Nicki Minaj "Queen" Album Review

(UPDATE: Though it wasn't initially included on the album, I've apparently been informed that Nicki added her collaboration with 6ix9ine "FEFE" to the album, potentially as a form of chart manipulation so that Nicki's album can get to #1 on the Billboard 200 this week. Regardless of whether or not she does, or whether it ends up getting counted, I'm still gonna talk about the song in this review, and I've edited a few moments just to clarify that the song is included on the record)

Alright, everyone, it’s finally time. I wasn’t really looking forward to this, but here we go: it’s time for a review of the new Nicki Minaj album “Queen.”

You guys know I usually start these reviews by introducing the artist if I didn’t review any of their previous works, but I don’t really think I need to do that here because chances are, you know who Nicki Minaj is: she's been one of the most popular hip-hop artists (and arguably the most noteworthy female hip-hop artist in the 2010s, if not of all time) ever since she was discovered by Lil Wayne in 2009 and featured on the popular Young Money song “BedRock.” She released a trio of highly successful albums in the early 2010s, with “Pink Friday,” “Pink Friday: Roman Reloaded” and “The Pinkprint,” and she’s also released a bevy of massive-charting singles like “Your Love,” “Moment 4 Life,” “Super Bass,” “Starships,” “Stupid Hoe,” “Beez in the Trap,” “Pound The Alarm,” “Anaconda,” “Only,” “Truffle Butter,” “No Frauds,” and many, many more. She’s also had several big features and collaborations on songs like “Bottomz Up,” “Monster,” “Make Me Proud,” “Dance (A$$),” “Turn Me On,” “Beauty and a Beat,” “Bang Bang,” “Hey Mama,” “Side To Side,” “Rake It Up,” “MotorSport,” and a whole lot more.

Now, I’ve admittedly defended Nicki a bit against some of the criticism she’s received among some friends of mine who hate every single thing about her because I’m not gonna lie, there is most certainly appeal to her music and some of her songs are quite fun. However, while I’ve come to her defense quite a few times, I can’t say I was very excited going into this record. While the leadoff single “Chun-Li” was fun (if a bit goofy), it felt like all I heard out of her afterward was controversy after controversy, from appearing on the cover of Russia’s “Harper’s Bazaar” in light of the country’s poor treatment of LGBTQ+ citizens (as an LGBTQ+ myself, I definitely don’t think that was the best move) to her heated, aggressive messages towards writer Wanna Thompson and her interview with Elle where she seemed to shame sex workers despite basing her career around being sex-positive.

And not only did that already turn me off going into this album, but beyond hearing that it would be 20 tracks and an hour long, I also approached this with little excitement because, while it’s not her single, the last song I heard Nicki Minaj on was “FEFE” with 6ix9ine, also a hypocritical feature as she is working with, and now apparently touring with, a man who was arrested for Use of a Child in a Sexual Performance. And beyond that hypocrisy, “FEFE” just happens to be a completely hideous song (potentially the worst Billboard Hot 100 Top 10-peaking track this year), and it feels like a poor attempt by Nicki to regain some relevance as, over the last year or so, many have believed that her title of “Queen of Rap” seems to have been taken over by Mrs. Cardi B, who has put out several chart-topping hits and has released a very well-received debut album (I also really enjoyed it), possibly more so than several major hip-hop albums this year. So, while I don't like the idea of pitting female rappers against each other, I’m already walking into this thing with a sour taste in my mouth. Will Nicki actually create something great out of it? Let’s find out:

Ganja Burn: To kick off the album, Nicki takes on something rather upbeat and surprisingly inspired by afrobeat. It’s definitely a surprising direction for Nicki (or, maybe not, I guess since Drake is moving away from the dancehall and afrobeat stuff, someone else has to take it over. Is this another situation where I ask "Drake, what have you done?"), but it doesn’t really stick with me all that much. Nicki’s flow is certainly solid as always, and her vocals on the chorus sound nice, but the hook itself is just unfortunately dull, and the production, while a nice change of direction for Nicki, just feels slightly watered down to the point where it simply feels like “change for the sake of change” instead of “natural evolution.” Not a terrible track, but not really a hard-hitting starter.

Majesty (feat. Eminem & Labrinth): Nicki is joined here by Labrinth, as well as legendary MC Eminem (who she was rumored to be dating at one point), as the three create a rather braggadocious song that has a somewhat dark feel to it. Nicki’s performance is certainly confident, but her flow does little to stick with me (and her singing on the outro is honestly somewhat cringe-y), and Labrinth’s hook is nothing all that special. What really saves the song from being one of the worst on the album is Eminem’s guest verse: I love his confident tone, quick and rapid-fire flow, and his clever lyricism on here. Overall, most of the song is very forgettable, but shoutout to Eminem for reminding us all that he’s still got it after all this time!

Barbie Dreams: This is quite the tell-all track on the album. Nicki pays homage to The Notorious B.I.G. by giving her version of his song “Just Playing (Dreams),” but she also uses the track to diss a number of big-name male artists (although, apparently it’s in good fun because a number of the artists she disses are friends of hers, and some of them, like Lil Wayne and Swae Lee, are featured on the album). Admittedly, though, I do like the old-school, groovy instrumentals on this one, and I think Nicki’s lyricism is very clever here (if a little too unapologetic at some points). The feel changes on the third verse, but the more trap-inspired vibe of the second part has some cool click-clack percussion, and Nicki’s flow remains very strong here. Definitely dig this cut.

Rich Sex (feat. Lil Wayne): As I said about the last track, Lil Wayne is featured on this album, and this is the track that he is part of. It’s a very standard, dark-sounding trap track without much to keep it all that interesting. The somewhat sinister keys are kinda cool, though they definitely sound like something I’ve heard more than a few times before. Nicki’s performance is relatively boring to me (and her weird ad-libs on the outro are, again, complete cringe), and I think what really keeps this interesting to me is Lil Wayne’s really fun flow, and given that he has such a small presence on the song, he isn’t able to do the kind of saving that Eminem did. Pretty bland song, all things considered.

Hard White: Allegedly, many people believed this track was aimed at Cardi B, though given when it was written (February/March 2017, before Cardi B’s big breakout with “Bodak Yellow”), it appears that’s not the case. Instead, what it feels like she’s trying to do is have production that sounds like every other trap-rap song on the planet. Yes, her flow is still very distinct and hard-hitting, and I can tell she’s giving effort with her performance, but I feel like the combination of the very standard beat and instrumentation, combined with Nicki’s attempts at auto-crooning on the hook, just take away from the song a lot. It’s not a terrible track, it’s just unfortunately bland.

Bed (feat. Ariana Grande): Teaming with her good friend (and one of my personal favorites) Ariana Grande, Nicki and Ari talk on this very intimate and sexual track about companionship in the bed. I was really hoping that, by bringing Ariana onto this cut, we would start getting the ship back afloat here, but unfortunately, this is another very problematic track for me. I think that the very bouncy synth-driven production is pretty nice, but it definitely doesn’t feel all that special in comparison to a lot of the collaborations these two have done in the past. And while Nicki’s flow is relatively fun, I feel like Ariana doesn’t have enough of a presence on this one, and when she does come in, she’s not given enough room to really show off her vocal potential until the very end. It’s not bad, it’s just lacking.

Thought I Knew You (feat. The Weeknd): Feels like I’ve been talking about this guy a lot with his features lately, but my man The Weeknd jumps on this track to talk with Nicki about people that they thought they knew. I feel like Nicki’s attempts at singing here just don’t feel very exciting (and that’s a shame, because some of her singing has been good in the past), and the production, once again, just feels like every other trap-rap song I’ve ever heard. Once again, this is a case where Nicki is saved by her feature because The Weeknd’s vocals are great as usual, and he comes through with some great vocal melodies on his verse and pre-choruses. Even then, I feel like Nicki doesn’t really have strong enough vocal interplay with Abel (The Weeknd), so really, The Weeknd just kinda comes in and owns this song for himself. Shoutout to him for saving this from being one of the album’s worst, but it’s a shame Nicki couldn’t give him enough support.

Run & Hide: This cut sees Nicki taking some attempts at an R&B flavor while talking about some of her relationship woes. Unfortunately, I don’t find her singing on this track to really be all that compelling, and I also think that the overpowering percussion just seems to hide that the instrumentals are just so bland and forgettable. I can see how this song can appeal to some people as something sad, but for me, it’s just a painful reminder that Nicki is selling herself short on this project, both in regards to her ear for production and in her vocal performances. And given that the song ends so quickly (it’s just over two and a half minutes) without any really hard-hitting moments, it just feels like one of those cuts that will sink in with the rest of the album and be forgotten after one play.

Chun Swae (feat. Swae Lee): Allegedly the prequel to “Chun-Li,” Nicki recruits frequent collaborator and one-half of Rae Sremmurd, Swae Lee, for this SIX-MINUTE TRACK! Given that Nicki’s struggling so far with three and four-minute songs, I was terrified to see how she'd do on a 6-minute song. And honestly, I knew I was in for a bad time when I really wasn’t digging the Swae Lee feature. Most of you guys know that I generally like Rae Sremmurd, and I was one of the…okay, I was the ONLY person that found “Swaecation” to be my favorite side of “SR3MM,” but honestly, his falsetto on this track is more grating than usual, to the point where my ears honestly hurt listening to it. And while Nicki comes through with some occasionally fun flow, the slower-paced production just threatens to put me to sleep. This goes on far too long, and it’s easily one of the worst on the album.

Chun-Li: This was the first big single that released alongside the album, and on it, Nicki compares herself to the iconic “Street Fighter” character Chun-Li (although, as a gamer myself, I need to have a sit-down with Nicki because I don’t know if she realizes that Chun-Li is not the “villain” of the “Street Fighter” series). The production on this one is bouncy and fun enough, and I do like Nicki’s very confident performance and flow here, though I don’t really find the hook all that fun, and I find it repetitive when Nicki talks about how she’s King Kong, yes, she’s King Kong, really King Kong, she’s the King Kong. Still, there is some fun to be had with this track, and I think it was definitely an appropriate first single.

LLC: Apparently one of Nicki’s favorites from the album because of the precision, breath control, and overall skill of her rapping flow, if anything, I respect her commitment to this song because, after going hard on the third verse, she apparently rewrote the first two verses to go just as hard on them. And yes, I do agree that her rap flow is pretty strong, but unfortunately, as great as her technicality is, rapid-fire flow isn’t going to lift a song, and unfortunately, the rest of the track crumbles around her: the production consists of what sounds like some kind of grating xylophones, and the hook doesn’t really stick with me either. That, and I also think she blew the rapid-fire verse too early and should’ve said it for the end because that would’ve been the perfect “mic drop” kind of moment. Instead, it comes first, and after it ends, everything else just falls off with it.

Good Form: A Mike WiLL Made-It assisted banger, I admittedly do like some of the instrumentals on this one, and the overall darker vibe of the song is definitely working, as is Nicki’s fast-paced, rapid-fire flow. And while her vocal performance can be a little bit grating at times, I do think she hits hard enough overall with her wordplay and flow to keep things interesting. And again, as I said earlier, for what feels like the first time on the record, the production actually sticks and feels really exciting. I’m just saying, Nicki, even if this album ends up being disappointing, all will be forgiven if you release this as a single. Really like this track.

