Radric Davis (born February 12, 1980 in Birmingham, Alabama), better known … Read Full Bio ↴Radric Davis (born February 12, 1980 in Birmingham, Alabama), better known by his stage name Gucci Mane, is an American rapper and CEO of 1017 Brick Squad Records. In 2005 he released his independent debut album, Trap House, which featured the successful single "Icy" that he recorded with Young Jeezy. He has since released a further three albums including 2006's Hard To Kill, 2007's Trap-A-Thon and 2007's Back To The Trap House. His sixth studio album, The State vs Radric Davis, was released in December 2009, just weeks after he was sent back to prison for 12 months for violating his probation. He was released in May 2010 and will now release his seventh studio album, The Appeal: Georgia's Most Wanted, sometime at the end of 2010.
It’s said that art mirrors life. In hip-hop’s case, there’s always been a deliberate entanglement of perception and reality. Fans demand their MCs be real…but never too real. Successful hip-hop is about the hint of the danger, the tease of it, the mystique. Hip-hop is about balance.
Gucci Mane is an artist striving for that balance, volatility versus musicality. Controversy, including a feud with former collaborator Young Jeezy, has grabbed the headlines, with insufficient regard paid to his considerable mic skills, raw talent, and business acumen. Gucci is looking to wrest his name from public speculation and let his own words do the talking.
“I wish everybody well who’s making money in this rap game,” the Atlanta-raised rapper says, dismissing the controversy that followed him in the past. “My own rap game is going so good, I’ve got so many things on my plate at my label, that I don’t got time for other people’s business.” With a deal with Asylum Records as the boss of his own label, So Icey Entertainment, Gucci does indeed have a full schedule with no time to dwell on the past.
“I live my life with no regrets. I just wish that a lot of things never happened, but anybody can wish,” says Gucci. Sounds like a man with his eyes on the prize. And you’d expect nothing less from an artist who ground his way to the top via the hustle of independent records. Signing to Big Cat Records in the wake of his local single “Black Tee,” he dropped his debut record, Trap House, in May 2005. The independent album moved an impressive 140,000 units, largely on the strength of the “Icy” single, featuring Jeezy. Clamor over song rights sparked dispute, and the resulting rift grew.
Controversy notwithstanding, Mane’s independence was cemented: “I was on the independent scene for about two years,” he recalls. “It’s crazy! You gotta go into your own pocket to support your craft. You need other avenues to have money coming in, to support your stuff. You might win, you might lose, and it’s a gamble out there with the independent circuit. One thing you’d better have is good music because without that, you go downhill fast in the independent game.”
Good music firmly in hand, Gucci was fast approaching stardom when more tragedy befell him. But let’s backtrack; how did the man born Radric Davis in Bessemer, Alabama, become Gucci Mane, mouthpiece for Atlanta stuntin’? Mane remembers little from his time in Alabama, just that it was rural, and that it’s changed dramatically since he left at the age of nine. “I gotta shout out Alabama though, because they holdin’ it down,” he affirms. “Every time I go there to do a show, I’m impressed with how hip-hop culture has taken root.”
Mane’s identity coalesced when he moved with his mother to Atlanta. “I lived all of my adolescent and adult life in Atlanta,” he explains. “I’m from East Atlanta Zone Six; it was hard, man, it was real rough. I grew up in the Starter jacket era: they’d take your Starter jacket, your 8Ball jacket, they’d take your hat, your shoes. It was just no holds barred on the streets, dog eat dog. If you missed the bus, you had to be crewed up or you’d get jumped. It was wild when I came up.”
It’s a bleak portrait. When asked to describe his home life more vividly, Mane offers a look into his contemplative side, a side honed as a schoolyard poet. “I was just a young dude in a single parent house most of my life. I can’t complain that much. I would guess it’s like any black child growing up in a single parent household. There are a lot of people who know how that is. I didn’t have a lot coming up; but what I did have, I appreciated. I was blessed to have a caring mother to raise me right and to help me with my business ventures; she’s been there through the whole struggle. There’s a lot that goes along with that; it made me who I am today.”
