![]() He was the one doing all the crazy direction. “I mean, he fucking was the one in control. “He knew it was all on his shoulders at that point,” says Alex Tumay, the prolific engineer who mixed half of DBR (Travis handled the other half). ![]() “It was just, shit, getting everyone else to see it our way. “ deserves to be sitting in the seat that he’s sitting in now. ![]() ![]() He felt-and rightfully so, for the most part-that he had more than enough justification to be headlining these shows, having these types of stage setups, and having these accommodations made for him at a time when they were being made for other people.”ĭays Before Rodeo, the follow-up to Owl Pharaoh, was left with the task of not only capitalizing on Travis’ potential and hype, but also standing as an undeniable body of work that would firmly push him higher up rap’s, well, echelon. “At the time, at least to Travis, I remember he felt like he wasn’t getting his just due, and that people weren’t acknowledging him or considering him among the elites in the industry at the time. “I think the most important and most crucial advice was to be patient and notice all the advancement, not just major advancement,” T.I. With an impressive resume, clear-cut vision, and a live show that was already gaining a reputation for unbridled energy, Travis Scott was brimming with creativity and ambition that outpaced his status in rap’s power rankings. All we did was try to place the settings for him, and the magic happened.”īy 2014, Travis had already built a small but rabid fanbase off the strength of his Cruel Summer placements and a strong debut project of his own, Owl Pharaoh, which yielded a handful of true-blue bangers (“Upper Echelon,” “Uptown,” “Bandz,” “Quintana”) and proved that he did indeed have a singular aesthetic, plus room to grow. It ain’t a whole lot of orchestrating or curating that you could really do around Trav. If he called, he usually called to say what he from me. “Walk him in doors, introduce him to people, create opportunities. “All we could do is offer relationships and resources,” T.I. Travis was introduced to 1st by his Grand Hustle label boss, T.I., who, even by that early point, had resolved to provide Travis with any logistical help he could, and otherwise stay out of his way. But it’s just like, we’re about to do this for real. Everything is always serious.” He clarifies: “Of course. There’s never been a time we’ve ever bullshitted in the studio. “I just remember bro being focused,” he says. Thinking back on those days now, the Atlanta producer recalls how intensely Travis was locked into his work. “Are you going to help me or not?”ġst has production credits on nearly every Travis Scott project to date, and the sessions for Days Before Rodeo marked the beginning of their fruitful relationship. “I’m on a mission,” FKI 1st recalls Travis expressing to him. Instead, he delivered a project that many fans still use as the gold standard to compare the rest of his albums to: Days Before Rodeo. August 2018 solidified Travis as a superstar.įive years ago in August 2014, Travis Scott was presented with a similarly high-stakes, career-defining moment-one that, had he not conquered it, might have stalled him out as a compelling G.O.O.D. 1 most sought-after feature as reminders. We all know how that worked out: There are showstopping Grammy performances, Super Bowl halftime appearances, and a current status as rap’s No. His third studio album presented the opportunity to either vault him into the A-list stratosphere or leave him stranded in the upper-middle class of rap. Much has been made of the career crossroads at which Travis Scott found himself in the waning days of summer 2018, before the release of ASTROWORLD. Or, to let Travis himself tell it: “I might fuck ’round, lose my mind. Music compilation, Cruel Summer.įast-forward a year, though, and assisting legends while producing for a new class of stars like Wale and Big Sean wasn’t satisfying enough. Not a bad collaborative resumé for a Houston native whose breakthrough moment had come just a year prior, on West’s G.O.O.D. The albums he references were among the biggest of 2013: JAY-Z’s Magna Carta Holy Grail, Wale’s The Gifted, and Kanye West’s Yeezus, the latter of which represented a sonic shift that Travis has been credited with at least partly inspiring. 1 albums, woulda thought I’d feel amazing, still impatient.” Over ominous organs and keys, Travis Scott saunters into the frame and details his restlessness: “After three No. Days Before Rodeo opens with a dark prayer.
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