From Fashion to Live Shows, “Whole Lotta Red’s” Early Influence on Rap

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by Quintin Hollomand

When thinking about the most influential hip hop albums in history, it’s easy and deserving to acknowledge albums like 808s and Heartbreaks by Kanye, or Midnight Marauders by A Tribe Called Quest, but what is harder, is to acknowledge the more recent work that is arguably just as influential, if not more. 

It’s hard to imagine an album that has had such a forward thinking and culture shocking grip on the rap community than Whole Lotta Red by Playboi Carti. Since its release at the very end of 2020, Whole Lotta Red has proven to be one of those albums that changes the course of hip hop forever. From its early rejection by many fans and critics, to its ripple effect still almost 2 years later, Playboi Carti has implemented new approaches to hip hop aesthetics, rollouts, and live performances that have solidified him and this album as the bar for future projects. I’m going to be talking about his process of making this album, what happened in the rap community upon its release, and the amazing influence it has had on hip hop since 2020. 

Less than a year after Carti’s prior album, Die Lit released, he mentioned his new project set to come out titled, Whole Lotta Red. As Carti wrapped up his Neon tour and many festival performances, the rap community had Carti in somewhat of a spotlight. His music was already known for being subject to leaks and snippets, but what would come in the next year and a half would alter the progress of his album and change the course of what he eventually put out. 2019, 2020, and 2021 were filled with Playboi Carti leaks left and right. Songs like Bouldercrest, Skeletons, No Lie, and Molly amongst countless others flooded SoundCloud and Youtube. The infamous Pissy Pamper leak would top the Spotify charts as an unofficial release by a fan, and crowds would sing the lyrics to unreleased songs at his shows word for word. This was the WLR v1 era. These songs were all very reminiscent of Die Lit, with many of these leaks being produced by Pi’erre Bourne. At this point, this was what fans wanted and hoped Carti released, but the more songs leaked, the more apparent it became that these would never make the official project. 

Next came the WLR v2 era with more commercial sounding songs like SRT ft Lil Uzi Vert, Movie Time, and Act a Fool. These were audibly different than v1 and the Die Lit era, and we now knew Carti’s sound was changing. 

Constant snippets and song leaks held the album back to the point where Carti rethought the entire theme and aesthetic of himself and album. This is where we begin to see his semi-feminine and vamp persona come to life. With a rare social media presence and practically no up to date interviews, fans had no idea when to expect WLR other than a vague, ‘in 2020’ statement he made prior. Finally, with hints from DJ Akademiks and other outlets, fans expected the album to come on Christmas of 2020, which it did. 

The album was met with mixed feelings from his fans and the rap community. It received actual hate(not to be taken lightly) online and many vowed never to listen to it again. However, many saw this as a new direction that had never been taken before and were open to this new idea. The punk-rock inspired album was something nobody expected to come from Carti. The production was new; his lyrical delivery was new; everything was unapologetically new. It took a few weeks for it to really sink in, but the energy it brought was undeniable. 

Production came mainly from F1lthy and Art Dealer, who with along other loopmakers, curated the aggressive synths and distorted drums. A great deal of credit falls on these producers for experimenting with such gritty synths and dark yet happy chord progressions; they provided Carti the opportunity to try new things vocally. The song Stop Breathing is truly in its own subgenre of rap. The compressed/distorted 808, crunched hi hats and snares, paired with lyrics centered on Carti’s involvement in gang life, make one of the most energetic songs of all time; one that few can actually relate to, but all can mosh to. Control provides us with one of the more introspective songs in Carti’s discography. It gives us an emotional break from the aggressiveness of the album. 

A year into its release, it had still never been performed due to it being in the midst of COVID-19. However, hype around the Narcissist Tour (which became the King Vamp Tour), began to increase steadily. The constant scrapping of ideas made Playboi Carti that much more in demand, as fans couldn’t even get a good idea on his next move. The King Vamp Tour began, and with it, came countless viral internet moments that showcased just how impactful this album that was at first hated on, really was. At multiple tour dates, inspired by the album’s rager theme, fans rushed security checks and mobbed venue doors. At the Arizona stop, Carti played one song before the speakers blew out, canceling the rest of the show. It was moments like this that turned the album and live performances into more than just music, and into a right of passage for fans. The emphasis on live music is something that this new wave generation of rappers took and made their own.

The influence of Whole Lotta Red can be seen across the landscape of music. Not only did the solidified artists in the industry try their hand at rage inspired beats, but the new buzzing underground also took Whole Lotta Red ideas and made their wave a spin off of Carti and the album. Underground artists like Kankan, sgpwes, heygwapo, ssgkobe, and Yeat can trace a lot of their music ideas back to the blueprint Whole Lotta Red left. The synth leads, distorted 808s, aggressive lyrics, and emphasis on the performability of songs all come back to this album. At live performances these days, artists use the same lines Carti does to hype up crowds; I even heard The Kid Laroi yell, ‘open that sh*t up!’, which I didn’t expect but can respect. Social media has also been altered by Carti’s ideas. It’s now ‘in’ to have a mysterious and minimal Instagram presence. Blurry and poorly lit 0.5 lens photos are now in and here to stay. 

The influence that Whole Lotta Red has had on hip hop in the recent two years is undeniable. It played out to be much larger than music and has inspired an entire new generation of artists that borrow from its ideas and themes to make it their own. The drastic acceptance of this album after its initial hate by many is amazing to realize and think about. It’s still very early in the album’s life, but I feel comfortable saying that Whole Lotta Red is one of the most influential hip hop albums in history.

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Quintin Hollomand is a contributor.

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How Travis Scott Introduced the World to the Rap Rockstar with “Rodeo”

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by Miles Hagan

Before the Nike collaborations, McDonald’s deals, and hit records, Jacques Bermon Webster II was a teenager making beats out of his mother’s home in Houston.

To fully understand Travis Scott’s greatest work to date we must first examine the foundation, the days before Rodeo. After dropping out of college without telling his parents, he would move to New York then LA sleeping on couches and paying for studio time and flights with money he was getting for books and food. His parents would eventually figure out his scheme and cut him off when they popped up at his UT San Antonio dorm that he abandoned months ago. Ambition, confidence, and at this point his back being against the wall is what allowed him to create songs that would eventually get him noticed by the likes of T.I. Soon after he found himself back on a flight to New York City to work on the Cruel Summer Sessions with none other than THE college dropout himself, Kanye West.

From here Travis would go on to release his first two projects, Owl Pharaoh and Days Before Rodeo. He was named a XXL Freshman in 2013 and was recognized by most as Ye’s prodigy. His early music has a dark and muddy southern influence with a wide range of features from Migos and Meek Mill to James Fauntleroy and Bon Iver. His talents as a producer is what originally got the music community interested in him, so production is at the forefront of all of his work. Songs like “Upper Echelon”, “Mamacita”, and “Sloppy Toppy” showcase his acumen for hit making and thumping production, all while being just lyrical enough to not get him crucified by the older hip-hop community. While these are all excellent, a track like “Bad Mood Shit on You” is what was truly an example of the greatness that Travis would deliver only a year later.

What Rodeo created was the rap rockstar. SoFaygo, Lil Uzi Vert, Playboi Carti, Don Toliver as well as many others have been able to add a whole different element to their rap persona because of La Flame. This was the first time in Travis Scott’s career that both the music and the crowds were large enough for his live performances to reach their full potential. It is very fair to say we may never see concerts like this again.

Rap and Hip-Hop culture has always been about being cool. Oftentimes this doesn't mean jumping in mosh pits and walking out of concerts with your clothes dirty, but that is exactly the energy Travis brought back to the genre. Today, almost every rapper is calling for the crowd to open up the pit at their shows. Not only that but this trend has caused artists to make songs that perform better in live settings. 

For an artist as talented as Travis Scott was from an early point in his career, especially from a production standpoint, most of their improvement can be done in engineering and curation. That is exactly what this album was for Travis. The sound is still dark and dynamic, but during moments like “Antidote” that creativity and energy becomes anthemic. He is no longer the mysterious outsider but rather the rager we have become so familiar with. Travis had repeatable hooks on Rodeo, so it was much more feasible to play songs like “Nightcrawler” in clubs and parties as well as in the mosh pit. Upon the record's initial release and during its lead up, it felt as if Travis was becoming the voice of the youth. Which is exactly what he speaks about on the opening track. A key to him doing this was Kid Cudi. 

 As we know it in 2022 Travis has a signature hum on tracks that is almost more recognizable than the one he modeled his after. Back in 2015 was the first time we had heard someone successfully execute such harmonies since Cudi, and he was using a heavy auto tune. Fast Forward to modern day and the majority of young rappers rely on some sort of autotune to achieve a melodic feel to their tracks.

This is the norm. Going back and listening to Rodeo it is interesting how at that time they said Travis was relying more on his autotune than his rapping. In reality these are some of the most innovative and impressive flows and bars in his catalog. On an album filled with features there are no songs when it feels like he is the weak link, and on several occasions he has the superior performance to some household names. This versatility is what allows him to trade verses with The Weeknd on the criminally underrated “Pray 4 Love.”

Rodeo is representative of the peak of what Trap music has been. For years the likes of Future, Gucci Mane, Young Thug and others released projects that told stories of the streets of the South over aggressive base finding flow pockets that most rappers could only dream of, and then even still could never execute. This music dominated their region and every strip club, and is the reason Future claims he is bigger than Jay-Z in the streets. The problem is that that sound had not translated to major critical acclaim or chart topping success.