A stepfather would enter the picture during Mane’s adolescence, introducing not only a male figure, but also inspiration for Mane’s unusual moniker. “My father came in, the original Gucci Mane; that’s what people in the neighborhood called him, and that’s where I get my name from. From then on, I grew up the son of a hustler and a schoolteacher; it was the best of both worlds because I was educated twice.” Drawing inspiration from a pantheon of rappers before him –Big Daddy Kane, LL Cool J, Ice Cube, the Beastie Boys, N.W.A—Mane went on to release Trap House, a lethal brew of his signature sound: “I call my music straight Gucci: going hard and whatever beats you make you for me, if I’m feeling it, if I’m rocking with it, I’m gonna crush it. When you hear me, you hear a lot of pain, a lot of hood; you hear what’s going on in the inner city in Atlanta.”
Unfortunately, Trap House was ill timed; the month of its release, Gucci was accused of murder and jailed for two days. Eventually deemed to be acting in self-defense, and without sufficient evidence to hold him, Mane was exonerated. But the ordeal left an indelible imprint on the man. “I learned to keep better company, watch where I go, and be mindful of my surroundings at all times,” he reveals. “Watch what I say, watch what I do and how I do it, just keep myself out of the wrong crowd.”
“I always stand up man,” he continues. “I’m one of the toughest guys I know. It’ll take a lot more than that to break me down.” Undeterred, Mane was back in the studio, preparing 2006’s eerily apropos Hard To Kill. The buzz from Hard To Kill vaulted Gucci Mane from regional commodity to national treasure, and major labels responded accordingly: “There was a bidding war going on, and I liked Atlantic’s approach. They made it known that they wanted me, they felt where I was going and that I could grow with them.”
Asylum/Atlantic Records welcomed Gucci Mane in early ’07, granting him his own imprint, So Icey Entertainment. With it comes an entire stable of artists, the So Icey Boyz. As the Boyz ready for their own exposure –“I got them in training; they be in the weight room, pumping iron, doing pushups, shopping at the mall, buying ice”—Gucci is focused on his magnum opus, Back to the Trap House. “I started working on the album, and by the third song, I was like ‘This is going back to the Trap House.’ I started feeling the same way I did when I made my first album. It had the same feel to it, the same freshness. And I had the same hunger and desire I had when I first started rapping.”
“Since I went major, I want everybody to know I’m still keeping it street, keeping it hood,” Gucci maintains. “I’m trying to take it back to all my fans that I had when I first started my career. And at the same time, I’m trying to open up my new album to a new fan base. So it’s a mix for everybody coming together, like my first album was.” Gucci has always prided himself on his innate ability, and his refusal to let guest appearances dictate the tone of his records. “I just want people to know I’m a great songwriter, man,” he asserts. “I’m passionate about what I do, and it’s choreographed strategically when I do it. I bring a lot of experience, creative wordplay, and a crazy style. And my albums, I record most of the songs without writing them down; it’s a God-given gift and I just get paid for it. It come from God, it’s like wondering what makes a bird fly. He made me a poet like the great poets of the past.”
But don’t mistake Gucci’s confidence for self-absorption. The vicissitudes of his career have dictated a longer view. Lyrics aside, he’s less preoccupied with visible means and more so with acting as an emissary from his under-repped block. “I’m not the one to glorify what goes on in the hood,” he insists. “We have everything there, the whole range from violence to people getting on the bus and going to work. There’s a lot more to the hood than just drugs. It’s a bigger story, there’s a big picture. I went to school in that neighborhood, I worked there, I trapped there, I hustled there, and I got my name there. I’m proud to be from East Atlanta Zone Six, and I claim there. I hold that on my back and carry that, to be the first one from there to really rock.”
And Gucci’s professional aims have matured as well. While other rappers stress platinum plaques, Gucci hasn’t forgotten the route he took to stardom. “I made a lot of CDs on my own. People fucked with me and supported me, and just made me the man I am today. That’s my blueprint right there, and I stay mindful of it. So now, my only concern is that people feel my music; at the end of the day, I do it for people to feel it. If one person feel it, two people feel it, I feel like my job’s been done.”
