Sex, drugs and rock n’ roll is a cliché definition of the
world of 22-year-old Houston, Texas native Travi$ Scott AKA La Flame. The Very
G.O.O.D. Beats (G.O.O.D. Music; Kanye West)/Grand Hustle (T.I.) signee isn’t new to the Hip-Hop scene. Many underground
music junkies discovered Scott through his album which was a major hit last
summer, Owl Pharaoh. Some listeners
may compare Scott to one of his music mentors, Kanye West. But, it’s seemingly
a lazy comparison. Scott has a cult-like following similar to Mr. West, but
there’s a southern twist on his work since he’s from Texas.
His cult-like following derives from his ability to capture
the fast-paced culture within Houston. In an interview on David Rosenberg’s
radio show Scott said, “I try to morph my personality into beats”. The title of
the album ‘Days Before Rodeo’ is
described by Scott as, “I feel like my life is a rodeo… I made this album for
Houston”. Scott credits Kid Cudi and Michael Jackson as two of his musical
influences in terms of performances and musically. He also credits major southern
artists like U.G.K.’s Bun B and Pimp C as curators of Houston rap. But, what is
also important to him is keeping the authenticity of his own experiences in
Houston as a creator. In the interview Scott further expresses his well thought
out process behind the project and his production work as a presentation of how
he views his world full of open-minded people, a thorough vision and just over
the top “rock star shit”.
Scott makes it very clear in his Rosenberg interview that
Houston is a flashy world within Texas with its’ own culture. Grills, cars,
chopped n’ screwed tracks and fashion are staples in Houston. He also expresses
that his work is an attempt to “give Houston a new vibe”. Scott is mentored by
Kanye and T.I. which he believes humbles him.
What is concrete in the interview by Rosenberg is the fact
that Scott is one of the few fresh, creative minds in the fast-paced Hip-Hop industry
currently. His ability to create art is directly connected with how he expresses
himself. Scott is thorough, calculated and a fine example of what Southern
culture can birth/nurture in the 90’s and offer to Hip-Hop.
The album is full of features from some of the hottest
artists in Urban music currently like Young Thug, Rich Homie Quan, Migos and
Big Sean. The album is a segway into Rodeo, Scott’s upcoming album which will
hopefully be released later this year. The distinct production skills that
Scott possesses were clear in Owl
Pharaoh, but on Days Before Rodeo
it’s even clearer. The depth of the beats and mixture of different sounds with
the features proves his supreme spot in Hip-Hop. Lyrically Scott’s work reminds
me of Kid Cudi in a way. Long, drawn out hooks fill up and grace the tracks in
cohesion with raspy emotions. The choruses are always what stands out in the
tracks. His ability to manipulate sounds and create intrinsic, melodies with
computerization is rare. This is why his cult-like following follows time and
time again like sheep.
Days Before Rodeo: The Prayer (Produced by WondaGurl)
This intro piece to the album is a thorough piece to the
puzzle that makes up Days Before Rodeo. It has a druggy feel and it’s a smooth
track. As a whole his lyrics aren’t deep and the beat overshadows what Scott is
saying. The heavy ‘pitter patter’ sound throughout adds depth to the track.
This was a smart track to start the album with. It keeps the listener
questioning what is to come on the next set of tracks on the album. The track
is reminiscent of tracks on the artsy album 808’s and Heartbreak (Robocop). This
track is a bit dark but it epitomizes what the album will symbolize as a whole:
a ride you won’t want to get off of.
Mamacita ft. Rich Homie Quan & Young Thug (Produced by
Metro Boomin, DJ Dahi, and Travi$ Scott)
One of my favorite tracks on the album due to the harsh
sound of the beat throughout the track; the features also add creative
aesthetics to the track. The lyrics spit are exploratory and Scott alludes to
the breathtakingly beautiful women who are from Houston with bodies reminiscent
of goddesses. This track is gold due to the alluring, catchy chorus. It’s on
point from the beginning to the end. The entire aura of ‘Mamacita’ is
appealing. The familiar voices of Rich Homie Quan and Young Thug add a rough
edge to it. An edge that was essential to
the track , giving it more personality from the differing voices (perspectives).