Nip Tuck: Okay, when I first listened to this, I had no idea what a nip tuck was, and even though I know what it is now, it just sounds silly to say. Nip tuck. Nip tuck. Oh, uh, anyway, I’m not really digging that Nicki seems to be selling herself short again by making some very standard, electronic R&B music that honestly entirely reads to me as “female discount Chris Brown.” Everything about the song, from Nicki’s autotune-assisted vocal inflection to the beat and dance production, just sounds to me like something you’d hear from Chris Brown…and given how many Chris Brown songs I’ve heard that sound almost exactly like this, I feel like Nicki should be doing far more than trying to bite his style. For being one of the most distinguished personalities in hip-hop, does she really think songs like this do her justice? Well, unfortunately, they don’t.

2 Lit 2 Late Interlude: Oh, there’s an interlude on this thing. Okay then. So, Nicki uses this interlude to basically say goodbye to an ex that underappreciated her but suddenly misses her now that it’s over. It’s a rather bright track with some kinda sweet keys, and I do like Nicki’s very pretty vocals here, but there’s not much else to say about it. It’s a nice enough interlude, it serves its purpose, nothing more and nothing less.

Come See About Me: Something more ballad-y than some of Nicki’s other stuff, this one sees her in a slightly more vulnerable state, as she talks about managing her personal life while being in the limelight. And admittedly, I do like this one. Sure, it doesn’t do much different than the usual Nicki Minaj ballad, but it does have a nice, suitably emotional vibe to it. Nicki’s vocals are very gorgeous here, the piano-driven production is equally pretty and simplistic in the best of ways, and I feel like this is actually one of the better cuts on the album. I know Nicki doesn’t really come through with these kinds of songs too often, but when she does, they usually work, and this time, it really works.

Sir (feat. Future): A surprise collaboration with Future, whom she is supposedly set to go on tour with, this one has some very dark, murky production with one of the blandest hooks on the album, and I think Nicki’s slower flow on here is, once again, sleep-inducing. And, if that’s not bad enough, Future is one of the most hit-or-miss features you can find, and in this case, he most certainly misses. His flow is boring, his vocals are not really all that fun, and overall, it’s just bad.

Miami: You know, I was shocked earlier that Nicki Minaj was touring with 6ix9ine, who used a minor in a sexual performance, but to make matters worse in terms of working with controversial artists, Nicki raps over a beat inspired by the ever-so-controversial rapper Kodak Black! Digging yourself an even deeper hole now, aren’t ya, Nicki? And once the song actually started off, I couldn’t believe that Nicki was this committed to setting the bar lower. Sure, there’s some good energy on the beat here, and I can see many of her hardcore fans just saying “ohh, this goes hard! Yes Queen!” and all that, but honestly, it just again sounds like everything that she’s done before. And even her flow, which is typically her strong suit, again feels like so many of her other songs. It doesn’t establish itself or stand out at all. I’m just glad I’m getting close to the end of the album at this point.

Coco Chanel (feat. Foxy Brown): The final full-length song on the album, Nicki experiments a bit with dancehall and even raps in Spanish on the hook. Once again, the production is really dark and somewhat sinister, but it again just feels so out-of-place with everything else on the record, since it’s really one of the only cuts that tries to experiment with a different genre or style. Nicki’s performance is rather confident (even if the hook is less than stellar), but I didn’t really care for Foxy Brown’s unfocused flow. It doesn’t really add anything to the song or make it anymore dynamic, and all in all, it just feels like Nicki trying to jump on the dancehall bandwagon because, you know, dancehall is in now that Drake showed it could top charts (I'll ask it here, Drake, what have you done?). Pretty lackluster, disappointing last full-length song.

Inspirations Outro: As it says in the title, Nicki pays tribute here to the artists that have inspired her music, from legends like Lauryn Hill to Caribbean artists like Destra Garcia. It’s got a nice beat to it as it continues from “Coco Chanel,” and Nicki’s flow is fun enough, but once again, there’s not really much beef to this or much reason to go back after one listen. It serves its purpose, and that’s about it. Decent end to the album, just not that special.

FEFE (6ix9ine ft. Nicki Minaj & Murda Beatz): As I mentioned in the update at the top of the review, "FEFE" is not Nicki's song, it's 6ix9ine's, and even though it wasn't included in the initial release of the album, apparently Nicki added the song as a bonus track to the album on streaming services to boost the record a bit on the charts. Regardless of said reason, the song is still utterly disgusting. Beyond the dull production and imagery that's rather unsettling given that 6ix9ine was arrested for using a child in a sexual performance, the vocals are equally tedious. 6ix9ine decides that, instead of screaming his head off, he'll try to jump on the auto-croon bandwagon, only to forget that he can't actually sing. Nicki's performance also simply screams "I'M SELLING OUT!" as it's clear she's not giving her all and instead is simply trying to work with a relevant artist so that she can maintain chart success in the wake of Cardi B seemingly taking most of it away. Wow, that's probably the hardest I've ever harped on a song in any of these reviews, but this one deserves it: it's truly hideous, it has no business being in the Top 10 on the Billboard Hot 100 as we speak, 6ix9ine has no business being in this industry, and Nicki has no business working with someone like him.

Yeahhh, this one just REEKS of disappointment. I don’t want to hate this album, and I know Nicki stans will not be happy that I dared say something bad about their “Queen,” but unfortunately, I found the album to be very lackluster. Yes, there were a few good tracks on here, and yes, Nicki’s performances were solid (if repetitive), but all in all, a lot of this record was just blandly produced song after blandly produced song, and it also felt like a case where, a lot of the time, Nicki’s features did a lot of the heavy lifting for her. There could’ve been even more songs in my “least favorites” section below if not for some of the very strong features from artists like Eminem and The Weeknd, and while I should add points for that, I won’t, because…well, for one, the features as a whole are hit-or-miss, but also, the fact that features have to lift someone like Nicki, who’s typically a very dynamic and exciting performer, should just show how much this album is lacking. I’m sorry, I don’t want to be disrespectful towards the album, and there’s a good chance I’ll probably still defend Nicki against some of my friends that hate everything about her, but unfortunately, this just gave them some ammunition. Nicki stans will certainly fall in love with the album, but honestly…this thing just isn't doing it for me.

Sorry, Nicki.

Favorite tracks: Barbie Dreams, Good Form, Come See About Me

Least favorite tracks: Rich Sex, Run & Hide, Chun Swae, LLC, Nip Tuck, Sir, Miami, Coco Chanel, FEFE (since Nicki apparently added it to the album)

Rating: Awful

Jason Mraz "Know." Album Review

Alright, so now that I’ve finally gotten through the Travis Scott marathon, I’ve got myself plenty of new albums to review. So, to start, let’s review the new Jason Mraz album “Know.”

Jason Mraz is a San Diego-based singer-songwriter who first came to prominence in the early 2000s through performances at the Java Joe’s coffee house in Ocean Beach. He built a bit of a following through that, and ended up releasing his first studio album “Waiting for My Rocket To Come,” which featured his first big single “The Remedy (I Won’t Give Up).” He’s gone on to release several successful albums in the years since, with “Mr. A-Z,” “We Sing. We Dance. We Steal Things.,” “Love Is A Four Letter Word,” and his most recent record, “Yes!,” which was released in 2014. He’s also had a number of big singles such as “I Won’t Give Up” and “Lucky” featuring Colbie Caillat, though none of his singles have been bigger than his first Top 10 hit “I’m Yours,” a song that peaked at #6 and also, at one point, held the record for most weeks spent on the Hot 100 (it spent 76 weeks on the chart, a record that still sits at #3 behind Imagine Dragons’ “Radioactive” and AWOLNATION’s “Sail” at the time of this writing).

Now, while I’m not entirely familiar with Jason Mraz’s entire library, I’ve definitely appreciated some of his scattered singles from afar. I can’t tell you how many times I’ve listened to “I’m Yours” and “Lucky,” two singles from his album “We Sing. We Dance. We Steal Things.” that appears to be his most loved (either that or “Love Is A Four Letter Word”). Call it me being sentimental or cheesy because this kind of music plays to me, but I loved his very sunny and bright acoustic instrumentals, and I thought he had a knack for putting together some very sweet, wholesome singles that invoke a nice, relaxed feeling. Mraz himself has described this album as being a “bright and shiny” kind of album, which seems to be his big strength, so I’m excited to see if he fully wins me over, or if he’ll just leave me enjoying those few scattered singles I mentioned earlier. Let’s take a look and see what he does!

Let’s See What The Night Can Do: Starting right off, Jason talks about how he wants to get lost with this person that he loves. Jason did say the album was gonna be filled with feel-good lyrics and love songs, and right from the jump, he’s not kidding. Still, I like this one quite a bit: I like the very sweet guitar-plucking, and I think there are some really pretty keys throughout the track. Jason’s vocals are smooth, and I think the hook is very catchy as well. There’s not a whole lot to say about a song like this, but it’s definitely a track that plays to Jason’s charm and sweetness very well.

Have It All: Keeping with the feel-good themes here, Jason talks about viewing life as something of a joyride, and viewing it for more of its positive experiences than the negatives. This one feels a little more poppy than the last (I actually kinda see it as something that plays in commercials), but I think Jason has some solid sing-rapping as well, even though I think it could’ve used a better chorus. The instrumentals are nice on this one, there are some nice keys and rather punchy percussion here, and I think the lyrics are very sweet as well. It’s not my favorite cut on the album, but I can see the appeal of something like this.

More Than Friends (feat. Meghan Trainor): The only track on this record to have a feature…and it’s Meghan Trainor…wonderful. Anyway, this song is exactly what it says on the tin: a love song about wanting to be more than friends. It starts off much lighter, but it does have a somewhat more uptempo drum beat later on to give it a somewhat more upbeat feel. I love Jason’s very gorgeous vocals here, and I think he really sells the hook as well. And admittedly, though I’m no Meghan Trainor fan, her vocals are nice enough, and she meshes well with Jason. I can see how something like this might strike others as a somewhat standard slice of acoustic pop, but I think it’s a very nice cut that has a nice bit of honesty and really understands that scary feeling of telling someone you love them.

Unlonely: Shouldn’t need to dive too deep into the lyrics here, Jason just talks about how he wants to make this lover of his “unlonely” and give them someone to love (shoutout to Jason for also mentioning that “unlonely” is not a word, but “not giving a fuck” about it). It’s a more upbeat, bright track compared to some of the others on here that kind of feels like a bit of a throwback to a number of songs I’ve heard in the early 2000s, but I think it really shines with Jason’s very pretty, smooth vocals. The production didn’t really hook me in as much because it’s poppy but just a bit too standard for me, but Jason’s vocals and charm are enough to keep this song relatively interesting, even if it’s far from the album’s best.

Better With You: Yep, Jason doesn’t seem to be leaving much to the imagination with these titles: it’s called “Better With You” because he feels better with the person he loves. Exactly what it says on the tin. This much lighter track has a rather standard chord progression, but one that I still find myself enjoying, as it meshes well with the more upbeat, catchy drums. Jason’s vocals are a bit more low-key, but they still sound very pretty, and I think the hook is one of the album’s best. It’s not a song that’s really reinventing the wheel, but it’s a very lovely song that easygoing and fun to get into.

No Plans: Once again, as the title of the song suggests, Jason talks about having no plans except for spending time with his love. It’s one of the most minimal tracks on here, both in terms of its actual sonic elements, and also in terms of its length (at 2:28, it’s the shortest cut on the album). Unfortunately, I wasn’t quite as crazy about this one as, despite being very sweet and having more nice vocals from Jason, I feel like there’s really not much to it. Just some light guitar strumming and Jason’s vocals, without much of a hook or anything that hits hard and makes the song beg for repeat listens. I’m sure there’s appeal to it elsewhere, but just not for me.

