned studio effect of auto-tune. Since then, auto-tune’s impact on music, most predominantly Rap and R&B, has been massive, and I think few others could argue to being more influential with popularizing the use of auto-tune than T-Pain. While it could have very well been a brief novelty single, T-Pain continued to follow it with a series of singles that saw him continuously redefining the ways in which one could use autotune, whether it was as a rapper, singer, or producer. Before the second half of the decade came to a close, he’d gone from being regarded as a no-talent gimmick artist to earning Grammys, topping the Billboard awards, and working on so many high-profile collaborations that he’d truly become one of the most frequent staples of radio. However, those glory days seemed to slip through his fingers after frequent album delays saw a three year gap between his third and fourth albums, and more often than not his own singles failed in favor of him applying hooks for other artists. Now approaching five years since his last album, Oblivion feels the pressure on trying to prove that a man who shaped the course of music can still try and keep up with the present day. T-Pain’s greatest strength ever since the early days of his career was his versatility. Plenty of listeners took his “Rappa Ternt Sanga” persona a bit too literally at first, and didn’t necessarily recognize the guy was actually a multi-talented and proficient as a singer, rapper, musician and producer- - that sort of display of talent took years to demonstrate and win over fans with. This was married to an excessiveness as a songwriter, as someone who loved to take modern subjects that people don’t necessarily look at as romantic, like strippers or drinking in the club, and make them feel worthy of passion. T-Pain would infuse the emotion and heart that any classic soul-singer might have for their traditional love song, yet he would often provide a comedic bent in order to show he didn’t take the material he was singing all too seriously. However, a decade later, there’s a real awkward sort of cloying edge to his persona, making T-Pain feel like a comedian whose unable (or unwilling) to recognize that their act need to be updated. Sure, there’s a lot of guys in R&B right now who willingly embrace the art of being an asshole, who actually take pages out of T-Pain’s book (including Ty Dolla Sign, who shows up for a pretty uninspired sounding performance on “2 Fine”); but there’s something about the songs on Oblivion , where instead of charming he can tend to sound obnoxious or gross. For example, you get the feeling that when he croons about coming on some other dude's pillowcase on “Straight” that he thinks this might be funny or cool, rather than cringeworthy. “Straight” in particular represents another particular flaw on Oblivion , which is the fact that the majority of the album consists of a kind of stock "rap banger" template. Now listen, T-Pain as a rapper can often surprise and really hit the spot, if you let yourself sleep on his considerable skills. Guest verses on Ciara’s “Go Girl” or the remixes of “Black & Yellow” and “Arab Money” were particular highlights for those who were in the know. But at the same time, maybe it was the sparing quality in the way he approached rapping, or maybe it was even the fact that he didn’t sound as determined to hunt down a hit as a rapper. Because even when you get a beat like the Public Enemy-flipping “That’s How It Go” or the plaintive “I Told My Girl,” you never expect or frankly want to hear T-Pain rapping about how he’s clutching the Draco (hell, at this point I don’t want to hear any rapper mention a Draco for at least a year, let alone T-Pain). Nothing about these rap records are particularly bad, mind you, they just lack any sort of distinct identity and feel faintly derivative of hits by the likes of Future and Travis Scott, and therein lies the problem. Both of those acts are in some way or another indebted to how T-Pain blazed a trail with auto-tune, and to hear him chase after his musical grandkids feels kind of beneath him. Now this isn’t to say that Oblivion is just T-Pain rapping for sixteen or so tracks and forgetting everything he’s proven that he’s good at. Elsewhere on the album there are more than a few attempts at crossing genres and experimenting musically, not just in R&B but in pop, EDM and even latin music. The results of these demonstrations feel remarkably mixed for someone who’s proven to be as consistent and bold with his choices as T- Pain. As far as the aforementioned EDM joints go, “No Rush” is marred by generic production, flat melodies and a kind of stale “lothario goes straight for That One Girl” theme, while “She Needed Me” tends to sound gratingly strained in the vocals with or without the signature pitch correction. “Cece from D.C.” has a light go-go tinge and a decent Wale feature, but feels rather underdeveloped, while the sprawling “May I” has so much going on musically (including a dramatic Mr. Talkbox feature that can finally show fake experts that, no, T-Pain and Roger Troutman did VERY different things), but really could’ve used some editing down to a less exhausting length. Surprising nobody, the straightforward R&B slow- jam “Texting My Ex” is actually well-crafted, mature R&B, with a stellar Tiffany Evans guest feature that deserves to shut down all criticism from any leftover Steve Harvey types that think T-Pain is just a guy with a cool computer program instead of talent. Ultimately, long-time fans of T-Pain or even casual listeners are probably not going to be satisfied with Oblivion after repeat listens. There’s at least a few tracks where you might find Pain's many talents being focused and honed in to the high level of songwriting that he’s developed over the years, and in the end, nothing sounds too out of place here. However, too much of the album either feels like tired hit-chasing, or its doing too much either musically or lyrically, and the results is a fairly middling album. Perhaps the golden age of T-Pain has come to a close, but maybe this is just the initial missteps of a veteran slowly working to find himself after being kept off the radar for such a long time. T-Pain - 1UP [Free Album Zip Download] T-Pain - 1UP Free Download: Well, guess who we have on our platform today? After droping with us with songs like “Getcha Roll On,” and “All I Want,” and “A Million Times” some days back, T-Pain decides to come through and surprise us with the release of his new full album named 1UP. The album serves a s a follow up to his 2017’s OBLiViON with Lil Wayne and it contains 12 tracks in total. 1UP Free album features guest appearances from rappers like Lil Wayne who showed up in his last album, Tory Lanez, Russ, Boosie Badass, Flip Dinero, and even O.T. Genasis, plus more. T-Pain - 1UP album zip was produced entirely by the likes of Bishop Jones, Dave Cappa, Girl Talk and Tyler Rohn. The famous rapper exclaimed, “Surprise. Thank you guys for being so patient with me. it was worth the wait, we got a new album out. I did this independently and I can’t wait for ya’ll to finally hear it.” Download and stream T-Pain - 1UP (Free Album Zip Download) on iTunes and stay tuned for more.