If you've been here before, you'll know the drill. Staring Down the Pit sees us The 405 analyse the albums that find themselves wallowing in the dregs of Any Decent Music's all-time critic score aggregator chart.

So far we've been slightly annoyed by Bloc Party, sympathetic towards JLS and downright confused by Craig David. This time, it's the turn of Atlanta-based rapper Gucci Mane and his sidekick for this project, White Girl Mob member, V-Nasty. In late 2011, the pair teamed up on Gucci's mixtape BAYTL and were savaged by critics across the board. And, to be honest, we're finding it hard to disagree with them.

  • Album: BAYTL
  • Artist: Gucci Mane, V-Nasty
  • ADM rating: 2.9/10

Let me begin by telling you something: Gucci Mane thinks you suck. He thinks you suck a lot. Why you ask? Well, Gucci thinks you suck because he's rich and cool when you're not. Quite frankly, Gucci reckons you're terrible. You don't belong in his or anybody else's circle. You don't have whip appeal, you don't have slick swag and you are most certainly not to go anywhere near White Brick Mob - the collaborative venture of Brick Squad leader Gucci Mane, and White Girl Mob member V-Nasty. Personally, I'd tell you to avoid the so-called "White Brick Mob" for reasons that differ to the ones the terrible twosome throw up all over this most abhorrent of manifestos, but we'll get to that later. For now, I'm going to convince you to steer clear the duo and their associates before they get the chance to tell you to do so. Both for your ears' safety and belief that there are good things left in this world.

White Girl Mob is perhaps most famously known for Kreayshawn and her single 'Gucci Gucci', which, as we all know, is your favourite song. 'Gucci Gucci' embraced consumer culture and insulted anyone who objected without a hint of irony or restraint. Apart from that, you'd perhaps know of the White Girl Mob through their pointless attempts at starting feuds with Soulja Boi, the accusations of racism that are constantly aimed at the group's members and the on-going dispute over who the father of V-Nasty's son is. Nope? Me neither. But for a group who pride themselves on their apparent class and wealth, they sure do involve themselves in cheap publicity stunts far too often. It's incredibly difficult to take anybody seriously when they contradict their image or message, so when that image is inflated beyond credibility you have to question whether the group's message is entirely serious or just a terribly unconvincing parody.

BAYTL opens up with 'Whip Appeal', a track that gives a chance for the simply dreadful V-Nasty to kick-off proceedings by bragging about her Jenga skills - only instead of wooden blocks, she's talking "Cars on top'a cars / I'mma call that whip appeal, bitch." Why is she simply dreadful? Well, Nasty has a rather childish, unrehearsed delivery for starters. She also conjures up some uncomfortable one-liners and unadventurous rhyming couplets that smother the track as some kind of display of quality. Not to mention that throughout this track and the entire album, Nasty takes on a role that falls so flat I'm staggered that Gucci went near her - as terrible as Gucci can be on BAYTL, his persona is at least suited to the album's general aesthetic, whether his persona is entirely believable is also yet to be discerned. V-Nasty's credibility is tossed to the wind when she decides to switch genders for some kind of sexual dominance "Pray to me, I'll be your father." It's all obnoxious, it's all very much over-the-top, it's all unnecessary.

V-Nasty isn't totally to blame, though. It would be hard for me to dislike this album so much if only one of the two prominent performers was off point; both of their names are attached to BAYTL after all. Now, Gucci Mane isn't one of my favourite rappers on the planet, but all that opinion saves me from is disappointment. Although the persona he attempts to push forward on BAYTL is more believable than Nasty's, mostly because of his previous work and how considerably less obnoxious his delivery is when compared to V-Nasty, his pen-work and effort level both leave a hell of a lot to be desired. Gucci follows the same path of sounding as though he's rapping through treacle, creating the same type of lazy rhyming schemes that show no ambition or invention and the same failed endeavours into creating cheeky, memorable one-liners. (Instead of running through them all, at the very bottom of this article I'll leave a list of hilarious one-liners from the album).

The instrumentals Gucci and Nasty are rapping over are, however, a redeeming feature that BAYTL possesses. Although the rhythmic element of each individual beat is what you'd expect to find on any generic trap-related/southern hip-hop release in the 2010's (Waka Flocka Flame, Chief Keef and producers like Mike Will Made It), Gucci snuggles within its snapping hi-hats and metallic snares effortlessly. Gucci suits trap, and trap suits him. Not only do the beats suit Gucci's style perfectly, they're also produced to a high standard on occasion - there's even a certain amount of sonic exploration with how deep the kick drums hit. But if your beats are generic and lacking in ambition on a compositional level then style over substance is the term to describe them. In fact, style over substance is the entire aesthetic of the album that I mentioned previously - it's all a front, it's all a lie.

Now, you're perhaps wondering why 'Whip Appeal' is the only track I've analysed in detail. Well, everything that I've already described during my discussion of 'Whip Appeal', White Girl Mob, Gucci Mane and the album's instrumentals could be cut and pasted and only have the nouns changed to suit each of BAYTL's tracks. If you've heard one, you've heard it all. One flat joke after another from Gucci Mane and another nasal, unprofessional verse from V-Nasty, are added to only by insignificant feature spots that blend into the background. Not to mention that the length of most of the album's tracks extend to over 4 minutes when the ideas on display (of which there are few) justify significantly less. In the end I just grew tired of hearing why Gucci and Nasty were better than I was, especially when their reasons for their heightened sense of social status centered primarily on the most exhausting and repetitive topics you'd expect to find in under-13's battle rapping.

There's also an inexcusable lack of effort on display here, but whether that lack of effort is intentional or not is honestly the most entertaining debate concerning BAYTL altogether. When that's the case, BAYTL should be filed under "Perhaps not" and left to gather dust. Its braggadocios, style over substance approach to linking character with concept scrapes the barrel's base as hard as it can. And yet, the doubt over whether BAYTL is entirely serious is probably what prevented it from reaching true viral status, despite the ridiculousness. Unless you're a fan of Gucci Mane - or, like me, silly enough to have an idea for a magazine feature that means you have to listen to it - you're not going to have spent your time looking for it. Had it been an entirely serious release for sure, you'd find it alongside something as seemingly irrelevant as Rebecca Black's 'Friday'. The embarrassingly naive sincerity that 'Friday' displayed made it the viral classic we know it as today - while BAYTL is performed by two people who should, and do, know better.

Although it is difficult to take BAYTL seriously, in terms of placement on our own personally amended version of ADM's chart, it's going to be kept off the bottom by the still cynical, still-making-my-blood-boil-slightly Intimacy Remixed, which is spending another edition rooted to the foot of the chart as the weight it has to hold increases. Bloc Party will have to do their weights for another few weeks, it seems.

Some memorable one-liners:

  • "She don't like squares but she loves squares / I got them white girl twins, two pairs."
  • "At the end of the day I'm just a nigga with a sack."
  • "I took the bitch for breakfast but I gave her dick for lunch."
  • "Stacks in my attic, stacks in my carpet / Stacks in my mattress, bitch look at my apartment."
  • "Leave our haters stinking like that mo'fucker farted."
  • "Cold hearted like a mother fucking cobra / I ain't feeling stopped till I get money like Oprah."
  • "And my cars are retarded / I walk around with a Sharpie."
  • The 405's amended all-time chart:
  • JLS - JLS
  • Signed Sealed Delivered - Craig David
  • BAYTL - Gucci Mane, V-Nasty
  • Intimacy Remixed - Bloc Party