Trap Tuesday: Waka Flocka

The name itself speaks volumes of nothing, like a lot of his music.  But just like the music, the name is strangely enjoyable.  There's something of a visceral connection to the music that Waka Flocka creates.  There is nothing deeply interesting about it, but it is able to incite an energy something along the lines of heavy metal, and I think the two are quite similar.  Although more attention is still paid to lyrics than in most heavy metal songs.  A member of Gucci Mane's 1017 Brick Squad, Flocka takes cues from Radric Davis in content but has established a very different style.



As his name has become more prominent, owing recently to the video for "O Let's do it," many have begun to question the merits of the music he makes.  I think it is a valid conversation to have.  I value the musical output of a number of Atlanta-based artists far more and would much prefer to see artists like Pill break into the mainstream market first.  However, I do appreciate some of his music and certainly feel that it has a place in this genre.  I'd also like to point out that Waka Flocka is one of the few to bring a unique sound to rap in recent years.  The fact that his music sounds quite different is part of what seems to be gaining him both so many supporters and detractors.  Mark me as a fan of some of his songs, but I can't align myself with either camp yet.  However, I would argue that his music has value.

Watch the video for "O Let's do it," and it is easy to see that the music is created in the context of getting an audience hyped.  It's hard not to feel the energy in the song, and even harder to sit still when listening to it.  The song, like a lot of Flocka's material, combines elements of crunk, snap, and trap music, synthesizing some of the popular elements of Atlanta's music culture.  The fact that it is so rooted in this culture makes it a far more organic and authentic expression of populism than the carefully manufactured fun of LMFAO's shit-tastic "Shots." It's meant for a party atmosphere, but I would argue that its unique sound makes it transcend that designation.  However, the simple fact that it is party music will make some question its worth.  Critics making this argument seem to have forgotten the importance that similarly themed songs had on the development of rock and roll.  "The Twist" for example, is completely asinine but Rolling Stone named it one of the 500 greatest songs of all time.  While it is repetitive and simple, it had an undeniable energy and played an important role in the development of rock.  One can also look to some of The Beatles' early material, with songs like "Twist and Shout" serving a similar purpose.  The point is not to say these songs are the same; Chubby Checker and The Beatles had a lasting impact, while I find it unlikely that Waka Flocka will.  It is important, though, to point out the similarities when arguing about a song's "worth."  Those early 1960's dance tunes were an expression of a changing youth culture that defined America in the following decades.  "O Let's do it" is a similar expression of a shifting southern hip hop culture.

The Refill Readdressed

As promised, I'm back with my impressions of Pill's 4075: The Refill mixtape that dropped on Tuesday.  All in all, it's a far more cohesive effort than The Prescription and has more dimension as well.  While the first half of the mixtape is better, the second half is an attempt to show Pill's versatility with "Super Cool" coming off as a song that could gain traction in the radio market if given the proper promotion.  The first half is certainly more "street" but the entirety of the mixtape is very good.

Pill was catapulted to national attention (at least national press attention) by the video for "Trap Goin Ham" off his last mixtape.  Because of the success of the particular song, it's hard not to look at his new work in light of it.  In fact, Pill and his promoters seem very conscious of this as well, with occasional references and the re-inclusion of "Trap Goin Ham" as the fourth song on the mixtape for those who don't yet have the MP3 version.  With that being sad, I think choosing "Glass" as the single for The Refill was intelligent.  "Trap Goin Ham" was a high energy, unashamed drug dealing anthem.  What made goldern era Southern rappers--from whom Pill takes his cue--so appealing, was their ability to step back and portray the other side of the grind.  For every "Pocket Full of Stones" that UGK released, there was a "Diamonds and Wood."  "Glass" is Pill's "Diamonds and Wood."  It's not as instantly appealing as "Trap Goin Ham," and it won't get him the same attention, but it is a better song from my perspective.  The Refill is full of great songs in a similar vein, like the contemplative, but humorous "Dropped a Mick on Me."

Overall the listener is shown a more vulnerable Pill, which will resonate with a lot of listeners.  The caricatures created by a lot of Atlanta's trap rappers are enjoyable, but the humanness of Pill is just as valid and sometimes easier to relate to if not as consistently fun.  He also establishes himself as a very talented rapper both technically and linguistically.  I'm unsure how far Pill will be able to go, and whether he can manage to break out of his core listenership of Atlantans and dedicated rap fans.  Regardless, he has my support and I look forward to a time when I can purchase his debut.

4075: The Refill

If you're anything like me, you've been eagerly awaiting this followup to Pill's The Prescription mixtape.  From the several leaks I've heard, this looks to be another good one from the Atlanta native and it should have iPods goin ham for a minute.  After I give it a sufficient listen, I'll offer up some ideas on it.

