SuppliedThe funkadelic flavours of rap that dominated airwaves in the early 2000s, courtesy of artists like Outkast, have now mostly been replaced by trap music — a sub-genre some call the bastardization of the art of hip hop. Whereas Big Boy and Andre 3000 seamlessly melded the sounds of funk and soul, most of today’s trap rappers’ focus their sounds on pitching, heavy drums, and bass. Many look back at Outkast as an example of better times, as today’s trap fascination displays nothing more than the rise of the talentless. However, each branch of hip-hop deserves to be measured on its own merits. In fact, each has more in common than many think, with both genres growing from similar regions within the United States, and reflecting specific, detailed narratives dealing with metaphorical and real struggles for life and peace of mind.
There are two recent examples that prove both sub-genres deserve a place in modern rap. Gucci Mane’s Woptober displays trap done right, while D.R.A.M’s Big Baby D.R.A.M is a refreshing revisit to the days of funk and soul-influenced rap.
Gucci Mane
Woptober
Atlantic Records
https://guccimaneonline.com/Woptober/
Gucci Mane was legendary even before going to prison in 2014 on firearm charges. With his constant release of mixtapes, he has taken himself one step further — into the ranks of rap’s legends. Not surprisingly, after his early release from tha feds in July, Gucci offered up Everybody Looking, and keeping with his traditional momentum, followed it up a short three months later with Woptober.
Unlike previous MCs, who experienced ideological shifts after incarceration, Radric Davis (aka Gucci Mane, aka Guwop) has stayed the same. Despite kicking some old habits, his raps in Woptober remain about how “hard” he is due to his come up from the streets, and the troubles that come with having money and bitches (“A n***a liking me ain’t never paid my bills/ I’m the realest n***a living let’s get one thing clear”).
Most of the tracks feature stupendous production from common collaborators Metro Boomin and Zaytoven — “Wop” and “Bling Blaww Blurr” are standouts in this regard — whose production pairs seamlessly with Gucci’s consistent bars and smooth flow changes. Gucci is never trying too hard to make you feel the vigour and intention behind his words, whether professing about not being able to trust anyone to come through for him, or explaining how he has met the one (“I can’t break this shit off if I want to/It’s destiny/Do I love my bitch or am I in love with her body?”) With his engaging flows and energy, Gucci’s best work is hard to resist.
Apart from the boring and repetitive verses/beats behind “Dirty Lil N***a,” Woptober proves Gucci knows his strengths. There were some minor surprises along the way, like “Addicted,” on which Gucci admits to the negative side effects of his previous vices and touches on the surface of issues such as generational disenfranchisement and mental illness of those in the hood. Woptober isn’t going to change the game but actively reveals what has made Gucci a mainstay — his innate sharpness, not dependence on lean or drugs.
D.R.A.M.
Big Baby D.R.A.M.
Atlantic/ EMPIRE Recordings
https://myalbum.bigbabydram.com/
With last year’s “Cha Cha,” D.R.A.M. found a campy single that resonated with the masses. This year, he followed with another hit, “Broccoli,” where he teamed with Lil Yachty to talk about the importance of broccoli. Now, with Big Baby D.R.A.M., he sets out to prove whether or not he can do more than make hit singles.
Upon my first listen, it seems D.R.A.M. could give Drake a run for his money in terms of lyrical subject matter. He isn’t fronting about who he is and what he needs when it comes to love attention from bae (“I toss and turn, backwoods got burned/Many nights, contemplate about you.”). However, opening tracks on Big Baby strike me as tired, with whiny rap-singing about girls he wants to sleep with. For all the smoothness of the production and mastering of each track, there is an unoriginality, or perhaps laziness in how the verses have been crafted.
His collaboration with Erykah Badu features some nice smooth production with limited percussion but again, the lyrics leave much to be desired (“I just want you to make me feel good/I’ll make you feel good/Don’t want you to pressure me/I won’t pressure you”). On other of the album’s features, D.R.A.M. pleasantly surprises with how well he blends the wild and seemingly incompatible leanings of Lil Yatchy and Young Thug into his own neo-funk mindset.
This album is worth a listen if only for the consistent energy, dynamic features, and funky production.
