any sum of NYF Did I rate this higher than it should be over Sheck Wes ad-libs? Yes, yes I did. 8. Astrothunder [prod. Matty (of BADBADNOTGOOD), River Timber, John Mayer, Thundercat, Frank Duke, and Travis Scott] Wait, hold-up…*wipes eyes*...Thundercat…*wipes eyes again*...and John Mayer!?! How much money did Travis spend on this album? 7. Skeletons (feat. Tame Impala, Pharrell Williams, and the Weeknd)[prod. Tame Impala] Tame Impala, Pharrell Williams, and the Weeknd (background vocals + outro) = 3,000,000 NYF 6. Carousel (feat. Frank Ocean) [prod. Hit-Boy] Frank Ocean (hook + verse) = 3,500,000 NYF 5. Wake Up (feat. The Weeknd) [prod. Frank Dukes, Wallis Lane, and Sevn Thomas] The Weeknd (hook + verse) = 3,000,000 NYF Choosing between a Frank Ocean feature and The Weeknd feature is like choosing between Michael Jackson and Prince, Shaq and Hakeem, or Batman and Black Panther, nearly impossible. While The Weeknd’s role is limited in “Skeletons,” he’s fully unleashed in “Wake Up,” delivering a sensual hook and verse with his angelic voice. Frank balances the singing with the rapping to create ambrosia for the ears. His feature on “Carousel” feels more special because of how sparse his guest verses are, but the song as whole just doesn’t match the chemistry displayed between Travis and The Weeknd on “Wake Up.” I’m not saying The Weeknd’s guest verse is better than Frank’s but I definitely enjoyed “Wake Up” more than “Carousel.” 4. Can’t Say (Feat. Don Toliver) [prod. London Cyr, Frank Dukes, and WonderGurl] Don Toliver (verse) = 1,200,000 NYF From the moment I heard the grunge guitar strums at the start of the song, I knew “Can’t Say” would be something special. What I wasn’t expecting was an electric, razor-sharp verse from Cactus Jack Records’ newest signee Don Toliver, filled with soulful, trap melodies similar to something Rexx Life Raj might create. Scott and Toliver sound like twins with identical deliveries on the hook, braggadociously singing about their party and sex habits. Toliver’s performance on this track was one of the Astroworld’s biggest moments; I highly suggest you check out his EP Donny Womack. 3. NC-17 (feat. 21 Savage) [prod. Allen Ritter, Boi-1da and CuBeatz] 21 Savage (verse) = 1,000,000 NYF This cut sounds like something right out of Offset, 21 Savage, and Metro Boomin’s Without Warning, with its eerie, horror movie vibes in the instrumental. 21 Savage delivers his guest verse with his usual coldness, matching the instrumental perfectly. Travis puts on his best Young Thug impression with his choice in cadence and pitch on the hook and verse. While there isn’t anything inherently new or surprising about this track, its executed well enough to place it at no. 3. 2. Sicko Mode (feat. Drake and Swae Lee) [prod. Rogét Chahayed, Hit-Boy, OZ, Tay Keith & CuBeatz] Drake (intro + Verse) = 2,500,000 NYF Swae Lee (“Someone said” on the bridge) = 50 NYF Top two, and it's not...one. Don’t let the number two spot fool you though, “Sicko Mode” is a song for the ages. This three-part track is filled with expensive bouncy trap beats for Travis and Drake to wreak havoc on. Drake and Tay Keith are shaping up to be one of the most deadly rapper/producer combos in rap right now, with Drizzy effortlessly riding the beat after the song’s second beat switch. In a song where Travis could have easily been overshadowed, he steps up to the plate with some of his more memorable bars in the album like “who put this shit together? I’m the glue.” From Drake’s grand entrance in part one to Travis and Drake coming together in the third act, there’s plenty of ear candy to party to. 1. Stop Trying To Be God (feat. Kid Cudi, James Blake, and Stevie Wonder) [prod. Travis Scott, J Beatzz, and Mike Dean] Stevie Wonder harmonica feature = 2 billion NYF James Blake feature = 750,000 NYF