"Rodeo" Is GARBAGE

[Shadow King]

Check for a nikka who can't rap and get mad when he can't rap, brehs

 

[CHICAGOrilla]

y'all thought this corny ass raper man was bout to drop heat?

 

[☑︎#VoteDemocrat]

OP really wanted lyrics like that? Fam, just go listen to something else

 

[The Bookie]

OP really wanted lyrics like that? Fam, just go listen to something else

Please quote two memorable lines from his entire discography.

 

[Vonte3000]

Check for a nikka who can't rap and get mad when he can't rap, brehs

I said what I wanted and it was dope production, something like sremmlife and it couldn't even reach that level

 

[DaveyDave]

you wasted time even downloading that shyt

 

[Chef]

Yeah this was pretty . Production is Wondagurl and Metro Boom are flexing.I just wanted to hear something from him other than production but you get nothing and end up waiting for adlibs and hooks.

 

[knickscrusaderm]

shyt is fukking comedy.

Can't knock him for exploiting dumb rap fans. Be a rapper known more for your production (that you don't do) over everything else

 

[Theodoresolderbreh]

Production is great
Hooks are catchy
Verses are hot trash

He might as well just stay silent during verses

yup I agree breh got washed by future and titty boi shyt he got washed on every song that had a feature.. if that happens its honestly best to just stay silent.

 

[TELL ME YA CHEESIN FAM?]

Label still gonna make money off this

 

[Pinyapplesuckas]

Thought this was about Juve

 

[KravenMorehead™]

"i knew he sucks at rapping so i just wanted good production"

then you go on about how his verses were bad. You are dumb bro.

...

Gotta love the Coli. Lmao

...

I knew Scott couldn't rap so going in I didn't even expect much but good production, and it was still

His verses felt like filler for the hooks and he managed to get outshines by ever guest feature on that album. Even Justin beiber

Dude is from Houston but wants to be an Atlanata rapper so fukking bad. I swear this album is made up of songs Kanye couldn't put on SWISH.

The production feels dark and gives this impression something big is coming but the only thing that'll hit you is the fukkin bass

After the first listen I figured I would need to smoke a blunt to enjoy this but i widened up and heard it again sober and came to the conclusion that would be a waste of weed.

What bothers me most is Scott has ZERO personality, I thought he would tell his story how he came up and what made him wanna rap be he does not of that apart from mention college once or twice and that's mainly because it's related to partying.

I see he tried to make a banger album but the mixtape days before rodeo was better than this, I can still remember verses from when that dropped and nothing stuck out to me on this shyt. No subject matter outside of sex and drugs, even skyfall had something to somewhat say.

Travis tried To make something to smoke weed to and instead made something for us to roll weed on.

...

If you go see Travi$ Scott live, you’ll see some exciting things. You’ll see Scott whirling across the stage, his hair flying in every direction. You see him diving headlong into the crowd — not the “hold on, everyone, get ready to catch me” stagedives that some rappers do, but the sudden and convulsive Trash Talk kind. You’ll see him ripping shirts off, sweating, spraying bottles of water everywhere, keeping up a sense of perpetual motion that’s exhausting just to watch. Sometimes, you’ll see Scott, in the heat of the moment, making questionable decisions, like dikkishly banning photographers from the area, or outright insane ones, like demanding that festival audiences rush the security and dismantle the barricade. (That last one got him pulled offstage and arrested five minutes into his Lollapalooza set last month.) His live show is an impressive thing, on a purely physical level, and it accomplishes the goal of getting crowds to go bugshyt. I’ve seen it happen. He throws himself completely into the act of performing, and he gets results from doing it. That’s a good thing. But what you won’t see at a Travi$ Scott show is Travi$ Scott rapping. Like, at all. He’ll sometimes bellow along with the recordings of his own hooks, but most of the time, he’s just using his microphone to encourage the crowd to get as up as he is. Whether Scott knows it or not, he’s essentially recreating the dynamic of an Insane Clown Posse show for an audience that wouldn’t be caught dead at one. All that jumping around is fun, but it can’t cover up the reality that Scott can’t perform the act of rapping the way some of his peers can. It’s a whole lot of theatrical intensity, but with nothing much at its core. Rodeo, Scott’s debut album, works in much the same way.

On paper, Rodeo should be one of the biggest and best rap albums of the year. Scott has spent the past few years touring hard, developing an aesthetic, honing a craft. He hasn’t made an album up until now, but he’s already made mixtape-level hits; “Upper Echelon,” from his 2013 mixtape Owl Pharaoh, remains an absolute banger. He’s spent time with masters, and his name appears over and over in the credits of Kanye West’s Yeezus, as a writer and producer. Rodeo is a massive and ambitious project, a sprawling album with a central theme about trying to master your own out-of-control life the way a cowboy masters a stampeding bull at a rodeo. There are proggish touches, like the way T.I. works as the album’s George Clinton-esque narrator, dropping in on song intros and outros to lay down some gobbledygook wisdom. The album has a sound, a gothic and apocalyptic synth-rap thunder that never stops sounding big. The roster of guests includes many of the most exciting people in rap and rap-adjacent music: Kanye West, the Weeknd, Quavo, Toro Y Moi, Chief Keef, Juicy J, Swae Lee. The tracklist includes the phrase “Maria I’m Drunk [Feat. Justin Bieber & Young Thug],” and you know that you want to know what that sounds like. The goddam first single is a blown-out seven-minute rap odyssey with appearances from Future and 2 Chainz. This should all add up to something, but it never does, since Scott is such a fundamental blank that the album ends up having no center.