Fortunately for Gucci, he should be prepared to welcome an army of new fans with Back to the Trap House. But longstanding fans shouldn’t fear; they’ll recognize “Freaky Gurl,” reprised from its previous appearance from Hard To Kill. Luda, upon hearing the joint, asked for a guest spot on the remix. Said remix now appears as the lead single on Back to the Trap House, following in Gucci’s theme of mating old and new. Over a bouncing, meandering beat from Cyber Sapp, the two cook up the requisite concoction of whips, chips, and chicks. Also look out for “Bird Flu,” the album’s number two single, laced by New-York based Supa Sonics. Elsewhere, firm guest verses from Rich Boy and Pimp C of UGK round out Gucci’s regional flavor, while Bay-area producer Zaytoven (of “Icy” renown) locks down Gucci’s West Coast appeal.
Gucci Mane has something for everyone, and with the struggles of the past in his rearview, Gucci is settled in for his ride to the top. “I’m best known for controversy but I’m trying to gain respect as a songwriter and entertainer. I plan to hit them so hard with this album; who knows what the future will bring. I’ll be banging them out till I can’t bang no more.”
It’s said that art mirrors life. In hip-hop’s case, there’s always been a deliberate entanglement of perception and reality. Fans demand their MCs be real…but never too real. Successful hip-hop is about the hint of the danger, the tease of it, the mystique. Hip-hop is about balance.
Gucci Mane is an artist striving for that balance, volatility versus musicality. Controversy, including a feud with former collaborator Young Jeezy, has grabbed the headlines, with insufficient regard paid to his considerable mic skills, raw talent, and business acumen. Gucci is looking to wrest his name from public speculation and let his own words do the talking.
“I wish everybody well who’s making money in this rap game,” the Atlanta-raised rapper says, dismissing the controversy that followed him in the past. “My own rap game is going so good, I’ve got so many things on my plate at my label, that I don’t got time for other people’s business.” With a deal with Asylum Records as the boss of his own label, So Icey Entertainment, Gucci does indeed have a full schedule with no time to dwell on the past.
“I live my life with no regrets. I just wish that a lot of things never happened, but anybody can wish,” says Gucci. Sounds like a man with his eyes on the prize. And you’d expect nothing less from an artist who ground his way to the top via the hustle of independent records. Signing to Big Cat Records in the wake of his local single “Black Tee,” he dropped his debut record, Trap House, in May 2005. The independent album moved an impressive 140,000 units, largely on the strength of the “Icy” single, featuring Jeezy. Clamor over song rights sparked dispute, and the resulting rift grew.
Controversy notwithstanding, Mane’s independence was cemented: “I was on the independent scene for about two years,” he recalls. “It’s crazy! You gotta go into your own pocket to support your craft. You need other avenues to have money coming in, to support your stuff. You might win, you might lose, and it’s a gamble out there with the independent circuit. One thing you’d better have is good music because without that, you go downhill fast in the independent game.”
Good music firmly in hand, Gucci was fast approaching stardom when more tragedy befell him. But let’s backtrack; how did the man born Radric Davis in Bessemer, Alabama, become Gucci Mane, mouthpiece for Atlanta stuntin’? Mane remembers little from his time in Alabama, just that it was rural, and that it’s changed dramatically since he left at the age of nine. “I gotta shout out Alabama though, because they holdin’ it down,” he affirms. “Every time I go there to do a show, I’m impressed with how hip-hop culture has taken root.”
Mane’s identity coalesced when he moved with his mother to Atlanta. “I lived all of my adolescent and adult life in Atlanta,” he explains. “I’m from East Atlanta Zone Six; it was hard, man, it was real rough. I grew up in the Starter jacket era: they’d take your Starter jacket, your 8Ball jacket, they’d take your hat, your shoes. It was just no holds barred on the streets, dog eat dog. If you missed the bus, you had to be crewed up or you’d get jumped. It was wild when I came up.”
It’s a bleak portrait. When asked to describe his home life more vividly, Mane offers a look into his contemplative side, a side honed as a schoolyard poet. “I was just a young dude in a single parent house most of my life. I can’t complain that much. I would guess it’s like any black child growing up in a single parent household. There are a lot of people who know how that is. I didn’t have a lot coming up; but what I did have, I appreciated. I was blessed to have a caring mother to raise me right and to help me with my business ventures; she’s been there through the whole struggle. There’s a lot that goes along with that; it made me who I am today.”