Download the No DJ Version

Trap Tuesday: The Appeal of Gucci Mane

If someone were to ask me (unlikely) who the most influential black man in America has been in 2009, it would come down to a toss-up between Barack Obama and Gucci Mane. I'm unsure whether this is a testament to Obama's lack of action in some areas, or to the fierce dedication of a newly paroled man out to prove something. And there's no doubt Gucci had something to prove, to himself, and to the world after his last album Back to the Traphouse was a critical and commercial failure. Ever since stepping out of prison in March, he's done nothing but slowly and steadily climb to the top of the rap world. It's been a meteoric rise to the top, faster (especially without a proper release) than anybody I have seen in recent years, and most notably he has done so by eschewing today's popular means of attention-seeking, instead sticking to the basics with a flood of features and mixtapes. It's been interesting to watch his emergence, starting from the streets and the blogs to now being a consistent fixture on hip-hop stations.

Consequently, a lot of people aren't fans. They often say they just don't “get” him, or they understand his popular appeal but don't understand why I, as a discerning rap listener enjoy his music. I didn't initially, but I became a convert after the release of the celebrated Writing on the Wall mixtape in mid-Spring. It was the song “Gorgeous” that specifically caught my attention, and I still believe it to sit among the finest he's released this year. It also became the blueprint for a number of his other noteworthy songs and propelled his notoriety forward. Writing on the wall indeed.

But where did that appeal come from? The same people who claim not to “get” Gucci Mane are the ones who offer up hypotheses: it's the beats, it's the party tunes, it's his charisma, it's some intangible that certain people are born with. Aside from his ear for production and his ability to craft good party tracks, it really isn't any of the above, and those two alone won't get you as far as Gucci has come. I tend to think attributing his success to charisma is one of the least valid arguments. The man has a potbelly, looks kinda dopey, and speaks/raps with a pretty noticeable lisp. These same people immediately discount a lyrical basis for his appeal as if ball-out subject matter and lyrical ability are mutually exclusive. I certainly don't speak for everybody, but to me the appeal is lyrics, as well as presentation and a refreshing sense of humor.

This preconception that one cannot be both lyrical and hedonistic is simply false, with material from the catalogs of Ghostface, MF DOOM, and Biggie providing good examples. Gucci Mane takes the hedonism and abandonment of reality to another level, and people thereby seem to make the assumption that it is not thinking man's music. I disagree. It may not require a significant amount of thought to deconstruct the lyrics, but it clearly took some thought from the man who wrote them. Gucci brings a level of descriptive abstraction to major label rap that I would argue hasn't been seen since Supreme Clientele. A prominent example is from the first verse in “Wonderful:”

Red bezzle on my Jacob lookin' like a sliced tomato

Fuck a hater, I blow acres of Jamaica in Decatur

I'm so extraordinary while my bracelet so canary

…

Half your budget spent on luggage, spent your mortgage on a portrait

Purple bud look like an orchid, can't afford it? Watch me torch it

If you were to just listen to the hook from that specific song, you might not be so enthralled, but it's hard to deny the cleverness and humor in the above lyrics even though nothing of profound impact is being said. If you're unfamiliar with the song, I'd recommend also listening to it in order to understand how he makes use of his Atlanta accent in the rhyme scheme. “Weird” is another song that came out around the same time and reveals a similar aesthetic. He's just having fun with words:

My car got personality, the grill be smiling honey
My rims are very charming and my leather seats are comfy
Gucci major money, shawty I get crazy cloudy
Have a baby by me probly maybe I’ll buy you an Audi
Maui Wowie, stupid cloudy, loudy got me rowdy rowdy
Chevy Caprice '73 play Master P I'm 'bout it 'bout it

If we're talking charisma as a factor contributing to his appeal, then it is as a result of the personality that shines through via the lyrics rather than a certain intangible personality like what Jay-Z claims to (and off and on does) have. What is also important to notice when listening to the above songs is his flow. Like a lot of rappers, Gucci brags about how different his flow is, but his word placement truly is unique. Even after listening to a song, it's hard to comprehend how he effortlessly crams words into a single bar when reading the lyrics.

Gucci Mane's appeal is multi-faceted, but to deny that lyricism is a part of that appeal is simple-minded. His ability to combine interesting lyrics with a unique flow, an engaging personality, and compelling production has propelled him near to the top of the rap game all in a matter of months. Both the commercial success and the quality of his upcoming album The State Vs. Radric Davis releasing on December 8^th, will determine whether or not his impact will be lasting.

