Thursday, October 12th, 2017

Gucci Mane ft. Migos – I Get the Bag

Our first time revisiting him on the left side of the ft. since 2010


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Julian Axelrod: Gucci served three years in prison. Offset served eight months. And even before prison time put them on hold, the careers of Migos and Gucci Mane were riddled with drug abuse, label neglect and all sorts of legal trouble. Which made their return all the more triumphant: a genuinely heartwarming story of four underdogs going through hell and coming out on top. So why does everyone involved with “I Get the Bag” sound so bored? Everything about this just sounds exhausted, not from years of struggle but from a marathon year of guest spots. (I wouldn’t be surprised if this was just a stitched-together collage of rejected verses for Selena or Katy.) For all their talk of wealth and decadence, Gucci and Takeoff’s bars mostly recall the mutterings of an old billionaire as he shuffles around his empty mansion. Even the beat sounds expensive and boring, like the Metro Boomin equivalent of a $500 white T-shirt. Gucci Mane and Migos have had their ups and downs, but at least they used to sound like they cared.
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Ashley John: In the impressive flood music of to come from Migos and Gucci in the past few years, “I Get the Bag” does nothing different, but nothing wrong either. The song could easily be the product of an algorithm trained on the two’s past releases, with a heavy bias on Quavo’s recent hooks.
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Alfred Soto: It’s disappointing to hear Gucci reprise the cadences from his guest appearance on Migos’ “Slippery,” and it’s also disappointing that “I Get the Bag” sounds like nothing more than two parts sutured together: mildly entertaining drug fiction and an unevenly cadenced triumphal march.
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Jibril Yassin: Needs more Offset to give this upgraded “Slippery” some more heft, but that’s why we have Gucci, who seems closer and closer to his pre-prison rap form with each new verse, his laconic delivery giving way to something more refined and rapid. Meanwhile, Metro Boomin seems permanently stuck in gloom and doom mode; his 808s, punctuated by dashes of minor-key synths, recall his recent collabs with Gucci in all its menacing glory with each steady pulse. 
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Ramzi Awn: Gucci’s groove is undeniable to the point of perfection, but Migos can’t quite keep up. Where he dribbles the beat, Gucci’s narrative is crystal clear from the start. If Migos had stripped it down a bit and put Mariah on the verse, this single would have the softness it needs to highlight Gucci Mane’s ability. 
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Andy Hutchins: The post-incarceration hypercompetence of Gucci continues, as he out-Takeoffs Takeoff — but it takes so long to get there that this feels like the nouns on either side of the ft. should be flipped. Quavo may have devised and recorded the hook in the same hour he did the hook for “Slippery,” given the trace job he does on the second half of his hook there for the second half of his hook. Points awarded for Takeoff somehow rhyming fender, Kris Jenner, “game of temple” — 2017’s best and least explicable reference to a long-forgotten app — and Jimmy Kimmel over several bars. Points deducted for Southside’s barely-there beat, Gucci bragging about masturbating for no reason other than because “masturbate” and “fascinate rhyme,” and the irony of Offset being left off a song far, far less vital than “Bad and Boujee.”
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