Days Before Rodeo is where Travis first really showed his ties to the Atlanta Trap scene with features from Young Thug, Rich Homie Quan, and Migos. The only difference is this time he brought Justin Beiber to the trenches. On top of continuing with many of those same features on his debut, he also had ATL legend T.I. narrating the project. 

What Travis Scott did with Rodeo was take the essence of the more traditional trap sound and couple that with more cinematic elements from Mike Dean and Kanye. The music then elevated to superstar levels when his performances of this era became the stuff of legend. While all Trap in 2022 doesn’t sound like Travis Scott, he showed both artists and listeners all that it could be with unlimited resources. What he did to legitimize the subgenre to critics and the causal consumer can not be overlooked.

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Miles Hagan is the co-founder of StereoVision.

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Continuation of Excellence or Lack of Innovation? “It’s Almost Dry” Review

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by Asher Ali

Pusha T’s status as one of the most preeminent figures in “cocaine rap” has been in the work since he went under the moniker of Terrar as one half of the duo Clipse. Layered over beats almost exclusively produced by none other than Pharrell Williams, Terrance Thorton and his brother Gene slang bars like they were on a street corner.  

Push then caught the eye of Kanye West, and after signing with GOOD Music label in 2010, Thorton was promoted to company president two years later, and has been guided by Ye’s production and industry insight to a fruitful solo career. Push’s “DAYTONA” in 2018 was an elaborate composition arranged by West that took Push’s sound to new heights far and above what other coke rappers were doing then.  

Now, the duality of Push’s past career has conjoined on his newest project “It’s Almost Dry,” featuring six songs produced by Pharrell and six songs produced by West. The two hip hop maestros go toe to toe bringing some of the most solid beats heard this year, but outside of a few of tracks, this album doesn’t advance Push’s sound, much less the sound of contemporary coke rap.  

Pharrell immediately kicks it back to the Clipse days with “It’s Almost Dry’s” first track “Brambleton.” A smooth kick drum driven beat comes with Push’s malfeasance bars that cover his young life in Brambleton, Virginia where his mother worked and his adverse feelings toward ex-Clipse manager Anthony Gonzalez, who aired some dirty laundry with Push in a recent interview Gonzalez did with VladTV.   

Push immediately jumps onto another, more bombastic Pharrell beat with “Let The Smokers Shine The Coupes” where Push paints himself as the “coke game’s Dr. Seuss.” 

The first Ye backed track is introduced third on the track list with “Dreamin Of The Past” which is both lifted and brought down by Kanye. The track soars thanks to a well-pulled sample from Donny Hathaway’s “Jealous Guy” that lifts Push’s fluid drug-laced bars to a euphoric plane. As Push’s final verse fades, listeners are bombarded with an unwelcome verse from West, an awkwardly mixed 30 second feature the West rounds out with an uncomfortable line about how his family is currently unsafe.

Ye once again manages to be the greatest advocate and detriment for Push on “Rock N Roll” the alleged final song with Kid Cudi and West. Once again, a beautifully assembled beat on Ye’s end comes with a heinous guest verse from him, this one sounding more like the nonsensical bars that Kanye gave on the first rendition of DONDA 2. Cudi’s hook sounds muffled and over-produced as well, while Push delivers some strong verses about his premiere status at the top of the rap and the drug-dealing game.  

At his best on this album, Pusha T is elaborating on the narrative of authenticity, or lack thereof, in a world of glamor and fame. The two singles on the project, “Neck & Wrist” and “Diet Coke” address the lengths that people will go to fabricate a glamorous drug lifestyle in order to avoid actual hardships.  

“Neck & Wrist” sees Push and feature Jay-Z spitting over a whining synth and sharp piano key beat while they boast about a lifestyle they live but others pretend to have. HOV’s cutthroat line, “y’all spend real money on fake watches shockingly,” getting to the core of the absurd lengths people will go to construct facades.  

“Diet Coke” then expands on why people aspire to have a certain kind of life but aren’t willing to assume the risks.  

It seems on the latter portion of this project that Thorton lost motivation to push any boundaries however, which is disappointing when listeners come to expect that from him and his pen constantly. Not only did Push lose interest, but it appears Pharrell did too on “Call My Bluff” which is completely dry of energy and motivation.  

“Scrape It Off” is definitely this album’s attempt at a top charting club banger, featuring Don Toliver on the hook and Lil Uzi Vert. Toliver is as reliable as ever giving an ethereal hook, but Uzi phones in his verse and Push doesn’t bring an interesting flow to spice up the track on its back end.  

The final three songs on the albums are decent in their own right, but all come off as watered-down versions of more innovative cuts Push had earlier on the album. Even the final track “I Pray For You” doesn’t do much despite a beautiful intro and a Malice feature to rekindle a Clipse cut.  

“It’s Almost Dry” comes out strong to show that Push is still among the one of the most elite in the game, but a weak back half of the project doesn’t propel him to the new heights that people wanted to see. 

Favorite tracks: 

Just So You Remember 

Neck & Wrist (feat. JAY-Z & Pharrell Williams)

Dreamin Of The Past (feat. Kanye West)

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Asher Ali is a staff writer. Follow him on Twitter.

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Expectations for The Weeknd's Halftime Performance

In today's episode Miles and Spencer talk about what they expect from Abel at halftime, their thoughts on Lil Uzi Vert's new Diamond, and the rumors floating around that Kodak got cloned. The duo also discusses new music from Freddie Gibbs, Polo G, 03 Greedo, and more!

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Our Top 50 Albums of 2020

By StereoVision Staff

2020 was rough on all fronts, but perhaps unsurprisingly, its saving grace was the new music released over the past year. Though the industry was hit hard, and most live music has been suspended indefinitely, many artists and their teams overcame this new adversity. Together they worked to release records to tide fans over in tough times, and we couldn’t be more appreciative. Our team at StereoVision listened to a lot of music this year, and lately we’ve been hard at work compiling a year-end list showcasing our favorite projects of 2020. Well this list is mostly comprised of albums and mixtapes, some EPs were so damn good we just couldn’t leave them off (See God Bless the Child). Projects released between December 13th, 2019 and December 11th, 2020 were eligible for selection meaning that well some bold claims were certainly made about Playboi Carti’s Whole Lotta Red in the StereoVision group chat, it was not considered for this list. Without further ado, please enjoy StereoVision’s top 50 albums of 2020:

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50. Father: Come Outside We Not Gone Jump You

Spotlight Track: Backbreaker

Read our Review

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49. Pop Smoke: Meet the Woo 2

Spotlight Track: Element

Listen to the Album

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48. TiaCorine: 34TiaCorine

Spotlight Track: Lotto

Read our review

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47. Nick Grant & Tae Beast: God Bless the Child

Spotlight Track: FEDS

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46. Hook: Crashed My Car

Spotlight Track: Fell in Luh

Read our review

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45. Drake: Dark Lane Demo Tapes

Spotlight Track: Chicago Freestyle (Feat. Giveon)

Read our review

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44. Arca: KiCk i

Spotlight Track: KLK (Feat. ROSALIA)

Listen to the album

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43. Kacy Hill: Is It Selfish If we Talk about me again

Spotlight Track: Unkind

Read Our Review

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42. Polo G: The Goat

Spotlight Track: Martin & Gina

Read our Review

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41. Rico Nasty: Nightmare Vacation

Spotlight Track: OHFR?

Read our Review

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40. Larry June & Cardo: Cruise USA

Spotlight Track: Meet Me In Frisco

Read Our Review

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39. Yves Tumor: Heaven to a tortured Mind

Spotlight Track: Kerosene!

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38. Logic: No Pressure

Spotlight Track: man i is

Read our Review

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37. Young Thug & Chris Brown: Slime & B

Spotlight Track: Go Crazy

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36. Boldy James & The Alchemist: The Price of Tea in China

Spotlight Track: Surf & Turf (Feat. Vince Staples)

Read Our Review

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35. A Boogie Wit Da Hoodie: Artist 2.0

Spotlight Track: Numbers (Feat. London On Da Track, Gunna, & Roddy Ricch)

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34. Spillage Village: Spilligion

Spotlight Track: Mecca

Listen to the album

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33. tkay maidza: Last Year was weird, vol. 2

Spotlight Track: Shook

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32. Future & Lil Uzi Vert: Pluto x Baby Pluto

Spotlight Track: Drankin N Smokin

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31. Giveon: Take Time

Spotlight Track: The Beach

Read our review

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30. 21 Savage & Metro Boomin: Savage Mode 2

Spotlight Track: Many Men

Read our Review

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29. chloe x halle: Ungodly Hour

Spotlight Track: Do It

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28. G herbo: ptsd (Deluxe)

Spotlight Track: In a Minute

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27. Gunna: Wunna

Spotlight Track: Nasty Girl

Read our Review

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26. g herbo: ptsd

Spotlight Track: Intro

Read our Review

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25. bryson tiller: anniversary

Spotlight Track: Things Change

Bryson Tiller’s third studio album ANNIVERSARY shows a Tiller consumed with his use of time. Although its level of impact does not match his debut album, TRAPSOUL (2015), ANNIVERSARY is an ode to the classic because of Tiller’s raw emotion and undeniable relatability throughout the approximately thirty-minute project. My favorite song “Things Change” victoriously demonstrates an exchange between Tiller and an ex-lover who is obsessed with closure. -Amaya Lorick