Kid Cudi humming = 400,000 NYF I truly wasn’t prepared for the beauty of Stevie Wonder’s harmonica over trap hi-hats. While this track isn’t a song to rage to, the transcendent aura it gives off places it above “Sicko Mode” for me. Travis’s verses are a little underwhelming, but everything else from Kid Cudi’s signature humming to the tranquil instrumental creates a feeling of eternal bliss. I felt my body being lifted to another dimension when hearing James Blake’s ghostly wails and Stevie Wonder’s harmonica in the song’s outro. While creating a song about avoiding having a God complex, Travis managed to bring Astroworld to the heavens. Our ears aren’t worthy. Verdict: 8.5 Sheck Wes “Bitch” ad libs out of 10 With all the hype surrounding Astroworld before its release, it could have easily disappointed. Travis Scott clearly cashed in on a lot of favors and “I owe U’s” with this extravagant guest list. As he says on “Sicko Mode,” Travis is the glue that brings everything together. Who else could get a Stevie Wonder harmonica and Kid Cudi humming on the same trap beat, or have the brilliance to bring such a collection of producers to create some of the most dynamic and extravagant beats of the year, or even get Drake to brag about taking half a Xanax pill to fall asleep as prescribed (I’m kidding on the third one, but you get the point). Travis is like a coach, Tony Stark or Odysseus in the way that he leads a collection of talent with his genius. Yes, I have hang-ups about underwhelming verses lacking the energy or lyricism to make them feel special (i.e “Skeletons” or “Cofee Bean”), but it's easy to overlook them when you bring everything together to sound like trap royalty. How much credit you choose to give Travis for acquiring some moment worthy features and distinct beats is up to you, but for me, it's the cohesion that leads me to call this one of the better hip-hop albums of 2018. "> any sum of NYF Did I rate this higher than it should be over Sheck Wes ad-libs? Yes, yes I did. 8. Astrothunder [prod. Matty (of BADBADNOTGOOD), River Timber, John Mayer, Thundercat, Frank Duke, and Travis Scott] Wait, hold-up…*wipes eyes*...Thundercat…*wipes eyes again*...and John Mayer!?! How much money did Travis spend on this album? 7. Skeletons (feat. Tame Impala, Pharrell Williams, and the Weeknd)[prod. Tame Impala] Tame Impala, Pharrell Williams, and the Weeknd (background vocals + outro) = 3,000,000 NYF 6. Carousel (feat. Frank Ocean) [prod. Hit-Boy] Frank Ocean (hook + verse) = 3,500,000 NYF 5. Wake Up (feat. The Weeknd) [prod. Frank Dukes, Wallis Lane, and Sevn Thomas] The Weeknd (hook + verse) = 3,000,000 NYF Choosing between a Frank Ocean feature and The Weeknd feature is like choosing between Michael Jackson and Prince, Shaq and Hakeem, or Batman and Black Panther, nearly impossible. While The Weeknd’s role is limited in “Skeletons,” he’s fully unleashed in “Wake Up,” delivering a sensual hook and verse with his angelic voice. Frank balances the singing with the rapping to create ambrosia for the ears. His feature on “Carousel” feels more special because of how sparse his guest verses are, but the song as whole just doesn’t match the chemistry displayed between Travis and The Weeknd on “Wake Up.” I’m not saying The Weeknd’s guest verse is better than Frank’s but I definitely enjoyed “Wake Up” more than “Carousel.” 4. Can’t Say (Feat. Don Toliver) [prod. London Cyr, Frank Dukes, and WonderGurl] Don Toliver (verse) = 1,200,000 NYF From the moment I heard the grunge guitar strums at the start of the song, I knew “Can’t Say” would be something special. What I wasn’t expecting was an electric, razor-sharp verse from Cactus Jack Records’ newest signee Don Toliver, filled with soulful, trap melodies similar to something Rexx Life Raj might create. Scott and Toliver sound like twins with identical deliveries on the hook, braggadociously singing about their party and sex habits. Toliver’s performance on this track was one of the Astroworld’s biggest moments; I highly suggest you check out his EP Donny Womack. 