Send "Gucci Mane " Ringtones to your Cell 
| Pitchfork |
 Gucci Mane has lowered expectations considerably in the past year. In addition to the rapper's recidivism issues and garish facial tattoos, his Brick Squad guest spots have been as inspiring as a game-six LeBron James performance. But by almost any standard, Writings on the Wall II is a major comeback. There are no weak tracks or unfortunate production choices, and Gucci's delivery, if not his lyrical content, retains its distinctive character. Musically, he's adapted his unique songwriting approach to a more aggro era, welcoming Brick Squad mixtape mercenaries Lex Luger and Southside to the fold.The new sonic strategy works as quick sleight of hand to distract from what could otherwise be some repetitive moments on a 70-minute rap record. It helps that the ever-versatile Drumma Boy produces the bulk of the record's back end. Drumma's highlight here, "Translation", ratchets up tension with simple, ascending piano lines, a trick the producer has used before. Few beatmakers can create a larger variance of ideas and moods with such minor modifications of a simple formula. (It may be no coincidence that Gucci's lyrical approach functions in a similar manner). His beat for 50 Cent feature "Recently" throws out the rulebook completely. A walking bass line transforms into a mind-warping rumble during the chorus, while an organ riff hits at unpredictable rhythmic angles, giving the entire song a frenetic tension. Southside takes some unexpected liberties, too, most impressively on "Major", where lightly tapped snare and exhaled background vocals create an odd sense of ominous delicacy. Fat Boy's "Camera Ready", the tape's standout, bears more similarity to recent Brick Squad tracks like producer Prince's epic "Like a Dream" than the typical Fat Boy sound ("Wasted")....full text |
| Smokingsection. |
| The “debates” I have been in regarding Gucci Mane mainly consist of me listening and the other party venting frustrations. Their claims center around how his inferiority in a studio produce reprehensible acclaim and notoriety. And truthfully, that is valid to an extent. He has his faults like any other rapper, albeit Radric’s are more evident at times. Still, I’ve never once compared him to Scarface, either member of Outkast, 8Ball & MJG, UGK or any other Southern legend. There was never a need to mainly because of my specialization in the thought process of appreciating more than one artist for more than one reason. The 1017 H.N.I.C. has been able to carve out a lane only few before and after him mastered with relative success. He’s a trapper. He’s a rapper. He’s a trapper and a rapper whose subject matter is best when not extended past sex, money, drugs, street dealings and the occasional Zaytoven/Fat Boi/Mr. Boomtown-conspired instrumentals. However, Gucci’s biggest obstacle hasn’t been critics. It hasn’t been another rapper. It’s been himself. Over the years, I have told anybody willing to listen that Radric Davis should be a bigger star than what he is. At the very least, the proprietor of a more polished catalog. Not many reasons exist as to why Gucci’s career is not being marginally framed in the same manner as, say, a Curren$y, by focusing more on the sound rather than the mainstream appeal. For as odd as it reads, “Wasted” may have been a telling detriment because of the leeway it afforded for the selection of future singles based off his massive buzz at the time by those not fully immersed in Gucci’s history. The Fat Boi-crafted anthem was the type of record those familiar with the rapper knew he could make and had been cultivating for years with relative ease. But, as seen with his last two albums, there is no middle ground for Gucci Mane, nor should there be....full text |
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