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

July 17, 2022 by Guest User in Classic Reviews, Read

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.

Quintin Hollomand is a contributor.

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A Hip-Hop Landmark: How “The Miseducation of Lauryn Hill” Created the Next Generation of Rap

July 07, 2022 by Sydney Fluker in Classic Reviews, Read

by Sydney Fluker

It is an extremely cold take to say that The Miseducation of Lauryn Hill is one of the greatest hip-hop records of all time. From shattering previous records and making history with its release to the hold it has on hip-hop today, the release of Miseducation is a prominent black line on hip-hop’s historical timeline.

Released on August 25, 1998 by Ruffhouse Records and Columbia Records, Miseducation was an instant hit. With Lauryn Hill already having fame from her previous group Fugees, Miseducation was the breakout solo album her fans were waiting for. The record was an instant hit, selling almost 425,000 copies in its first week and reaching No. 1 on the Billboard 200 chart.

“[I wanted to] write songs that lyrically move me and have the integrity of reggae and the knock of hip-hop and the instrumentation of classic soul," she said in an interview with Rolling Stone in 1999. "[My engineer and I worked on] a sound that's raw. I like the rawness of you being able to hear the scratch in the vocals. I don't ever want that taken away."

The rawness has been received well. Since its release, Miseducation has sold 20 million copies worldwide according to Sony Music, making it one of the best-selling albums of all time. In 2021, it became a certified diamond record by the Recording Industry Association of America, earning Ms. Hill the Guinness World Record for being the first female rapper to reach diamond status.

Miseducation is a glorious combination of neo soul, R&B, hip-hop and reggae. While the story of its creation plays out like a movie (check out this Rolling Stone interview for the full story), it's clear that this record is a Ms. Hill original through and through. Creating her own team after being effectively blacklisted by Fugees partner Wyclef Jean, Ms. Hill blazed her own path in her early twenties, using unknown producers and being pregnant while creating an industry-changing record.

Her relationship with Rohan Marley, the father to her five children, led her to move to Jamaica for a part of the album’s production to find peace of mind. “Forgive Them Father” and “Lost Ones” were made at the Bob Marley Museum on 56 Hope Road, which Ms. Hill references on “Lost Ones.” Both feature singing in patois, the common dialect in Jamaica.

One of the largest influences apparent in Miseducation is the influence of Christianity in her own life. Much of the song “Tell Him” is based on 1 Corinthians 13, while “To Zion” discusses her decision to carry her unborn son based on prayer. Perhaps the most obvious is “Forgive Them Father,” where she invokes Luke 23:34 and confirms her biblical references are intentional.

“Gospel music is music inspired by the gospels,” Hill said in the book “Lauryn Hill: She’s Got That Thing.” “In a huge respect, a lot of this music turned out to be just that. During this album, I turned to the Bible and wrote songs that I drew comfort from.”

Even in “non-religious” tracks, the influence is felt. D’Angelo, whose feature on “Nothing Even Matters” was laid down in the course of an hour, noted the importance of that song in an interview with Rolling Stone magazine.

“Churches were substituting God in the lyrics [for “Nothing Even Matters”],” D’Angelo said. “Whenever they make a gospel version from a secular song, that’s significant.”

Ms. Hill and Miseducation made history at the 41st GRAMMY Awards, being nominated for 10 GRAMMYs heading into the ceremony and walking out with four. “Doo Wop (That Thing)” won Best Female R&B Vocal Performance and Best R&B Song, and Miseducation took home Album of The Year and Best R&B Album. She herself won Best New Artist, making her the first female artist to ever win five or more awards at the GRAMMYs in one night. Miseducation was the first hip-hop album to win Album of The Year, making the world respect the art of hip-hop a little bit more.

Ms. Hill has done more than inspire the next generation of music — she’s helped create it. The vulnerability presented on Miseducation opened the door for more emotional records. An unknown John Legend started his career by playing piano on “Everything is Everything” before eventually signing to Kanye West’s GOOD Music, another Ms. Hill inspiree.

“Lauryn is innovative,” Janelle Monáe told British magazine NME. “She was hip-hop and R&B, but nobody had used [the combination] in the way she did. She created something that we had never tasted before. There was already a Lauryn Hill, there was already an Erykah Badu – but there was not a Janelle Monáe. They inspired me to create my own lane.”

