Gucci Mane - Miss Lady (Freestyle) (So Icey Ent., 2009)
fuck her, like her, treat her, like her, then I pass her to my dawggggs
Gucci Mane - Trap Back (1017 Brick Squad/WMG, 2012)
We gon trap back, we gon trap back, we gon trap back..
DJ Holiday (feat. Waka Flocka Flame, Trouble & Gucci Mane) - My Block (mixtape, 2011)
Some of you may’ve missed this track, as it was included on DJ Holiday’s Holiday Season 4, which I’m sure most of you, like regular human beings, had no idea existed. I know I certainly didn’t, so it was a bit of a surprise to stumble upon this track with three of my favorite rappers on (though not much of one since I’m rarely online anymore).
Despite that, I was a bit afraid when I originally set this to play - despite all of them carrying the flag for each generation of Atlanta (past, present, and future), I’ve never heard Trouble really gel with either artist. He and Gucci have such a distinct approach, both of which are unorthodox, and a bit disorienting in their own right. Together, the songs they’ve appeared on together have just come across as sloppy. Between this and FreeBrickz, it’s become clear to me that modern Gucci is best kept to working with artists already in his inner-circle. Though it’s nice to see him passing the torch to the future (no pun intended) of Atlanta, Trouble 2X and Future would both be better off working together than with Gucci, and vice versa.
I’d say that My Block is another example of that mismatched affair, but it’s actually held together by the man that eclipses both of them both in popularity and stature. Waka, who is easily the most consistent rapper running the last two (going on three) years, manages to keep this song from running off the rails by providing a strong-willed chorus and a monumentous verse to close the song out - a trademark of his that he has established on almost any posse cut he appears on anymore.
Gucci Mane - Little Friends (Brick Squad 1017, 2011)
Things gettin’ pivotal/
the situation critical/
don’t talk to me bout lyrical/
I prophesize, I’m biblical/
the Gucci-bicentenial/
I shot two crooks intentionally/
they shouldn’t of run up me like they want it/
i get busy, B/
literally
Gucci’s back on his GOAT-shit with Writing On The Wall 2. There are a few moments where he’s still dragging wearily a bit, but this is the most exciting he’s been since Mr. Zone 6 (and it’s arguably better than that tape, as Mr. Zone 6 lacked the humor that has returned here). Let’s hope that this shit keeps up.
Gucci Mane - Writing On The Wall 2 (Brick Squad 1017, 2011)
Tracklist is extremely promising. Let’s hope it lives up to .. well, there was no hype. I’m not sure if anyone still has expectations. I know I do, at least.
Listen to it now!
Waka Flocka Flame - All I Need (1017 Brick Squad/Mizay, 2011)
Waka’s Salute Me Or Shoot Me 3 dropped last night at 10:17, but a video for one of its highlights dropped even earlier in the day to little awareness on WSHH. All I Need is a side of Waka we’ve never seen before; a calm, serene, uplifting and empathetic Waka, rapping about his hopes and dreams while shooting the video with his infant children. It shows a lot of growth for an artist who specializes in loud, abrasive music, and though some may see this as a weak moment due to the tender, heartwarming nature of the video, this is some of the realest shit Waka’s ever spit. Thugs have hearts too; Waka’s might just be as large as his 6’5”, 250+ pound frame.
Brick Squad - Brick Squad Mafia (1017 Brick Squad/So Icey Ent., 2011)
If there’s ever been a problem with Young Jeezy’s U.S.D.A. outlet, it’s the fact that none of the rappers involved, sans Jeezy, are polarizing figures in their own right. Blood Raw came close to fascinating at times due to his hoarse voice, but he certainly wasn’t bringing anything more than that to the table. Slick Pulla is often credited by CTE-Stans as the second coming of Jeezy - however, Slick has always been little more than a Southern rapper who wants to be a low-tier New York rapper, his style more remiscent of someone like Maino or Red Cafe than any of his peers. Boo and 211? It’s hard to even make a case for them - they are essentially just shells of rappers that don’t really exist.
