Gucci Mane
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The Musical Genius Of Gucci Mane, Trap's Most Prolific Voice

Guwop is back! 

Back in 2005, Gucci Mane envisioned himself as the preeminent elder statesman of East Atlanta. “Lil’ kids wanna be like Gucci when they grow up,” he boastfully rapped on his breakout hit, "So Icy," in his congested, nonchalant flow. At the age of 14, I wasn’t sure if he was referring to the fact that he had acquired so much expensive jewelry and was living the lavish lifestyle of a baller that many aspire to. Or if he was predicting his own career trajectory, strategically laying down the foundation that would foster the industry’s obsession with mining Southern soil for stylistic cues that would later on influence the mainstream. After marinating on the latter eleven years later, the answer is crystal clear.

Growing up in Stone Mountain, Georgia, a suburb on the east side of DeKalb County, my first true taste of trap and its grandiose yet gritty lifestyle was painted through the rapper born Radric Davis' mumble-mouthed flow. Not necessarily the cult artist we know today, but on-the-cusp of greatness and to some a tough sell, the general consensus at the school lunch table and was that “Bricks,” an early Gucci mixtape gem, made more of an impact than The Blueprint, the heavily lauded album from New York's reigning rap king Jay Z. Although Gucci may hail from Birmingham, Alabama, his vivid, cinematic-like presence carried the torch for a term whose origins date back to the 90s, Atlanta-based production collective Dungeon Family, long before it was a genre.

In the years that followed since Trap House, his 2005 studio debut, Gucci has transcended the title of "rapper." Today, his name holds weight as the man, the myth, the legend, with a repertoire that has only elevated with a three-year prison sentence that didn't slow down his never-not-working mentality.

Now, with his hotly-anticipated tenth studio album Everybody Looking hitting shelves, the pressure for his musical return to reclaim his throne as the Trap God is mounting. But for Gucci, an unfailingly prolific, often controversial artist, who is dependably committed to serving his fans music no matter his circumstances, it's nothing.

In a look at his influence, we asked several artists—some that refer to him as a friend and longtime collaborator and some who have just witnessed his rise—to share their opinions on his musical genius.


"It was Gucci's melodies that had me hooked. I liked how he could be rapping about some street sh** but make it sound fun. When I did "Gucci Comin Home" that was the aim, to be rapping about some sh** that’s really going on but have that fun factor. Gucci does that in a lot of songs, like "Freaky Girl," "Lemonade," "Wasted," all those hit records that he has, they’re all fun.

People talk about Future, like I’m Future Hive all day, with the whole mixtape after mixtape, album after album, but that’s something I admired about Gucci from early on. His work ethic is like no other. Who can do videos, and do songs and mixtapes in jail? Not everybody can do that and have good music, too. He sets an example that no matter what you’re going through, don’t stop the hustle. Keep moving."


FKi 1st:
"The first Gucci Mane song I ever heard was "Lawnmower Man," and I truthfully didn’t like it. My boy kept telling me his sh** was fire, but then he dropped "Trap House" and everything was in flames. That's what made me a fan. "Trap House" was one of the hardest songs in Atlanta at the time, they would always play it on the Eastside. Gucci started all the lingo for that and everything. Of course Gucci and T.I., they were always talking about being trap stars at the time, but he was so specific on the things he was doing. He was giving you insight on something that was so close. Everybody might not think it’s deep if they’re not into that. They might not even get his lingo, but he's just so specific on the sh** that he went through and did that everybody gravitated to it.

The first time I worked with Gucci was actually with Waka [Flocka Flame]. I went to the studio to link up with Waka right after I made "Make It Rain" with Travis Porter. Gucci made that song pop. He was at the radio station and they started playing it. He was like, 'Oh what’s that?' He was actually in talks of signing Travis Porter, too, and ended up being the first person to put a verse on the remix. He showed love to the first song I ever produced. After I made "Make It Rain," I linked up with Waka in the studio and we made the song with Ludacris called "Rich & Flexin." Gucci was actually on that song, too, but he went to jail right after. That was the first time he got locked up. After that we made two other songs, one with Trouble and another with Lloyd called "Fly Sh**."