Listen to the album

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24. kota the friend: Everything

Spotlight Track: Long Beach (Feat. Hello O’Shay & Alex Banin)

EVERYTHING is a brilliant compilation of varying perspectives that discuss the purpose of life. Although Kota the Friend’s 2020 album was under appreciated because of the width of his fanbase, its May release was essential during a time where many felt uncertain about their livelihood dealing with the coronavirus pandemic. With a descriptor as the saddest song on the project, the introductory track “Summerhouse” epitomizes coming to terms with unwanted realities and recognizing life’s beauty. 2020 prompted many to engage in self-reflection and EVERYTHING poses two arguably abstract questions: “What means everything to you?” and “What does it mean to have everything?” -Amaya Lorick

Read Our Review

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23. bino rideaux: Outside

Spotlight Track: Brand New (Feat. Blxst)

On Bino Rideaux’s Def Jam debut, OUTSIDE, the 27-year-old delivers his best music to date while simultaneously making a legitimate case for the hottest rapper in Los Angeles. The 15-track record has something for everyone ranging from trunk-rattling, west coast bangers like “BET” and “BREAKFAST” to more emotional chill cuts such as “COLD FEET” and “FUCCWITCHU”. Over the course of the 28-minute run time, Bino is assisted by fellow LA natives Ty Dolla $ign, BlueBucksClan, and most notably, Blxst on the album’s fantastic climax “BRAND NEW”. With the release of OUTSIDE it’s clear that Bino Rideaux is more than just Nipsey Hussle protege; he’s a budding superstar whose stock will continue to rise as the rest of the country catches wind of his hypnotic flows and the enthralling landscapes he’s able to craft and communicate, three short minutes at a time. -Spencer Lobdell

Listen to the album

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22. run the jewels: rtj4

Spotlight Track: goonies vs. E.T.

If there’s one word I could use to describe Killer Mike and El-P’s return to their critically-acclaimed Run The Jewels series, it’s “massive” as everything about this project seems to have upped the stakes from their last installment. The duo’s verses hit harder, are more aggressive, and eager to call out the vast injustices that the United States has grown complacent with over the past few years. El-P and Killer Mike call out Pseudo-Christians failing to condemn the injustices caused by the Trump administration, the racism ingrained in our nation’s police forces, and a wealth disparity that grows larger every day, among other subjects. Meanwhile, El-P’s production serves as some of the strangest from the duo’s entire discography; the melodies are sparse, the ambiances are overbearing, and the bass slams against the top of the mix from start to finish. With plenty of strange samples and unfiltered performances, this project is often as difficult and complex as it is invigorating, and I believe its message is only emphasized by the endless chaos that we lived through this year. -Owen Tait

Read Our Review

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21. Thundercat: It is what it is

Spotlight Track: Funny Thing

It is fascinating how an artist can work on a project for months, maybe even years before they plan to release it to the public and yet once it drops, it speaks to zeitgeist as if it was written yesterday. This is the case with Thundercat’s fourth studio album It Is What It Is. Released less than a month into many of our state sanctioned lockdowns, It Is What Is was the breath of fresh air we all needed during such an uncertain time. On the album, Thundercat explores themes of melconchony, loss, and directionlessness in tandem with tongue and cheek humor for an album that can either make you laugh or cry depending on what you need to express during each listen. Complimented by Thundercat’s immaculate instrumentation that has made him a mainstay in the industry for two decades, It It What It Is is a poignant reminder to have fun, let go of fear, and trust the process no matter how difficult things may get. -Kaila Cherry

Read our Review

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20. Big Sean: Detroit 2

Spotlight Track: Deep Reverence (Feat. Nipsey Hussle)

When Detroit 2 was released, you could immediately tell Big Sean was on a mission. In an era of short length albums, Sean decided to release a whopping 21-track project. There were many Detroit-themed bangers on this album, and what stood out to me was that he even included stories from talents like Dave Chappelle and Erykah Badhu. This was the first time in a while where I felt the essence of a true “album experience.” There is a lot of depth to this record and every time I play it through I find a new favorite song. And I mean, who doesn’t enjoy listening to Sean’s swagger filled wordplay? -Colson O’Connor

Read Our Review

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19. Childish Gambino: 3.15.20

Spotlight Track: 12.38 (Feat. 21 Savage, Ink, & Kadhja Bonet)

Of all the projects to come out this year, the latest album from Childish Gambino might have been the most surprising. From the rollout to how sonically all over the place it is, 3.15.20 almost seems like a random release from Childish. This led to the project being one of his more slept on pieces of work, but it is also some of the best music of 2020. Gambino captures a sound that is futuristic, yet also has moments that would impress most people’s parents and grandparents. Gambino uses a different vocal inflection on almost every track and manages not to miss once. While doing all of this there is still a track like 12.38 that could be one of the biggest hits on the radio if it got the play it deserved. In a time where he could have rested on his previous success, he continues to challenge himself and the listener to take a deeper look at what music can be. -Miles Hagan

Read Our Review

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18. lil uzi vert: eternal atake

Spotlight Track: Prices

Lil Uzi Vert had a very busy 2020. He dropped not one, not two, but three full-length albums this year after not releasing new music since 2017. The project that kicked off this trio of drops was Eternal Atake which came out in early March. With the reality of the pandemic causing this album to fall to the wayside for some time, as the year comes to an end and we are reflecting on the music we were met with, Eternal Atake is coming back into the spotlight. A concept album about Uzi’s abduction by aliens and subsequent travels through space, Eternal Atake is without a doubt one of the most unique projects to come out of 2020. Not only is it a concept album, but it also is broken up into three sections that reflect Uzi’s three artistic personas: Baby Pluto, Renji, then finally, Lil Uzi Vert. Like the rest of Uzi’s discography, Eternal Atake is a well-produced, fantastical, and fun project that will make you want to type like a scene kid from 2008 with no remorse. -Kaila Cherry

Read Our Review

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17. Lil Uzi Vert: LUV vs. the world 2

Spotlight Track: Strawberry Peels (Feat. Young Thug & Gunna)

Though there seems to be some debate on who started the ‘surprise-deluxe-double-album’ trend, it is hard to deny that Lil Uzi Vert mastered it earlier this year. LUV vs. The World 2, which released as a sister record to the long-awaited Eternal Atake, is a nonstop rollercoaster that arrived just a week later. While EA’s only featured artist was Syd, this record is the polar opposite - collaboration heavy and decorated with features from artists like Young Thug, Chief Keef, 21 Savage, and Future. EA helped solidify Uzi as a talented lyricist and rapper, and this project returned to a more exciting and light-hearted register where Uzi simply sounded like he was having a great time - and I had a great time listening to it. Though some of the tracks had leaked beforehand, LUV vs. The World 2 managed to fulfill the high expectations set after the popularity of the first LUV vs. The World, and it isn’t hard to see why. -Carter Fife

Read our review

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16. Lil BAby: My Turn

Spotlight Track: Emotionally Scarred

Lil Baby did not disappoint with the drop of his second studio album, My Turn. Lil Baby displays versatility in his sound, giving us songs to blast in the car like “Sum 2 Prove,” and even songs to vibe to like “Catch The Sun”. He manages to deliver trap hits such as “Forget That” and “Woah”  as well as highlighting lyrical depth, as he opens up on songs like “Emotionally Scarred”, with narratives of his past and personal rap journey. As if his graceful flow wasn’t enough, Lil Baby teamed up with artists like Lil Uzi Vert, Lil Wayne, and Future to offer even more heat. -Chloe Clark

Listen to the album

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15. westside gunn: Prey for paris

Spotlight Track: $500 Ounces (Feat. Freddie Gibbs & Roc Marciano)

Griselda was locked in this year. From Boldy James' stunning collaborative project with The Alchemist The Price of Tea in China, to Benny the Butcher’s LP Burden of Proof, it’s safe to say Griselda did not miss in 2020, including label head-honcho Westside Gunn. With Pray for Paris, Westside Gunn delivers exactly what you'd expect: hard coke bars, production defined by dusty drum loops, and the iconic Westside Gunn ad-libs. Although Gunn may be infamously known for valuing quantity over quality in terms of album releases, Pray for Paris is easily his most concise and focused work to date. With guest appearances from Tyler, The Creator, Joey Bada$$, Freddie Gibbs, The Alchemist, Wale, and the rest of the Griselda crew, Pray for Paris put the rap game on notice. -Luke Modugno

Read Our Review

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14. Charli xcx: how I’m feeling now

Spotlight Track: enemy

Following the seamless blend of pop and experimental aesthetics that appeared on her 2019 outing Charli, fans were definitely eager to see where UK pop artist Charli XCX’s sound would venture next. Trapped in self-isolation, she took the time to reflect on her relationships with her significant other, her friends, and herself—a process that resulted in her most intimate and innovative project to date. On how i’m feeling now, Charli pushes further into the strange than ever before, as the majority of the tracklist is saturated with glitchy percussion, distortion, noise, and busy synths that perfectly compliment Charli’s heavily-manipulated vocal delivery. Additionally, Charli manages to bring one powerful performance after another to the table, delving into a variety of introspective topics such as her love life, friendships, and mental health. If you’re searching for the future of pop music, look no further than how I’m feeling now, a one-of-a-kind sugar rush that I would deem pop record of the year. -Owen Tait

