Scott, Travis

Vinyl Records and Rare LPs:

New - LP - 19075888361
Sealed 2018 2LP Gatefold. "Travis Scott Sees Astroworld As The Real Follow-up To Rodeo, Having Alluded To The Recording Of Birds In The Trap Sing Brian Mcknight As Rushed. The Quavo Collaboration Huncho Jack, Jack Huncho And Appearances On Sza's "Love Galore," Drake's "Portland," And 2 Chainz' "4 Am," Among A Slew Of Other Tracks, Also Preceded This Third Official Solo Studio Full-length, Heralded By The Single "Watch," Conspicuously Absent Given Its Direct Reference To The Demolished Houston Attraction The Album Is Titled After. Astroworld Undoubtedly Feels More Like A Spectacle Than Birds In The Trap Did. The Sprawling Theme Park Concept, However Loose, Is A Cunning Way To Rationalize The Tactically Hospitable Variety Of Producers And Featured Artists, Which Numbers Somewhere Around 50 -- A Large Supporting Cast, Even By Scott's Standard. A Long Line Of Unsurprising Guests Like The Weeknd, Frank Ocean, And Swae Lee Are Thrown Into Play With Stevie Wonder, Philip Bailey, And John Mayer, The Latter Class Of Which Seems Like A Bid For Grammy Appeal. The Beats, Contributed By Over 30 Figures, Are Neatly Sewn Together By Co-executive Producer Mike Dean, Who Eases The Twists And Turns Taken By The All The Slinking Rhythms And Whirling Atmospheres. Scott's Voice Slithers Through The Murk, Rapping And Singing In Graphic-as-ever Detail About His Lifestyle Of Narcotics, Air Travel, Hotels, And Trysts, Energized Most When Boasting About Fans "Stage Divin' Out The Nosebleeds" And Urging All To "Fuck The Club Up." He's Clearly Not Bothered By Indulging In Thrills Reflective Of The Album's Title. The Modulation And Echo Treatments On The Vocals, Combined With The Frequently Torpid Tempos, Nonetheless Make Astroworld Ideal For Being Pumped Through An (18 And Over) Amusement Park's Sound System Near Closing Time, When The Challenge Of Hitting All The Rides Has Started To Turn Into An Overindulgent, Overheated Chore. Beyond Potent Highlights "Butterfly Effect," "Sicko Mode," And A Levitating Tribute To Hip-hop Pioneer And Houston Legend Dj Screw, There's A Pair Of Scott's Most Moving And Personal Cuts In "Coffee Bean" And "Astrothunder." The Former, The Finale, Deviates From The Rest Of The Album With A Gently Knocking Nineteen85 Beat And Scott Sounding Positively Guru-like As He Laments, "Fighting Over Your Seeds, Writing Over Your Deeds, Sliding Over Your Keys". AMG Review By andy Kellman. more
New - LP - 88875065201
Sealed Latest Repress. 150gm 2LP With Custom Hype Sticker On Front Shrink, Download Included. "While Lady Gaga Was Working The Avant Side Of Pop, Hip-hop Was Doing The Same Thing Without A True Figurehead. Artists From Kid Cudi To A$ap Mob Were Coming At The Genre From All Sorts Of New Angles, But With Their Feet Firmly In The Rap Camp; Then Producer Travis Scott Came Along, Sounding Like Chief Keef But With A Much Broader Brush, Offering An Attractive Version Of Acid Rap That Landed Him On Kanye West's Good Music Label With A Debut Album That's So 2015 It Features The Ultra-hip Trifecta Of Future, The Weeknd, And Justin Bieber. Make Those Three A Venn Diagram And Scott Is The Man In The Middle, Wonderfully Weird And As Stylish-sounding As The First Two, And Yet With A Slick Appeal That Crosses Over Like Bieber, Which Is The Biggest Problem For Detractors: It's All For Show With No Filling. Still, With Lines Like "Always Kept My City On Me Like It Was A Swatch" And "My Dick Longer Than A Pringle Box" Over Beats That Honor And Match Edgy Acts Like Death Grips (The Raw "Piss On Your Grave" Featuring Kanye West) And Future (Who Appears Alongside 2 Chainz On The Sprawling Highlight "3500"), Rodeo Is An Absurd Wonder That Thankfully Works. That's Up To And Including Bieber, Young Thug, And Scott's Bedroom Brain-burner "Maria I'm Drunk," Which Is The Ultra Sheen Of Taylor Swift With The Lust Of Miguel Experienced Via Shrooms. "Wasted" Sounds Like Juicy J Did An Album For Stones Throw, "Flying High" With Toro Y Moi Borrows Some Of Slave's "Slide" So The Indie Party People Get An Anthem, Then The Very Big "90210" Travels Across Decades' Worth Of Film Soundtrack Styles While Sampling The Late Pimp C As T.i. Narrates. Weird That T.i. Doesn't Rap, And Weirder Still That Scott Barely Produces On This Album, Handing It Over To Returning And Like-minded Collaborators Like Metro Boomin, Ultra$ound, And Mike Dean. His Executive Producer Credit, However, Is On Point As The Aesthetics Of His Early Work Are All Here, And With "We Designed Our Love, Around These Drugs" Being The Album's Most Profound Lyrical Moment, He May Not Be Nas, But He May Be Warhol. As Kanye And Gaga Try To Bridge The Gap Between Pop And Art, This Artist Thrives In The Chasm. Like Warhol Said, "I Love Plastic, I Want To Be Plastic," And With Rodeo, Travis Scott Becomes A Designer Drug." AMG Review By David Jefferies. more

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