He’s a good dude and he cares about the young people and the new generation. He can find new talent. He knows new sh**. He knows what producers are hot. He doesn’t have to go get a beat by the biggest producer. He’ll just work with the youngins and still make hits on them. I really think his A&R skills and finding beats is what sets him and his music apart."


Kap G:
"I feel like Gucci started a movement, putting in so much work in the streets. He was literally dropping mixtape after mixtape, after mixtape. You could get them at the local gas station, malls, barbershops. They were everywhere. He had the streets on lock. I feel like that’s how a lot of people work in Atlanta. That’s how I work. That’s how we work. We work fast, we make good quality music, and it comes out fast. I guess we just get in the zone and we get that from Gucci.And on top of that, all the rappers my age, who were young listening to him, he was one of the people who influenced us to start rapping. Then we got bigger and bigger, and he was grabbing them and started putting them on. He didn’t just get big and just leave everybody. He was really putting on a lot of young rappers who you can say are stars today."

"The man had naked girls standing in front of the stove on his album cover and was cooking dope in the video. That was fire. That’s why I have La Flare in my name. He gave me the go ahead that I could run with it. Without Gucci Mane and Jeezy, even T.I. because he was like the first rapper to talk about the trap, without those three there wouldn’t be trap. But the sound that everybody’s familiar with, with trap, is definitely Gucci Mane. They just have to pay respect for him. Every artist that pops out of Atlanta, from Waka Flocka to French Montana to Nicki Minaj to Migos to Thug to Quan, Gucci has had his hands in there. So everybody owes him his respect. They all cut from that cloth. He’s like the best A&R in the world.

Gucci Mane don’t give no f**ks. Everything about him you see is a real n***a, a trap n***a. Gucci Mane blew up and did songs with Mariah Carey and everybody and still didn’t give no f**ks. He still the same, everything about him. That’s why people call him the trap god. That man killed somebody and got out. He’s the man.

We keep him relevant, all the artists from Atlanta that everybody likes. Everybody screaming "Free Gucci," like [Young] Thug, and he’s the hottest thing smoking out of the city. Even Future. They both came from Gucci. Honestly, I had an argument with somebody who tried to say who has more of a cultural influence: Jeezy or Gucci. I said Gucci, period. Kids don’t really care too much about Jeezy right now. They keep saying free Gucci, they rap like him, people even started rapping because of him."


Lil Bibby: 
"Gucci is really good at making songs. You know, the different flows, catchy hooks. He don’t rap just any one way; he raps a thousand different ways. I think everybody that’s rapping today got their flows off of at least one of his. I don’t even know what it was. He was just rapping about stuff that related to me and related to everybody in the streets. At one point in time when I was young, the only thing that we were playing was Gucci and Wayne. They kept dropping mixtapes after mixtapes. It probably just felt like him and Wayne going back and forth, back and forth. They was part of the streets. At one point in time, that was all we was listening to. I don’t what he was doing all at that time, but Gucci just did the right thing. He made the right moves.

Everybody loves how real Gucci is. I don’t want to say it, but you know how he makes all the diss records and keep going back and forth to jail? The streets like to see somebody that's still one of us. Jeezy, he was talking to us like he was the God back in the day. Jeezy was the God when he dropped that Thug Motivation 101. So I think the fact that Gucci stuck with it and he never crossed over or tried to cross over kept him grounded.

He just show love to everybody, man. I think Gucci is probably one of the best and a lot of people say he put everybody on from Atlanta that’s rapping right now, Migos, Young Thug. You can’t even name a rapper that Gucci hasn’t embraced and put on or was the first one to help out. I think his biggest contribution is putting other guys in the game."


Mike Zombie:
"Trap God 2 is my favorite mixtape of Gucci's, and my favorite song off it is "Shooters." I feel like, as far as like street rappers go, he is the biggest influence, especially when it comes to putting people on, finding a new sound. You take Gucci out the equation, Atlanta loses Migos, Young Thug, [iLove]Makonnen, a lot of people. He's just as big as Jermaine Dupri if you ask me out here because he's found the all new talent. Waka [Flocka Flame], Young Scooter. And that tattoo on his face is iconic. It's a trademark. When you see that, you automatically see Gucci."

