Gucci Mane - Mr. Davis Album Review

Story posted October 19, 2017 in CommRadio, Arts & Entertainment by Sam McQuillan

To say Roderick Davis has a lot going on right now would be an understatement. The ex-felon is celebrating his recent marriage to Keyshia Ka’Or and just published his first book, “The Autobiography of Gucci Mane.” So naturally, in typical Gucci Mane fashion, he decided it would be the perfect time to release his fourth studio album in five months. Mr. Davis reflects on the bridge between “Old Gucci” and “New Gucci” and the changes the veteran rapper has had to make in his career post jail. Gucci Mane is revered in the hip hop community as a legend. He’s someone everyone wants to work with and for good reason. He was instrumental in bringing Atlanta to the forefront of hip hop. With his label 1017, he helped develop and popularize the rap subgenre trap music, generally typified by its cantankerous flows and drug and crime related lyrics with beats incorporating 808 drums masked with multiple synthesizers and swift high-hats. Technology and advancements in producing programs has helped rap evolve from where it was at the point of Gucci Mane’s heyday into the most popular form of rap today. As a result, Gucci Mane has a multiplicity of artists dying to work with the trap legend.  Mr. Davis shows that the pallet of features Gucci has at his disposal allows him to explore some different types of songs. But as the album displays even more clearly, Gucci habitually struggles to deviate from his time-tested flow, which too often prevents a quality mesh between him and a featured artist.

Gucci’s prominent standing in trap doesn’t just attract the new wave of rappers. What he’s likely most benefitted from in his career after prison is the astonishing number of top notch producers who want to work with him, such is the case on Mr. Davis. The result? Production that leaves little to be desired. The album features producing from some of best in the game right now, as the heavy hitters Zaytoven, Metro Boomin, Southside, Mike WiLL Made-It, 808 mafia and several more grace the keys on Mr. Davis.

Lyricism however has never been Gucci Manes strong point. On Mr. Davis unfortunately, the effort he puts into his writing isn’t always on par with what his all star production team put forth. The result is a lengthy album that can feel bloated at times as Gucci continues to rap about his success and the new him. That’s not to say Mr. Davis didn’t deliver with some fire bars from both Guwop and his peers. “I Get The Bag,” which was released previously as a promotional single, might be some of the best stuff Gucci’s spit in his career after prison. "I don't even like to freestyle for free/I put in the key and I ride the beat/I won't even come out the house for free/I pay a ***** to drive for me/JAY-Z couldn't even co-sign for me/I do what I want, ’cause I'm signed to me,” raps Gucci alongside his precocious trap pupils Quavo and Takeoff of Migos, who add their own bite to the Mr. Davis standout track.

The 17 track album, which features almost as many guest appearances (12) as there are songs, comes across as rather bloated. Out of every album Gucci’s released since prison, Mr. Davis is the most puffed up with features, over-the-top production and frankly many tracks which should have been left on the backburner. His post prison career has suffered from a lack of progression. It was his affinity for a life of drugs and crime which made him so popular in the first place. His charismatic attitude is what made him come across as authentic and genuine to listeners. Now that he’s happily married, sober and crime-free, he’s struggled to consistently channel that same cocky flow on a consistent basis and bridge his old life to his new one. Once listeners can get past the copious layered of fluff and features on Mr. Davis they can realize this album is Gucci’s best yet in addressing this issue. The lines, “Old Gucci Mane was addicted to dranking/New Gucci Mane, I’m addicted to Franklins/No, we not the same, I’m evolving,” off of “Change” featuring Big Sean are a quality example of how Gucci’s realized what his rap has been suffering from. It’s a problem that artists who’ve been around for as long as Wop has always face: trying to evolve as a musician while also not wanting to deviate from your roots.

Mr. Davis features what is certainly Gucci Mane’s best rapping in years and while there are a superfluous number of featured artists on the album, many whom exhibit zero chemistry with Gucci, the ones that do work, work oh so well.  Another factor that should have made Atlantic Records realize many tracks shouldn’t have make the cut was his collaborations with ScHoolBoy Q and Nicki Minaj leave much to be desired. Considering the inspired approach Gucci took with Mr. Davis, incorporating reflections of his old life with the prosperities of his new one, it should be interesting to see what step the Trap God takes next, as the next step is never far away with Gucci.

Rating: 7/10

 

Sam McQuillan is a junior majoring in broadcast journalism. To contact him, email samuelrmcquillan@gmail.com