Gucci Mane Albums (20)
The The State vs. Radric Davis

'The The State vs. Radric Davis'

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Just half a year from the release of the mysteriously unauthorized catalog clearinghouse/label kiss off Murder Was the Case, Gucci Mane returns with The State vs. Radric Davis, his latest on Warner Bros.’ Asylum imprint. True to form, the bling-loving rapper brings the club-ready Dirty South rap, complete with trunk-rattling bass and trademark synths. Featuring production by Drumma Boy, Mannie Fresh, Shawty Redd, and Scott Storch, amongst others, it’s no surprise that the album is able to perfectly capture the low and slow Southern sound. Some of the best beats come by way of Bangladesh (producer on the Lil Wayne single “A Milli”), who drops some seriously roll slowing Atlanta heat on “Stupid Wild” and “Lemonade.” The all-star roster doesn’t just stop on the production side. Soulja Boy Tell ‘Em, Rick Ross, Lil Wayne, and Bun B (as well as countless others) drop in with guest verses, culminating in an album that’s so jam-packed with Dirty South royalty that it almost feels a little light on Gucci Mane. While the galaxy of guest stars has become commonplace in the rap world, it’s Gucci’s solo songs that paint a picture of what the rapper is really like, peeling back the veneer of excess to reveal an artist who has been affected by his past. On “Worst Enemy,” a song that touches on the rapper’s 2005 legal troubles, Gucci looks to stay focused on his future as he closes out the hook with “I don’t turn around no mo’, I look at what’s in front of me/I’m focused on the future ‘cause yesterday is history.” The ominous Shawty Redd-produced “Heavy” feels like the rapper is looking back and realizing he might be in over his head, with Gucci alternating verses about guns, cash, and drugs with a hook where he laments “My ego getting too big, it’s too heavy/My head getting too big, it’s too heavy,” as if he’s asking for someone to come help him carry the weight. At the end of the day, The State vs. Radric Davis delivers the full spectrum of Gucci Mane, showing both the cash and yellow diamond-loving side, as well as his more reflective (or at least more self-aware) side. What’s important is that regardless of what side we’re seeing, both of them can deliver on the down-and-dirty club jams that Atlanta is known for. ~ Gregory Heaney, All Music Guide

Murder Was the Case

'Murder Was the Case'

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When Southern rapper Gucci Mane rattles off a long list of why everything is "perfect" on the opening track, "Runnin Back (Getting Fat)," this 2009 effort looks to be the album where he sheds his skin and shakes off years of beefs and criminal charges -- up to and including murder -- while getting back to above ground business. Problem is, the callously titled Murder Was the Case is more dubious than most of the man's underground mixtapes, having been classified as a "non-official" release by Gucci himself. Even if he wasn't involved in the final track selection or the remixing of the street hit "Trap Money," fans get a handful of cuts that haven't appeared on mixtapes, and plenty of purposeful numbers that were recorded before things went sour between the Mane and the Big Cat label. Besides the vital opener there's the boastful and infectious single "Stoopid" plus the reggae-flavored "Murder for Fun," a Young Jeezy diss track previously spotted on mixtapes under the title "War." "Yella Diamonds" and the following "Get Low (Like a Lambo)" are more than worthy but many of the other tracks sound unfinished with low budget production supplied by either Zaytoven or DJ Speedy. This contractually obligated, clearing house of an album exists so Gucci could move on to his new label Warner Bros, but it saves collectors some effort by making sure his "lost years" aren't just scattered across bootlegs, unauthorized downloads, and hard to find mixtapes. ~ David Jeffries, All Music Guide

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