![]() ![]() But this is Flocka’s show, simply because he can out-shout Gucci. Gucci can rap capably over plodding muck, but Flocka’s deficiencies as a rapper are exposed over the spare, whizzing trash over which Gucci sounds best. This is okay because the relationship between Flocka and Gucci is that between rectangle and square. So, Ferrari Boyz, cut in like a week and a half while getting high and playing pool in one of Gucci’s mansions, sounds more like a Waka Flocka record than anything else. Flocka is more or less as good as his production the quality of Gucci’s music varies, I think, in accord with the position of one of Jupiter’s moons. Conversely, listeners’ relationship with Gucci Mane has always been a trifle more complicated, since his genius floats in slippery pools of wordvomit that one has to wade through in order to appreciate. He’s one of the very best yellers hip-hop has ever known. ![]() ![]() It was terrific, but more importantly for the Atlanta collective, it posited Flocka as an emcee whose appeal is easy to grasp. Flocka’s towering official debut arrived fully formed-an unbroken string on heat mortared together with Lex Luger’s production aesthetic. In retrospect, it’s sort of obvious that the release of Flockaveli (2010) marked a sea-change within the 1017 Brick Squad crew. ![]()
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