Young Jeezy’s recent CTE Or Nothing tape was full of big hooks and bigger beats, but it was still lacking in variety and sheer entertainment value. This is the same thing Jeezy’s projects have been lacking since TOD2, which received heavy mixed criticism itself (I myself thought it was fantastic). CTE or Nothing is certainly better than 1000 Grams and Last Laugh, and could’ve been something special as a TM103 prcuersor if it didn’t feature his collection of dull weed carriers. Jeezy himself can hardly save his own career these days, having had it wrecked by Gucci and Ross indirectly; now is certainly not the time to be putting on the rest of the crew. CTE Or Nothing is full of almost identical bangers, the mood and quality of each song resting on Jeezy’s laurels alone.
I say this now because Brick Squad is so superior as a collective, and on their very first official release, at a time where people’re claiming their leader is falling to his horrific drug addiction, they release a project that shits all over their direct competition and makes a case for Brick Squad being one of the best collectives overall in hip-hop today. While Jeezy’s crew is full of bland trappers with little to no personality, even the bottom of the totem-pole rappers present in Brick Squad are captivating figures. YG Hootie (who released the rather uneven Fonk Love tape a few days ago) shows that with the proper grooming he can find his way up the ranks of Brick Squad quite quickly if he keeps improving. The other lower members (Papa Smurf, Ice Burgundy) are slightly indistinguishable, but they never detract from the project. Frenchie is still solid as always, providing a strictly New York approach to everything he touches. Slim Dunkin is quickly becoming one of the stronger, more consistent members of Brick Squad, and his sporadic appearances here are all great. Wooh Da Kid absolutely spazzes on everywhere he appears, raising the energy to a level that only Waka could top. Waka, who, aside from Gucci (who handles most of the hooks), acts as chorus man for the most part, only appearing on about half the tape, but certainly going in wherever he appears. Unfortunately, OJ is nowhere to be found, and his stupid fruity swag is missing.
Gucci still hasn’t returned to prime-form, but he’s not quite as disoriented as he was on his recent solo outing, Gucci 2 Times (which certainly isn’t one of Gucci’s best projects, but I still don’t think it’s nearly as flawed as others have made it out to be). His hook-writing abilities have certainly have returned, as Transformers reminisces to the line of forgotten cartoon-influenced songs he was creating in 08/09 (Nickelodeon/Super Hero mainly). Elsewhere he’s crooning on the strip club joint Immature, with the help of some autotune, while adding his somber croak to the almost remorseful Gangbangin’. His verses still make him appear disinterested at times, especially when he shares the same space with someone like Wooh as he does on We Takin’ Bricks. However, he absolutely destroys his verse on Immature, takes Fly Away back to his EA Sportscenter days, and bounces in and out of Mouth Full of Gold with the nimble flow he’s become known for by his admirers.
The beat selection, hanlded by Lex Luger and Southside mostly, is surprisingly varied. Gang Bangin’ is a melancholic track that finds the Brick Squad boys recounting their days on the block, but unlike the menacing synths found on heat-rocks like Everything Bricksquad, this beat is drenched in regret. Fuck Ya Talkin’ ‘Bout is very celebratory; reminiscent of DJ Toomp’s better works, and features Waka’s shining moment on the mixtape. Pole is a strip club anthem that will cause more precipation in the joints than Travis Porter (pause), and Immature sounds like it absolutely needs to dominate the radio waves in South and Mid-West.
What could’ve easily been a thrown-together, rushed project full of DGB-leaks from the past couple months ended up being something far more than I think most of us were expecting. While Brick Squad may never get the proper attention they deserve as a group, their ability to continually put out quality music for their core fanbase is what keeps those same fans so loyal, and it’s the reason Gucci’s name is still buzzing in 2011 while Jeezy can’t even get his record label to give TM103 a solid release date.