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13. blxst: no love lost

Spotlight Track: No Love Lost

No new artist burst onto the scene in 2020 with half as much confidence, momentum, and poise as Blxst. The LA native’s breakout year was largely due to an incredible debut solo project, No Love Lost, an addicting 8-song album jam-packed with beautiful hooks and exceptionally polished writing that had me smashing repeat for months. This tape is the definition of “no skips” and I can confidently say that any of the eight songs could’ve been the spotlight track. Over the course of the quick 18-minute listen, Blxst tells vivid stories of the fast life in the city of angels while captivating listeners with mesmerizing melodies and a slew of slick bars that leads me to believe Blxst could out-rap half of my favorite emcees. No Love Lost is a damn-near perfect project in my eyes making it my personal favorite release of 2020. -Spencer Lobdell

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12. Future: High off life

Spotlight Track: Accepting My Flaws

With Future’s release of High Off Life he gave another hour of pure heat. With his signature sound, we received bangers like “Hitek Tek” as well as more mellow cuts like “Outer Space Bih”. Lyrically, narratives of trapping display Future well in his element, but in “Accepting My Flaws”, he takes on a different route. In this song, he speaks of asking for forgiveness, as he fights against demons and acknowledges his struggles.  Much like other hits on the album, the booming beat carries the song. Along with production, features are another element that elevates the album as Future feeds off great appearances from artists including Young Thug, Travis Scott, and NBA Youngboy. -Chloe Clark

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11. brent faiyaz: fuck the world

Spotlight Track: Fuck the World (Summer in London)

Brent Faiyaz solidified his spot in the R&B scene with the release of his album Fuck the World. In this album, Faiyaz touches on the themes of love, lust, and loss. Lyrically, Faiyaz invites the listener in on an intimate experience as we listen and relate to similar heartfelt emotions. His angelic vocals, paired seamlessly with the smooth beats, offer nothing but chill vibes. Specifically on the song, “Let Me Know”, Brent sings over a repeated instrumental and piano keys, while elaborating on self love and reflection.  With only 10 songs on the album, it is a true testament to quality over quantity. -Chloe Clark

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10. kid cudi: man on the moon III

Spotlight Track: Tequila Shots

Kid Cudi delivers on MOTM III, rapping harder than we’ve ever seen him rap before, bringing together an unstoppable and classic team of producers like Plain Pat and Dot Da Genius to start the decade off right. The first and innovative act of the album sounds like it could have been written with Travis Scott last year, and the second act sounds like the classic 2009-era Cudi that many of us grew up with. MOTM III’s final act sounds like something entirely new itself, which is rare for an artist to do in the third decade of their career. I would have enjoyed more guests on the record to celebrate the trilogy’s conclusion, but it is hard to complain when the guests we got include Skepta, Phoebe Bridgers, and even a posthumous Pop Smoke hook. Though fans can expect a whopping four more records from the Philly rapper in the future - WZRD 2, Entergalactic, KSG 2, and an untitled project with Travis Scott - hopefully MOTM III will tide us over until then. -Carter Fife

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9. smino: she already decided

Spotlight Track: 2Much Fronto

Smino is one of the most unique acts in music today and She Already Decided is the project that shows how close he is to greatness. From a vocal standpoint, he flips between slick bars and constant flow changes to melodies that make you question if he should even be considered a rapper. He combines classic R&B sounds with some of today’s biggest hits from the past year to create a sound that feels necessary in 2020. The album is upbeat and engaging, while also still feeling relevant and in the moment. Smino is able to ease the listeners’ mind for a little while he focuses on the few things we can control and enjoy in a time like this. -Miles Hagan

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8. jhené aiko: chilombo

Spotlight Tracks: Triggered (Freestyle)

Grammy-nominated Chilombo has been a top contender for album of the year since its release. The use of alchemy crystal singing bowls within every song indicates Jhené Aiko’s intention to not only entertain but provide her listeners with tools for healing. The Los Angeles native’s initial single “Triggered” was packed with painful lyrics describing relationship strains but also includes the first and sixth chakras to promote clarity and stability. It is clear when a project is strategically constructed beyond the order of its tracklist. From the sequencing of the selected singles to their implementation onto the album, it’s clear that Chilombo is destined for success throughout the rest of this decade. -Amaya Lorick

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7. aminé: limbo

Spotlight Track: Roots (Feat. JID & Charlie Wilson)

Limbo, Aminé’s 14-track masterpiece, surpassed all of my expectations by miles. From the very first track Limbo feels bigger and more important than anything Aminé has released to date. The beat selections, the few but well-placed features, and the versatility of Aminé’s sound are among the many reasons why Limbo will go down as one of the most impressive albums of 2020. -Colson O’Connor

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6. mac miller: circles

Spotlight Track: Right

In his posthumous record Circles, Mac delivers a love-letter to his fans and a completion of a generation-defining artistic evolution. Transforming and refining himself from awkward frat rapper to musical genius, Mac leaves his legacy with his most sonically elegant project to date. Narratively, sonically and lyrically, Circles accompanies Miller's magnum-opus Swimming, building on the jazzy, lo-fi soundscape and mental-health centered lyrical content. Circles is a truly beautiful work of art and is well-deserving of its top 10 spot on this list. -Luke Modugno

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5. Jay electronica: A written testimony

Spotlight Track: A.P.I.D.T.A

In my review earlier this year I touched on the mythos surrounding this record, though months later, all you really need to know is that A Written Testimony is a big deal. Jay Electronica and Jay-Z go head-to-head throughout just about every song on this project, showing a versatility previously unseen from the Louisiana Rapper. One moment, he’s trading bars about success and expectations with Travis Scott over a beat from Hit-Boy - the next he and Jay Z are lamenting the loss of loved ones over a Khruangbin instrumental. Though the two Jay’s do not invite too many artists to share their spotlight (The-Dream is the only other guest), there are so many styles and sounds at work that anyone can find something to enjoy here. This was my favorite record of the year for most of 2020, though it’s hard to name what makes this record so special. Perhaps it’s the almost prophetic lyricism, or the confident cadence of the two rappers, or maybe it’s just the fact that many of us have been ravenous for more Electronica music for close to a decade. They say absence makes the heart grow fonder, but I’m hoping we get another Electronica record before the end of the 2020’s. -Carter Fife

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4. the weeknd: After hours

Spotlight Track: Faith

Selling 444,000 units first week and having two platinum singles, After Hours was one of 2020’s biggest, and best releases. The album was an artistic reinvention for The Weeknd, taking inspiration from 80’s pop music. Much like Tyler the Creator’s “IGOR” The Weeknd created an entire new identity for this album, which made the rollout and the listening experience one of the most memorable moments in music this year. -Courtney Fields

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3. pop smoke: shoot for the stars aim for the moon

Spotlight Track: Got It On Me

One of the most anticipated albums of the year that delivered far beyond the public’s expectations. Pop Smoke’s posthumous album proved that he was no one-trick pony. While he did popularize himself off of one particular sound, this project showed us that Pop was an artist who was destined for stardom. Shoot for the Stars Aim for the Moon is one of the most addicting albums of the year and because of Pop’s unique artistry all signs point towards this album getting even better with time. -Courtney Fields

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2. benny the butcher: burden of proof

Spotlight Track: Where Would I Go (Feat. Rick Ross)

Griselda's own Benny the Butcher has been quietly crafting a compelling niche within the Buffalo collective. With projects under his belt like The Plugs I Met and Tana Talk 3; Benny has what it takes to be one of the elite rappers in the world. Burden of Proof sees Benny realize his full potential, as the project is chalk-full of reasons why Benny has a legitimate claim to being the best rapper in Griselda and in turn, one of the best in the game. Executively produced by the legendary Hit-Boy, Benny kills each and every one of the beats laid down for him. Burden of Proof is one of few projects this year I can legitimately say has no skips. -Luke Modugno

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1. freddie gibbs & The alchemist: Alfredo

Spotlight Track:

In a year full of inconsistency and turmoil, Freddie Gibbs and Alchemist came through and delivered in every way possible. With the incredible release of Bandana in 2019 many fans of the rapper were left wondering where he would go next, after seemingly conquering the drug rap game. Freddie responded by linking up with one of the most creative and dynamic producers of the last decade in The Alchemist, and they created the cinematic masterpiece that was Alfredo. From the merchandise, to the vinyl, to every cut throat bar Freddie delivers, this drop felt like it was aiming to be some of their best work. Alchemist provided Freddie with a blank canvas for him to paint a picture on. Alfredo was a coke rap kingpin reflecting on his incredible rise to power and asking himself, “who can stop me besides me.” -Miles Hagan

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StereoVision's AOTY Power Rankings: April

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each week all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

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The Teams Picks:

The biggest change in my rankings this week is the slip of Eternal Atake. Although it is home to some of the best songs of the year, I have come to the realization that there are just too many forgettable tracks to call it a top five project of the year at this point. The Weeknd continues to grow on me as Abel jumps one spot. I’m glad to say that Mac Miller’s posthumous album Circles is an album that’s aging extremely well for me thus far this year. As someone that’s been following Mac since Kids, I don’t think I was ready for Circles at the beginning of the year. Now in today’s climate where thousands of humans are dying daily due to COVID-19, I feel desensitized to death and finally able to overcome my emotional barriers to the music and appreciate it for the excellent body of work it is. I can honestly see it jumping A Written Testimony or 3.15.20 which would be quite the accomplishment as I’m crazy about both records. Lastly, a new release that made a big splash in my power rankings this week is Giveon. His debut EP Take Time is ultra-smooth, rich with excellent song-writing, and most importantly, different than anything anyone else is currently doing in R&B. Check the site this weekend to read my review of Take Time. -Spencer Lobdell