A stepfather would enter the picture during Mane’s adolescence, introducing not only a male figure, but also inspiration for Mane’s unusual moniker. “My father came in, the original Gucci Mane; that’s what people in the neighborhood called him, and that’s where I get my name from. From then on, I grew up the son of a hustler and a schoolteacher; it was the best of both worlds because I was educated twice.” Drawing inspiration from a pantheon of rappers before him –Big Daddy Kane, LL Cool J, Ice Cube, the Beastie Boys, N.W.A—Mane went on to release Trap House, a lethal brew of his signature sound: “I call my music straight Gucci: going hard and whatever beats you make you for me, if I’m feeling it, if I’m rocking with it, I’m gonna crush it. When you hear me, you hear a lot of pain, a lot of hood; you hear what’s going on in the inner city in Atlanta.”
Unfortunately, Trap House was ill timed; the month of its release, Gucci was accused of murder and jailed for two days. Eventually deemed to be acting in self-defense, and without sufficient evidence to hold him, Mane was exonerated. But the ordeal left an indelible imprint on the man. “I learned to keep better company, watch where I go, and be mindful of my surroundings at all times,” he reveals. “Watch what I say, watch what I do and how I do it, just keep myself out of the wrong crowd.”
“I always stand up man,” he continues. “I’m one of the toughest guys I know. It’ll take a lot more than that to break me down.” Undeterred, Mane was back in the studio, preparing 2006’s eerily apropos Hard To Kill. The buzz from Hard To Kill vaulted Gucci Mane from regional commodity to national treasure, and major labels responded accordingly: “There was a bidding war going on, and I liked Atlantic’s approach. They made it known that they wanted me, they felt where I was going and that I could grow with them.”
Asylum/Atlantic Records welcomed Gucci Mane in early ’07, granting him his own imprint, So Icey Entertainment. With it comes an entire stable of artists, the So Icey Boyz. As the Boyz ready for their own exposure –“I got them in training; they be in the weight room, pumping iron, doing pushups, shopping at the mall, buying ice”—Gucci is focused on his magnum opus, Back to the Trap House. “I started working on the album, and by the third song, I was like ‘This is going back to the Trap House.’ I started feeling the same way I did when I made my first album. It had the same feel to it, the same freshness. And I had the same hunger and desire I had when I first started rapping.”
“Since I went major, I want everybody to know I’m still keeping it street, keeping it hood,” Gucci maintains. “I’m trying to take it back to all my fans that I had when I first started my career. And at the same time, I’m trying to open up my new album to a new fan base. So it’s a mix for everybody coming together, like my first album was.” Gucci has always prided himself on his innate ability, and his refusal to let guest appearances dictate the tone of his records. “I just want people to know I’m a great songwriter, man,” he asserts. “I’m passionate about what I do, and it’s choreographed strategically when I do it. I bring a lot of experience, creative wordplay, and a crazy style. And my albums, I record most of the songs without writing them down; it’s a God-given gift and I just get paid for it. It come from God, it’s like wondering what makes a bird fly. He made me a poet like the great poets of the past.”
But don’t mistake Gucci’s confidence for self-absorption. The vicissitudes of his career have dictated a longer view. Lyrics aside, he’s less preoccupied with visible means and more so with acting as an emissary from his under-repped block. “I’m not the one to glorify what goes on in the hood,” he insists. “We have everything there, the whole range from violence to people getting on the bus and going to work. There’s a lot more to the hood than just drugs. It’s a bigger story, there’s a big picture. I went to school in that neighborhood, I worked there, I trapped there, I hustled there, and I got my name there. I’m proud to be from East Atlanta Zone Six, and I claim there. I hold that on my back and carry that, to be the first one from there to really rock.”
And Gucci’s professional aims have matured as well. While other rappers stress platinum plaques, Gucci hasn’t forgotten the route he took to stardom. “I made a lot of CDs on my own. People fucked with me and supported me, and just made me the man I am today. That’s my blueprint right there, and I stay mindful of it. So now, my only concern is that people feel my music; at the end of the day, I do it for people to feel it. If one person feel it, two people feel it, I feel like my job’s been done.”