Sleeping To Dream: I really feel like I’m repeating myself when I say what these songs are about because it should be obvious, but I’ll do it anyway: Jason talks about how he’s so tired of living without his lover, to the point where he just wants to sleep to dream about them. The simplicity of the song makes it worthwhile, though: the acoustic guitar melody is very sweet, there’s some very catchy, upbeat production, and Jason delivers some very nice, somewhat hushed vocals here that are most especially effective on the hook. Again, very sweet, easygoing cut that I really dig.

Making It Up: On this cut, Jason talks about how he and a lover are “making it up,” even though he doesn’t exactly explain what “it” is. It’s confusing, but the song does have a sweet, soft-rock vibe to it that kinda reminds me a bit of something James Taylor would make. There are some cool guitar solos here, Jason’s vocals remain smooth and, while it definitely sounds like something you’ve heard before, the instrumentals are vibrant and pretty enough. I don’t think the chorus is entirely captivating, but it’s a nice song while it lasts.

Might As Well Dance: This is another song that kinda plays to the youthful awkwardness of love: Jason talks about how, while he and his lover might be “fools” and might be silly, they might as well try to have fun and dance, even if they’re not very good at it. I do think some of the lyrics on here are a little awkward (like when he says “we might as well take off our pants”), and ultimately, I don’t find much hooking me in here. The instrumentals give me some light Shania Twain vibes, but the chorus is definitely far from captivating, and I think Jason’s vocals don’t quite have the same charm to them (again, he can’t save that lyric about taking off pants). Definitely one of my least favorite tracks on the album.

Love Is Still The Answer: Admittedly, I was kinda dreading this track, only because feel-good acoustic songs don’t usually lend themselves to six-minute cuts. Sure, this one does sound nice with its subdued guitar melodies and sweet vocals from Jason, but I was curious as to whether or not it would stay interesting for the entire six minutes. And, ultimately, it does actually stay interesting enough, and the song itself is quite breezy despite its long length. Jason comes through with a nice hook, and he meshes well with all the different instruments on this one, like the violin plucks and the dreamy keys. Sure, it could’ve been chopped just a little bit, but it’s a very nice finisher to the album that definitely doesn’t feel overly long.

Overall, Jason Mraz’s latest album definitely won’t play to everyone, and I wouldn’t say it reinvents the wheel or does anything truly groundbreaking with its formula, but it’s a nice little album that plays well to Jason’s easygoing, lighthearted charm. Jason comes through with some feel-good, lovely tracks with sweet lyrics and nice guitar production and, while he doesn’t really try to do much different with his established style, the album sees Jason playing into his comfort zone and doing a good job in said comfort zone. I would’ve liked to see just a little more experimentation with different sounds, and I would’ve liked to see just a little more variation, but all in all, sometimes you just need some wholesome songs like these in your life, and I think Jason Mraz pulls them off. It’s not one of the best things I’ve heard, but there are some very nice takeaway tracks here, and the album as a whole works in spite of its familiarity.

Favorite tracks: Let’s See What The Night Can Do, More Than Friends, Better With You, Sleeping To Dream, Love Is Still The Answer

Least favorite tracks: No Plans, Might As Well Dance

Rating: Good

Travis Scott "ASTROWORLD" Album Review

Alright, everyone, I’m sure some of you have been patiently waiting for this, and I am extremely sorry it took me so long to get to talking about this one, but...it’s finally time. Let’s go visit our favorite theme park with the new Travis Scott album “ASTROWORLD.”

This is the latest full-length studio album from rapper, singer, songwriter, and producer Travis Scott, and it’s also the follow-up to his 2016 record “Birds In The Trap Sing McKnight.” Since the release of that album (itself a very quick follow-up to his 2015 debut studio album “Rodeo”), Travis has most certainly kept himself busy in several ways without releasing an album. In 2017, he started the year by seeing the single “goosebumps” from “Birds” reach the Top 40 on the Billboard Hot 100 (it even made the Year-End Hot 100 at #68) and later released the single “BUTTERFLY EFFECT” in May. He then spent the rest of 2017 earning features on several albums from the Migos record “Culture” to having three appearances on DJ Khaled’s “Grateful,” but his most prominent features came from SZA’s “Love Galore” off of “Ctrl,” and of course, the Top 10-peaking Drake single “Portland” that also included frequent Travis Scott collaborator Quavo. Speaking of Quavo, the two of them even ended 2017 by releasing the collaborative project “Huncho Jack, Jack Huncho,” and Travis wasted no time in 2018 by earning appearances on several albums like the Migos record “Culture II,” the “Black Panther” soundtrack and Rae Sremmurd’s “SR3MM,” and he also released the single “Watch” with Kanye West and Lil Uzi Vert which, despite its huge chart success (it peaked at #16 on the Hot 100, Travis’s highest peak as a lead artist), it was not included on this album, and Travis surprisingly chose “BUTTERFLY EFFECT” instead. Strange, but…okay.

Now, while I really like Travis’s style of music, I have an already on-and-off history with his full-length projects. I’m sure you guys remember these from my reviews, but I really did believe the hype after listening to “Rodeo.” I thought that Travis had a very distinct, interesting style on the album with some really top-notch, trippy, and nocturnal production, and I can see how his vocal chops and rap flows inspired several similar artists. However, I wasn’t nearly as into “Birds In The Trap Sing McKnight” because, while Travis’s vocal charm was still there and was still interesting, the production on the album felt more lackluster and phoned-in, nowhere near as sticky as that on “Rodeo.” One of the major things that really pulled me into the first album (the production) ended up being the biggest lowlight of his follow-up. Now, I know this record has been receiving a lot of praise, but you guys should know by now that I have many unpopular opinions, so I’m still walking into the album a little torn. With all the good things I’m hearing, I have hopes that it’ll be a good album, but…let’s just find out, I guess.

(NOTE: While the features on this album are uncredited, I have decided that I will credit them and, like how the features were credited in all lowercase in my “Birds In The Trap Sing McKnight” album review, all the features will be credited here in all caps. All credits are according to Genius.com)

STARGAZING: Kicking things off, Travis talks about a psychedelic trip on this one, and thankfully, he adds to the idea of “psychedelics” on this track by taking things back to the hazy feel of “Rodeo.” I also like his vocals throughout the track, switching from his typical singing to an autotune-assisted falsetto that actually helps fit in with the song’s weird feel. I also love the many twists and turns the song takes sonically (as I said, it does feel like it goes back to the weird feel of “Rodeo”), and it feels like Travis is playing more into what makes him special on this one. Great starter to the album!

CAROUSEL (FT. FRANK OCEAN): Keeping things in a very drug-infused direction, Travis Scott brings in Frank Ocean to talk about what it’s like to spend a day on several drugs. Once again, I really dig the direction Travis is taking this in, as it feels hazier and weirdly produced (with a hint of bombast) this time around. Even if it’s loud and, again, somewhat bombastic, it doesn’t feel overly abrasive, and I dig Travis’s flow throughout this one. Frank Ocean also shines on this song with a really fun hook, as well as a solid slip into his falsetto on his verse, really showing a lot of his vocal range that rounds out the track excellently.

SICKO MODE (FT. DRAKE & SWAE LEE): A THREE-PART TRACK (I capitalize that because I feel like that’s the first time I’m saying that in any review), Travis Scott brings in the 6 God himself, Drake, as well as Rae Sremmurd’s own Swae Lee (though it also does feature guest vocals, sampled or otherwise, from Big Hawk (Hot Shit), Luke (I Wanna Rock), Sheck Wes (Mo Bamba), and the legend himself, The Notorious B.I.G. (Gimme The Loot)), to talk about all the hard work that they’ve put in to keep them a cut above the competition. The production here is really great, taking things in a lot of different directions, mixing in an upbeat feel, a dark, nocturnal feel, and even a video game-esque feel. I love Drake’s mix of sing-rapping and straight rapping throughout the song, Travis obviously brings some solid auto-crooned vocals, and even though he’s hardly there, Swae Lee’s vocals are nice for what they’re trying to do. Definitely dig this one a lot!

R.I.P. SCREW (FT. SWAE LEE): Here, Travis Scott pays respect to the late hip-hop star from Houston, DJ Screw, who passed in 2000 as the result of an apparent drug overdose. Screw helped integrate the “chopped and screwed” technique, and Travis pays tribute to him (as does Swae Lee) by taking this song far slower. I like the click-clacking percussion and the very dark synths on this one, Swae Lee’s vocals feel appropriately chilly and sad on this one, and Travis’s vocals also feel very hazy and emotional thanks to the effects and filters placed on them. It’s definitely a far more sad song compared to some of the previous cuts, but it’s really effective all the same.

STOP TRYING TO BE GOD (FT. JAMES BLAKE, KID CUDI, PHILIP BAILEY & STEVIE WONDER): A star-studded track that features artists such as Philip Bailey, James Blake, Kid Cudi, and the legendary Stevie Wonder, Travis talks about staying true to yourself and not acting like you are some kind of “God.” I initially found Kid Cudi’s humming to be a little obnoxious on this track (I know it’s his typical thing, but it feels a little bit overbearing on this one), but it grew on me throughout my listen of it, and I do like Philip Bailey’s contribution to the hook. Travis’s vocals are also chilly, adding to the emotional vibe on this one. James Blake also comes in towards the end of the song and provides a very beautifully sung verse as well. I like the way so many different weird sonic elements mix together on this one (like Stevie Wonder’s harmonica), and I think this track succeeds in that it feels like Travis remembering what made him special on “Rodeo” and tapping into that again.

NO BYSTANDERS (FT. JUICE WRLD & SHECK WES): Travis turns up on this one alongside up-and-coming rappers Sheck Wes and Juice WRLD (the latter of whom you may recognize from the recent hit song “Lucid Dreams”), and I actually really loved Juice WRLD’s appearance here. His vocals are very smooth and gorgeous, and he has some great interplay with Travis, who provides another fun, energetic vocal performance. I wasn’t really super crazy about Sheck Wes’s hook at first, but it grew on me because I really dug that it really added to the vibe of the song, and I do like the energetic production on this cut. I can see it being a really fun turn-up jam that I’ll want to come back to in the future.

SKELETONS (FT. PHARRELL WILLIAMS, TAME IMPALA & THE WEEKND): A much shorter track than several others on the album, Travis nonetheless teams up with several big artists, such as Pharrell Williams, Tame Impala’s frontman Kevin Parker, and of course, frequent Travis Scott collaborator (and one of my favorite artists) The Weeknd to deliver a very ethereal, psychedelic track that feels very numbing and woozy. Travis drops a few very clever bars on this cut, The Weeknd comes through with some smooth autotuned crooning here, and though Pharrell and Parker’s vocal contributions are minor, they do help add an extra layer to this very trippy, exhilarating cut.

WAKE UP (FT. THE WEEKND): Travis knows how much his collaborations with The Weeknd slap, so naturally, he had to bring in the Starboy himself for another track. Can’t do any complaining about that. This song seems to be inspired by their relationships (Travis’s with Kylie Jenner, and The Weeknd’s much-rumored on-and-off relationship with Bella Hadid), and it takes some very interesting, different directions, with some really fascinating guitar plucking driving the production. The Weeknd’s vocals are gorgeous as always, and I think Travis shows some solid vocal range, as he switches between his typical flow and his autotune-assisted falsetto here, making for another great collaboration between these two.