My Top three stays the same this week and it looks like it's going to take a really impressive body of work to move 3.15.20 and A Written Testimony. The first new entry to my ranking comes at the four spot with an excellent project from Giveon. Drake’s “Chicago Freestyle” brought a lot of attention to this up and coming voice in R&B, and he delivered on all expectations with his project Take Time. Another new addition to the list this week is Knxwledge 1988. Without the help of many features Knxwledge is able to really shine on this album for his talent as a producer (I would be wrong for not mentioning the greatness of “Don’t Be Afraid”. The final new additions come in the form of The Price of Tea in China by Boldy James and After Hours by The Weeknd. Boldy and The Alchemist sound like they have been working together for years on one of the most impressive albums from a rapping standpoint. After Hours has grown on me since its release and from the way it looks now it has a legitimate chance to keep advancing up the list at least marginally. -Miles Hagan

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After receiving requests to listen to several albums, my rankings from week one have obviously shifted. As much as I love a good debate, I must give credit where it is due. Remaining at the top of my list is CHILOMBO. Again, name another album as captivating and versatile that is also 20 tracks long with no skips! As a person who is inspired by the stories of others, PTSD, A Written Testimony, and Black Habits will likely remain on my list for some time. Opposed to last week, I now recognize the January release date of Time Served allowed time for it to grow to be a fun favorite of mine. Lyrically, Moneybagg Yo is unable to compete with other projects on my list, making my decision easy to move his album from position two to ten. My Turn found its way onto my list because upon reaching the end, I was urged to listen again. Whenever Lil Baby lost my interest, he managed to regain it within the next song or two. Ultimately, I need to sit with all of these projects some more and I am still just waiting for new music. -Amaya Lorick

No changes this week. I’m still moving through my backlog and trying to decide whether or not I like the new PND album so expect more on that in the future! -Carter Fife

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For the most part, the top half of my list remained the same from week one. I’ve found that, typically, the albums that leave the best impression on me do a great job of balancing the traditional with the experimental or lean towards the latter characteristic. Artists who reinvent themselves or present entirely innovative sounds manage to impress me the most, which is why artists like The Weeknd, Childish Gambino, 070 Shake, Mixed Matches, Gupi, and Denzel Curry currently dominate my list. Another way to get on my good side is to simply give me a fun album with high replay value, which Lil Uzi Vert and Don Toliver both managed to do extremely well. Looking forward, with under-the-radar acts such as Mixed Matches, Gupi, and polearm coming through with such captivating material, I can’t wait to see what 2020 has in store for independent music and emerging artists. -Owen Tait

Before my fellow Chicagoans even say it, I know the absence of G Herbo’s PTSD is alarming. Despite it being one of my favorite releases of the year, the album’s dull moments become more obvious when lined up next to projects like the 10 on the list.  After Hours is probably the most well written, produced, and executed albums this year.  The battle between #1 and #2 is a close one. A Written Testimony has such a powerful message and motive behind it, as well as multiple Jay-Z features so it’s hard to beat. Man Alive makes it’s debut at #10 since I’ve found more time to sit with it. -Courtney Fields

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This week, a few albums have really grown on me and others have simply lost their charm and replay value. Namely, LUV vs. The World 2 has proven to be a fantastic album to listen to during quarantine. The album has a plethora of melodic trap beats and has proven to be catchy background music when I mute my mic during online classes. Mac Millers Circles is similar, as it also has every mood you’ll go through during these times, along with soulful, jazzy instrumentation. Tame Impala’s new record, The Slow Rush, has also grown on me. Kevin Parker’s newest effort is everything his psychedelic rock experiment set out to do. While it doesn’t nearly compare to Currents, it’s a notable entry to an already legendary discography. Along with strong releases from Ant Clemons and PARTYNEXTDOOR, this week has only been a continuation of 2020’s unbelievably solid run of music. -Luke Modugno

Now that March has concluded, I found my picks from last week have not changed much. Still Sitting at top three are Circles, PTSD, and A Written Testimony, which are all thoroughly strong projects. I recently started getting into Jhené Aiko’s album Chilombo and Brent Faiyaz’s hot new album Fuck The World which seem to be very well-crafted pieces thus far. Another thing I noticed is that I wasn’t listening to A Boogie Wit Da Hoodie and Lil Wayne as much. -Colson O’Connor

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StereoVision's AOTY Power Rankings: Week One

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each week all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

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The teams picks:

Besides death, sickness, and tragedy, if you’re a rap fan in 2020 there very little you have to complain about. We’ve already been blessed with enough anticipated releases, albums from industry heavy-weights, and overall excellent music in general to keep me content in quarantine for the remainder of the year. All jokes aside, as fans of hip-hop we really have been spoiled with great music in 2020 which I think might be exactly what we need in the face of a national crisis. Childish Gambino’s new album debuts at number one for me because well I’ve already listened to the record 10+ times, every time I press play it still takes my breathe away. With this being said, this weeks number one spot was very difficult to select because of how fun LUV vs. The World 2 still is and because of the sheer ability that Jay Electronica showcases on A Written Testimony. -Spencer Lobdell

Name another album as captivating and versatile as CHILOMBO that is also 20 tracks long with no skips…  Anyway, as a person who is inspired by the stories of others, PTSD and A Written Testimony are currently both two of my favorite projects. Both showcase a skillful pen and instrumentals that allow them to get their bars off. Honestly, Meg and Nudy only made my list because they are two artists I want to stay in the conversation. I’m just waiting for more music. -Amaya Lorick

So for my list, The Weeknd comes out on top due to the fact that he fully reinvented his sound for After Hours, as well as the fact that the album's narrative is fully cohesive and features the best production on any album I've heard from him (also I'm a big sucker for synthwave). LUV vs. The World 2 was easily the most fun album I've heard this year, so that comes in at #2. 070 Shake and Gambino both had R&B albums that took experimental pop routes, and I really enjoyed them. Denzel Curry and Gupi's albums had some of the most complex and mind-boggling production I've heard this year. Mac's on there for the sentiment and heart behind his album, polearm is a newcomer with a unique, psychedelic pop-rap sound, and Tame Impala's album wasn't my favorite material of his, but it delivered a few key tracks that have high replay value for me. -Owen Tait

Just three months into 2020, this year is stacking up to be one of the best in recent history for hip hop. With plenty of industry giants dropping this year and many more big names rumored to drop this year, the fight for the best project of the year will be fierce. But in the current crop of albums available now, Mac Miller's posthumous record Circles is by far and away the cream. The project is a beautiful send-off to Miller and his fans, completing his discography and symbolizing the final step an astutely profound sonic evolution as an artist. Between dazzling collaborative efforts from Denzel Curry and Kenny Beats (UNLOCKED) and Boldy James and The Alchemist (The Price of Tea in China), and Uzi's impressive pair of projects Eternal Atake and LUV vs. The World 2, 2020 has already been a wild ride. -Luke Modugno

2020 has been a pretty terrible year, but from a musical sense it has not disappointed. 3.15.20 by Childish Gambino and A Written Testimony are two albums by artists at their creative peak. These are projects that will remain in these power rankings very deep into the year no matter what else is released. Brent Fiyaz did what he had to do on F**k the World. He hasn't released a full length project since 2017 and with this he stepped right back into form. Don Toliver has been generating buzz since he was featured on Astroworld and gave us a concise project filled with his hits. The rap community was blessed by Uzi with not one, but two pieces of new music. Both LUV vs The World 2 and Eternal Atake highlight the fact that Uzi never settles with his status in music and is always looking to give his fans a new and exciting experience. -Miles Hagan

This year got off to a slow start in terms of big record releases but as March comes to close we already have a few significant albums under our belt. With Uzi dropping two records after two and a half years, a new Tame Impala record after five, and THE Jay Electronica album after twelve, 2020 has been a great year already for highly anticipated projects. From The Weeknd’s energetic R&B/Hip-Hop Synthesis to Denzel Curry’s long-awaited mix, these are the sounds that have defined my year thus far. -Carter Fife

At number one, ‘A Written Testimony’ may be a questionable choice to many music fans out there since it is not your traditional debut album. But, it’s the most important release this year. Numbers 2, 3, and 4 were a bit of a challenge. Although Lil Uzi Vert’s ‘Eternal Atake’ is undoubtedly the most fun album of 2020, musically it just doesn’t match ‘Circles’ and ‘Chilombo’. At 8 and 9, I had no choice but to incorporate two of my maybe lesser known artists with Boldy James and J Hus. The two released some of the best rap projects this year, J Hus even went #1 on the UK Billboard chart. The Weeknd caps off the list at number 10 since it just came out. -Courtney Fields

As we approach the end of March, I think that the album releases this year prove to show more quality than quantity. I stay busy listening to Mac Miller’s bittersweet final project Circles, Jay Electronica’s long-awaited album A Written Testimony, and the new Lil Wayne record Funeral (he really doesn’t miss). The artist that most surprised me, however, was G Herbo. His new project PTSD has become a personal favorite because of his ability to paint a picture with his words, accompanied by fire features like Juice WRLD, 21 Savage, and Chance the Rapper. If the rest of 2020 looks anything like the first three months, we’re in store for a strong year. -Colson O’Connor

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Lil Uzi Vert Goes Two For Two with LUV vs. The World 2

By Owen Tait

Just over a couple weeks ago, trap phenomenon Lil Uzi Vert released his highly anticipated album Eternal Atake, with the phrase “highly anticipated” being a complete and utter understatement. Fans waited nearly two years from the project’s announcement to hear the final version, and by then, the hype surrounding it was as astronomical as the project’s narrative. For the most part, Uzi delivered, as the album was filled with melodic bangers such as “Baby Pluto,” “Celebration Station,” “Prices,” “Venetia,” and a sadder rendition of his biggest hit ever with “P2.” However, Eternal Atake did come with some glaring flaws: it was bloated, featured little variety in the instrumentals and lyrical content, and contained some verses from Uzi that didn’t even follow the beat.