Slim Dunkin (feat. Gucci Mane) - Twitter That (1017 Brick Squad, 2010)
Gucci Mane & DJ Holiday - Buy My Album [MIXTAPE]
DJ Holiday & Gucci Mane - Buy My Album (1017 Brick Squad, 2010)
This 8-track EP/mixtape is the spiritual successor to Gucci’s No Pad No Pencil, as it’s full of nothing but freestyles and Holiday shouting. This was a very unexpected project; a very strange one at that. It’s been so long since I heard Gucci freestyle (before he went in the pen in 2008? Last I remember is that Wet Wipes freestyle) and seeing a whole collection of them as a prelude to Gucci’s The Appeal was very exciting. There isn’t much to say about this project overall; it’s just Gucci’s way of feeding the streets one last time before he drops The Appeal (and also makes this three mixtapes and one album in the span of a month). I’m still giving The Appeal a few listens before I sit down to cover that. Regardless, download this tape, and if you support Big Gucci, do what the title tells you and cop this shit on the 28th. He’s given you free music his whole career, now it’s time to pay your debt.
Gucci Mane - Jewelry Selection [REVIEW]
Like I said in my Mr. Zone 6 review, Gucci finally found his place as an artist; which meant that most of his experimentation was exchanged for a very well crafted collection of flows, and a more prominent focus on proving he can rap well to his haters. Gucci’s been something of a rapping phenomenon since 2008 (around the time he dropped The Movie/Gucci Sosa), and even to this day he remains one of the most criticized rappers alive, who is considered a cancer to hip-hop by purists of the okayplayer ilk and critically acclaimed by the coke-obsessed Pitchfork crowd. Gucci follows in the same line of Lil Wayne and Jay-Z, although he’s rapping far better than both of them in 2010; loved and hated equally, with very little middle-ground. Although both of the aforementioned artists went on to earn the hearts of their detractors in the end, it’s hard to say it people like the 2dbz will ever see the genius behind Radric Davis’ rap guise.
This is Gucci’s fourth mixtape with his personal DJ, DJ Holiday (the others, in chronological order, being EA Sportscenter, Writing On The Wall, and The Burrprint 2 [HD]), and Holiday is again pretty annoying in spots. Thankfully most of the tracks that he ruins with his incessant shouting can be found DJ-free, and the ones that can’t be are kept to a minimal. The intro track features Alley Boy, who I’m still not really feeling too much, as he comes off as an East Atlanta Plies who may actually be authentic with his claims. Regardless of that, Gucci’s intros usually go in one direction; menacing, with gothic instrumentation, such as Dope Boys, It’s Goin’ Up, or Colors; or frantically paced, like Pressure, Classical, or Hurry. This falls more into the latter category; Gucci’s flow is rapid, and the beat feels urgent. Gucci quotes Ice Cube’s “if you scared go to church” line for effect, and dominates the instrumental. Alley Boy does well.
Trap Talk is a Drumma Boy track that sounds like it belongs in an urban film-noir; I just feel like I could see Denzel Washington and Don Cheadle interogating a notorious drug-dealer when I listen to this song, even though Drumma adds some gothic overtones to the heavy Law & Order drums. Gucci loosely tells a story of his time in the trap, while suggesting that he’s still there; when it comes to coke and gun talk, you’d be hard pressed to find a better rapper than Gucci to elaborate on the hard white. Although it’s nothing you haven’t heard from him before, it’s an above-average song that stands out just because it’s executed so well.
I’ve already discussed Gucci Time before, so I’ll just jump to Cleopatra here. This song is a little bit misleading; although Gucci compares a girl to Cleopatra on the chorus, he spends most of the first verse actually revealing some of his personal life (in the most subtle way, as Radric always has), and then spends the second verse winning Miss Cleopatra over (and always screws his voice in a manner similar to Big Boi). Following Cleopatra is First Song Back, which is the unofficial sequel to First Day Out; although it obviously doesn’t have the same impact that the original did, it’s pretty much Gucci talking shit like only he can. Gucci’s actually cut down a bit on his jewelry talk since he came out the pen, so it’s only appropriate that he’d dedicated a song to stunting on a mixtape called Jewelry Selection. The beat is pretty spacey; the haunting sound effects during the breaks remind me of Ghostbusters for some reason.