5% TINT: Another dark jam that makes references to the Slim Thug track “Still Tippin’,” Travis once again makes reference to drugs, sex, and cars on this one. It’s obviously not a super lyrical song, but that’s fine in this case because I really dig the very sinister, creepy production that really plays to Travis’s strengths. It definitely feels like, after “Birds In The Trap Sing McKnight,” Travis isn’t taking any prisoners with this release and he’s not afraid to be unconventional. And again, Travis shows that’s got quite an ear for hooks and solid auto-crooning. Really dig this one!

NC-17 (FT. 21 SAVAGE): A more explicit track in comparison to the other songs on the album (not that the others haven’t been explicit, but this seems more explicit given that the title, which refers to the highest possible rating a film can receive in America, and an indication that no one under 17 may see the film), Travis brings back 21 Savage for this cut, and while that does worry me because of how one-note 21 can be, I was surprised by his guest appearance on “Birds In The Trap Sing McKnight,” so I walked into this cut more hopeful. And, right from the jump, I really liked the very nocturnal, somewhat scary production and Travis’s very energetic performance here. And, admittedly, 21 Savage’s performance is pretty fun as well. Gotta say I’m really loving Travis’s direction with this album!

ASTROTHUNDER: The shortest song on the album, this one has a title that apparently references famed bass guitarist Thundercat, and his influence can be seen a bit here: the production is very bass-driven, and it’s got a really cool groove to it. The song as a whole is also very high-energy, with fast-paced synths and a pretty catchy beat as well, and Travis’s autotune filters on his vocals make for one of his most interesting vocal performances on the record. There’s not a whole lot to say about it because it’s pretty short, but it’s definitely a really amazing track while it lasts, with very cool production and vocals that make it a great banger.

YOSEMITE (FT. GUNNA & NAV): Travis references the Yosemite National Park in California throughout this track, and he also brings in guest artists Gunna and his frequent collaborator…*sigh*…NAV. You’d think with an album as hideous as “Reckless,” NAV would just burn out, but…I guess if you’re signed to XO (and I guess since NAV and Travis frequently collaborate), he’s gonna at least get more guest verses…lovely. Anyway, this one has some surprisingly guitar-driven production that once again shows Travis’s solid ability to try different things, and it’s also got a very fun chorus from Gunna. Travis’s auto-crooning also remains pretty interesting throughout this one, and admittedly, I know it’s a meme about how quiet NAV’s vocals are on here (the vocals were fixed on Spotify, but I did find the original version on YouTube so I see why people were mad), but honestly, I’m not mad about it because his appearance is short enough that it doesn’t stale out like it does on his other songs, and it fits for the song while it lasts. Overall, this definitely could’ve gone wrong, but I’m glad it didn’t.

CAN’T SAY (FT. DON TOLIVER): Travis talks all about getting high and picking up women on this track, while also paying homage in several ways to Houston hip-hop through samples (notably of "Swang" by Trae tha Truth) and a guest appearance from Houston up-and-comer Don Toliver. I really love the hook on this one, and I think Travis really shows off his vocal range on this track, slipping between his regular voice and his head voice very nicely. I also like the somewhat grunge-inspired feel of the song, and I definitely dig Don Toliver’s very powerful, emphatic vocals on his hook and verse. I’d definitely love to hear more from Don in the future, and I’m glad he’s not the only highlight of the song. It feels like everything works well together on this cut, and I really love it!

WHO? WHAT! (FT. QUAVO & TAKEOFF): I can only hope this single doesn’t blow up because we’re gonna be hearing Offset say, “do it look like I’m left off ‘WHO? WHAT!?’” in interviews. I kid, I kid. In all seriousness, the final track on the album to have a feature sees Travis bring in Quavo and Takeoff from Migos to keep the drug-induced fantasies alive. Here, Travis brings us right back down the dark avenue, keeping the very nocturnal vibe that’s made him such an interesting artist, and I once again think his auto-crooning is very strong here. Quavo and Takeoff don’t appear quite as often, but Quavo’s vocals mesh well with Travis’s, and Takeoff has some fun rapid-fire flow throughout his verse.

BUTTERFLY EFFECT: The leadoff single from this album, Travis brings in several double-entendres here, referring to his “butterfly doors” on his Lamborghini, while also referring to the “butterfly effect” that leads to small things having big impacts on the future. Once again, this one is a rather dark-sounding track, and it also has one of the most captivating hooks on the record. It’s got some very chilled, but still hazy, production, and it once again sees Travis jumping nicely between his regular voice and his head voice. Honestly, I haven’t listened to “Watch,” so I can’t say if I’m disappointed in that being cut, but I can say I’m glad Travis decided to include this single on the album because it’s definitely an infectious and really fun one.

HOUSTONFORNICATION: A more personal cut, Travis talks here about his home city of Houston, Texas, while also talking about the acts of debauchery that he would get himself involved in during his youth (that’s where the “fornication” part of the title comes in). I love how eerily this one sounds, with very dark, nocturnal instrumentals that not only call back to many of the strong tracks on “Rodeo,” but also hook better than a lot of the tracks off of “Birds In The Trap Sing McKnight.” I also love Travis’s more fast-paced flow on this one, and his auto-crooning remains very smooth, and he sounds rather chilly as he talks about his youth. It’s a really awesome, infectious cut that I definitely think I’ll be coming back to in the future.

COFFEE BEAN: This is a track that’s been getting a lot of discussion, as it appears to be a “tell-all” track for Travis, who gets personal and talks not only about his relationship with Kylie Jenner, but also discusses the child that he had with her. It’s a track that basically sees Travis at his most vulnerable, bearing it all and revealing all of his insecurities. I love how Travis even changes things up a bit even on the final track, bringing some production that seems more inspired by boom-bap, and I love his emotional performance on this one. Furthermore, I know that Travis isn’t much of a lyrical artist, but I find his lyrics on this track to be some of the hardest-hitting bars that he’s written on any of his albums. It’s a fantastic finisher to this fantastic album.

Overall, outside of the fact that waiting let me hear the revised version of NAV's vocals, I’m legitimately ashamed that I waited over a week to review this album because I really think this is Travis’s best record to date. After the disappointment that was “Birds In The Trap Sing McKnight,” I was worried that, even if Travis bounced back, he wouldn’t quite be able to reach “Rodeo” levels again. Instead, he went even higher than “Rodeo,” experimenting with a lot of different sounds and going back to the very weird, trippy direction that made that album a success while keeping things fresh, especially in comparison to “Birds.” And beyond that, I think he also kept his vocals very interesting by experimenting with things like jumping into his falsetto and trying out some fresh flows and different lyrical themes, and I also think he brought in a lot of very interesting features, too. Even some of the features I was the most skeptical about (like NAV, for example) ended up coming through nicely, and all in all, I think this was Travis’s weirdest, and most entertaining album to date. I’m sure most of you have already listened to it, so I’m sure I don’t have to recommend it if you already have, but if you haven’t, do yourself a favor! It’s definitely worth it.

Favorite tracks: Honestly…all of them. I really loved each track on this one!

Least favorite tracks: None of them! There was no one song I disliked!

Rating: Excellent

Travis Scott "Birds In The Trap Sing McKnight" Album Review

Alright, we’re one step closer to reviewing “ASTROWORLD,” but before we get there, we’re gonna be looking at the second studio album from Travis Scott, his 2016 record “Birds In The Trap Sing McKnight.”

Now, admittedly, I am walking into this album a bit torn. If you read the review I posted yesterday for Travis’s first album “Rodeo,” you’ll remember that I actually quite enjoyed it. I loved Travis’s style of creating very dark and nocturnal trap bangers, and I could actually see how his work would go on to inspire a number of big-name trap-rap artists today. However, this very quick follow-up to “Rodeo” had me torn not because it came so soon after, but because I heard wildly mixed things about it: some people hold it in very high esteem (and even consider it one of the best albums of 2016, which is not easy to do because of how many great albums there were in 2016), but I’ve also heard several people say that it was a pretty bad album of what felt like “Rodeo” leftovers. So, with all of this in my head going into the record, how will I feel in the end? Let’s find out.

(NOTE: On digital outlets like Spotify, only Young Thug’s guest appearance is credited, and otherwise, all other features are not. I wanted to have a little fun with this, so I will credit every feature, including Young Thug, in lowercase letters. Since every title is in lowercase on Spotify, I want to have a little fun with crediting the features, so they will be listed in lowercase letters. Just thought it’d be fun to try.)

the ends (ft. andré 3000): Opening things up, Travis recruits the legend himself André 3000 to help spit some bars about the duo’s respective hometowns (Houston for Travis, Atlanta for André), and André gets extremely personal, as he talks about the survivor’s guilt that he had to face while watching children get murdered in Atlanta. Travis’s vocals on the intro remain interesting, and the autotune filters really add some character to his voice, but I don’t really find the production quite as interesting here. It’s still moody and rather minimal, but the percussion is just somewhat boring and generic. Still, the hook is pretty cool, and I do think Travis and André have some great flow on their verses, so while this isn’t the strongest start to the album, it’s not all bad.

way back: A song that discusses Travis’s struggle rising to fame, Travis recruits Kid Cudi as well as Swizz Beats (who has some sampled ad-libs that seem to come from his appearance on Kanye West's "Power (Remix)") to make another really minimal, somewhat nocturnal cut. I once again don’t really find much of the production all that sticky on this one, but I do dig Travis’s hook and his autotune-assisted vocals, and his performance is certainly energetic as well. At first, I was wondering why Cudi and Swizz Beats weren’t really credited as “features,” but given how minimal their appearances are…yeah, I get it. I also find that the feel change in the second part of the song just ends up coming off as somewhat dull as well, unfortunately. It’s still got some good things going for it, but I just wish the production backed it up a bit better.

coordinate (ft. blac youngsta): Right here, Travis just turns up and talks about his party life, and he brings something a bit more high-energy. The instrumentals are still largely low-key and emotional, but the song is a bit more fast-paced and upbeat than the others. I, once again, don’t really find the production quite as distinct or interesting as it was on “Rodeo,” but it’s still fun enough, and Travis’s vocals once again mesh well with those instrumentals, even if it doesn’t sound like he’s trying too hard to mix things up here. Blac Youngsta appears at the beginning to give something of a “motivational speech,” and while it’s probably not the most memorable thing in the world, it’s still interesting enough, and the hook is very strong. A pretty good track, all things considered.

through the late night (ft. kid cudi): Travis pulls Cudi right back on this one (apparently, Cudi is Travis’s idol), as the two just continue to flex and party like Travis did on the last track. Cudi leads it off with some humming (his trademark) and follows that up with a pretty clunky hook. His verse is a bit better, but once again, I find the production on this to be rather dull and bland, not playing well enough to Travis’s typical dark, nocturnal bangers and instead just feeling more unenthusiastic this time around. And while his flow on his verse is fine enough, I don’t think his usual vocal charm is here, and his vocals don’t feel quite as colorful as his better songs. Definitely one of the weaker cuts on the album.

