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soundtrack were pure musical adrenaline, excellently paying homage to classic spy shows while capturing a thrilling, contemporary sound. I don’t pay much attention to the lyrics in most Spoon songs, but the way they layer instruments, chants, and claps is so entrancing, especially on Was It You? They Never Got You, or the hit I Turn My Camera On, that the lack of angsty Kendrick-esque Poetry doesn’t matter.ĭespite originating from an overall mediocre film, the original score and lyrical selections from the Man From U.N.C.L.E. The anniversary edition of this album comes with an extra disk of home demos and rejected tracks that’s well worth the extra whatever you’d pay for it because most are stripped down to just a guitar and occasional drums or piano (though not in a lazy ACOUSTIC COVER Youtube sense) and offer a distinct experience that’s just as affecting, energetic, and smooth as the recorded versions. I don’t think I can include this because it’s technically a re-release from 2005, but if you haven’t heard this or much of anything from Spoon’s decades-spanning catalog, then let shame fall on you from high! It’s time to take a trip down non-memory lane and hear one of the more epic releases from one of the last truly epic years in entertainment. After Rodeo, we still have no idea who Travis Scott is, other than a skilled plagiarist: Young La Fraud.First up we have the two-disk collector’s issue of Spoon’s classic Gimme Fiction. If the Drake ghostwriting “scandal” proved anything, it’s that creating an image and personality - one understood by an audience and easily replicated by ghostwriters - is the hard part. Scott may see himself as a rebel leading a revolution of lost souls, refusing to conform to authority, but he’s not: he’s a savvy kid who has benefitted from the right connections, someone who realized “pornography” rhymes with “monogamy” and thinks he’s a genius. But the goal is to build on your influences and make them your own. Hip-hop is a genre driven by sampling, borrowing, referencing, interpreting, and, yes, sometimes copying the work of others.
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Kudos to Kanye for figuring out how to profit off his scraps. Long-rumored to be a song on his next album featuring Sir Paul, it’s a sigh of relief that it is included here: at least it won’t be on Swish. Paradoxically, the album’s worst song, ‘Piss On Your Grave’, actually features Kanye. The bloated, self-indulgent ‘3500’ has a good hook (even if rapping about North’s fur coat is just weird) and the self-parodic ‘Maria I’m Drunk’ works thanks to Young Thug and Justin Bieber’s heavy lifting. Thanks to Kanye’s watchful eye, and a cadre of his go-to producers, Rodeo often succeeds despite itself. But his thievery is not limited to his mentor: there are so many shameless (if pitch-perfect) rip-offs here - Future’s Auto-tuned croaks, Kid Cudi’s narration, A$AP Rocky’s Pimp C and blues-rap fascinations, Swae Lee’s weightless melodies - that you have to check the song credits and Rap Genius transcriptions to see if it’s Scott or his source on the record. Like his previous work, Rodeo often resembles a Kanye sound-alike record, from its 808s and Heartbreak and My Beautiful Dark Twisted Fantasy melodies to its Yeezus production tricks there are countless imitations of Kanye’s style and flow throughout. While his biting has been a defining feature of his suspiciously meteoric rise, there was hope that Scott would finally turn his influences into more than pastiche on the album. These aren’t just featured guests on Rodeo - they’re some of the artists that Travis Scott rips off on his debut album.