Electricity is, much like Gucci Time, very strange to me; this honestly sounds like Gucci is finally making songs for those white hipster kids who only jock Gucci’s music because it’s ironic and Pitchfork approves. While Gucci Time finds Swizz Beatz sampling Justice for the second time (and it’s no On To The Next One), Electricity isn’t odd for Gucci because of the lyrics; lyrically, it’s typical Gucci, and finds Gucci celebrating his jewelry once again, comparing their glistening to, uh, electricity. It’s the instrumental that kinda throws me off; it sounds like something I’d hear from Kid Cudi (#noshots), not Radric. Regardless, it’s decent, although not his best.
Gross is more of what I’d want from Gucci; Gucci expanding upon a simple word that’s rarely used in the hip-hop spectrum, and letting his virtuosity push it completely beyond its context. To those uneducated in the subject of Gucci, a song like this would sound weak on the surface; however, delving beneath that you’ll find Gucci stretching every single meaning of gross, and creating new slang in the process. Like Raekwon before him, Gucci requires a lotta patience to get the full effect of his music, especially on these songs where he’s ambitous while still utilizing simplicity.
Stone Cold contains no Steve Austin metaphores, however it does feature a trunk-rattling beat and an instantly catchy hook. Also, Gucci is rapping well. It’s a pretty simple track, hard to really write about but nonetheless good. It’s hard to focus on this with the upcoming two tracks, which’re going to take up a good amount of typing.
Poltergeist and Vampires are a pair of tracks that came out around the same time, about three weeks ago. Both of them are built around horror-movie concepts, and feature dreary, sinister production complimenting the titles. Poltergeist is easily Gucci’s strangest collaboration to date, as he links up with Talib Kweli on a Zaytoven beat that’s easily his most creative since, well, I Think I Want Her. This song hasn’t been approved by either of Gucci’s two audiences, and it’s hard to figure out why either of them had any desire to work with eachother. The trappers hate Talib as much as the heads hate Gucci. Talib doesn’t sound at home on this production, and adapts an uncomfortable fast flow just to get his sound adjusted enough for this track. Which is strange considering the fact that Gucci uses his slowest flow, slithering over the beat just asking for this song to get chopped and screwed.
Vampires is far less confusing, and far more ambiently pleasing. Fatboi produces the Dracula-inspired beat, complete with church bells and organs, and Gucci delivers a classic hook before going into his first verse nonchalantly. Trina follows up Gucci’s verse, and makes Twilight and True Blood references, but misses out on a perfect chance to namedrop Suki (ooh-wee?). Gucci follows up Trina’s kinda confusing verse (did she just call herself Mary Magdalene?) with his excellent second verse, which elevates this amongst some of my favorite Gucci songs. Pull up to the side in my Vampire ride; it’s a yellow Lamb, damn, steering wheel on other side
Bosses is next, and I believe it features Mylah, who co-starred with Gucci on AntiSocial. This song isn’t nearly as noteworthy, or fun as that one was. Don’t Beleeh Dat follows; and finds Gucci sounding rather bitter for once about his haters, at least on the chorus. The subject matter of the actual song is all over the place; I think Gucci just wanted to say fuck you to his detractors, and didn’t know how to address it without sounding as lame as them. So, he got the message across in the hook, and then just decided to have fun with the verses rapping about Cam’ron levels of nonsense.
The unnamed Bonus Track (which I just called To Be Loved, because that’s how Gucci starts off the chorus) samples the classic I Think I Love Her, and is honestly one of the most exciting songs on the mixtape. Gucci shouts out the Brick Squad individually, and then goes onto talk about his takeover of the rap game and how fake his peers and groupies are. Also, he includes imagery like smoking like a locomotive. <3
So, no, Jewelry Selection isn’t his best tape, and won’t turn the haters into believers. However, it’s more than good enough to hold over his fanbase until The Appeal drops on 9/28, and also features some standout cuts that I can imagine being cult favorites in the future. It’s Gucci being Gucci, and if you’re already a fan, you shouldn’t be dissapointed.