Miseducation is a sample haven for all sorts of genres, but has mainly been used across hip-hop. Kanye West has been open about how Ms. Hill inspired him in his music, using her samples on multiple albums throughout his career and shouting her out in his 2007 song “Champion.” Drake’s chopped-up use of “Ex-Factor” for the chorus on “Nice For What” is one of the most notable samples, but his 2014 “Draft Day” sampled “Doo-Wop (That Thing)” is an equally impressive manner. From PnB Rock to Cardi B, “Ex-Factor” has been sampled over and over since its initial 1998 release.

Fabolous’s “Summertime Shootout” featuring Jazzy samples “Lost Ones” and shouts out Ms. Hill’s time in Fugees with “Heard she in between dudes, just like Lauryn.” J. Cole’s “Can I Holla At Ya” uses Santana’s rift from “To Zion” to talk to his father figures, remixing a Ms. Hill original with an equally emotional track. Ms. Hill has even been shouted out by rappers from other countries, as up-and-coming Portuguese rapper Pete Mcee compares the power of his girl’s lips to the music of Lauryn Hill.

“You use music as your vehicle to reach people you feel need to hear your message,” Monáe said. “That album gave me the fuel I needed to bring out the things that made me unique.”

Sydney Fluker is a staff writer.

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How Outkast's "Aquemini" Fulfilled the Prophecy & Changed Hip-Hop Forever

July 04, 2022 by Spencer Lobdell in Read, Classic Reviews

by Spencer Lobdell

On August 3rd, 1995, hip-hop history was forever altered.

While many hip-hop purists like to refer to the second annual Source awards as the night that hip-hop died, they are overlooking the most important moment of the show that I believe to be the moment when the hip-hop we know and love today was born. While most remember the show for Suge Knight’s not-so-subliminal shots at Diddy during his “Soundtrack of the Year” award speech or Snoop Dogg’s infamous “Y’all don’t love us?!” rant, the most important moment of the night followed the announcement for best new artist. When a little-known hip-hop duo called Outkast was announced as the winner they were met with a chorus of boos as the New York audience lost their mind because hometown hero Method Man didn’t win the award. Amidst the boos, a young Andre 3000 grabbed the mic and silenced the crowd with one of the most iconic acceptance speeches TV has ever witnessed, an acceptance speech that was only six words long: The south has something to say.

This moment is referred to as “Andre’s prophecy” as it came one year before Outkast started what very well might be the best three-album-run in the genre’s history. While ATLiens and Stankonia are classics in their own right, they represent Outkast on both ends of the experimental spectrum and when examining influence it’s important to start at the moment when everything changed. That moment for Outkast (and the entirety of hip-hop) was their 1998 release Aquemini.

The cultural importance of the album goes far beyond the quality of the writing and recording on the project. Aquemini is the most influential album in hip-hop history because it’s the project that liberated the genre and enabled rappers to break free from the restrictive constraints that had previously said what you could and couldn’t do in hip-hop. Aquemini is the moment when successful artists were allowed to transcend the title of “rapper” and step into their full potential as boundless creatives. Aquemini is the album that freed hip-hop.

Although it’s impossible to boil Aquemini’s impact down to one groundbreaking trait, the first that must be mentioned is the group’s willingness to blend a variety of genres without fear of alienating traditional hip-hop fans. While Aquemini is certainly a hip-hop project at its core, Big Boi and Andre effortlessly fuse funk, jazz, gospel, world music, and spoken word into the record introducing a level of genre-bending that had yet to be seen in hip-hop. The album’s second song “Rosa Park” establishes this theme early on by being anchored by a country hoe-down inspired instrumental that’s so southern it even houses a harmonica solo played by a real pastor. The deviations from hip-hop go much further on Aquemini though. From the iconic ska-inspired horns in “SpottieOttieDopaliscious” to Erykah Badu and CeeLo Green versing soulful spoken word over the jazzy “Liberation” instrumental, the duo managed to seamlessly mix sounds throughout the project, somehow making a record for both old-school players AND new-school fools.

It’s easy to see the tremendous impact that Outkast breaking genre rules had on modern hip-hop. This impact is palpable across Kanye West’s entire discography from soulful samples featured on The College Dropout and Late Registration to truly boundless hip-hop housed on 808s and Heartbreaks and My Beautiful Dark Twisted Fantasy. Moving into even more recent examples, without the bold experimentation Outkast employed on Aquemini we would’ve never been lucky enough to see XXXTENTACION push the limits of what a rap album could be on ?, his sophomore album. Finally, the artist where Aquemini’s influence is the most noticeable is none other than Kendrick Lamar who won a Pulitzer Prize for To Pimp a Butterfly, an album with a heavy psychedelic jazz influence that can be clearly traced back to the Southern duo.