beibs in the trap (ft. nav): You know, this album has unfortunately not been off to a great start, but hey, maybe a NAV feature will turn this thing around! Great, just as I was starting to get the sour taste of NAV’s last album “Reckless” out of my mouth, I have to listen to him on this. And apparently, he’s also on “ASTROWORLD,” too. Lovely. Either way, NAV and Travis use Justin Bieber’s nickname (slightly misspelled, by the way) as a reference to cocaine, as they continue to talk all about drugs. Admittedly, I kinda liked NAV’s hook here, but I found his verse to just be too repetitive, and again, the production doesn’t play to the strengths Travis showed on “Rodeo.” Where that album’s production was so interestingly moody and sticky, it feels like he’s selling himself short here and just going for very generic trap production. Sure, his vocals are still fine enough, but without a good support structure behind him (or NAV), the song falls a bit flat.

sdp interlude: “S.D.P.,” for those unaware, stands for “smoke, drink, pop,” which is supposed to describe Travis’s lifestyle even though that’s apparently a big contradiction because he supposedly doesn’t really drink or smoke that much, and doesn’t do any hard drugs. Hmm…strange. Either way, while this interlude is very repetitive (pretty much all of the lyrics are “smoke some, drink some, pop one”), I actually think the production here is the most interesting so far on the record, with some really slick percussion and a better sense of the moody vibe that Travis pulled off so successfully on “Rodeo.” If this cut had a bit more beef to it (I know it’s an interlude, but more than just “smoke some, drink some, pop one” would’ve been nice), it would easily be one of my favorites on the album, but as it is, it’s a nice enough interlude.

sweet sweet: Here, Travis talks about a relationship that seems to be struggling because it's rooted so far into drug culture. Once again, I actually think the production on this track is far better than most of the others on here, with a dark, sinister edge to it that plays more to Travis’s ear for production, and I like Travis’s smooth flow and fun performance on his verse. The only thing that really stops me from really loving the song is that I’m not all that crazy about the hook; it feels a bit unfocused and just not quite as catchy as some of Travis’s best hooks. Still, it’s not a bad track, and maybe it’ll grow on me with a few more listens.

outside (ft. 21 savage): Okay, I was wrong on this one. My first thought when I saw this was, “oh, lovely, when the album is not going all that well, who do you call in as a feature to help things out? 21 Savage, one of the most boring, one-note, one-dimensional rappers in today’s industry.” But then I remembered, he’s had a few decent guest appearances on albums I’ve reviewed. And fortunately, he actually comes through decently on here! The song talks about Travis’s close friends that may not be able to go in the club with him, but can still have fun outside. I like Travis’s autotune-assisted vocals throughout the song and, while I still feel like he’s selling himself a bit short on the production to a degree (some of it still feels a bit generic, like the beat), I do think some of the cool, dark sonic effects really work. And admittedly, I do think 21 Savage’s verse has some nice energy, and the autotune effects help add a bit of character to his performance. Definitely a really good track, maybe the album will bounce back from here.

goosebumps (ft. kendrick lamar): Okay, this was the album’s biggest single, and it has Kendrick Lamar on it, so I walked in hoping this one would keep the ship sailing in the right direction. Interestingly enough, after most of the previous songs have been about drugs and partying and all that, this one is actually a love song, where Travis and Kendrick talk about the feelings they have for their lovers, specifically when she’s not there. Travis’s ear for hooks is on full display here, as he crafts what might be one of the album’s best hooks, and I also think he, fortunately, held nothing back with the production here, creating something more eerie and nocturnal that plays more to his strengths as an artist. His vocals throughout actually have that interesting edge to them that was present on “Rodeo,” and I like Kendrick’s fast-paced flow and charismatic performance on his verse. Definitely one of the album’s best, and it looks like things are picking up nicely from here.

first take (ft. bryson tiller): Things getting back in order here, and now we have Bryson Tiller on a cut. I’ve only heard a few of Tiller’s songs, but I do think he’s got some nice vocals, so maybe he’ll complement Travis nicely here. And keeping things in the theme of love, Travis and Bryson talk about women that they couldn’t live without and would dedicate themselves to, even if their love is entirely one-sided. This track takes things a bit slower, and while Travis has some cool vocal effects on his hook, I don’t really get any strong, interesting vibes from the production here, as it just feels less distinct than most of his other stuff. The hook is also a bit too relaxed for me, and while Bryson Tiller sounds nice, he does kinda feel like a “dollar store Chris Brown” on his verse. I’ve definitely heard better than this, and I think we’re back at that roadblock with this track.

pick up the phone (with young thug ft. quavo): Oddly enough, Young Thug’s appearance is the only “feature” or “guest appearance” that is credited on the album. Wonder why that is. Either way, this is another song about wanting to be faithful to a girl that doesn’t quite love them back, something I’m sure quite a few of us can relate to. The hook is pretty fun, and I think Travis and Thugger’s voices surprisingly mesh well together. The synths are also nicely dreamy, and I find the production as a whole to be a bit more interesting than most of the rest of the album. And even though Quavo doesn’t get quite as much time on this one, he still has some fun, catchy flows, and decent vocals. Good track!

lose: This song was originally called “shit to lose,” so given that title, I’m already guessing it’s about Travis talking about his adjustments to fame and how he feels he has “shit to lose” as a now-popular artist. You know, Genius.com called the production on this one “chilled,” but honestly, with the heavy horns throughout, I have to wonder what their definition of “chilled” is. Honestly, those horns do sound a bit generic to me, and while Travis’s vocals do sound fine overall, I don’t really find the hook all that sticky. I do like some of the weird sonic mixing elements of this one, though, and Cassie’s guest vocals are solid as well. It’s not one of the album’s best, but it’s a decent track that’s definitely far from the worst.

guidance (ft. k. forest): Another track about failed relationships, Travis and his guest artist K. Forest take on what appears to be something of a dancehall song. So yes, another rapper is trying to experiment with a dancehall vibe, DRAKE WHAT HAVE YOU DONE? Once again, I don’t really dig the production all that much, I think the bright feel of it just doesn’t do Travis too many favors, and his unfocused flow just doesn’t really mesh all that well with the production. His vocals still sound smooth and nice enough, though I didn’t find K. Forest’s guest appearance all that distinct (honestly, I didn’t even know someone different was singing when he came in). Another unfortunately weak cut.

wonderful (ft. the weeknd): Okay, I see what you’re doing, Travis. You know I love The Weeknd, and you know The Weeknd’s amazing, so you’re saving The Weeknd’s track for the end. Save the best for last. I’m with it, I’m with it. Anyway, to end things off, Travis and The Weeknd talk about their massively successful runs in 2015 over a more upbeat, but still somewhat nocturnal instrumental. While the production isn’t extremely distinct, I do think it’s plenty energetic, and I think Travis and The Weeknd’s vocals mesh well together, even if the autotune filters do take away from The Weeknd’s vocal strengths just a tiny bit. Still, the two of them do sound great against the somewhat spacey production here, and even if the doesn’t save the album, it does end things off nicely enough.

I’m sorry, but I definitely think “Birds In The Trap Sing McKnight” is a massive step back from “Rodeo.” Where that album showed Travis in top form not only in regards to his rap flows and autotune-assisted singing but in regards to his ear for production and ability to create such sticky, hazy, moody trap bangers, it feels like he’s holding himself back to a degree here. His vocals are still solid, and his flows are still fine, but it definitely feels like he’s selling himself short in regards to his production. Maybe it’s the fact that the instrumentals don’t take enough risks compared to “Rodeo,” maybe it’s that it feels like an undercooked version of “Rodeo,” it’s hard to tell, but regardless of what it is, the production just doesn’t stick quite as well as it does with “Rodeo.” And again, while Travis is still an interesting performer, if you don’t have a strong support structure, you’re going to fall.

Now, is the album COMPLETELY unredeemable? Well, no, I mean, it’s still listenable, and I’m sure hardcore Travis fans will eat it right up (or rather, they HAVE eaten it up since it’s been out for a couple years now). And I’m sure if you go into it with your expectations a bit lower, you’ll find some enjoyment, though that might be hard because, as this is a follow-up to the excellent 2015 album “Rodeo,” you should expect any kind of follow-up to that to be great. Unfortunately, as I said, Travis and his features do their best to work over a series of tracks that aren’t extremely well-produced, and unfortunately, they just can’t do it. The first half of the album, outside of “coordinate” (which is still a flawed track) is extremely lackluster, and things only end up going from “lackluster” to “inconsistent” in the second half, where the few really solid songs on the album are mixed with a few less-than-stellar tracks. All things considered, “Birds In The Trap Sing McKnight” isn’t one of the worst things you’ll ever listen to, but after how great “Rodeo” was, it’s most certainly a disappointment.

But next up, the moment you’ve been waiting for…"ASTROWORLD."

Favorite tracks: coordinate, outside, goosebumps, pick up the phone, wonderful

Least favorite tracks: through the late night, beibs in the trap, first take, guidance

Rating: Bad

Travis Scott "Rodeo" Album Review

Alright, guys, I know you’re all patiently waiting for the “ASTROWORLD” review, and I hope to get to it soon, but as I’m largely unfamiliar with Travis’s music, I didn’t want to jump in at the latest album, so let’s start back from the beginning of his studio album chronology with his 2015 record “Rodeo.”

Travis Scott, you probably know his name by now, famed rapper, singer-songwriter, producer, first signed to Epic Records, as well as Kanye West’s “Very GOOD Beats” wing in 2012, appeared on the GOOD Music compilation album “Cruel Summer,” and proceeded to break out further with his first two big mixtapes “Owl Pharaoh” and “Days Before Rodeo” in 2013 and 2014. This was his first studio album, and it helped get him on to the map with quite a bit of critical praise, as well as his first big single “Antidote,” which peaked at #16 on the Billboard Hot 100. He, of course, has followed it up with a pair of popular albums since then, with “Birds In The Trap Sing McKnight” in 2016 and, of course, the recently released “ASTROWORLD,” and he’s had popular singles like “goosebumps” and “Watch” ever since.

Now, as I said, I have very little experience with Travis’s music on its own. I have plenty of experience with him as a feature, as he’s popped up several times on albums I’ve reviewed. He appeared on the Top 10-peaking “Portland” from Drake’s “More Life,” he joined SZA on the excellent song “Love Galore” from “Ctrl,” appeared with Migos on the song “Kelly Price” (one of the better songs off of “Culture”), joined them again for the song “White Sand” (unfortunately, one of the weaker songs on “Culture 2”), buddied up with Drake for “Company” on “If You’re Reading This, It’s Too Late,” helped Kendrick create the amazing song “Big Shot” on the “Black Panther” album, helped Rae Sremmurd bring us “CLOSE” from “SR3MM,” and…unfortunately, had to appear on NAV’s horrendous debut album “Reckless.” Still, even at his worst, I have enjoyed him as a feature, so I was excited heading into this. And speaking of features, man, this album reads like the telephone book. Back in 2015, I wouldn’t have known half of these names, but now…you got Quavo, Future, 2 Chainz, Juicy J, The Weeknd, Swae Lee, Chief Keef, Kanye West, Justin Bieber, Young Thug, AND ScHoolboy Q on your DEBUT ALBUM? Boy, something must be going right. Let’s see:

Pornography: Kicking things off, Travis talks about porn (obviously), but he also enlists the help of T.I. to read off an intro about Travis’s young, rebellious life. Right off the bat, Travis’s style of trap music is really interesting and distinct as, instead of going for a straight turn-up vibe, he goes for something hazier and somewhat trippy. I can actually already see how he influenced a number of other trap rappers that create more nocturnal trap songs. It does become a bit faster towards the end, but it still remains rather dark, Travis’s autotune-assisted vocals are strong, and his flow on the verse is really interesting as well. This is a really strong start to the album!

