#takeoff casper beat

[glefrere-blog]

Takeoff “The Last Rocket” Album Review

With a good half of the album being some of the best he has to offer, but a few could have been retweaked and rewritten. This album is a decent to high 7 out of 10.

The Last Rocket is the first solo album from Migos member, Takeoff and is a clear crowning of who the best of the group is. Takeoff has a solid flow throughout this project with solid production that isn't as monotone and flaccid as in Quavo Huncho. that takes something different with each track. On the album, Takeoff makes it very clear what the tone of it is going to be with many references to space and astronauts on tracks like “Martian” and “Bruce Wayne,” as the instrumentals are more wavey and spacey than most other trap rap albums or even Migos albums. The sound is different enough from track to track that it doesn’t feel like I’m listening to the same song two or three times like I did when listening to Quavo Huncho. On “Martian” I found an interesting play with the bass to give the track an 808 style beat without using hi hats or toms too much in something that supposed to give off this weightless feeling as Takeoff appears to just effortlessly glide through his rhymes with some very interesting wordplay, like his networth, neck worth line was honestly a good play on words and is at least creative in telling me how much richer he is than me. 

So how much of the album did I like? Honestly most of it. The Last Rocket is only 12 songs long and takes a little over 30 minutes to listen through. There are maybe only a couple tracks I could do without but as a whole, this is a great album from someone who many consider to be the best out of the Migos. Takeoff pulls no punches as he drops bangers like, “Martian,” “None to Me,” “I Remember,” “Casper,” “Soul Plane,” and “Infatuation,” the only song on the album with a guest feature, Dayytona Fox. Takeoff holds his own with impressive lyricism and very catchy rhythms that show more versatility for the artist. With a good half of the album being some of the best he has to offer, but a few could have been retweaked and rewritten. This album is a decent to high 7 out of 10.

[howtomakebeatsblog]

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[imzelig]

You niggas are slow I can beat you runnin' backwards 

Takeoff - Casper

[jake-bittle]

Takeoff — “The Last Rocket”

Takeoff has always been my favorite Migo. He and I have a lot in common—we’re both younger than most of our friends, uglier than most of our friends, and way more interested than most of our friends in the principles of poetic meter.  Take “Too Hotty,” for instance, with its extreme dactyls—I had no choice to get up and go get it but I heard that you had the option to. Or something slower like “Slippery,” where he uses those strong trochees: dead shot, A K make your head rock. More than almost any other rapper working today, he really appreciates the power of syllables as an end unto themselves—he just loves making sounds with his mouth, and you can hear that whenever he raps.

Seriously, I spent years scanning poetry in college and this stuff really checks out—his use of meter really does remind me the most formal of English-language poets. The biggest difference is the subject matter. Compare this, for instance, from Gerard Manley Hopkins:

...then off, off forth on swing,  As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding        rebuffed the big wind. My heart in hiding

with this from “Insomnia”:

I fuck her one time, I know she gon' come back around  I been gettin' that paper way back in the day but this shit gettin' crazy now

Notice how they both extend that second line out way past where it’s supposed to go, and how he (Takeoff) messes with your expectations for both the length and the locus of the stress on the third and fourth line. 

In Takeoff’s verses as in Hopkins’s, the author’s actions, thoughts, beliefs, and biography are all of only secondary importance, and other people figure hardly at all. For Hopkins the only important thing is God, while for Takeoff it’s whatever debauchery lends itself best in the moment to depiction in an avalanche of monosyllables—you decide which you prefer, but you should know that no one reads Hopkins to get his take on the resurrection.

I have to say, though, I was worried that Takeoff’s album might be just as exhausting as Quavo’s, considering especially that he sounds so forceful when he’s intervening on another voice in a full Migos song—the Quavo hook ends, you hear that lupine, raspy voice jump in, and all of a sudden he’s rapping faster than you can follow. It’s like when they jump to hyperspace in Star Wars and all the stars get smeared on the window—which, I should note, sounds kinda like a Takeoff lyric about a drop-top car. Fortunately, though, the length here is a conservative 38 minutes, and though there’s only one feature from a scatterbrained Quavo (I would say they left it off his album, but I don’t think they left anything off that album), the whole thing feels fresh. Granted, songs like “I Remember” and “Lead The Wave” are instant deep cuts, but they each have thirty seconds or so of lyrical brilliance—like a Takeoff verse with a lot of parenthetical padding.

The main consequence of a solo album like this is that we get to know more about Takeoff as a person. This isn’t always a good thing: in “Casper,” for instance, over an all-too-familiar flute beat, he asks himself the question, “What do I want to do today?” On his way to figuring that out, he ejaculates on a woman’s face and tells her to shut up. At last he reveals the answer: “Decided what I’m gonna do today: I’ma ghost-ride the Wraith.” Surprise! Elsewhere, though, hearing more from him is welcome, as on “Infatuation,” where a dreamy two-minute intro precedes a single romantic verse that’s all the more convincing for being delivered in a voice like Takeoff’s. On “Bruce Wayne,” the final track, T concludes a great verse about being the least-appreciated Migo with a reminiscence about almost vomiting the first time he stepped on stage, something I’ve only ever heard one other rapper talk about.