Womb 2 The Tomb

Finally the video for "Womb 2 The Tomb" has been released featuring my two favorite new artists, Pill and Freddie Gibbs.  Last week I posted "The Dash" without realizing that it was a prelude to the release of this video.  I don't know how it got by me, but now the link is pretty damn clear.  I recommend watching "The Dash" first in order to get the full experience, as Pill and Freddie Gibbs definitely went for a more cinematic route.  We'll see these two talented artists collaborate more in the future, and I'm not alone in hoping for a full album from the pair.

Trap Tuesday

"Trap or Die II" is the newest Young Jeezy track to leak from his upcoming album.  The song is produced by usual Gucci producer, Zaytoven, which is notable given the "problems" Gucci Mane and Jeezy have had in the past.  Whatever the intent, the track is great and Jeezy's rasp definitely benefits from Zaytoven's twinkling synths.

"We Outside" by Pill Ft. Alley Boy is clearly designed to serve as a sequel to "Trap Goin' Ham," with a similar chorus, content, and production.  This is another good track from his upcoming 4075: The Refill, which was delayed from a release earlier this month.

Trap Tuesday has a nice ring to it.  I just might have to make this a weekly column.

BRRRRR!!!

Three Gucci Mane tapes in one night.  Is this overkill?  Certainly, but it's the kind of overkill that I can appreciate.  I think Gucci's got a chip on his shoulder after "only" being ranked the 6th hottest rapper by MTV, and he's out to take the industry by storm.  I downloaded this Cold War series Saturday night and haven't found time to listen to all of the material yet, but what I have listened to is high quality.  I really applaud the idea, plus the titles and covers can't be beat.

Download Guccimerica

 

 Download Brrrussia

 

Download Great Brrritain

Shine Blockas

I saw a video several months back that showed Gucci in the studio with Big Boi working on a track for Sir Luscious Leftfoot.  I always wondered what came of that, seeing as there were no details beyond the short clip.  The answer is "Shine Blockas," an exquisite track from the upcoming album featuring a good Gucci verse, and a powerful backing provided by a Harold Melvin sample.  Big Boi claims the album is coming within the next two quarters, but it's hard to take seriously after so many delays.  However, it looks like he really is pushing for it now, with two leaks in the last two weeks.  Big Boi might be feeling out the reaction and looking for a single to catch on.

The Burrrprint

Gucci Mane and DJ Drama have teamed up again for a heavy new mixtape.  It's no secret that I've got a lot of love for Gucci Mane, even though his last mixtape outing went a little too pop.  Here, Gucci looks to be back in form with certain names noticeably, and thankfully absent from the guest list.  Let's get back to the slang and bang, and fruity chains.

Tracklist:

01. Intro
02. Dope Boys
03. Frowney Face
04. Watch Cost A Bently (Feat. Bun B & Rocko)
05. Think I Want Her
06. “Yelp” I Got All Of That
07. Trap Goin Crazy
08. Gucci Speaks 2
09. My Shadow
10. Gucci Speaks
11. Real As They Get (Feat. OJ Da Juiceman & Wacka Flocka Flame)
12. Excuse Me
13. More (Feat. Kandi & Sean Ceasar)
14. Gucci Speaks
15. Candy Lady
16. Candy Lady (Remix) (Feat. Brick Squad)
17. No No No
18. Foreign (Feat. Shawty Redd)
19. Flexin (Feat. Brick Squad)
20. My Chain (Feat. Brick Squad)
21. Esco - Foreign Whips (Bonus Track)

I Got This

A brand new track from Young Jeezy's upcoming album Thug Motivation 103 leaked yesterday, creating a good amount of anticipation to 2008's heralded The Recession.  The beat for "I Got This" recycles one used by Killa Cam and blog readers are already arguing over who used it better.  Regardless of your feelings on the matter, this song bumps.

The Refill

 
PILL - GLASS from zachwolfe.com/live on Vimeo.

Pill is back with a new video for the song "Glass" off of his upcoming mixtape 4175: The Refill.  In some ways, this song and video may even be a better combination than "Trap Goin' Ham."  It is somewhat less gritty, but still grounded in the hood, and the beat is somewhat next-generation. Pill is one of the best new artists out there, and with such excellent work it's becoming hard to take the slew of '90s nostalgia albums coming out lately as a necessary contribution.

Your order gets refilled October 6th.

The Prescription [No DJ Version]

Pill's 4180: The Prescription is an exceptional mixtape, featuring the buzz-inducing single, "Trap Going Ham."  The rest of the tape is mostly a mix of well-known beats adeptly handled by the Atlanta rapper.  If you missed out on the tape earlier in the year, or are looking to update your collection, I strongly recommend downloading the No DJ Version.  Pill's follow-up 4175: The Refill will be dropping soon.