Fortunately for Gucci, he should be prepared to welcome an army of new fans with Back to the Trap House. But longstanding fans shouldn’t fear; they’ll recognize “Freaky Gurl,” reprised from its previous appearance from Hard To Kill. Luda, upon hearing the joint, asked for a guest spot on the remix. Said remix now appears as the lead single on Back to the Trap House, following in Gucci’s theme of mating old and new. Over a bouncing, meandering beat from Cyber Sapp, the two cook up the requisite concoction of whips, chips, and chicks. Also look out for “Bird Flu,” the album’s number two single, laced by New-York based Supa Sonics. Elsewhere, firm guest verses from Rich Boy and Pimp C of UGK round out Gucci’s regional flavor, while Bay-area producer Zaytoven (of “Icy” renown) locks down Gucci’s West Coast appeal.
Gucci Mane has something for everyone, and with the struggles of the past in his rearview, Gucci is settled in for his ride to the top. “I’m best known for controversy but I’m trying to gain respect as a songwriter and entertainer. I plan to hit them so hard with this album; who knows what the future will bring. I’ll be banging them out till I can’t bang no more.”
First Impression
Gucci Mane Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's Guwop (Honorable)
Ha
Brr
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (uh, Miami) (wow)
He wanna fuck for keeps and I gotta fuck if he cheat (period, hol' on)
Let a nigga hit one time, now he buyin' Patek Phillippe (Patek, ice)
Rich nigga, good dick, I gave him ass to eat (ass to eat)
Gucci purse and a Patek off of pussy power, now that's pushin' P (okay, okay)
Good credit, long hair, pretty skin, pussy way better (that's pushin' P)
Cuban neck, diamonds wet, Fiji water, clit way wetter (that's wet)
Give a nigga thirty seconds, he'll swear he a go-getter
Bet I leave a nigga wasted, City Girls, pop at Coachella (period)
Ass sittin' pretty, givin' what it's supposed to
Take a jet, buy a house, bad bitch been bicoastal (whew)
Private sets, quick to the block a nigga if he ever ask me to post him (blocked)
Project bitch, if he ain't got no Wraith, then I might ghost him (on God)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (su, su, su, su, su) (wow)
She suckin' and fuckin' me, suckin' and fuckin' me
Suckin' and fuckin' me, I be the blessing
Put an arch on your back, let me teach you a lesson (woah)
Sexy and sexy, it's wet and it's sweaty
Like Tiffany Haddish, lil' baby, she ready (woo)
Don't want no spaghetti but buy you baguetties
Her last nigga broke and her last nigga petty
Hit from the back and that bitch did the gritty (smash)
Whew, bitch, did the gritty
On the passenger's side while I play with her kitty (mwah)
On eighty-five while I ride through the city (skrrt)
She took the G6, it's startin' to get wicked (woah)
Su, it's startin' to get wicked
Had to fuck with the fire I be grippin' (goddamn)
And she fuck with some niggas we don't like (who?)
I don't give a fuck, pussy be hittin' (damn)
Called Rihanna and put her in Fenty (brr)
I'm a millionaire, baby, you trippin' (go)
All this money gon' cover expenses (okay)
First impression, you get my attention (let's do it)
And she bad, she came out the trenches (she bad)
Lil' ghetto, lil' bitch independent (ooh)
Fuck a rich nigga, baby, start trendin'
Fuck a rich nigga, baby, start trendin' (yeah)
Ain't no postin' me, don't need to mention
Fucked me so good, just come get your skin chin (bitch)
Bottle for bottle, she keep on sippin' (what?)
Gargle for gargle, she go down in Guinness (ah)
Had to back out the fire for the digits
Lil' hood bitch, so I go "Don't be a Menace" (woo)
Got a ring on her tongue and her titties
She tattoo my name, I'll never forget her (ooh)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (wow)
Smokin' like a chimney, brought a lot of money with me
This a night you gon' remember, baby, how you gon' forget me? (Wow)
I gave her dick for breakfast and now she talkin' reckless (huh?)
Say I'm her baby daddy, I ain't even got her pregnant (well, damn)
I fucked her with protection, but we instantly connected (yeah)
Nothin' like them other hoes that I instantly rejected (ho)
Don't compare me to your exes, I like money more than sex
Way before I had a check (cha-ching), no, I always had a check (bling)
I'ma shoot for my respect (grrah), I'ma kill for this Patek (bah, bah)
Niggas thought they caught me lackin', dinner date with my new blick (grrah)
'Case these niggas think they slick and think I'm thinkin' with my dick (huh?)