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The 25 Best Latinx Albums Of 2019

As we inch closer to the end of another memorable chapter in music, the Spanish-language gap gets bigger by the day. To anyone who believed reggaeton's second coming or Latin trap was a trend were gravely mistaken as artists across the diaspora found success on the charts and in the streaming world. Artists like Bad Bunny, Rosalía and J Balvin continued to thrive off last year's releases while dropping memorable singles (and joint projects). Others like Sech broke the mold for the marriage of hip-hop and reggaeton with Panamanian pride. Legends like Mark Anthony and Ivy Queen reminded us of their magic while rising artists like Rico Nasty, DaniLeigh and Melii provided major star power and creative visuals for their tunes. Latinx music has continued to push boundaries and the same goes for our list.

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Pictured (L-R): WurlD and Sarz
Courtesy of Management

Meet Sarz and WurlD: The Nigerian Producer-Singer Powerhouse Showing Africa’s Sonic Range

There’s a slow infiltration of sultry, soulful, lo-fi music in afrobeats—and the latest from Nigerian producer Sarz and his fellow countryman and singer-songwriter, WurlD, is just a taste of how the scene is evolving. Before landing at No. 1 on Nigeria’s iTunes Albums Chart, I Love Girls With Trobul was a long time coming. Backed by Sarz’ fresh instrumentals, WurlD flexes his songwriting chops to talk about all things love and lust in this eight-track EP. The project is a cohesive narrative of the ups and downs people face when grappling with relationships.

On the origin story of how this project came to be, the duo notes that a mutual friend of theirs made the initial connection for them to explore working together. Sarz, born Osaretin Osabuohien, then sent over a few beats, with WurlD delivering with 2018’s “Trobul” in less than 24 hours. Sarz says he was so in love with the song that this collaboration needed to go beyond one track. They both describe the foundation of the EP as “seamless,” and for WurlD, this was one of the few times he made a decision to work on a project with someone without overthinking it. It just felt right.

I Love Girls With Trobul is the duo’s take on balance while pushing the culture forward. WurlD comes with his relatable, minimal lyrics (he’s also worked with the likes of BOB, Trinidad James, Mario, Walshy Fire and more during his time in Atlanta) while Sarz (a chart-topping producer who’s had Niniola and Wizkid grace his beats) delivers trendsetting instrumentals. There’s a song on I Love Girls With Trobul for everybody—for those on the continent and in the diaspora alike.

“Mad” is the newest music video to drop from the EP. A continuation of the storyline that the collaborators showed us in their previous single “Ego: Nobody Wins,” we take a look at the dysfunctional insecurities of a relationship between WurlD, born Sadiq Onifade, and his love interest (played by Bolu Aduke Kanmi). The relatability of the visual and the song will surely get you in your feelings.


VIBE: Sarz, what kind of sonic journey did you intend to take listeners through in this EP?

Sarz: I was trying to make something that suits WurlD’s sound, makes him comfortable enough to express himself, and also isn’t alien to the afrobeats space. I was also trying to push the narrative with the sound because that’s what I’m known for. I’ve always been that producer in Nigeria that doesn’t really follow trends and does stuff that other producers use as a template to make music. This is just one of those projects where it doesn’t sound like anything else in the afrobeats space right now. This time next year, you’ll hear so many songs that sound like songs off this project.

How would you describe the creative process of working with each other?

WurlD: We had to trust each other—I was very open. It was all about both of us meeting in the middle. There were times where Sarz would advise me to tweak the conversation in my lyrics. Another thing we focused on was bringing Africa along as much as possible. He’s Nigeria at its core. I learned how to create music in America, though I was born in Nigeria—so I know the culture. I lived there until I was a teenager. We understood each other and I was open to the idea; we were both determined to do whatever we needed to do to make the best project. One of our biggest challenges making this was that we were both in different places throughout the process, so the ongoing support we got from “Trobul” kept us alive. We recorded the first series of songs in L.A., the body of it in Atlanta and we then finished it in Lagos earlier this year.

Sarz: We had to go back and forth with ideas because his musical background and experiences are different than mine. There were certain songs that we had to go back and forth with to make it more relatable and right for the project.

Why is a project like I Love Girls With Trobul needed in the popular African music scene now?

Sarz: From my end, I feel like when you’re genuine with your art and speaking your truth, people will always gravitate to that—because there’s someone out there that feels the same way you feel. I don’t know who’s out there who feels the same way, but judging from the reviews and feedback we’ve been getting, there are so many people that we’re touching right now with this.