Scott is from Houston, and he mentions his hometown fairly often, but it’s a bit of a misnomer to call him a “Houston rapper.” There’s nothing about him that screams Houston. He has no discernible regional accent, and his beats don’t draw any more from Houston screw music or UGK-style country-rap than your average big buzz-rap album does. (A$AP Rocky, who has a lot of things in common with Scott but who comes from New York, sounds like way more of a Houston rapper than Scott himself does.) Similarly, Scott barely ever says anything specific enough to place him in any corner of the universe. He’s not talking about actual experiences, actual personal history. Instead, he’s playing around with of-the-moment imagery about getting high and having sex. The first thing he says on the album is this: “No monogamy, menage with me / Pornography surrounding me.” We get a whole lot more of that over the next 66 minutes. Everyone raps about that stuff, and its mere existence on the album is not a problem. The problem is that Scott has nothing else to say about anything. We don’t learn what turned him into the party monster he describes, and we don’t hear any sense that he wants out of this life. There’s no emotional content whatsoever. And if this was straight-up party music and Scott was dedicated to making a turn-up weekend-night soundtrack, that would be fine. Something like Rae Sremmurd’s SremmLife serves as proof that a well-executed, springy, melodic party-rap album can succeed without displaying any internal life. But Rodeo is all Auto-Tune murmuring and dark, ponderous chords. It all seems like it should mean something, and it never does.

There’s a sort of a flat grandeur to Rodeo. It sounds impressive in a car, all those bass wobbles and plangent pianos and operatic synth-churns. Scott is best when he’s braying a simple phrase over and over; it’s what turns his single “Antidote” into such a weird little earworm. But when it comes to actual rapping, Scott is a complete nonentity. There’s no personality or force or urgency in his delivery. He doesn’t have anything he’s burning to tell us, and that urgency has been there in every great rapper in history, even the ones who just wanted to tell us how rich they were or how good they were at rapping. Scott’s verses sound like they’re killing time between his hooks, and his hooks sometimes sound like they’re killing time between guest appearances.

If there’s a reason to slog through “Rodeo,” those guest appearances are it. With its soupy psych-rock samples, the Kanye West collab “Piss On Your Grave” doesn’t really fit with the rest of Rodeo, and I’ve got a sneaking suspicion that it’s only on the album because West decided that it wasn’t good enough for Swish. But the album absolutely crackles to life when West shows up yelling about all the different ways he’ll use you as a pee receptacle. There’s also an electricity when the Weeknd’s voice first appears. He sings about the same things Scott always raps about, but there’s a sense of urgent longing in his voice, and Scott never attempts anything similar. Similarly, Future, on DS2, was stuck in the same sex-and-pills K-holes, but there was a wall-eyed desperation in his delivery that’s way beyond what Scott is capable of. On “3500,” Future’s voice has all the magnetic power, while 2 Chainz has all the quotables. In his one verse, 2 Chainz offers way more goofy fun than Scott gives on the whole rest of the album. Best line: “I do shyt that you dreamed of / I was born with a mean mug / I was born with some nappy hair, drinking breast milk out a lean cup.” Or maybe: “Crib bigger than your imagination.”

Ten years ago, we got conclusive proof that you didn’t have to be a great rapper to make a great rap album. On 2005’s The Documentary, a young Compton rapper named the Game dropped a whole lot of clumsy, marble-mouthed punchlines about the entire rap-classics syllabus and allowed every single famous guest on the album to overshadow him. But he had a lot of famous guests, all operating at peak capacity, and he was using gleaming future-beats from the Dr. Dre/G-Unit braintrust. On top of that, he had a personality, a gruff neediness that made him a vaguely compelling figure. He was an identifiable human being trying to make hits and succeeding. If Scott has any real personality, we don’t hear any evidence of it on Rodeo. And if he was trying to make hits, maybe that wouldn’t matter. But he’s trying to make dense and churning space-rap, and so he’s given us a turgid soupy mess. Scott wants us to think of him as an artist, and that’s great. But the problem with being an artist is that you have to make some actual art, not some bullshyt that vaguely looks like art from a distance. And Rodeo is some bullshyt.


Status Ain’t Hood: The Stark Blankness Of Travi$ Scott’s Disappointing Rodeo - Stereogum

Plagarise official album reviews for platinum threads brehs...

 

[The_King_of_Everything]

Split a pack of the woods down
Ride with me, yeah, you wish you could now

Best song on the album. I deleted almost everything only sitting on 4 songs

That Rihanna stimulus couldn't save him.

 

[Yoda]

The album has 12 features

This dude is not a rapper

Blueprint 3 has 12 features. is jay nor a rapper aswell?

 

[010101]

he did what he was supposed to do

it sounds like an album made by a young dope fiend surrounded by talented artist

vapid vain and perfect background music to wreck yourself to

*