On “Around the World,” backed by singing children, he travels to Dubai, the UK, and Japan, but always ends up back in the ‘Crest.
NEW YO GOTTI ALBUM 2017 FULL
But this conflict does produce songs like the understated and hypnotizing “Yellow Tape,” which finds Gotti at full tilt, leveraging his sandy caw for emphasis: “I’m bumpin’ slaughter gang, 21, back when I was 21/Drive-bys, homicides, switching sides, you were done/How we in the shootout four deep and I’m the only one/With an empty drum, where I’m from that’ll get you hung.” No matter how famous Gotti gets, you can’t take the hood out of him. The more poignant moments on I Still Am, like the stamping “2908” and “Don’t Wanna Go Back,” which laments time spent as a shooter and corner boy, are sometimes offset by the more unapologetic songs like “Brown Bag” and the chest-beating “Juice.” He can’t seem to decide which stance to take: proud street pharmacist or mournful, reformed peddler of toxins. “See me bustin’ that fire, tryna protect the guys from the other side.” “Old lady in the neighborhood said I’m the devil, she a damn liar,” he raps. Most of the violence on I Still Am is a reply, in defense of comrades or his position atop the Memphis rap world. He’s sneaking his gun into church and worrying about his security. There’s apprehension in his voice as he weighs safety measures. On “One on One,” after setting the premise-“If I could talk to God like a real nigga one on one, I’d tell him”-he poses several hypothetical questions about doing the right thing, his misdeeds, and the friends he lost to prison and the cemetery.
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Even as a rich man, Gotti’s struggle continues. On occasion, a faceless “they” are out to ruin all he’s worked for: “They had their hand out but I ain’t submissive/You tryin’ to extort a nigga, I’m from Memphis.” These betrayals open the door for deeply personal “reality raps” about small-time coke trafficking, life on the other side of dealing dope, and trying to balance hometown responsibility with world-conquering aspirations. The primary perpetrator is Gotti’s ex, but at different points on the album, he feels betrayed by close confidants, colleagues, snitches, and to a certain extent, God. “Struggle” is a word that best describes most Gotti songs (sometimes as much in execution as in subject matter), but I Still Am has a more pointed focus on betrayal. There is a sense of tension in his raps, but there is rarely the activity necessary to make them gripping. He doesn’t have a particularly compelling point of view some songs move in circles. He’s either talking passed unidentified subjects, or thinking out loud about dealing, flexing, or defending his territory, or in the act of doing those things. His raps get right to the point-usually at the expense of scene-setting with very little exposition. Gotti is a competent rapper who allows his voice to do much of the work, pressing into beats with repetitive phrases and rhyme schemes, single syllable rapping, and tottering slow flows. Yo Gotti is basically a Gucci Mane understudy, and his albums play out as if he’s been forced to replace the star last minute. Inside their productions, he tackles all of the trap tropes. The album also reunites Gotti with Miami producer and “Down in the DM” architect Ben Billion$. He puts his scene on by emulating outsiders: He works mostly with Atlanta beatmakers like Mike WiLL Made-It, Southside, Zaytoven, and Drumma Boy, all of whom appear on I Still Am. But still, there is very little separating him from his peers. He buoys his more trap-angling deep cuts with surprise hits like “Down in the DM,” and his willingness to play ball has earned him national exposure and gold and platinum plaques. Gotti, who sounds unquestionably local in his language but panders more broadly to the sounds of the moment stylistically, has become the latest (and unlikeliest) flagship star in Memphis since the late Aughts. As he expands his horizons, the enduring cracks in his writing resurface.įor years in Memphis rap, the buck stopped with Three 6 Mafia and Eightball & MJG, each act a tangent of the Memphis rap club culture. This time the self-proclaimed reality rapper takes his Memphis pride global-from hometown shoutouts inside the Ridgecrest Apartments to jet-setting across Europe and Asia. The album’s unofficial sequel, I Still Am, Gotti’s ninth, finds him digging deeper into roles as struggler, hustler, and city spokesman. “I am the struggle/I am the hustle/I am the city,” he rapped on I Am’s title track.
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Gotti has emerged in recent years as the Memphis mouthpiece, a blue-collar MC channeling that same darkness.