This release is a masterpiece for Travis Scott and the rap community. Every song is masterfully put together and the energy throughout makers it a very easy listen.
The production is amazing, separating itself from almost all other music with how crisp and intoxicating the beats actually are. Each song has the perfect atmosphere and compliments the artists on it. There are no issues with how the background music plays on this album, none at all.
The lyricism is not exactly the most complicated and intricate out there, but the delivery and performance elements bring them home. The way the beats and the lyrics meld together so seamlessly really strengthens the tracks as neither are blocking the other out and making both elements very enjoyable. The wordplay is not bad, but could do with maybe a small boost to reach every corner of the hip hop world.
The features, while not credited on the streaming side, all contribute strongly to this project and add just what is needed on each song. While some may not seem like the biggest contribution, all make this the cohesive listen that has made such a smash hit. There is a chance that a few more singers could add another edge, but may ruin the vision Scott had for this.
Overall, there is no doubt that this will go down as a lot of people’s favorite album. Travis Scott has used his considerable talents to craft a truly remarkable project that every listener can enjoy, at least for a certain extent.
This release is good as a concept, but lacks the push to make it a success. 21 Savage starts off well, but runs out of steam towards the end with a few missteps along the way.
The production is great, with a more sweetened taste to it rather than the darker sounds some might have been expecting. Each beat has similar elements, but works well with Savage and his delivery. It is good that Savage is trying to spread his musical wings, and not straying too far from his musical roots is definitely a good choice.
The lyricism is alright, as Savage uses some wordplay for descriptive power. However, at a run time of fifty seven minutes or so, he does not have the depth in his rhymes to keep them hitting hard for the whole project. Some improvement, whether it be in changes of flow or lyrical prowess, would go a long way here.
Overall, with no features to help break up the monotony of 21 Savage’s drawling delivery, this shows some want not to be typecast as any one kind of rapper. However, some work is done as Savage sounds especially out of place on the love songs and some consolidation of album length would help too.
This release is full of big names and big tracks that make this a very entertaining listen. With DJ Khaled acting more like a on this album, only the best tracks make the cut, and this album proves it.
The production is varied but always interesting. Every beat is energetic and works very well with the artists chosen to work on it. There may be something for everyone, but most will appeal to any listener as they are all polished and work as a full listen through as well as individual songs.
The Features on here make this project such a success. All show great skill and have great chemistry with the other artists on the songs as well as DJ Khaled. It is possible that some guests further from his comfort zone may have made some more interesting moments, but DJ Khaled has chosen most of the biggest names in Hip Hop to be a part of this release, and they don’t disappoint.
Overall, this is great for those who want to stick on an album and not use the skip button at all, leaving it to play through. DJ Khaled continues to have enormous success with his albums, but it should be noted that it is mostly down to other artists work. Not to take from Khaled’s ability to bring artists together, but most of the entertainment value is down to the features and not him shouting out during the project.
This is an energetic release reminiscent of the first Ransom project, but there is a certain amount of formula that is clear in each of the tracks. While the production from Mike WiLL is fantastic, what each artists does with it all seems to lead down the same path, with a few exceptions.
The production is phenomenal, with Mike WiLL creating trap beats that may seem similar, but all have different aspects that makes each individual. In a few cases it seems like there is a base guideline rather than an organic blooming to his creative process, but it still yields some great results. Maybe seeing what he can do outside the trap sub-genre could be an interesting challenge for the producer.
The features on this project are exactly what you would expect to find on songs from a producer as big as Mike WiLL. A stream of A-List rappers as well as fresh up-and-comers helps show a great level of respect for the producer here. It is a shame that so many come from the same vein of writing and delivery, but individually, they all still have good performances.
Overall, this is another release from an exceptional producer that proves he deserves the money and respect he is given. Only time will tell if he will attempt to branch out and attempt to work with a wider pool of talent.
This is a lot more of the same from Fetty Wap, which is a shame because he could have used his quick gotten fame to grow as an artist, but has settled into a rut of formula music instead. He can still make catchy tracks, but how long until people realise it is the same track over and over.
The production is all energetic and bouncy, but becomes stale over the course of nineteen tracks. While if you picked a handful, it would be good music to exercise to, it becomes mere noise in the background because there are so many similarities between the beats. Some more variety in the selection would go a long way.
The lyricism is good at first, but it soon seems to become a paint by numbers scenario. Fetty Wap doesn’t use complex wordplay, but seems to rely on his delivery and autotune to make an impact. Some improvement in his rhymes might open his releases to a larger audience.
The guests help break up the autotune of Wap but are still similar to him in rhyme style. Some help elevate the level of wordplay, but still seems to rely on the beats and performance factor. It is a shame but seems to be the direction the rap game is headed in.
Overall, this is good if you can pick out a few you enjoy, but so much of it is filler music and it goes on for so long, that it is not always an enjoyable listen through. Hopefully Fetty Wap can break out of his comfort zone to make some more interesting music.
This project is very entertaining and shows that Meek Mill still has a passion for rap despite all the beef he finds himself in. It is good to see he is better than just a target for any number of rappers.
The production is good with plenty going on in the background to support the lyrics. Each beat contains similar elements but are diverse enough that they are not too much alike. Some slower songs could help balance this mixtape out, but Mill has a strong selection to work with here.
The lyricism is good but is not fantastic. Meek Mill relies on his delivery a bit too much and his rhymes do suffer slightly because of it. While they are still clever, his lines need a bit more complexity to appeal to a wider audience.
The features are ok but many run in the same vein and have thier own weaknesses. There is a lot of autotune that doesn’t work great with the beats and Mill’s own style as well as many other shout rappers that sound similar to the main artist. Some more variation would go a long way on this project.
Overall, this is an enjoyable project because of the energy running through and the fun that comes from it, but it does have its pitfalls. Meek Mill shout take what is in this mixtape and refine it for a future album.