But overall, the album was still a massive hit, and Uzi almost instantly announced that the deluxe version wouldn’t just be a throwaway set of bonus tracks. He was going to release a whole second album, a sequel to his 2016 mixtape LUV vs. The World. Fans were ecstatic— myself included—but I also went into the project wondering if the same issues with Eternal Atake would persist on the deluxe cut.

LUV vs. The World 2, which is packed in with Eternal Atake and consists of 14 tracks, kicks off on a high note with “Myron,” a song that plays out very similarly to “Baby Pluto,” the opening track from the project’s initial release. It’s a melodic cut that sees Uzi experimenting with his delivery and song structure, culminating in a glorious refrain where he triumphantly boasts about “running up all his bands.” In this short but amplified section of the track, he hits a vocal inflection that truly sticks, and I found myself replaying this passage of the song in my head long after I had finished listening.

The next track, “Lotus,” is somewhat of a roadblock in the album’s momentum, as the beat is one of the less inspired instrumentals on the project, and the hook is one of the rare cases where Uzi’s higher register doesn’t really work. However, the project’s speed quickly starts back up with the next two tracks, both expertly produced by trap extraordinaire Pierre Bourne. “Bean (Kobe)” features some of Lil Uzi Vert’s more memorable melodies on the album—not to mention one of his most quotable refrains—and even though Chief Keef isn’t necessarily at peak performance on his feature, his verse still contributes to the care-free tone of the track

The equally bouncy “Yessirskiii” contains a massive feature from Atlanta rapper 21 Savage—in fact, he practically dominates the track, as Uzi only appears on approximately one minute of the song’s three and a half minute runtime. Regardless, the track is a hit with tons of replay value, and it’s one of the songs I’ve come back to the most. Meanwhile, the melodic trap banger “Wassup” features a monstrous two-part hook from Uzi that I can’t help but smile along with whenever it plays. In addition, Future’s feature sees the Atlanta pioneer maneuvering around the beat as effortlessly as ever.

Following these cuts, the album hits the listener with a trilogy of trunk-knockers fit for any live venue. “Strawberry Peels” features pounding, fuzzy 808s that back a couple of high- octane verses from Young Thug and Gunna; my only complaint with this track is that the duo easily outshines Uzi, who contributes a lower-energy verse on the back half of the track. Luckily, he makes up for it on the anthemic “Moon Relate,” which arguably features his best performance on the entire project. Uzi’s delivery here mostly floats within his higher register, but during certain sections of the track, his voice takes on a growly, guttural quality that elevates the song’s energy to the next level. It’s truly a testament to how much life Uzi can bring to a track, and the off-kilter drum patterns ensure that this track is a memorable thrill.

Personally, I found the second half of the project to slow down a bit, but that doesn’t mean it wasn’t without its highlights. “Come This Way” and “Trap This Way (This Way)” carry some of the grooviest hooks on the album, and “Come This Way” in particular demonstrates Uzi’s versatility as a singer. He croons on both ends of his range, and he exercises a high variety of flows as well, making the track breeze by and giving it high replay value. “Got The Guap” also features a really subtle, sticky pluck melody that gives the track a unique sound, and a second Young Thug feature is always a welcome sight.

Clearly, there are quite a lot of highlights on the project, and I believe that generally, LUV vs. The World 2 has a tighter, more memorable tracklist than that of Eternal Atake, but there are still a couple of issues that the album faces. For starters, the mixing issues that were apparent on Eternal Atake are still present here, even if they aren’t as extreme. Earlier, I expressed a particular distaste for “Lotus,” the second track on the project. While I think Uzi’s inflections here could have been improved upon, I also think that better mixing would have added a pop to the instrumental that just isn’t there as the track stands. Furthermore, aside from being poorly mixed, I think some of the percussion on this album is lazily done. Most of the hats and snares utilized sound incredibly cheap, and in cases such as “I Can Show You,” the assembly of said percussion makes the beat sound as if Uzi’s team found it on an amateur’s YouTube channel for $50.

On the bright side, I don’t have any other major complaints with the project. Uzi occasionally slips off beat to the point where it’s distracting, and his subject matter is nothing new—take a shot every time Uzi alludes to diamonds or sex with your girlfriend—but I found his charisma and energetic vocal inflections to make up for most of the damage done there. If you like enjoyed Eternal Take, I would highly recommend this project, and I can officially report that the two-year wait was worth it.

Favorite Tracks:

Yessirskiii (feat. 21 Savage)

Moon Relate

Come This Way

Rating: 8

Listen to LUV vs. the World 2 here:

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Going Galactic: Uzi Meets Astronomical Expectations With Eternal Atake

The eternal wait for Eternal Atake is finally over. After nearly 600 days since the announcement of the album, Philadelphia rapper Lil Uzi Vert’s sophomore album has finally surfaced.

By Luke Modugno

From the outside looking in, Eternal Atake looked like it would never be released. From social media feuds with his own label (Generation Now), to announcing his retirement from making music, the road to the release of Eternal Atake was certainly rough. Due to his impressive debut album Luv Is Rage 2 and the few leaked tracks from Eternal Atake, the expectations for the album skyrocketed during the long wait between the announcement and the release of the record. But hip-hop's favorite extraterrestrial has finally returned to Earth with a truly fun trap album that lives up to its astronomical expectations. 

Sonically, Eternal Atake is split into three distinct parts, each exhibiting and playing on one of Uzi’s talents as an MC. On tracks 1-6, Uzi raps aggressively over energetic, intense trap production. From the hard basslines and siren sample on “You Better Move,” to the assertive flows on “Silly Watch,” this section on Eternal Atake is braggadocious, unrelenting and illustrates Uzi’s inherent talent for producing club and house party anthems. From tracks 7-11, Uzi’s sharply melodic, auto tuned singing voice takes center stage. On Luv is Rage 2 standouts “The Way Life Goes,” “X,” and “Dark Queen,” Uzi established his extraordinarily entrancing singing voice, floating over dark, spacey, 808-heavy production to create catchy hits. Eternal Atake takes that same success and replicates it, allowing Uzi to diversify the soundscape of the album with tracks such as “I’m Sorry,” and “Bigger than Life.” The rest of the LP relies on a brilliant blend of the two aforementioned styles employed by Uzi on Eternal Atake, closing out the project with speaker rattlers (“Prices”), catchy melodic tracks (“Venetia”), and the brilliant remix and follow up of his viral hit “XO TOUR Llif3.” Closing the album with the markedly introspective cut “P2,” Uzi complete’s a truly enjoyable, bumpy ride through his intergalactic universe. 

The segmented approach to the album is both a positive and a negative for Eternal Atake’s overall sound. On the bright side, each section works to highlight Uzi’s individual strengths, resulting in a few tracks which are some of Uzi’s best work. The opening track, “Baby Pluto,” sees Uzi experimenting with his flow, spitting rapid fire couplets over some of the best production on the album. “I’m Sorry,” taps into the lovesick melodies that filled Luv Is Rage 2, as Uzi tries to reconcile with a girl over an uptempo pop trap beat. On the track “Prices,” Uzi combines both his rapping ability and singing over a sample of Travis Scott’s track “way back,” off of his 2016 project Birds in the Trap Sing McKnight. With imaginative production and energetic delivery from Uzi, the track is a clear standout on Eternal Atake. 

But Eternal Atake is, at times, a bloated project that overstays its welcome. Clocking in at 62 minutes long spanning 18 songs, the project is simply not sonically diverse enough to justify its length. Yes, the vast majority of the tracks are hits and there are hardly any skips on Eternal Atake. But few songs are standouts relative to the rest of Uzi’s catalog. At times, the album is simply not fascinating, as around the halfway point, the songs begin to sound the same. Risks are avoided in favor of oversaturated trap aesthetics, which is disappointing considering the proven versatility of Uzi’s artistry on previous albums. Excluding a few songs (“Price,” “Venetia”), the album is comprised of relatively generic trap beats, few which are truly inventive. And with only one feature on the album, Uzi has the sole responsibility of making Eternal Atake engaging enough to keep the listener on edge, which at times, he fails to do. 

Although not particularly interesting sonically, Eternal Atake’s cosmic, cultic theme is explored in a compelling fashion. At the end of most of the songs, a sci-fi narrative is told, where Uzi is abducted by a UFO which is featured on the cover art. The album's narrative is accompanied by a mini film, giving a visual aspect to the narrative created by Eternal Atake. It’s an amusing and unique characteristic of the album, one that won’t be found in most trap projects. 

Nonetheless, Eternal Atake is undeniably entertaining. As a sophomore album with some of the highest expectations for a project in recent history, Uzi delivers a pleasant surprise. The album’s constant delays and the pure spectacle and hype surrounding its eventual release have made this moment even sweeter for Uzi and his fans. 

