Review: Travis Scott’s debut album “Rodeo” Overhyped Album of the Fall
Travi$ Scott's highly anticipated debut album ‘Rodeo’ was released Friday, Sept. 4th, and one of the first things you'll notice on track list is that he has an ensemble of talented producers, singers, and rappers for his project. A majority of the collaborators are big time names, including Justin Bieber, Kanye West, Quavo, Schoolboy Q, The Weeknd, Illangelo, Chief Keef, and Swae Lee
It’s hard to find a single area in which Travis Scott excels — which, in today’s hip-hop culture, isn’t necessarily a bad thing. However, “Rodeo” takes a different direction than his previous projects, “Owl Pharaoh” and “Days Before Rodeo”
Scott raps, sings, harmonizes, and occasionally shouts over the loud polished instrumentals from Metro Boomin’, TM88, Mike Dean and other orquestrators of psychedelic trap. His versatility combined with his charged features, lead to his album working against him.
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The lead single, “Antidote” and “I Can Tell” matures into a dark sybaritic vibe. Yet on the rest of the album, his features steal the show. Justin Bieber and Young Thug steal the spotlight in the potential hit “Maria I’m Drunk.” Kanye West takes a song and charges his inner “Yeezus” on most of “Piss on Your Grave”, while Scott only has one
The song "Fast" by Luke Bryan was released in 2015 on the album Kill the Lights. This song is important to me because it was the first song that made me like country, made me realize things, and to enjoy life.
As a solo artist, he releases music since the early 1990ees and mixes funk, soul, dance and electronica music. Until today he published four albums, one collaboration with the mighty
Think of a poet. Who came to mind? Was it Shakespeare, Langston Hughes, Ralph Waldo Emerson? What about Eminem or Jay-Z? They are both poets too, but in a different way. They go by the title “rapper”, basically a synonym for poet, and Hip-Hop is their form of poetry is. Kevin Coval amusingly says that rap “dusted poetry off, took it out the closet, put Js on its feet, and told it to speak to the people, all the people,” and that hip-hop saved poetry from becoming “classical music,” meaning that rap prevented poetry from becoming an old, out-dated art form and renovated it for the next generation (20). Coval’s book, The BreakBeat Poets, says the creation of hip-hop music was by “latchkey kids in the crack era, left to their own devices to experiment wildly and make language and art new and meaningful,” and goes on to say its purpose is to, “move the crowd, relate to the crowd, and save the crowd,” and Kendrick Lamar does these things perfectly (18). Through the use of clever wordplay and rhyming skills mixed with great story telling, Kendrick is bringing rap music back to its “roots” while introducing a “style” of his own, which is why one can argue that Kendrick Lamar is the “savior” of the rap game and its listeners.
Central Idea: Travi$ Scott started producing beats at the age of 16 and tremendously ascended with his hip-hop music career.
You may know him from his Lisa Simpson haircut or his mouth full of 24-karat gold teeth; he is the 19-year-old rapper that is taking the music industry by storm. In the past, two years his music has gained national recognition and appealed to all types of fan bases. He is a force not to be reckoned with and his name is Kodak Black. He is the self-proclaimed “Project-Baby” from South Florida that is giving rapper a run for their money. Jon Caramanica, from the New York Times, described Black as “an unlikely savior for a hip-hop industry that has lately been preoccupied with melodic-minded Drake clones. Instead, he’s an old-fashioned literalist and represents the perennial power of grit even in a time that’s squeaky clean.” Kodak Black is an
The hip-hop genre has set standards and norms for rap throughout its development. Eminem’s “The Way I Am” and Vanilla Ice’s “Ice Ice Baby” are examples of well-known rap songs written by authentic rappers. These songs conform to the conventions set for rap with their structure and literary devices and deviate from the conventions with their approach toward establishing their credibility in an original and effective manner.
Working alongside one of the best producers in the industry has helped the rapper-singer hone her skills as an artist. "Working with Timbaland, he gives me insight, he throws me different ways to approach the beat and those extra tips go a long way," the rapper told MTV News. She continued,"I know that he's worked with some of the greats, so it's just motivation. I feel inspired when we're in the booth together." Tink stated she was really nervous when she flew to Los Angeles to meet the super producer for the first time because she thought he would have an enormous ego. "I was nervous as hell. I'm thinking about everything Timbaland has done, and who he has worked with. I thought he was gonna be Hollywood," Tink revealed to MTV. The rapper added,"I didn't know if he would like what I had on, if he was gonna think I was
Our group chose the man known by many in the hip-hop world as Mos Def. He is known for being a superb lyricist, poet, and actor. We are doing two of his works named “Hip-Hop” from off his album Black on Both Sides and a poem he wrote regards to the Barclays Center named “On center.stadium.status”. Before I talk about these two works of art, let me give a brief background on Mos Def.