Oh My Dis Side (ft. Quavo): Another darker (but somewhat more upbeat) trap track, Travis joins up with Quavo for what is a two-part cut, separated into “Oh My” and “Dis Side.” Where “Oh My” sees the two going for something somewhat more aggressive, “Dis Side” appears more reminiscent and, to a degree, sad, as Travis talks about his hometown of Houston, Texas. I was really enjoying Travis and Quavo’s vocal interplay on “Oh My,” but it was “Dis Side” where the song really shined, as Travis’s hook was one of the most captivating choruses on the record. I loved the energetic trap drums throughout both parts, and Quavo’s verse was pretty fun, and it meshed well with Travis’s vocals. Even at nearly 6 minutes, this song keeps itself exciting all throughout.

3500 (ft. Future & 2 Chainz): A nearly 8-minute track, this star-studded cut sees Future and 2 Chainz join Travis to turn up a bit. The title, by the way, refers to a $3,500 fur coat Kim Kardashian West bought for her daughter North, in case you were interested. Anyway, I immediately fell in love with the hook on this one, it’s just so easily catchy and fun, and the production is also really strong, as Travis takes things in a more upbeat, louder direction. The instrumentals still sound rather moody and spacey, and I also found that Future’s vocals meshed nicely with those instrumentals here. 2 Chainz jumps on for a guest verse, and he really comes through on this one with a confident tone, exciting performance, and really strong flow as well. Even at almost 8 minutes, Travis, Future, and 2 Chainz come through with an amazing trap banger.

Wasted (ft. Juicy J): Apparently a prelude to the later song “Maria I’m Drunk,” Travis talks on this one about…well, you see the title, what do you think? Getting wasted! I’m not saying that as a point against him, by the way, because not everything has to be super lyrical and super deep, I’m just pointing out that it’s exactly what it says on the tin. In any case, Travis teams up with Juicy J on this one, and also uses a prominent sample of Pimp C's "Havin' Thangs '06" for the hook. I wasn’t totally crazy about the hook on this one, but the production is still interestingly woozy, Travis’s verse had some solid vocals, and Juicy J’s flow was really strong as well. Definitely not my favorite cut on the album, but it’s definitely a solid song, and it might grow on me with a few more listens.

90210 (ft. Kacy Hill): Another two-part song, this one sees Travis talking about a girl from Beverly Hills, California (that’s where the title comes in, “90210” is the postal code for Beverly Hills) who prostitutes herself to pay for her life and for Travis’s drug use. The first part starts off in a way that’s very spacey and somewhat minimal, but it also features very great vocals and flow from Travis and very nice, delicate vocals from Kacy Hill. The second part takes things a bit more personal, as Travis starts rapping from his own perspective over a more upbeat instrumental. I love the slick percussion, and again, Travis’s flow is very strong. Once again, even as a longer track (clocking in at just over 5 and a half minutes), Travis keeps things really interesting throughout with fantastic, varied production and solid vocals.

Pray 4 Love (ft. The Weeknd): My man, one of my favorite artists, and (apparently) frequent Travis Scott collaborator The Weeknd comes through on this one (apparently just a week after “Beauty Behind The Madness,” so The Weeknd was getting on the mainstream map at the time), to help Travis make a very dark, spacey track that samples “Ask The Lonely” by Four Tops. I love The Weeknd’s hook here, for as minimal as it is, it really sticks a lot, Travis’s verse features a very confident performance (and he has some solid vocal interplay with The Weeknd), and I like how, despite the somewhat minimal instrumentals, the beat is still pounding and fantastic. It shouldn’t be shocking that I loved the track that featured The Weeknd, but…yeah, I love the track with The Weeknd.

Nightcrawler (ft. Swae Lee and Chief Keef): Another star-studded track, Travis recruits Chief Keef and Rae Sremmurd’s own Swae Lee for a very emphatic, energetic cut. I wasn’t really in love with Swae’s intro at first (oddly enough, given that Swae is the hook master), but I like Travis’s autotune-assisted vocals and the way they mesh with the very hazy production on this one. And despite that intro, Swae’s vocals on his verse are really chilly and eerie, and I dig them a lot. Chief Keef’s autotune-assisted verse doesn’t sound super distinct, but his performance is still surefire and energetic and I do like the effects on his vocals. Really vibrant song, I really liked this one a lot!

Piss On Your Grave (ft. Kanye West): Recruiting none other Kanye West for this cut (which, at 2:46, is the shortest one on the album), Travis and Ye make a very cutthroat, aggressive track about corporate America and the corrupt executives that try to bring down their hustle, be it in the music industry or (in Kanye’s case) the fashion industry. I love the groovy bassline on this one, the pounding drum beat, and even though the production is loud and a little bit too abrasive and bombastic, I love Travis and Kanye’s confident performances on this one, as they don’t take any prisoners here. I do find some of the lyrics just a little goofy (like, when Kanye says he’s gonna “piss on your bitch, piss on your date”) and again, some of the production is a little too abrasive, but it’s still an energetic cut that might grow on me with time.

Antidote: With all the features on this album, I hope I’m not the only one that finds it at least somewhat ironic that the biggest single off the album didn’t have any features. Although, maybe I’m overthinking that point because, apparently, the song wasn’t meant to be on this album, but it became so popular that Travis decided to add it in. Thanks, Travis. But in any case, this is a really vibrant, nocturnal trap banger with some really solid, somewhat broken-sounding vocals from Travis. The hook is also really strong, and I like the very eerie vibe of the song. Seriously, thanks for including this on the album, Travis, it’s really good!

Impossible: Another very spacey, hazy song, Travis talks on this track about the feeling of being trapped with someone who doesn’t really love him, and how he wants to be able to free himself from the pain of this one-sided relationship. The production is a bit more minimal here, but it’s a really depressing cut thanks to Travis’s very sad inflection on his voice and his sad delivery on the chorus. It’s a very sinister, downbeat cut, but it’s all the better for that, and I love how the song changes feels throughout and just throws all these really strange, sonic elements together into something really great!

Maria I’m Drunk (ft. Justin Bieber & Young Thug): Weirdly, this track is not available on Spotify. Apparently, I’ve read that Travis Scott knew that Justin Bieber’s fanbase was so in love with him that they’d buy the album off of the strength of the fact that he had a feature, so he decided to make it exclusive to people that paid for the album. Sneaky devil. Either way, this very trippy, hazy cut sees Travis, Young Thug, and Justin Bieber talking about getting drunk and taking drugs. I love the very vibrant, dark, spacey production on this one, Travis’s lowkey vocals are very solid, and the features are very strong here as well: Young Thug’s hook is really catchy and his performance is very energetic, and Bieber’s sing-rapping, surprising as it is, is really strong as well! His verse is melodic and filled with great flow as well. I’m kinda sad that this isn’t on the free version of Spotify now (I had to find the song on YouTube) because even if I throw this one into the playlist, I won’t be able to hear it much, and that’s a shame because it’s a sweet, nocturnal trap banger!

Flying High (ft. Toro y Moi): A song where Travis talks about “flying high” on drugs, this cut takes on a less nocturnal, more turn-up-flavored vibe, with brighter instrumentals and a more sunny vibe. I liked Toro Y Moi’s flow on the hook, but I wasn’t super crazy about Travis’s performance, because it honestly just read to me like he was trying to a Kanye impression. And while the production is solid enough, I kinda feel like the sunnier, less moody vibe doesn’t really play quite as well to Travis’s strengths as a vocalist. Maybe I just need to give it a few more listens to let it grow on me, but for right now, it’s probably my least favorite track on the album.

I Can Tell: Taking things back to the more dark, moody feel, this track still retains a more uptempo feel, with some really sweet, interesting percussion and Travis’s faster delivery on his verse. I like his energy on his verse, and I like the way that he blends his singing and his rapping on the song. I also think that, for as repetitive as it might seem, the hook on this one is pretty fun, and I think the energetic, pounding production keeps the song constantly interesting. Like a lot of Travis’s other songs, it takes so many sonic elements and blends them all so well. I really like this one.

Apple Pie: The final song off of the Standard Edition of the album, Travis talks on this cut about the story of him jumping off of his mom’s porch. It’s a rather reflective track, as he basically talks to his mom about how he’s made his way in the world. The production is somewhat more uptempo, with lively keys and solid click-clack percussion throughout. I love Travis’s vocals on the hook (a hook that is very catchy and sticky), and his rapid-fire flow on the second verse is really strong as well. As I hear this, I can actually see how Travis influenced a number of rappers (actually, I wouldn’t be shocked if an artist like Lil Uzi Vert took inspiration for his sound from Travis). It’s a strong finisher to the Standard Edition of the album.

Ok Alright (ft. ScHoolboy Q): The first of two bonus tracks, this is another two-parter, divided into “Ok” and “Alright.” Travis parties it up on this one with ScHoolboy Q, and his tone throughout “Ok” is a lot more aggressive than usual, though his sing-rapping on the hook actually does a nice job juxtaposing Q’s very aggressive “OK” chants. Q’s flow throughout his verse is also really strong, and the song does a nice job of mixing a turn-up beat with some very ethereal keys. When we get to “Alright,” things become far less aggressive, as things end up being more moody and atmospheric. I like Travis’s somewhat more sad inflection on his verse, the more ambient instrumentals are very great, and I like SZA’s uncredited vocals are very heavenly and gorgeous as well. Really dig this song.

Never Catch Me: The final track on this album is also one of the shortest, ten seconds shorter than “Piss On Your Grave,” making it one of only two cuts on the album to fall under the three-minute mark. Things get really dark, with grinding, pumping guitar riffs, and synth-driven production, as Travis is very confident here, rapping about how his “15 seconds of fame” have lasted longer than they should, and how you’ll never see Travis “falling off.” I like the lyrical themes throughout, the aforementioned dark production is stellar, and I once again like how Travis mixes some strong, rapid-fire flow on his verses and smooth, autotune-assisted vocals on the hook. Really great cut, and a great ending to the album.

Overall, Travis Scott’s “Rodeo” is a very strong showcase not only of Travis’s skills as a rapper and singer, but as a producer. Taking things a bit different from the typical trap sound and dodging a “turn-up” feel for the most part, Travis instead spends the album putting together some very moody, nocturnal trap bangers that play more on his emotions and his personal experiences. The result is an album that sees the rapper in top form, with strong autotune-assisted vocals and great rap flows that mesh extremely well with those nocturnal trap instrumentals. Furthermore, I think that the influence of this album is clear, and I feel like this is an album that definitely helped inspire many other rappers today (I’m kinda thinking Lil Uzi Vert, to a degree). Travis’s debut album sees him in consistent, strong, and exciting form, and I think its place as such a well-regarded hip-hop album is much deserved.

Next up, we’re gonna review “Birds In The Trap Sing McKnight.” I’ve heard very mixed things about it, so let’s just see, I guess.

Favorite tracks: Pornography, Oh My Dis Side, 3500, 90210, Pray 4 Love, Nightcrawler, Antidote, Impossible, Maria I’m Drunk, I Can Tell, Apple Pie, Ok Alright, Never Catch Me

Least favorite tracks: Flying High (but only if I REALLY had to pick one)

Rating: Excellent

Ariana Grande "Dangerous Woman" Album Review

Alright, let’s finish off this Ariana Grande marathon in style, with her 2016 album “Dangerous Woman.”