WurlD: I like the idea of collaboration. I wanted to shine a light on the importance of collaborating with producers. Living in the States for so many years, I saw this happen every day. I noticed how there are different ways to collaborate and how in general there’s not a lot of love for producers. I hope this inspires other producers to put more value in themselves.

Wurld, what inspired you to be so vulnerable with the stories you share in the EP?

WurlD: I feel like when I’m creating music is when I’m the most vulnerable. Music is communication—people go through things. I like the idea of empowering people through words where a sad song can actually lift you up. If it’s done in a happy space, you don’t feel so sad after all. I can’t really explain how I balance that but it’s a free, caring space. I care about the listener. I understand how difficult it is to empower yourself through a heartbreak. It’s being vulnerable, but it’s to be free and accept a loss. I understand the need for people to feel empowered to get up and keep going, so that makes it easy for me to tap into my vulnerability and to keep the audience lifted.

Sarz, what inspired you to conjure a sinister, dark sound with “Mad”?

Sarz: There’s nothing like that in the African space right now. That was the last record we made, and I felt like the project needed a little edge. After working on a few records, “Mad” was the standout one. We just knew this is what we’ve been looking for—it was just me trying to make a global soundtrack. I feel like anyone, anywhere in the world can relate to “Mad,” even though it’s afrobeats.

Walk me through its music video. What should viewers keep in mind while watching?

WurlD: We wanted to stay close to the conversation of the song. And “Mad” goes through different emotions with an afro-dance element. The key part in the record is how I’m dealing with my issues and I’m dealing with yours, but at the end of the day we get mad and we’ll make up. This is an everyday situation. We fight, we come together. And we wanted to highlight that in the video. With “Ego,” we were disconnected. With “Mad,” we give it a try when you break up to make up. The making up part is not easy, so there’s a lot of highlighting the highs and lows of those emotions to get past what made you mad. The dance elements highlight African culture and we wanted to keep it simple, stylish and straight to the point.

Sarz: With this project, we were really just trying to do things how we feel. And the project itself sounds like a story from the first song to the last. We wanted to try and keep that visually and interpret it as much as possible so people understand that journey with the visual.

What’s next from the project?

WurlD: I feel like this project we created is the first of its kind coming out of this region in Africa. We hope to inspire and show the rest of the world the necessity of range. Africa is not just one thing, and there’s so much more that we have to offer. We’re planning on doing more visuals because we feel strongly that these records deserve A1 narratives and visuals that push the culture forward and shines a light on African art.

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NEXT: Kemba Makes The Song Cry On His Painful Masterpiece ‘Gilda’

Kemba doesn’t look like the stereotypical rapper. He's not loaded with expensive jewelry, a large entourage, "exotic" women, and stylish clothes. The budding MC is reserved. Remember the quiet, artsy, yet cool kid in high school who didn’t put on a thick shield of toughness, but you knew he’d fight when invited to? That’s Kemba, the seemingly reticent kid moving to the beat inside of his headphones.

It’s a dreary Thursday afternoon near the end of September. Exactly six days prior to this date (Sept. 28), the Bronx native released his sobering album titled Gilda, the follow-up to 2016's Negus album. But even in the face of album release parties and the fame that comes with having a record deal, the Republic artist refuses to put on the clichéd mask of a rapper.

The regular degular kid arrives solo, and on time, at VIBE’s Times Square office. Despite his mother’s death still fresh on his mind, Kemba seems to be in great spirits. He’s generous with posing for pictures, calmly standing where the photographer asks him to. While Kemba is totally alert, his eyes hold a glare that shows he’s pondering some valuable lessons recently learned.

One listen to Gilda, named after his mother who died of a stroke, and it’s clear that the bubbling MC is adept at sorting through thoughts and unearthing lessons from deep-rooted pain.

“I’m just getting into the habit of speaking about things and not holding anything in,” Kemba says when asked about extracting lessons from discomfort. “I haven’t had a lot of revelations yet. I’m still getting accustomed to recognizing my thoughts, and feelings, sharing my thoughts, and looking at the feeling wheel, and identifying all of the things that that situation makes me feel.”