Rya says he chose it as the single because "I loved the beat from YDNA, and I thought it was the catchiest and most diverse." NikkoNostalgia does a great job opening with a more chill flow, and then Elijah Heaps comes in to drop a killer final verse to finish the track off. Up to this point in the project, Rya has exceeded my expectations both musically and lyrically, but I find the low part of the project to be in the next two songs. It's not that I hate these tracks, I just think that they pale in comparison to others. "Revenue" is a more upbeat track about getting money while "Late Night Shifts" is about Rya putting in the hours to keep making his dreams and Genuine's dreams become reality. I actually really like Emeka iBE's feature on "Revenue" especially considering what Nikolai told me about the feature. “Emeka just came over to my house and he literally wrote his verse in his head. He kinda just sat in a corner and thought for a while and then popped up and said “Lets go.” And then he recorded the whole thing in one take". Although "Late Night Shifts" has some personal verses in it, the hook is my least favorite on all of
In my opinion, Kendrick Lamar, an award-winning rapper and songwriter, has one of the best abilities to describe his distressed and abused lifestyle in Compton, California. He is not your original cliché artist who does not speak about anything meaningful. Kendrick, also known as K. Dot, is one of the most well known and most respected rappers in this era. Not only does he speak about his gloomy past, but he also speaks about his fortunate future. His ability to give detailed representations of his struggles and his story telling allows me to, metaphorically, enter the mind of Kendrick Lamar.
My Beautiful Dark Twisted Fantasy boasted an amazing maximalist approach that boarded on a hip hop opera symphony with lyrics that were memorable and verses that can rank as the best hip hop verses of all time. It was an album filled with legendary moments that music fans will remember for ages, and moments Kanye fan boys will yell at his concerts. This reaction by hip hop fans for My Beautiful Dark Twisted Fantasy was immediate. For Yeezus, it was different. Yeezus’ minimalistic approach threw fans and critics off due to the very left field and experimental approach he took for this album, both sonically and thematically. In spite of this, Yeezus still manages to hold up it’s quality, value, and impact in comparison to his preceding albums while becoming one of the most important hip hop albums of all time.
The album “My Moment” was released on April 7, 2017. It was produced by Dj Mustard and sonny Digital. The album consist of Hip hop music and trap music which in today’s society is what everybody listens to. The thing that stood out the most in this song is the very first song called “My Moment”. In this song he makes his own beat out of a kitchen table, snaps his fingers, and adds his own harmonies. This song was written during his incarceration. It argues for him has a sober, sincere street rapper with the potential for success. This song is the best song in my opinion on this album. It really expresses Tee ability to rap. Most artist don’t put something on their mixtapes or albums like he did. He step out of his comfort zone and made
This technique builds a sense of intensity and excitement in the listener as we approach the climax of his verse. When De La Soul would perform this song live with Gorillaz, he would act as the hype-man (someone who tries to increase the audience’s excitement with raps, exclamations, interjections, and call/response chants); the style of rapping and lyricism in this verse fits perfectly with the way De La Soul liked to perform. The syncopation in his verses and his gruffer, more sinister tone helps De La Soul to stand out from the rest of the song (which is absent of any kind of new, complex, or unexpected rhythms). His verse is littered with maniacal laughter, which reinforce his dark tone and overwhelming, disorienting style. All of these features make De La Soul stand out as the “star of the show” here, in a song that feels otherwise plain in
A producer that is known for experimenting with his music is Timbaland. Timbaland is known for working closely with artist such as Justin Timberlake, Missy Elliott and the late Aaliyah. His style of music as a producer was different and because of this he built a reputation for using non-conventional sounds within his beats. I picked the song from the Dr. Dolittle soundtrack “Are you that Somebody”. This song was composed by Timbaland and the late Stephen Garrett and performed by the late Aaliyah. Timbaland’s style incorporates a lot of bass drums, percussions and experimental sound effects.
“Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is