Which, you know, is kind of odd for one of the most consistently successful artists in his field commercially, no? In fact, it wasn’t until late this fall that the release of TM103 felt like a believable circumstance. A feud between the two artists developed as might have been expected, but more importantly TM103 felt more and more like a running joke, a phantom release Def Jam and Rick Ross would never allow to see store shelves.

No, TM103, as best as I can tell, is more accurately an example of Rick Ross releasing Deeper Than Rap a year after The Recession to more critical acclaim than Jeezy had received in years, followed by a demand from the Def Jam suits that Jeezy match that effort … or else. Although in Jeezy’s case the answer wasn’t so simple as he didn’t want to make pop music - after all, as a pioneer of the now-ubiquitous trap rap scene, Jeezy was always an artist that made big time singles like “And Then What” and “Crazy World” entirely on his own terms. The past three years have been a curious period in Young Jeezy’s career, a glaring example of the label drama hip-hop artists are forced to endure on par with Lupe Fiasco’s Lasers.

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