Kebma began his rap career as YC the Cynic. With Eminem being a big influence on his early rap style, Kemba’s lyrical ambition is evident on early mixtapes like 2010’s You’re Welcome and 2011’s Fall Forward, where he’s rapping over a mix of industry instrumentals and original beats. Kemba was also doing a lot of open mics around the Rotten Apple, tapping into his gift of wordplay and building his fanbase through an old-school path of impressing local crowds. His burgeoning career leveled-up after being discovered by Queens MC, Homeboy Sandman, who introduced Kemba to Hot 97 radio personality Peter Rosenberg.

But as Kemba found his footing in the underground scene and came into his own as an artist, he decided to trade in his YC the Cynic tag for a handle more befitting to the picture he wanted to paint of himself.

“I try to separate myself from constructs. I never really had pride in my name [YC the Cynic]," Kemba recalls. "I always felt detached from my real name. So I just wanted to choose something for myself.”

“I wanted it to sound youthful, like it had african roots to it, and to sound strong," he continues. “And I really just searched a bunch of names. I went through names for about a year. Like YC the Cynic, you hear it, and you can think of the type of person that would have that name. I just wanted a name that, to where I could do whatever [musically].”

Fast forward to 2019, Kemba’s departure from the battle rhymes on Gilda is his best project to date. The album moves through a series of revelations, family issues, and takes listeners on a journey of a young man trudging through hardships.

One week after the release of Gilda, Kemba sat with VIBE for a discussion about regrets, finding meaning from traumatic situations, and controlling his narrative.


VIBE: Gilda sounds like a project where you’re exposing a bunch of lessons that you recently learned. Kemba: I feel like it led to that. It started with me examining my life in a way that I haven’t before. It started with me not being able to process my mom’s death. At some point I started to write again and it was like, “Oh shit, this is how I feel.” But I didn’t know that until I wrote it. This is the only way I’m going to find out about myself, so let me just do this. Let me think about my childhood and write. And then at some point that became me examining myself, reading back what I wrote. I’m going to therapy now, and I’m figuring out different ways to understand myself. But that started from me realizing there was more to it than writing.

I sense that you have some regrets about the relationships in your family? It’s hard because a lot of the relationships in my family are so broken. There are a lot of family members that I love and talk to on a regular basis, but there are still some that I do not know if it will ever be repaired. And I realized that as you get older it becomes harder to link with people, and you look up and it’s been a year since you saw them. Just spending time gets really hard as you get older. But that’s the goal.

Do you wish you spent more time with your mom? I think my mom is like a whole different relationship. I wish I would’ve been there with my mom. And I did spend time with my mom. I wish it would’ve been more quality time. Now I know the difference between spending time and quality time. I wish I’d known more about her, her history, and her upbringing. So yes, there are regrets.

Has your family heard the album? A lot of my family has heard the album, and I’m pleasantly surprised that the acceptance has been as good as it has. I imagine that a lot of the people that it was about didn’t hear it. But everybody that I heard from said they were proud. Some cried at some point and said they love me. And that’s a good of an acceptance that I get from them. There’s this theme of controlling your narrative throughout your music too. How young were you when you realized that that’s important?

There's a lot of talk of controlling your narrative in your music. Most 23-years-old are not thinking about controlling their narrative. When did this become a thing for you? I can’t remember when I had that idea that that was important but I do know that in general that if you don’t control your narrative someone else will. There’s a laundry list of evidence, from the history to America to the history of hip-hop, where people don’t really stake claim, and they get the value to the point where the story is up for grabs. Like right now, for as long as I have lived it’s been recognized that Kool Herc is the Godfather of Hip-Hop and as the story goes on the story gets misconstrued. And other people take claim. So controlling your narrative is super important.

Are you into activism? Your album Negus gives me that feel. That’s how I came up. I came up being part of a community organization called Rebel Diaz. They showed me the way of the social activism. We lead and organize a bunch of marches. We went down to Ferguson,down to Baltimore for Freddie Gray. I was doing that a lot, but music took more and more of my time. But I would love to get back to that. Those are my brothers. I look to them for advice often.

What will Kemba’s story read like? I’ve thought about it. I don’t know the exact answer. I just know the things that I love to do. I want to be a part of making incredible art as long as I live. Making my own art, and helping people with their art. Whether that means creating music, helping other people create music, or just executive produce projects, producing, writing for people. I just want to be involved in art, and more involved in social service.

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