![]() This is La Flame, the maestro, doing his best work-one of the hardest beatmakers out alongside the reliably consistent Big Sean, with a random dash of iconoclast flavor to make the recipe complete. The most urgent, titanic beat that Vinylz has made thus far is unleashed, and Travis backs up his claim. "I ain't playing with these niggas," Travis Scott roars. The 1975 saunter in, introing the song with some indiscernible muttering akin to an incantation. The harpsichord (?) swells so melodramatically you can practically see the clouds of tropical storm Quintana rolling in before your eyes. Producer: Allen Ritter, Vinylz, Travis Scott What more could you possibly ask for from a Travis Scott and Kendrick Lamar collaboration? This is the first (hopefully not the last) time these two have worked together, and the bar has been set ridiculously high. Kendrick's opening bars provide a spark and raise the intensity level, but the highlight of "Goosebumps" might just be the part you least expect: Kendrick testing the limits of his upper register in full-blown falsetto mode, singing about pussy. Over a woozy beat propped up by a sinister bass line, Travis delivers one of the best hooks of his career so far-which is saying a lot-and by the time Kendrick comes in, the song is already classic Travis. The perfect balancing point to that: Kendrick Lamar, arguably the best rappity rap ass rapper alive right now. Both Travis and Kendrick showcase their specialties on "Goosebumps," a song that Travis started in his Beverly Hills home and finished on his bus during the Saint Pablo tour. He's more about creating vibes, building dramatic soundscapes, and delivering simple but effective melodies and hooks. Travis Scott is not a "rappity rap ass n***a," and he readily admits that. Kiana FitzgeraldĪlbum: Birds In The Trap Sing McKnight (2016) ![]() Without Travis' confidence and subsequent willingness to share the spotlight, Toliver wouldn't have been able to shine in such a major way. The familiarity kicks in via the screwed-up voice of the late Fat Pat, whose words here were initially immortalized in "25 Lighters," then "Swang." (FYI, both songs are Texas anthems.) Alongside Scott's Auto-Tune'd crooning and Fat Pat's deepened voice, Toliver's vocals stand out, thin and vibrant, like an oboe letting loose in a solo. The producers of the track-London Cyr, Frank Dukes, and WondaGurl-laid a groundwork that was equal parts new and familiar for both Travis and Toliver. As expansive as the beat becomes, it never overpowers Travis nor his collaborator, fellow H-Town representer Don Toliver. That might sound dramatic, but have you ever listened to this song with your eyes closed and your imagination on 1000? By the time Travis finishes singing about smoking weed and shawties licking him clean, the rest of the production unfurls into its own universe. The opening seconds of "Can't Say" clang against one another like the churning energies of the next big bang. Producer: London Cyr, Frank Dukes, WondaGurl While his feature was eventually updated, it was still weird-but not weird enough to throw off the vibe of one of Trav's best songs to date. Unfortunately for him, the first version of "Yosemite" sounded like he was singing through a tin-can phone in 1942. "Beibs in the Trap" collaborator Nav makes an appearance, too. At two and a half minutes exactly, the song is filled with airy flutes and Western twangs, and powered by the Gunna effect: the College Park rapper starts things off with an entrancing lyrical cadence that feels like audio tug of war-reminiscent of his flow on "Sold Out Dates"-which Travis gladly picks up and carries forth during his verse. While "Sicko Mode" and "No Bystanders" garnered the initial declarations of outright fire, "Yosemite" calmly waited for its just due, which could only come from enough time spent with the overall project. ![]() "Yosemite" is the dark-horse candidate for ASTROWORLD's standout banger.
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