One of the most obvious impacts that Outkast had on modern rap was welcoming artists from areas other than California and New York to the party. While there certainly were groups and artists making music outside of the two states, none had reached the mass appeal that Outkast did, a feat that signaled to the average consumer that good music could come from anywhere. Outkast broke the geography of hip-hop allowing new scenes to emerge and have lives of their own. The south became a hotbed for hip-hop after Aquemini resulting in generational talents like Lil Wayne, Killer Mike, and T.I. Years later, a similar renaissance was seen in Chicago with artists like Common, Lupe Fiasco, and Kanye West. While there were certainly great artists from regions outside California/New York before Outkast and the growth of different scenes across the country was inevitable, what the duo did for the south and all other developing regions after must be acknowledged.

Thus far we’ve looked at the impact of Outkast’s instrumentation and regional prowess, but we have yet to discuss potentially the most ground-breaking power the group yielded: The context of their writing. Outkast was the first hip-hop act to leverage their authentic duality as a strength rather than a weakness that needed to be covered up. In 1998, there were specific archetypes that rappers had to fit into to be successful. You could either be A Tribe Called Quest or NWA, De La Soul or Wu-Tang Clan, Talib Kweli or Jay-Z. Andre and Big Boi completely destroyed this idea of a single identity and Aquemini was the album where they truly became the player and poet. Outkast would be the first to tell you that hip-hop was so much more than drugs and guns but then turn around to tell you the importance that both had on the culture.

This duality and authenticity that Outkast pioneered is the reason that hip-hop was able to expand and become the biggest genre in the world. While we love gangsta rap and conscious rap alike, it’s hard for the average person to relate and identify with either sub-genre completely, and if the lines were never blurred both camps would’ve simply gone deeper into their respective niches. Not only was Outkast the first to walk this line, but they were undoubtedly the best at it.

Finally, this examination of influence would be incomplete without mentioning the way Andre’s flow taught the best rappers ever how to spit. Although Biggie had already shown the world how mesmerizing a flow could be by the time Aquemini was released, nobody pushed it further than three stacks. Andre broke every rule of rap resulting in some of the most mind-bending flows hip-hop has ever heard. He seemed to write against the beat instead of with it allowing him to fall into absurd pockets that would pave the way for emcees like MF DOOM, Earl Sweatshirt, and Boldy James.

When speaking about extremely influential works, it’s not rare for an album’s greatest strengths to be the projects that came from it. The most beautiful thing about Aquemini is that well it birthed some of the greatest records in hip-hop history, to this day its greatest strength is not what it became but rather what it is. The record is nearly 25 years old and somehow doesn’t sound dated at all. You can play Aquemini next to any of the great albums to come out in the past decade and it sounds right at home. Outkast is without question one of the most legendary hip-hop acts to ever grace a mic and Aquemini is the project that pushed them to this level. “Even though we got two albums,” Big Boi raps on that album’s “Y’all Scared,” “This one feel like the beginning.”

Spencer Lodbell is the co-founder of StereoVision.

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How “Pieces of a Man” Became the Socially-Conscious Voice of a Generation

June 30, 2022 by Asher Ali in Classic Reviews, Read

by Asher Ali

When George Floyd was murdered, Americans dusted off their shoes and marched to fight for justice in a system that was ever-more glaringly built on discrimination and racism. Many different phrases and taglines were prominently featured at the forefront of 2020’s push for change, namely among them a particular truism first uttered from the mouth of poet and songwriter Gil Scott-Heron.

“The Revolution Will Not Be Televised” is one of the most used and also distorted lines in times of tumult, and it originates from Scott-Heron’s prominent song of the same title. First used as part of his introduction to his inaugural album Small Talk at 125th and Lenox, the song made greater waves on the Chicago native’s second project, Pieces of a Man in 1971.

The album became an underground success with its jazz poetry breaking down the perspective of a beleaguered man desperate to break free from the chains of oppression. In particular, “The Revolution will Not Be Televised” has been at the vanguard of fights for social justice from London in 1983 to Mumbai in 2009.

The album as a whole has also remained consistently relevant to this day through the instrumental impact it had in establishing the sound of hip-hop and jazz rap. Scott-Heron never agreed that he was the forefather of rap, calling his association with the genre “a mistake,” but the state of hip-hop today would be unfathomable because of who the poet and the famous Pieces of a Man inspired.