Favorite Tracks

Baby Pluto

Prices

P2

Rating: 7

Listen to Eternal Atake here:

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2020 Preview: A Look Ahead at What Could Be a Legendary Year in Hip-Hop

By Luke Modugno

With 2010’s coming to a close last month, we leave behind a legendary 10 years of hip-hop. The genre grew leaps and bounds, becoming arguably the biggest category of music in the world. As we embark on the new journey of the next decade, 2020 seems to be shaping up as one of the best years in the recent history of hip-hop. Here are the albums we’re looking forward to, speculating about, dreaming of, and practically begging for.

Coming Soon: 

Drake 

For the first time since 2014, Drake had a relatively slow year, neglecting to release a new album in 2019. But Drizzy fans weren’t completely deprived. Day-one fans were treated to Care Package, a compilation of the 6 God’s greatest hits not on streaming platforms, and a two song EP titled The Best In The World Pack, celebrating the Toronto Raptors’ NBA championship. Last year, Drake appeared to hint at an album slated for 2020 a few times. The first time was last April, when Drake revealed to his crowd in London that he aimed to return to England with new music in 2020. Additionally, in December, Drake made a surprise appearance at DaBaby’s show in Toronto, telling his hometown that 2020 was a target year for new music, “I’m going to go back to the crib and try to finish this album up so we can turn up in 2020,” Drake told the crowd before he exited the stage. On top of that, Drake and Future have been heavily teasing a follow up to their legendary joint project What a Time to be Alive. Last month, the duo released a new track titled “Life is Good,” with the pair emulating the success and chemistry they’ve formed over the years. And considering Drake was booed off stage at Camp Flog Gnaw 2019, we have to believe the Toronto native has something to say this year. It’s an exciting year to be a Drake fan, I’m expecting both a solo project and another collaboration album with Future in 2020. 

J. Cole

The head-honcho of Dreamville had a remarkable year in 2019, continuing his legendary run of features and exceeding expectations with the Dreamville compilation album Revenge of the Dreamers III. Back in November of last year, Cole previewed a trailer for his upcoming project titled The Fall Off at Day N Vegas. The video, styled like a political campaign ad, shows Cole as the savior of America, during “these turbulent times,” and schedules the album to drop sometime in 2020. Considering the final track on Cole’s 2018 effort KOD was titled “1985 (Intro to ‘The Fall Off’),” the album is being speculated as a direct follow-up. The teaser for The Fall Off doesn’t feature the serious introspection featured on KOD, so Cole may be looking to go in a completely different direction for this project.

A$AP Rocky

2019 was a genuinely scary year for A$AP Rocky. After being arrested and accused of assault, at the time, it was unclear if Rocky would be coming home anytime soon. The situation caught the attention of President Donald Trump, as he stepped in and influenced Rocky’s release and return home. 2020 has been a positive contrast to last year for Rocky, as he seems in a good place. The New York native announced late last year that his album All Smiles is on the way. All Smiles will be Rocky’s first solo album since his 2018 LP Testing. As the title suggests, Testing was certainly an experimental venture, which split fans and critics alike on the quality of the project. Rocky released two new singles in 2018 and 2019, “Sundress” and “Babushka Boi,” it is unclear if either will make the album. It will be intriguing to see if Rocky continues his sonic tinkering, or if he reverts back to his old sound established in his earlier albums. Expect new music sometime in the first half of 2020. 

Joey Bada$$

Besides a group project with East Coast collective Beast Coast, Joey has been relatively quiet since the release of his second studio album ALL-AMERIKKKAN BADA$$. Following the release of his classic debut mixtape 1999, rap fans have hung on Joey’s every word. Joey has shown a lot of maturity and development as an MC since then, developing his sound and subject matters to become a fairly undisputed top five rapper in the game at the moment. Last month, Joey confirmed new music is on the way, “JUST GETTIN’ A FEW MORE DUCKS LINED UP FO I START BUCKING THESE N****Z. WORLD NEED NEW BADA$$ & ITZ COMING#LP3.” During the Beast Coast tour in 2019, the Brooklyn rapper released a series of vlogs and on the first episode, Joey tells A$AP Rocky, “New album, almost done bro.” He further hinted at a new project in an Instagram post, “Might be a few album snippets in there,” referring to the vlog series. Expect new tunes from Joey very soon. 

Hopefuls (fingers crossed): 

Kendrick Lamar

We last heard the crowned king of West Coast hip-hop in 2018, when he curated and produced tracks for the Black Panther movie soundtrack. Since then, it’s been radio static on Kendrick’s end, with no singles, few features and no concrete plans for a new album. The good news: Kdot performed his last DAMN. show at Day N Vegas in November of last year, and with Kendrick headlining 12 festivals across Europe starting in June(Lollapalooza Stockholm, NOS Alive, etc.), there’s a good chance new music is on the way. Multiple reports have speculated that the album may have a heavy rock influence, something we saw glimpses of on DAMN. Former Billboard editorial director Bill Werde added fuel to the fire last month when he tweeted, “Did anyone not named Beyonce release better, more meaningful back-to-back albums last decade than Kendrick Lamar? Are you interested to know that I hear from several friends that recording on the new album may finally be done? And that he’s pulling in more rock sounds this time?” With 1,041 days passing since the release of DAMN.,this has been the longest running wait for a Kendrick album since the time between good kid, m.A.A.d city and To Pimp a Butterfly, making it seem like a lock that Kendrick drops in 2020.

JID

Cole’s label partner at Dreamville has been making some noise the past two years. After impressing listeners with lightning quick raps and witty punchlines with his debut album The Never Story and turning heads in 2018 with his sophomore album DiCaprio 2, JID has as much potential as any rapper in the game. JID has tweeted multiple times over the past few months hinting at a new album this year, however in an interview with Revolt, the 28-year-old spoke on his recent writers block, “My grandmother just passed,” J.I.D told REVOLT TV. “I haven’t been able to write a verse since. Everything has been blank, which is weird.” Legendary producer NO I.D. is reportedly a large part of the album. Considering it's been 2 years since a solo project from JID, I see it likely we will get an album from him later in the year.

Lil Uzi Vert 

Perhaps one of the most anticipated artists in 2020, Uzi has kept fans waiting for almost two years for his upcoming project titled Eternal Atake. From threatening to quit music to making a diss track against his own label Generation Now, Lil Uzi had a very trying year in 2019. However, Uzi has been positive on Twitter as of late. After releasing a single from the album, “Futsal Shuffle 2020,” Uzi has been teasing Eternal Atake heavily, suggesting it’s 16 songs, saying it “slaps way harder” than Luv is Rage and hinting at Tyler, The Creator’s production involvement on the album. In addition, Uzi has constantly compared 2020 to his break out year of 2016, saying it will be “2016 part 2.” During that year, Uzi was a XXL freshman, gave one of the most iconic freestyle cyphers, and dropped two albums in Lil Uzi Vert Vs. The World and The Perfect LUV Tape. Considering the delays on the album, the expectations for Eternal Atake are sky high. If we learned anything from last year, we know Uzi is a terribly unpredictable artist, so nothing is really concrete until the album arrives on streaming services. 

Playboi Carti

Incredibly, Playboi Carti has had more songs leaked than songs in the entirety of his discography (125 leaked, 34 released). Despite this, Carti’s supposedly upcoming album Whole Lotta Red is still one of the most coveted potential drops of 2020. In October of last year, Carti posted on Instagram, captioning the post “red incoming.” Since the announcement, heaps of leaks have surfaced, including songs, potential tracklists, album artwork and some possible features. Even Drake posted about the album on Instagram, captioning the post “Nobody:   Me: Somebody play Whole Lotta Red.” Considering it's been nearly two years since Die Lit, Carti will most likely feel the pressure to drop this year. Whether he will or not, is still a mystery. 

Pipe Dreams: 

Kanye West

The past few years have been a rollercoaster ride for Ye. From his constant donning of the MAGA hat and his head scratching slavery comments in 2018, to a steady batch of delays on his now released album JESUS IS KING, Kanye was back to being one the most hated figures in pop culture. Although JESUS IS KING got very mixed reviews, Kanye is supposedly planning a JESUS IS KING sequel. Last November, Ye tweeted a picture of him and Dr. Dre in the studio with the caption, “Ye and Dre Jesus is King Part II coming soon.” Before you get too excited, let's pump the brakes on the hype train for Jesus is King Part II. Kanye and Dre are infamously known for torturing their fans with delays, postponements and scrapping albums all together. Dr. Dre’s highly anticipated solo album Detox has been delayed for nearly two decades. Kanye has a slew of unreleased projects that were scrapped and later leaked, including Yandhi, So Help Me God, TurboGrafx16, Donda’s Boy and more. Don’t expect this album anytime soon. 

Isaiah Rashad

It’s been 1,265 painful days since the release of Isaiah Rashad’s last solo LP The Sun’s Tirade. With two terrific projects under his belt, TDE’s most reserved member has potential to be a household name in hip-hop. In June of last year, Isaiah took to an Instagram livestream where he announced the title of his upcoming album to be The House is Burning. He also claimed the album will be “as tight as Aquemini.” Since then, there has been no update on a release date of any kind. With Zay constantly previewing new music on his Instagram (Including songs with JID and Zacari), an album is presumably coming this year. TDE tends to spread out the release dates of their albums, and with Reason, ScHoolboy Q and possibly Kendrick Lamar dropping this year, we could possibly expect The House is Burning in the second half of 2020. But due to how tight-lipped TDE is about their upcoming projects, we can’t be sure new Zay music is coming this year. 