Really, though, the best songs are the ones where the subject matter takes a backseat to the flow itself, like “Vacation,” where he pronounces Europe “yurp,” or “None to Me,” which may be the most acrobatic verbal performance I’ve heard from a rapper this year:

Every time my life get a pop, make me wanna drop somethin' Like lookin' at my money stacked, that's why the whip I ain't bought one Not that I can't get one, or not that I don't want one So booked, if I even got it, I wouldn't have time to drive one Thinking about that LaFerrari, bout to go and find one Had a dream about a Sky-Dweller, then I woke up and went and bought one The feelin' ain't the same, can't explain if you ain't got one

It’s incredible how he piles up single-syllable words until they become something more than the sum of their parts, like a DNA chain. Picture this really stoic guy getting ushered into the studio, opening his mouth, and presumably letting loose until they tell him to stop. He’s savantish, he’s logorrheic—he loves words. He’s like Rae Armantrout or something, except one can’t imagine Armantrout had a voice like this.

[culturefandom-blog]

The Last Rocket: A Track by Track Review

Takeoff just released his long anticipated debut solo album with no features, except for Quavo, which doesn’t really count, does it? In 2018, a confident move like that speaks volumes and echoes the artist’s admirable insistence on being a leader in the rap game. You’ll hear in many of Take’s bars, on both this current project and on previous Migos songs, the sentiment that people follow him, not the other way around--despite his silent persona. With that in mind, let’s get into the talented artist’s debut project, The Last Rocket, track by track.  

Martian

One thing we know about Takeoff is that he’s intelligent. The silent ones usually are, you know. Martian is a nod to that. He mixes the crackly audio of a rocket taking off with all the ad libs we know to be the undercurrent of Migos hits. If people didn’t already know that was him, they do now. Take spends this track poppin his shit. Showing out with double time bars, simply because he can and hypnotizing us into his sleepy haze with his entrancing voice. I’m ready. 

*She Gon Wink

Here’s that 1 “feature” y’all. And it was good. We got a classic Quavo hook. Then Take’s voice came in and let us know this isn’t anything we’ve heard before. He’s in solo artist mode and he doesn’t have to share the light with anyone. We’ve got rap-singing Take, which is one of my favorite aspects of his voice. I really liked this one. 

*None to Me

“You are crazy” is one of my favorite Take hooks so I automatically smiled when this track started. His flow is different on this one and it’s amazing. God damn. He played with his raspy voice and the story behind this track (materialism, betrayal, and the high price of loyalty) is so Take. His genuine nature and approach to life is what this track displays behind the dark ass vampire beat. Any Takeoff fan knows that loyalty and being a real one is what he is known and respected for. 

*Vacation

It’s a bop. He came in hot and his Migos style is heavy on this one. This song is Takeoff personified. He’s poppin his shit about jewelry, bag chasing, women, and syrup, but also had to get a little deep with mentions of him being the backbone and provider for his family, politics, and how he came from the Bando with his brothers, the Migos. That’s emotional stuff man. They made it.  

*Last Memory 

A hit and a bop. As a Takeoff fan, I am so proud of this track. Probably because he dropped it ahead of the album and made everybody pay attention. He gave us that megastar flow and confirmed to everyone that he was ready for a solo project if there was any doubt before The Last Rocket dropped. Not only did Take kill this one rap-wise, but the creative excellence he put forth with the video, the vibe, the colors, and the mood all came together extremely well and I am really looking forward to seeing how he brings his other tracks to life through his future singles and videos. 

I Remember

If you’ve read any of my previous reviews, you know I can’t stand repetition. The first thing I thought when I heard this track was “What is this?” But then, because of his insistent and haunting tone, I changed my perspective and listened to the story he was telling us. This song is dark and brooding, it’s almost emotional. Take goes back to the days of selling dope and being broke. He “can’t forget,” he says. So the repetition is understood and he’s spitting some fire on this one in between all the “I Remembers.” 

Lead the Wave

Here’s Take rapping about being the leader. The one thing that stood out to me on this one was Take’s good heart when he recounts his teacher telling him he wouldn’t make it and then runs into them after his success - he acted with grace towards them. Why? Because he’s a humble guy. That’s why we love him. He’s a good person and it leaks into his music. And in today’s world, that’s a leader. It always has been, really.

*Casper

Bittccchhhhh, this song is a blunt. It’s crazy relaxing and a genuine tune. This is one of my favorite spaces for Takeoff musically (See Gang Gang and Made Men). This track is a mirror of the artist’s laid-back personality. He gives us some of his best lyrics when he’s in this flow. I love this one. 

*Insomnia

Look, this one surprised me! It was so hype. The “hmm hmmmm” had me like “you better croon, Take!” This is different than anything we’ve ever heard. It’s an unexpected standout track. Take is killing it. 

Infatuation

This song reminded me of a Michael Jackson track. Nothing wrong with that, that’s for sure. This is his old soul on a record. I wasn’t surprised to hear him talk about love. I think it’s pretty obvious that he’s got a big heart.

*Soul Plane

This is an absolute banger. When he said “Get that bag then I dip, bye” LMAOOOOO (yep that sounds about right). You can’t help but nod your head to this one. I am so impressed with how much replay value he has on this project. 

*Bruce Wayne

The last track is usually when the artist relaxes but not Take. First off, he named the track Bruce Wayne, so the expectations are huge. Then that beat dropped and it’s classy as hell (just like Last Memory). Takeoff is the shrimp and lobster of rappers for this shit. Jesus Christ. Then on top of that beat, he’s showing off his vocaaalllllssssss. This song is amazing. What a way to end the album. That’s that leader shit, y’all. 

Takeoff should be proud of this project. I know his fans are. And we are waiting on the visuals. I would list the standout tracks from this album, but the list would be too long so I’ll list my least favorite: 

Lead the Wave (unpopular opinion)

And that one is catchy so what does that say? His entire album is fire.