I can't put my dick in just anything, I'm way too fuckin' rich (no)
Think the driver know we fuckin', had to leave ol' dude a tip (yeah)
I'm hittin' her from the back, he 'bout to damn near wreck my whip (yeah, yeah, yeah)
The way I'm suckin' her tits, she think I'm tryin' to get some milk (milk)
We left no evidence, she lick my kids straight off her lip (ugh)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (wow)
Ha
Brr
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (uh, Miami) (wow)
He wanna fuck for keeps and I gotta fuck if he cheat (period, hol' on)
Let a nigga hit one time, now he buyin' Patek Phillippe (Patek, ice)
Rich nigga, good dick, I gave him ass to eat (ass to eat)
Gucci purse and a Patek off of pussy power, now that's pushin' P (okay, okay)
Good credit, long hair, pretty skin, pussy way better (that's pushin' P)
Cuban neck, diamonds wet, Fiji water, clit way wetter (that's wet)
Give a nigga thirty seconds, he'll swear he a go-getter
Bet I leave a nigga wasted, City Girls, pop at Coachella (period)
Ass sittin' pretty, givin' what it's supposed to
Take a jet, buy a house, bad bitch been bicoastal (whew)
Private sets, quick to the block a nigga if he ever ask me to post him (blocked)
Project bitch, if he ain't got no Wraith, then I might ghost him (on God)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (su, su, su, su, su) (wow)
She suckin' and fuckin' me, suckin' and fuckin' me
Suckin' and fuckin' me, I be the blessing
Put an arch on your back, let me teach you a lesson (woah)
Sexy and sexy, it's wet and it's sweaty
Like Tiffany Haddish, lil' baby, she ready (woo)
Don't want no spaghetti but buy you baguetties
Her last nigga broke and her last nigga petty
Hit from the back and that bitch did the gritty (smash)
Whew, bitch, did the gritty
On the passenger's side while I play with her kitty (mwah)
On eighty-five while I ride through the city (skrrt)
She took the G6, it's startin' to get wicked (woah)
Su, it's startin' to get wicked
Had to fuck with the fire I be grippin' (goddamn)
And she fuck with some niggas we don't like (who?)
I don't give a fuck, pussy be hittin' (damn)
Called Rihanna and put her in Fenty (brr)
I'm a millionaire, baby, you trippin' (go)
All this money gon' cover expenses (okay)
First impression, you get my attention (let's do it)
And she bad, she came out the trenches (she bad)
Lil' ghetto, lil' bitch independent (ooh)
Fuck a rich nigga, baby, start trendin'
Fuck a rich nigga, baby, start trendin' (yeah)
Ain't no postin' me, don't need to mention
Fucked me so good, just come get your skin chin (bitch)
Bottle for bottle, she keep on sippin' (what?)
Gargle for gargle, she go down in Guinness (ah)
Had to back out the fire for the digits
Lil' hood bitch, so I go "Don't be a Menace" (woo)
Got a ring on her tongue and her titties
She tattoo my name, I'll never forget her (ooh)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (wow)
Smokin' like a chimney, brought a lot of money with me
This a night you gon' remember, baby, how you gon' forget me? (Wow)
I gave her dick for breakfast and now she talkin' reckless (huh?)
Say I'm her baby daddy, I ain't even got her pregnant (well, damn)
I fucked her with protection, but we instantly connected (yeah)
Nothin' like them other hoes that I instantly rejected (ho)
Don't compare me to your exes, I like money more than sex
Way before I had a check (cha-ching), no, I always had a check (bling)
I'ma shoot for my respect (grrah), I'ma kill for this Patek (bah, bah)
Niggas thought they caught me lackin', dinner date with my new blick (grrah)
'Case these niggas think they slick and think I'm thinkin' with my dick (huh?)
I can't put my dick in just anything, I'm way too fuckin' rich (no)
Think the driver know we fuckin', had to leave ol' dude a tip (yeah)
I'm hittin' her from the back, he 'bout to damn near wreck my whip (yeah, yeah, yeah)
The way I'm suckin' her tits, she think I'm tryin' to get some milk (milk)
We left no evidence, she lick my kids straight off her lip (ugh)
You never get a second chance to make a first impression (huh?)