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Songs of the Week: August 18th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly by team members at StereoVision with the hottest new rap and hip-hop music. Always 30 songs with the hottest tracks at the top.

Songs of the week:

“What’s The Move” by Young Thug (Feat. Lil Uzi Vert)

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Last Friday, Young Thug dropped his new album So Much Fun and after one listen I was ready to call it album of the year. There are about eight songs off So Much Fun that could’ve made today’s Songs of the Week but really there was no choice. “What’s The Move” features Philadelphia superstar Lil Uzi Vert and is one of the most fun songs released this year. In large thanks to producer BL$$D the two emcee’s sounds like they are running around a lush jungle swinging from trees and rapping about their exuberant wealth. This song is timeless and when we reflect on it ten years from now we'll see it for what it truly is, two of the most influential and creative artists of our generation at their very best.

“Drip, drip, no shoestring my sneaker, won’t trip
My jeans is so tight they don’t fit
Still walk around with a stick on my hip
VVS diamonds right behind my lip”

— Lil Uzi Vert "What's The Move"

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“Lethal Weapon” by Nef The Pharaoh (Feat. Slimmy B)

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Bay Area rapper Nef The Pharaoh continued his annual release pattern this week with his new album Mushrooms & Coloring Books dropping on Friday. The sixth song on the album “Lethal Weapon” is an obvious standout and features fellow Vallejo rapper and member of SOB x RBE, Slimmy B. The two bay rappers go back and forth, normally 4 bars at a time, boasting an impressive display of chemistry and wordplay. The funky yet relaxing DTB instrumental creates a perfect climate for the two rappers to absolutely snap and the result is an extremely unique cut that is one of my favorite songs to drop in August.

“I’ma serve the kickback when the Glock click-clack
The dody in my sack awake God from a nap
If it ain’t one in the head, why you ride with the strap?
Started bettin’ on the race, I was tired of running laps”

— Nef The Pharaoh "Lethal Weapon"

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“Jet Lag” by A$AP Ferg

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A$AP Ferg has always been able to effortlessly craft addicting hooks and on his new project Floor Seats Ferg shows no deviation from his previous strength. The most clear example of this would be the project’s second song, “Jet Lag”. On the high-energy bop, Ferg raps about his expensive lifestyle while frequently alluding to his previous hits through clever bars. On “Jet Lag” Ferg also defends his position as one of the game’s best ad-libbers by hitting the end of every bar with one of his patented sounds.

“Made a lot of millions off a plain Jane
Pen and Billy on the track, we do the same thing
Rose gold, pink diamonds in my ring-ring
Got a bitch from Crenshaw and she gang bang”

— A$AP Ferg "Jet Lag"

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Songs of the Week: June 23rd

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior. To stay up to date on all new music, follow our playlist “Hot 30” on Apple Music and Spotify. “Hot 30” is updated daily to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly by team members at StereoVision with the hottest new rap and hip-hop music. Always 30 songs with the hottest tracks at the top.

Songs of the Week:

“That’s Life” by 88-Keys (Feat. MAc Miller and Sia)

That's Life (feat. Mac Miller & Sia), a song by 88-Keys, Mac Miller, Sia on Spotify

Just one week after Mac Miller’s first posthumous verse was released another excellent feature for the late Pittsburgh emcee has been unearthed. “That’s Life" by 88-Keys came out last Thursday and features Mac Miller and Sia. Mac is clearly the star on the song as he handles both verses and the beautiful hook with Sia on the bridge and 88-Keys responsible for the tear-jerking, piano-anchored instrumental. Mac uses the first verse to tell us about the struggles that he faced with his mom and drugs while growing up while on the second verse he offers advice to anyone going through something similar. The hook exists to remind us that if we are indeed going through things similar to Mac, sometimes that’s just life.

“So hard to stay sober when you feeling fucked over so much
Always coming up short, you like the roach of a blunt ”

— Mac Miller "That's Life"

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“Slayerr” by TM88 (Feat. Lil Uzi Vert)

Slayerr, a song by Tm88, Lil Uzi Vert on Spotify

This week TM88 and LilUzi Vert finally released a track that the duo has been teasing for over a year. “Slayerr” is an upbeat bop with a classic Uzi hook that sounds right at home over TM88’s hard-hitting instrumental. Throughout the song Uzi discusses his relationship with a rockstar girl, most likely Brittany Byrd who Uzi dated on and off throughout his career. He acknowledges the fact that she is probably no good for him, but being a rockstar himself, he cannot resist. The song is infectious and full of energy, hopefully Eternal Atake drops soon enough that “Slayerr” adequately holds us over until the elusive album is finally released.

“Yeah, she’s in love with a rager
She’s a rockstar, everybody said, “Don’t date her”
I’m no dummy, no I do not have a cape, sir
I just wanted to have my way, didn’t mean to save her”

— Lil Uzi Vert "Slayerr"

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“Be Mine” by Pi’erre Bourne

Be Mine, a song by Pi'erre Bourne on Spotify

“Be Mine” is the fourth track off Pi’erre Bourne’s excellent new mixtape The Life Of Pi’erre 4 and is only one of the thrilling cuts worthy of a “songs of the week” spot off the fascinating new project. Ever since he burst onto the scene with Playboi Carti, Pi’erre Bourne has been always been early to new sounds and a true trendsetter. “Be Mine” is a classic Pi’erre track with swirling, dreamy synths and a bouncy bass line. Pi’erre’s tackles a simple topic of wanting to hook up with a girl but he does it in such a tasteful way that it doesn’t sound like something we’ve heard thousands of times before.

“Wait, ayy, baby give me migraine
Baby, give me my space, pull up, yeah, to my place
Show me like it’s my estate, she want me ‘cause my name
Rubber on so I’m safe, livin’ life is so strange”

— Pi'erre Bourne "Be Mine"

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Songs of the Week: April 14th

By Spencer Lobdell

Welcome to “Songs of the Week” a weekly segment where I highlight three of the best new songs released the week prior along with one throwback song of the week. To stay up to date on all new music, follow my Spotify playlist “What I’m Feeling” which is updated weekly to always include the freshest new music. Always 30 songs, hottest always at the top. Stream it here:

A playlist updated weekly with whatever new songs I'm feeling at the time. Always 30 songs and in order with what I'm feeling the most at the top.

New Songs of the Week:

“Sanguine Paradise” by Lil Uzi Vert

Sanguine Paradise, a song by Lil Uzi Vert on Spotify

Finally, for the first time in over half a year, Lil Uzi Vert has released new music on streaming services. “Sanguine Paradise” was one of the two singles the rapper released this week and it did not disappoint. On the track we hear Uzi spit classic Uzi bars and melodies over a horn driven instrumental that is right in his wheel house. After so much drama and delay it’s so good to finally hear official new music from Uzi. Hopefully this signals that we are close to the elusive Eternal Atake but at this point I’ve learned not to get my hopes up.

“Only time I be walkin’ when I’m on the moon, so I feel like Michael
I was talkin’ to my little slime, that’s a lil’ lizard, call her Geico”

— Lil Uzi Vert "Sanguine Paradise"

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“Jet Black” by Anderson .Paak (Feat. Brandy)

Jet Black (feat. Brandy), a song by Anderson .Paak, Brandy on Spotify

Anderson .Paaks Ventura is my album of the year so far and while it’s impossible to pick just one track to highlight, “Jet Black” featuring Brandy is an early standout and easy track to fall in love with. A pulsing kick drums keeps the song moving forward and perfectly complements with funky piano chords to make this song sound like a perfect night out on the town. “Jet Black” is sexy, up-beat, and just like everything else on Ventura, conceptually layered.  

“Jet black hair, baby, jet black hair
At least two grams in your blunt wrapped there
These two hands always land up on the small of your back
Should I ask if eyes can go there?”

— Anderson .Paak "Jet Black"

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“Georgia” by Kevin Abstract

Georgia, a song by Kevin Abstract on Spotify

Fans of the Brockhampton frontman have waited three years for the follow up to 2016’s American Boyfriend and with the release of his three-song EP ARIZONA baby it looks like the wait might finally be over soon. “Georgia”, my favorite song off the EP, is a slower song where Kevin goes into detail about his homosexuality and how it has complicated his life in unfair ways. The guitar driven instrumental creates the perfect soundscape for Kevin to float on top, tapping into a slower flow that emphasizes the meaning of every bar he spits.

“I lay on your chest, you wonder what’s next
I love when you breathe, it make me reflect”

— Kevin Abstract "Georgia"

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Throwback of the Week:

“Westside Story” by The Game (Feat. 50 Cent)

Westside Story, a song by The Game, 50 Cent on Spotify

In 2005, The Game released his Aftermath debut The Documentary. Largely accepted to be his best work and a classic, with The Documentary, Game gave fans over an hour of gangsta bars, relevant features, and clever name drops. “Westside Story” is the first song on the album and perfectly embodies everything there is to love about The Documentary. Every bar Game spits on this track is quotable and has meaning making each verse extremely entertaining. Fellow G-Unit member 50 Cent delivers with a killer hook that fits perfectly between Game’s aggressive verses. “Westside Story” is a defining track of the mid 2000s.

“Since the West coast fell off, the streets been watchin’
The West coast never fell off, I was asleep in Compton
Aftermath been here, the beats been knockin’
Nate Dogg doin’ his thing, DPG still poppin’”

— The Game "Westside Story"

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