Gotta say, I was really excited to dig into this one. Partially because I’ve heard rather positive things about it, and I’ve heard that Ariana really changed up her sound on it, but also because this is the Ariana album I have the least experience with. The only tracks I listened to prior to this review were “Dangerous Woman,” “Be Alright,” “Into You,” and “Side to Side,” and all of those were either given a full-blown single release or a promotional single release, so I don’t really have experience with the deep cuts on this thing like I did with “Yours Truly.” However, the same was said for my experience with “My Everything,” where I wasn’t familiar with the deep cuts beforehand, and I ended up digging that album, so given that I’m hearing that “Dangerous Woman” is even better than “My Everything,” I’m definitely pretty pumped for this! Let’s see if it delivers.

Moonlight: Jumping right in here, we start with a very light, doo-wop flavored jam where Ariana sings about how mesmerized she is with her lover because of how much love he can give her. I love the very dreamy keys and violin plucks on this one, Ariana’s vocals are very pretty as always, and even if the song is somewhat short, it has a nice, swaying feeling to it, almost like a really sweet lullaby. That’s not to say it’s boring, by the way, it just has a very relaxing feel to it that really works. Based on what I’ve heard, this track seems to be an outlier as the one sweet song up against some more sex-driven tracks, but even if that’s the case, it’s a very nice starter to the album.

Dangerous Woman: I’m not gonna lie, when this first came out, I didn’t really pay much attention to it. I didn’t really have any contempt for it or anything like that, but something about it just never stuck with me. Or, perhaps it’s because it was so different than Ariana’s usual stuff and I just wasn’t used to it at the time. After all, when an artist I love goes from 90s/2000’s pop-inspired music to a more edgy, kinda pop-rock vibe, it definitely comes out of nowhere. That said, hearing it now, I definitely have a greater respect for it: I love the slow, dark instrumentals on here, and Ariana’s vocals are exciting as she sings about being a woman that’s not afraid to be honest and stand up for herself. It’s a pretty empowering message, and it’s attached to a very catchy, fun song.

Be Alright: Ariana using some marimba here? I dig it! Unlike “Dangerous Woman,” which I didn’t immediately fall in love with upon listening to it, this was a cut I did love at first listen. And even after several repeat listens, I find the song to be so euphoric and awesome! Ariana’s vocal melodies are gorgeous as always, as she effortlessly glides across the song, proclaiming that no matter what hardships we face in life, “we’re gonna be alright.” The production is also very bouncy and danceable as well, and I can hear from this how Ariana is changing her sound: instead of really sticking to the throwback vibe of her first two albums, she seems to be moving towards deep house on this particular cut, and doing so wonderfully. Really infectious single, I definitely dig it!

Into You: Moving into something more flirty, this electro-pop banger sees Ariana singing about wanting her lover to “make a move” and to give her something a little more dangerous and sex-driven. Our little girl’s all grown up now, isn’t she? In any case, this was another single that I fell in love with right when I first listened to it, and it still rings off now. I love Ariana’s vocal melodies, as she switches nicely between her lower register into her head voice throughout the song, I love the sticky synths, the click-clack percussion, and the extremely catchy hook here. It’s one of the album’s easiest songs to get into, and it’s also one of the album’s standouts.

Side to Side (ft. Nicki Minaj): Admittedly, I was honestly never all that crazy about this song. I would try to give it repeat listens, but something about it just never did it for me. Maybe I needed to sit down and review this album to appreciate it, though. I can definitely see how it’s Ariana growing up a bit, talking about having sex that’s so good that it makes her waddle from side to side…just writing that sentence made me feel dirty. Still, I dig the reggae and trap crossovers going on with the production, the song itself is an interesting, different direction, Ariana’s vocals are great (especially on the very catchy hook), and Nicki’s verse adds an extra layer of fun as well. Maybe I was just being too cynical back then because, yeah, this one’s good.

Let Me Love You (ft. Lil Wayne): You know, I feel like I should be shocked at the Lil Wayne feature on this thing, but honestly, given that her last album had A$AP Ferg…really anything goes at this point. Anyway, this one is another darker, kinda sexier song where Ariana talks about wanting to love this new person after a recent breakup. I like the somewhat eerie production here, Ariana’s vocal melodies throughout the verses are really fun, and while the hook needed to grow on me a little bit, I do think it can be quite fun. Lil Wayne’s verse is also suitably fun, and I love the very different vibe of this one in comparison to Ariana’s other songs. Once again, it feels like she’s trying to grow up and shed that “Nickelodeon skin” that people remember her for, and she’s doing a fine job of it.

Greedy: Taking things in a more disco-oriented, funky direction, this one does throw things back a little bit to Ariana’s first few albums, but it’s just so damn punchy and infectious. Layering innuendo over innuendo as she talks about greedy she is for love, this song gives Ariana all the room in the world to explore her very powerful vocal range, and the very loud, production is very easily danceable and fun without feeling overly bombastic. Definitely a really exciting song, and one of the better deep cuts on the album.

Leave Me Lonely (ft. Macy Gray): Ariana is joined by singer Macy Gray on this one, as the two try to decide between their own happiness or the affection of someone they are infatuated with. It’s a slightly slower song with more soul-infused production and a more swingy drum beat, and it also features some very throbbing keys. I do love Ariana’s vocals as always, as she begs emotionally for this lover to leave her alone, and Macy Gray’s feature is nice, if a little underutilized, though I don’t really think the song sticks to me quite as much as some of the better cuts on here, and there’s not as much here that really hooks me in quite as well. It’s still a solid cut, just not as strong as some of the album’s better songs.

Everyday (ft. Future): As I said with Lil Wayne, I want to be shocked that Future is here, but again, she’s surprised us in the past with her features, so I guess you can just say, “why not?” Anyway, much like many of the other songs here, this is another sexually-infused song with some cool pop-rap fusions, and once again, Ariana’s vocals are powerful and smooth. She and Future do have some nice vocal interplay here (Future’s verse is also pretty fun as well), but I also think the song doesn’t really have a great hook. The chorus itself is somewhat fun, but the pre-chorus and refrain on this one just feel somewhat bland. It’s not an awful cut, but I can kinda see why this is one of Ariana’s weaker-charting singles to date.

Sometimes: Hmm, Ariana Grande doing an acoustic song? Well, everyone’s been saying how this album is such a change in sound for Ariana, can’t say I disagree. Anyway, Ariana talks here about how she’s so dedicated to her lover that she doesn’t even think of leaving at all. I like the somewhat subtle acoustic guitar riffs that mix quite well with the pretty fun electronic drums. Ariana’s vocals are wonderful, as she sticks into her lower range for the most part, but once again glides effortlessly through the song, and her hook is quite catchy as well. It’s a very sweet, easy-going cut that I really enjoy!

I Don’t Care: Something of a “clap back” to the haters, Ariana talks here about how she just doesn’t care what people have to say about her anymore. It’s a proclamation of self-love and a really short one at that, but I think it’s such a lovely song in spite of its short length. It’s a very sensual track with smooth electric guitar riffs, an appropriately seductive performance from Ariana, and a very slick vibe that’s easy to get into and relax to. Again, it is a bit short, but I think in this case that’s okay because it plays on the idea of “more is less.” Really enjoyed this one!

Bad Decisions: Takings things in a more hip-hop-leaning direction, Ariana continues to shed her "good-girl" image by talking about the kind of love that she receives from her lover. It’s a punchy song that sees Ariana sing-rapping to a degree on her verses, and her performance and flow are very fun here. The song is very fast-paced and I do think it’s pretty emphatic and mixed well, though I do think it could’ve used a slightly better hook. Still, I do think it’s quite enjoyable, I like some of the lyrics (like “ain’t you ever seen a princess be a bad bitch”) and I think it has some potential to grow on me a bit.

Touch It: Experimenting a little bit with synth-pop, this is a somewhat emotional song about how Ariana feels about her man’s love. Beyond the synth-pop feel, the song also has a little bit of a trap influence with an 808 drum beat as well. I like the overall dark synths and percussion on this one, the hook is plenty of fun, and I think Ariana really gets to explore her vocal range really well on this song, even if the production takes more of the lead on this one. Keeping things feeling very different, Ariana does a really good job with this cut, and part of me honestly feels like this could’ve been a great single. Even so, it’s definitely one of the album’s better deep cuts.

Knew Better / Forever Boy: Keeping with the idea of “experimentation” on this album, this is Ariana’s first “two-part” song. The first part, “Knew Better” sees Ariana talking about a boy that should’ve known better than to mess with her affection (rumors has it that the song sends shots at her ex-lover Big Sean and his “billion dollar pussy” lyric said to be aimed at her), and the second part “Forever Boy” is more loving, as Ariana hopes for a boy that can stay with her forever. The first part, “Knew Better,” feels somewhat hip-hop-influenced, and has a really cool synth-flavored instrumental with some smooth percussion and very gorgeous, darker vocals from Ariana. The second part, “Forever Boy,” feels more EDM-flavored, but it does have very infectious instrumentals and a fun vibe, even if the hook isn’t quite the strongest. Not one of my favorite cuts on the album, but all in all, it’s a nice song.

Thinking Bout You: Closing things out, Ariana talks about the feeling when her lover is away, and she is overcome by melancholy and longing. The production is very spacey and heavenly, and the hook here is extremely catchy as well. It’s very punchy and vibrant, and Ariana’s vocal range is on full display once again. It’s a somewhat more minimal track than some of the others on here, but it’s still a very gorgeously made track and it’s also an excellent closer to the album. Part of me wishes it was released as a single only because I feel like it deserves more love, but either way, it’s an infectious finisher to the album.

Overall, “Dangerous Woman” sees Ariana in several different forms: it sees her growing up and taking things a little more sexually, it sees her being a figure of empowerment, and it also sees her experimenting with a lot of different sounds, changing things radically from the sound she came up with on “Yours Truly” and “My Everything.” But most importantly, it sees her in very strong form, creating hit after hit with infectious production, gorgeous vocals, catchy hooks, and plenty of great ideas executed very nicely. In a lot of ways, this record feels like her broadest one to date, given that she takes on so many different styles and genres, and fortunately, she handles them with aplomb, crafting what’s possibly the best album thus far in her young career. Obviously, with “Sweetener” on the way very soon (next week, in fact), we’ll see if she’s able to top this, but as of right now, “Dangerous Woman” sees Ariana in possibly her strongest form, embracing what makes her great while adding new tools to her repertoire to reaffirm her status as one of the best pop stars in the game today.

Next up, we’re gonna review some Travis Scott…but not “Astroworld” just yet! We’re starting off with his first studio album “Rodeo.” Stay tuned!

Favorite tracks: Moonlight, Dangerous Woman, Be Alright, Into You, Side to Side, Let Me Love You, Greedy, Sometimes, I Don’t Care, Touch It, Thinking Bout You

Least favorite tracks: Leave Me Lonely, Everyday

Rating: Excellent

Ariana Grande "My Everything" Album Review

Moving right along with the Ariana Grande albums, it’s time to take a look at her 2014 sophomore record “My Everything.”

This was a quick follow-up to “Yours Truly” (an album I loved) as it released just a year later, and the tracklist fascinated me a bit, as it saw Ariana pick out a few more surprise features (Iggy Azalea, Childish Gambino, The Weeknd…A$AP Ferg?), and while I loved her last album, I’m a bit skeptical walking into this one because, in one breath, more Ariana might sound like a great thing for me, but with how quickly this came after "Yours Truly" (and given that it features a few of Ariana’s more less-than-stellar singles like “Problem” and “Bang Bang,” the latter simply making it as a bonus track for the album), I honestly have some reasons to be skeptical of this release. Let’s listen to see if my skepticisms are confirmed here:

Intro: A very short track (clocks in at 1:20), this one is actually quite lovely in spite of its length. There’s not much to it lyrically, just Ariana singing for a short bit asking her lover to love her without looking back or reconsidering anything, but her vocals are gorgeous, and I love the very heavenly piano melodies on this one. It’s a short cut, so you’d think that would stop me from classifying it as a favorite, but I actually really like it!