Quintana Pt. 2 ft. T.I. (Produced By: Mike Dean &
Southside)
This is a sequel to Quintana from Owl Pharaoh. This Part 2
to the original song that attracted new listeners to Scott is fire. This track
begins strong and is full of energy throughout. Production-wise it’s clean and
on point just as Quintana was. But, this track has a bit more depth to it. The
tone switches back and forth when T.I. is featured briefly. His rhymes add
Atlanta-esque flavor. When T.I.’s lyrics are completed the producers manipulates
the beat and finishes the track strongly reminiscent of the last Quintana. The
strength in the track also lies in the superb production, it’s not choppy, it’s
well thought out and calculated perfectly.
Drugs You Should Try*
This drug infused track is dark, emo influenced and echo-ey.
Deeming it a song to listen to when you’re under the influence of something.
Yet, it is seemingly a love song written for a girl who Scott may have been in
love with. Throwing up, smoking up and visions of memories fill the lyrics
throughout. The track is emotional and allows for a contrast between Kid Cudi,
a major influence on Scott’s view of Hip Hop and the raging scene. Scott plays
with the beat and controls it perfectly in this track. It ends abruptly which
is interesting yet effective.
Don’t Play ft. Big Sean & The 1975 (Produced By: Kanye
West, Travi$ Scott & Vinylz)
This track is one of the most energetic tracks on the album.
Scott aggressively attacks the beat and raps comfortably over the loud bass he
produced. The mixture of his production and his lyrics is unique on this track.
The chorus is perfectly meshed with the beat. Big Sean shines on this track. The
production puts him and Scott on a platform on which they both performed well.
Both of their sets of bars go by quickly but with the cohesion of The 1975 at
the beginning and throughout, the track is one of my favorite tracks of the
year. The ending of the track makes me imagine hearing it in a club setting and
I can’t wait to hear it at a party through loud ass speakers. The perfection
behind this track lies in the fact that it was touched by Kanye and Scott
simultaneously, which is golden.
Skyfall ft. Young Thug (Produced By: Metro Boomin &
Travi$ Scott)
This is a dark track within the album. The aesthetic of
the track is about a conscience which is suppressing thoughts and ideals which
need to get out. The track is chopped and screwed a bit but it’s unique and
lively. Scott spits freely on the dark beat, the chorus is catchy. Drugs are
the blatant recurring factor. Young Thug adds an interesting edge to Skyfall.
His lyrics aren’t easy to catch with the first listen but as he repeats Scott’s
chorus, his voice adds to the track. I honestly think his ability to adjust and
mesh easily in a song makes him a chameleon within the trap rap game currently.
With the ending of Young Thug’s bars, the track completes itself in a mellow
manner.
Zombies (Produced By: Lex Luger)
‘We don’t want they bullshit no more’ sets the tone for the
track. Scott’s lyricism in this track is like a mesh of Kanye and Kid Cudi’s
easy manipulation of a track. Scott sounds comfortable and at ease throughout
this track. The beat is relaxed yet in the listener’s face at the same time.
When Scott talks in the middle of the track about wanting to do kick ass shit
when he was fourteen it and then directly leads into ‘pornographic, so
dramatic, cinematic’ I instantly flashed back to Kanye’s masterpiece My
Beautiful Dark Twisted Fantasy. As a whole this track is a strong, well-produced
track on the LP.
Sloppy Toppy ft. Migos & Peewee Longway (Sample: Enda Wright- Spend The Night With Me)
The blended beginning where the sample is prevalent is an
excellent mesh of the two tracks. The very beginning is a burst of energy. Upon
the first listening, listeners get that the track is about head but, as a woman
the track is a bit sexist. And yet, it makes one ponder is this how men view
head. All in all the lyrics are all over the place. Scott’s first set of bars
are energetic and enjoyable to listen to. The hook is the catchiest part of the
track. Migos all add a special flavor to the track, adding to it in their own
unique way which is interesting to listen to. Lyrically, it reaks of Southern
flavor. Peewee Longway add euphemisms to the track. All the verses contribute
to the patriarchal lens view of head, which as a whole is quite interesting to
visualize.
Basement Freestyle*
This is one of my favorite tracks on the LP. It’s full of
life and I think it would be a club banger if clubs messed with Travis Scott. The
track is like a trippy journey through Scott’s mind. It is perfect in the way
it has its’ personal ups and downs which all add to the aesthetics to the
track. The hook is wild and I love that it sounds chopped. The lyrics are
simple and yet, that’s fine because the production is top tier. Name dropping
brands and Kanye is acceptable for this track due to his die hard attraction to
the brand he name drops (Merlot, Bergdorf, Jordan Deadstocks).To download the LP/free album click here.
* = Produced by Travi$ Scott
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