We both know that you're sexy, I can't wait to get you naked (well, damn)
You got my dick hard as the Department of Corrections (wow)
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
You only get one chance to make the first impression (it's Gucci)
I'm all in her intestines to make sure she get the message (go, go, go)
She let me hit it once and now she comin' back for seconds (mwah)
That pussy broke the record, have you nuttin' in sixty seconds (wow)
In Gucci Mane's song "First Impression," the lyrics delve into themes of lust, power dynamics, and self-assuredness. Gucci sets the tone from the beginning by emphasizing the importance of making a strong first impression, underscoring the fleeting nature of opportunities to leave a lasting impact. The lyrics suggest a sense of urgency and desire, with Gucci expressing his attraction towards a woman and the physical effect she has on him. The imagery of his arousal being "hard as the Department of Corrections" adds a gritty and somewhat aggressive tone to his desires.
As the song progresses, Gucci Mane delves into themes of reciprocity in relationships, asserting his own worth and expectations when it comes to intimacy. He paints a picture of a dynamic where he provides pleasure and luxury in exchange for loyalty and respect. The lyrics also touch on themes of materialism and status, with references to expensive items like Patek watches and Gucci purses serving as symbols of success and desirability.
Gucci Mane's lyrics in "First Impression" also touch upon themes of empowerment and confidence, particularly in the interactions between him and his partner. There is a sense of assertiveness and control in his descriptions of sexual encounters, as he portrays himself as the dominant figure who leaves a lasting impact. The references to sexual prowess and satisfaction serve to reinforce his image as a charismatic and capable lover.
Towards the end of the song, Gucci Mane continues to assert his dominance and prowess, showcasing his wealth and influence. The lyrics suggest a sense of playfulness and spontaneity in his encounters, juxtaposed with a strong sense of self-assuredness. He also references moments of danger and thrill, adding an element of excitement and unpredictability to the narrative. Overall, "First Impression" captures Gucci Mane's confident persona and offers a glimpse into his world of luxury, desire, and power dynamics in relationships.
Line by Line Meaning
You never get a second chance to make a first impression (huh?)
The importance of creating a positive impact from the start is irreplaceable.
We both know that you're sexy, I can't wait to get you naked (well, damn)
Acknowledgement of physical attraction and desire for intimacy.
You got my dick hard as the Department of Corrections (wow)
Sexual arousal metaphorically likened to a high-security environment.
So stop with all that flexin', baby, bitch, don't miss your blessing (woah)
Encouraging someone to drop the facade and embrace the opportunity at hand.
You only get one chance to make the first impression (it's Gucci)
Emphasis on the significance of the initial interaction.
She let me hit it once and now she comin' back for seconds (mwah)
Satisfaction leading to a repeat encounter.
That pussy broke the record, have you nuttin' in sixty seconds (uh, Miami) (wow)
Highlighting the intense pleasure and excitement experienced in a short span of time.
Lyrics © Warner Chappell Music, Inc.
Written by: Radric Delantic Davic, Quavious Keyate Marshall, Caresha Brownlee
Lyrics Licensed & Provided by LyricFind
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@rockstarjt
The fact that Gucci is in his 40s still going this hard is insane bruh… he never disappoints. My fav rapper man fr. Dreams of signing with WOP 💪🏿🗣
@pyrexbubble
Yall act like 40 is ancient, of course he still going hard
@AnonyMous-kj9er
Everybody that’s signed or gets signed to him ends up in jail
@54BnMzForeva
https://youtu.be/eWpD6eXcfzI
@rebornpharaoh3617
40 how when they say he's cloned ?
@MRMAN-wb1tv
WE MADE THIS MUSIC!!! Why wouldn't people in their 40's still make or push the music they help make the most popular in the world???
@lavishliyahtv
Miamiiii slappppedddd on this oneeeee
@nelio_lima
She's trashhh what are you talkin about bro 😂
@darvin50k
Whoever’s reading this, i pray that whatever your going’s through gets better and whatever your struggling with or worrying bout is going to be fine and that everyone has a fantastic day! Amen
@gangsaretheblackkkk6291
Not right now bro
This the wrong song for this