Problem (ft. Iggy Azalea): I have gone back and forth loving and, well, not loving, this song for the longest time, to be honest. This widely-known single talks all about how Ariana really wants to forgive an ex-lover, but shouldn’t because that’ll just be one less problem on her shoulders. Now, I love Ariana’s beautiful vocals on here, Big Sean’s whispered chorus is actually quite fun, and the production is pretty damn fantastic, with a punchy beat, vibrant saxophones, and a great overall vibe to it, but I think there is one thing holding the song back for me: Iggy Azalea. Her verse isn’t quite as obnoxious as I remember, but honestly, it’s a big turn-off for me. Her flow is fine, but her overall tone is just kind of obnoxious and doesn’t mesh quite as well with Ariana’s vocals. I don’t know, I really do like the track, but I think it could’ve been easily been one of my favorites on the album without Iggy.

One Last Time: Okay, now this cut has actually changed quite a bit for me over time. It’s a song I enjoyed when it first came out, but it’s something I look at it in a totally different way now. At its core, the song is about an ex-lover of Ariana’s that she admits she wasn’t faithful to. She wants to have one more night with this lover as something of a last goodbye. Under normal circumstances, I would take that and think to myself “wow, really pressuring the ex-lover, huh? That’s problematic.” However, I have to admit I have a soft spot for this one. For starters, I love the electronic production here, Ariana’s vocal melodies on the pre-chorus and the very infectious hook, but I think another reason this one sticks out for me because of its context in the One Love Manchester benefit concert Ariana put on after the terrorist attacks in May of 2017. Ariana chose this song as her closer and watching her very emotional performance of it (and seeing how fans gave its lyrics new meanings as a result) really made me appreciate the song just a bit more.

Why Try: Ariana goes on to talk on this track about a troublesome relationship, and basically questions the purpose of keeping the relationship alive, doing so over a snare-drum driven instrumental that takes on some nice different directions for Ariana. It takes on a little bit of the “90s/2000s pop” feel Ariana’s been going for, but with a somewhat more emotional, less dance-y vibe to it. I like Ariana’s vocals here, as she meshes well with the aforementioned snare drum-driven beat, though I do think this song could’ve used a slightly better hook. Still, it’s a fun enough track, even if it’s far from the album’s best.

Break Free (ft. Zedd): A song that sees Ariana realize how strong she is and how she is ready to “break free” from depending on another person, I definitely dig the Zedd-produced electronic instrumental on this one. It’s a very different direction for Ariana, and even if it’s very effect-driven, it’s very punchy and vibrant. Ariana’s vocals are gorgeous as well, and I think the hook is really sticky as well. I also think that the lyrics are really great; Ariana singing about breaking free from a toxic relationship is already empowering enough, and when you mix that with the dance-y EDM instrumentals, you have a song that just leaves you feeling pumped while listening to it. Great song!

Best Mistake (ft. Big Sean): Another collaboration between Ariana and her now ex-boyfriend Big Sean, this cut sees the two talking about how, even if their relationship won’t have a happy ending, they would try their hardest to hold on for it as long as they could. It’s a more low-key track that’s very different following up on “Break Free,” but I love the piano-driven instrumentals on this one that mix very well with the 808-drum beat. Ariana’s vocal melodies throughout the song are catchy and the hook gets stuck in my head for all the right reasons. Big Sean’s verse has a little bit of cheese to it (that lyric about “you ask why I love your mom so much ‘cause she’s a older you” was a little gross), but it’s fun enough and doesn’t detract from an otherwise great track.

Be My Baby (ft. Cashmere Cat): Ariana longs for love on this DJ Cashmere Cat-assisted cut that a lot of fans believe should’ve been released as a single. I can kinda see what they’re talking about: this one does have the feel of a song that’d be perfect at a dance club, with dreamy, fast-paced synths and a click-clacking hip-hop drum beat. I love the vibe it gives off (again, very danceable), and as always, Ariana’s vocal charm is on full display, I just once again wish the song had a stickier hook to it. I feel like the chorus doesn’t really leave the same impression that, say, “Bang Bang” does with its hook. Still, it’s got a great vibe to it, and I can see it growing on me with a few more listens.

Break Your Heart Right Back (ft. Childish Gambino): The first in a number of interesting features on this album, Ariana joins forces with Donald Glover (or Childish Gambino, as he’s known in the music world) for a song about a boy who cheats on a girl with a boy. Ariana actually said that, if a boy cheated on her with a boy, she would be relieved, and she’s not the first person I’ve heard say something like this (I think Camila Cabello said something along those lines, and as a man who had a crush on a girl that ended up having a girlfriend, I kinda see what they’re getting at). In any case, this song has a bit more of a hip-hop influence, electronic drums, and a fantastic hook with a prominent sample of Diana Ross’s “I’m Coming Out.” Ariana’s vocals are beautiful as always, and Childish Gambino’s verse has some pretty fun flow to it. Really great track!

Love Me Harder (ft. The Weeknd): I actually have to thank this song for introducing me to The Weeknd, one of my favorite artists. And thankfully, this is a song that still holds up amazingly after so long. At the time, this was the song that kinda showed me Ariana Grande shedding her typically kid-friendly skin and doing something a bit more adult (at least lyrically, where sex is a key theme), and sticking the landing very well. I like the dark, eerie production on this one, Ariana’s vocals are very gorgeous, and she blends very nicely with The Weeknd on this one. For this being my first intro to him, I thought he had a very strong falsetto and found that, even though he only really gets one verse to himself, he can really carry that verse. Great track that’s still strong several years later.

Just A Little Bit Of Your Heart: Switching things up with a piano ballad, this song (which was written by Harry Styles of One Direction) sees Ariana sing about how she is still in love with a partner that cheated on her because even though she’s been hurt, she simply can’t let go. As a hopeless romantic myself, I know what it’s like to not be able to let go of someone you love (even though I can’t vouch for the cheating part). Personally anecdotes aside, the song itself is very gorgeous, emotional, and at times heartbreaking, and that’s thanks to the grand instrumentals and Ariana’s vocals, as she sings with such conviction throughout the ballad. Very nice cut, I really enjoyed it.

Hands On Me (ft. A$AP Ferg): So, yeah, the A$AP Ferg track. Remember when I wrote that “THINK PIECE” talking about the weirdest features from albums I’ve reviewed? Well, throw this one on there, too. I wouldn’t expect Ariana to collaborate with A$AP Anybody, to be honest with you, and I really wasn’t looking forward to the collaboration as…I’m not really a fan of A$AP Anybody (the A$AP Mob album “Cozy Tapes Vol. 2: Too Cozy” still gives me nightmares. My first "Awful" rating, and still one of the worst albums I’ve reviewed). The song itself, though, takes on an old-school hip-hop feel, with punchy drums and a very dance-y feel, as Ariana takes on something more sex-driven compared to some of the other cuts here. I love Ariana’s vocals and the old-school hip-hop vibes though, as I expected, I didn’t care at all for Ferg’s performance, and while it didn’t quite kill the song, it did turn me off of it a bit. This easily could’ve been one of my favorites on the album without Ferg, but as it is, it’s still got some good things to offer.

My Everything: Ending off the Standard Edition of the album, we have another very anguished, vulnerable piano ballad where Ariana talks about how badly she is in love with a past ex. And though I don’t have any exes...I said it earlier but I know the feeling of not being able to fall out of love with someone, so this song does stick with me a bit lyrically. The piano melody on here is also very gorgeous, and I think Ariana’s vocals do show that air of vulnerability that I was mentioning at the beginning. I can see why Ariana ended the Standard Edition of the album with this cut because it’s definitely a very touching and emotional song and it’s one of the best the album has to offer.

Bang Bang (Jessie J ft. Ariana Grande & Nicki Minaj): Yeah, I was never crazy about this one. Lyrically, I get that it’s about the girls just wanting to have fun, party, and be bad girls, and I think that’s very cool, especially since all three of the girls provide great vocal performances (Jessie J and Ariana provide very powerful performances, and Nicki’s verse is pretty damn strong as well with great flow and energy), but honestly, very little about the production really sticks with me. It’s definitely upbeat and I see the appeal of the song, but it’s just not very sticky to me, nor is the hook. Maybe it’s because I heard the song too many times that a lot of the energy of it just washed itself out and became tiresome after repeat listens, but I honestly don’t really care for this like everyone else does. It’s certainly decent, but I don’t think I’ll remember it like I remember, say, “Love Me Harder.”

Only 1: Ariana continues to hit me lyrically because she sings on this one about how shocked she is to have a boyfriend so out of her league. I haven’t had a relationship, but I’ve definitely felt that some people that have had crushes on me (or that I’ve crushed on) were far out of my league. Ari, please, I’m going through an emotional time right now, I don’t need you hitting me in the feels! Oh, I digress. Point is, this very poppy, bright song is just damn infectious: Ariana’s vocals are gorgeous, the instrumentals retain the kind of “90s/2000s pop” feel that Ariana goes for in her songs, and the hook is really snappy as well. Given how great this song is, I wonder why it was left off the Standard Edition, but this actually plays as a bonus track should: it doesn’t quite fit the vibe of the album, but it deserves to have some recognition because it’s so amazing!

You Don’t Know Me: Lyrically, I can see why this one was a bonus track: where most of the album talks about heartbreak, love, and relationships, this one seems to be Ariana addressing her critics and haters, as well as the people that make up rumors about her and expect her to be pure perfection. This “clap back” of sorts features a very vibrant instrumental, with booming synths and some fast-paced, click-clack percussion. Ariana reaches into her higher register for most of the song, and she sounds great throughout, though I do think some of the synths can be a little overbearing here, and the hook isn’t quite as sticky. I wish she had chosen “Only 1” to end the Deluxe Edition with, but I do think the song has plenty of appeal to it and might even grow on me with a few more listens.

Overall, Ariana Grande’s “My Everything” is a worthy follow-up to her debut album. Even for how quickly it came after “Yours Truly,” Ari still came through with some damn infectious and vibrant pop music (with some EDM and hip-hop influence as well) that continued to show her ear for production and gorgeous vocals. She doesn’t really dramatically switch up her sound much, still sticking into the “90s/2000s pop” vibe that made “Yours Truly” a success, but the album works as a whole on the strength of its polish: Ariana focuses more on just refining the sound, keeping things fun, and showing more subtle growth (like, when she goes into more sex-driven songs), and the result is pretty strong. Perhaps most surprising is that, even with some weird features that you wouldn’t expect out of Ariana, most of them actually stick the landing, too, giving Ariana a good support structure to work with. All things considered, while I’m not sure if “My Everything” is better than “Yours Truly” just yet, I do think it’s a very worthy successor and it was another big success for the pop diva.

Next up, we round things out with “Dangerous Woman.” And then…Travis Scott, but not what you may think.

Favorite tracks: Intro, One Last Time, Break Free, Best Mistake, Break Your Heart Right Back, Love Me Harder, Just A Little Bit Of Your Heart, My Everything, Only 1

Least favorite tracks: Hands On Me (if I had to pick one)

Rating: Excellent