The groundwork of the album’s sound is laid out by jazz composer, keyboardist and producer Brian Jackson who was a decade-long collaborator with Scott-Heron. His wavy drums, flute and keyboard sounds served as simply a backdrop to Scott-Heron’s whimsical dictation, which was a more novel concept of the time as it gave the lyrics space to stand out on their own instead of forcing them to meld together.

The juxtaposition of gentle rhythm against fluid, yet hard-hitting lyrics inspired Ali Shaheed Muhammad of a Tribe Called Quest to seek out jazz samples to put up against the bars of his fellow group members. Muhammad got together with Jackson in 2021 for a collaborative jazz project, but as a fan of Jackson’s in the early 90s, Muhammad emulated the sonic ideas from Pieces of a Man in a range of Tribe tracks, from “Excursions” to “Keep it Rollin’”.

Free expression of difficult themes was also championed on the album by Scott-Heron and also became a distinguishing factor for A Tribe Called Quest as the group ascended. Even in their younger years, the young emcees of Q-Tip, Jarobi White and Phife Dawg were politically and socially outspoken, talking about xenophobia, veganism and religion in their rhymes. Scott-Heron’s grand influence on hip hop has helped some deem him as the progenitor of the genre; a hard nomination to argue against when you pay attention to how much he’s influenced perhaps the greatest zeitgeist in the genre’s history. Kanye West was maybe one of the most outspoken musicians in the early 2000s, both inside and outside the studio, as the mutual Chicagoan saw his genius as a reincarnation of what Scott-Heron had preached before him.

West has always been proficient at analogizing tropes in the commercial world to dig at something deeper within the human condition, something Scott-Heron was masterful at doing in his poetry as well. Kanye gave clear credit to this on Late Registration’s “My Way Home” which sampled “Home is Where the Hatred Is” from Pieces of a Man, but in a way that was unique for West’s production style at the time.

Instead of chopping it to pieces and reverbing the song to make it beautifully unrecognizable, West loops the hard-hitting piano chords from the song leaving it nearly untouched, while then featuring Scott-Heron’s powerful vocals at points to break through the bars that both West and fellow Scott-Heron studier Common are laying down.

West’s track concludes with 44 seconds of unbroken phrase from Scott-Heron’s classic, where his powerful voice echoes a sentiment about how returning home after suffering can cause more pain. The world knows Kanye West to be someone who rarely lets others tell his own story, yet here Ye was clearly proud to let someone of Scott-Heron’s pedigree describe how he felt.

On Late Registration’s very next song “Crack Music”, Kanye put down an introspective and socially conscious line right out of the Scott-Heron handbook where he said, “You hear that? What Gil Scott was Heron / When our heroes or heroines got hooked on heroin.” Conveying a period of time so vividly is incredibly emblematic of what Scott-Heron was known for, and not only Ye, but Kendrick Lamar out of Los Angeles was able to articulate deep personal narratives in rap, much like the spoken word of the renowned jazz poet.

Much like how Pieces of a Man tells the story of Scott-Heron and his father trying to escape cultural discrimination and injustice, good kid, m.A.A.d city was Kendrick’s tale of how he tried to overcome poverty and extreme dysfunction as a kid living in Compton. Kendrick’s prose would only become more poetic in To Pimp A Butterfly as he ornately paints a tableau of how this country tries to break Black Americans in hopes of conformity. It’s an expansion of the themes expressed in the interpersonal story of Pieces of a Man.

From “The Revolution Will Not Be Televised” to “Peace”, the sounds, rhythms and themes of Pieces of a Man are the ideals that have underpinned hip-hop since DJ Kool Herc. And as recently as 2020 when the ugly head of racial inequality was front and center in this country, the message of Scott-Heron’s art resurfaced in full bloom. Perhaps nobody in modern rap has embodied how the duality of Scott-Heron’s message still resonates with the world today quite like Freddie Gibbs. The gangster poet first used the line, “The revolution is the genocide / my execution might be televised,” in Alfredo’s “Scottie Beam” and later on released his own rendition of the soulful and sorrowful “Winter in America” which Scott-Heron and Jackson wrote as they saw first-hand how democracy can fail this country.

The best art is that which transcends time with the message it brings, and Pieces of a Man has not just reached multiple generations but inspired them too socially and artistically.

Asher Ali is a staff writer.

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

June 23, 2022 by Miles Hagan in Classic Reviews, Read

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.

Miles Hagan is the co-founder of StereoVision.

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