Thursday, July 21, 2016

Gucci Mane gives up his freedom, his rights to Atlantic Records while 'Everybody Looking'

Everybody Looking by Gucci Mane
As Mr. Zone 6 himself, Gucci Mane, a.k.a. Guwop, tries to stage a post-lockup comeback with his new album Everybody Looking (the number of which in the list of his official studio LPs is hard to determine since so many of his projects skirt the line between album and mixtape), the kooky, high-rolling, trapped out and formerly leaned out ATLien whose real name is Radric Davis let fans speculate on the ridiculous proposition that clones were made of him recently and gave them the egotistic ultimatum that would either deliver him one million total Instagram followers and the fans a leak of the new album or less than a million followers for him and consequently no leak for fans, all before the set release date of Friday July 22.

Everybody Looking (Atlantic Records/Guwop Enterprises) is straight Gucci as we all know and love him with his signature vocal delivery and style over firm yet hazy beats by Mike Will Made-It and Zaytoven and good enough guest turns by Drake, Kanye West and Young Thug… but although Gucci’s lyrics do service some purposeful topics here and there, he is still for the most part as superficial, dirty, trippy and gangsta as at any time in his past despite his confession that he’s now off syrup drank (or lean), a definite plus for him but a minor part of the album.

Of his more worthwhile content, “Richest Nigga in the Room” has Gucci rapping about his history (ok), in terms of and in the context of money and things largely, but towards the end of the song, it turns into a watery soup of hustling, trapping and a transfixion on money-raking. In “All My Children,” Gucci makes a point about the substantial influence he’s had on the game. Those are pretty much the only two respectable songs on the album, as far as subject matter is concerned. To give you an idea of how shallow it gets at its worst, Gucci claims in "Gucci Please" that one of his major draws as an artist is his alluring sexual attractiveness, and in "At Least a M," he only networks with people of high financial status similar to his.

Gucci Mane still has his old prominent presence of yore over the slowed nasty gutta productions by Mike and Zay with help from Drumma Boy and Southside on two tracks. Gucci might be lean-free but the beats definitely aren’t. Everybody Looking will satisfy the most smitten Gucci-lovers but like in the case of other uninspired return attempts, this one won’t quickly garner for Gucci any more fans that are diehard hip-hop heads at heart. The very casually jamming beats are the album’s best attribute one hundred percent, and the recorded vocals including of course Gucci’s cool basic Southern wordplay are neat, never sloppy, but (and this is a big "but") the main man Gucci’s reversion to his former trap personality and self is mentally lazy and evolutionarily stymieing. He so quickly hopped on board with Atlanta for this LP that he never thought about the longterm benefits of doing it independently with profound messages. Gucci Mane has come back from the pen, but who knows if he’ll properly come back from this.

2 out of 5 stars

No comments:

Post a Comment