3. NC-17 (feat. 21 Savage) [prod. Allen Ritter, Boi-1da and CuBeatz] 21 Savage (verse) = 1,000,000 NYF This cut sounds like something right out of Offset, 21 Savage, and Metro Boomin’s Without Warning, with its eerie, horror movie vibes in the instrumental. 21 Savage delivers his guest verse with his usual coldness, matching the instrumental perfectly. Travis puts on his best Young Thug impression with his choice in cadence and pitch on the hook and verse. While there isn’t anything inherently new or surprising about this track, its executed well enough to place it at no. 3. 2. Sicko Mode (feat. Drake and Swae Lee) [prod. Rogét Chahayed, Hit-Boy, OZ, Tay Keith & CuBeatz] Drake (intro + Verse) = 2,500,000 NYF Swae Lee (“Someone said” on the bridge) = 50 NYF Top two, and it's not...one. Don’t let the number two spot fool you though, “Sicko Mode” is a song for the ages. This three-part track is filled with expensive bouncy trap beats for Travis and Drake to wreak havoc on. Drake and Tay Keith are shaping up to be one of the most deadly rapper/producer combos in rap right now, with Drizzy effortlessly riding the beat after the song’s second beat switch. In a song where Travis could have easily been overshadowed, he steps up to the plate with some of his more memorable bars in the album like “who put this shit together? I’m the glue.” From Drake’s grand entrance in part one to Travis and Drake coming together in the third act, there’s plenty of ear candy to party to. 1. Stop Trying To Be God (feat. Kid Cudi, James Blake, and Stevie Wonder) [prod. Travis Scott, J Beatzz, and Mike Dean] Stevie Wonder harmonica feature = 2 billion NYF James Blake feature = 750,000 NYF Kid Cudi humming = 400,000 NYF I truly wasn’t prepared for the beauty of Stevie Wonder’s harmonica over trap hi-hats. While this track isn’t a song to rage to, the transcendent aura it gives off places it above “Sicko Mode” for me. Travis’s verses are a little underwhelming, but everything else from Kid Cudi’s signature humming to the tranquil instrumental creates a feeling of eternal bliss. I felt my body being lifted to another dimension when hearing James Blake’s ghostly wails and Stevie Wonder’s harmonica in the song’s outro. While creating a song about avoiding having a God complex, Travis managed to bring Astroworld to the heavens. Our ears aren’t worthy. Verdict: 8.5 Sheck Wes “Bitch” ad libs out of 10 With all the hype surrounding Astroworld before its release, it could have easily disappointed. Travis Scott clearly cashed in on a lot of favors and “I owe U’s” with this extravagant guest list. As he says on “Sicko Mode,” Travis is the glue that brings everything together. Who else could get a Stevie Wonder harmonica and Kid Cudi humming on the same trap beat, or have the brilliance to bring such a collection of producers to create some of the most dynamic and extravagant beats of the year, or even get Drake to brag about taking half a Xanax pill to fall asleep as prescribed (I’m kidding on the third one, but you get the point). Travis is like a coach, Tony Stark or Odysseus in the way that he leads a collection of talent with his genius. Yes, I have hang-ups about underwhelming verses lacking the energy or lyricism to make them feel special (i.e “Skeletons” or “Cofee Bean”), but it's easy to overlook them when you bring everything together to sound like trap royalty. How much credit you choose to give Travis for acquiring some moment worthy features and distinct beats is up to you, but for me, it's the cohesion that leads me to call this one of the better hip-hop albums of 2018. ">