Migos’ long-awaited album, “Culture,” has finally dropped, and it has a chance to be considered one of the blueprints for trap music moving forward.
5. OUT YO WAY
Migos actually open up their feelings on this song? (Someone trying to check the temperature in hell?)
As soon as you heard the beat, you knew Quavo would be licking his chops because its sound allows him to be that sappy version of himself that commercial rap fans love to hear. He doesn’t disappoint at all, as he provides this hook that excels both melody-wise and in its message.
Both Takeoff and Offset pay homage to folks in the song, too, but their homage sounds a little rougher than Quavo’s.
Do you want a break from all of Migos’ club bangers? This is the perfect song to listen to.
I feel like this song’s chorus is excellent. They stress each word in it exactly how I would.
This is one of the many songs in which the group’s parts are interchangeable. They practically sound the same, highlighting their phenomenal chemistry.
Gucci sounds like a tipsy bastard that is trying to catch his footing throughout his verse. I’m sure he came to the studio on some type of illegal drug.
I just like Slippery’s vibe! No one on it is doing too much, which creates this chill sound. The song sorta reminds me of those club songs that are the calm before the storm.
3. KELLY PRICE
So, “Kelly Price” sounds a bit dull, to me, but I cannot deny its uniqueness! It has such a slow tempo to it, meaning that if these dudes didn’t say some sly-ass s–t in the song, I might’ve taken a power nap while listening to it.
Quavo literally sounds like he’s talking to his girl while fighting back sleep at first, but eventually, he starts to swing those punches in it. I’m glad he regained consciousness by the middle of his verse.
Travis Scott might be the best in history at creating a bop! He swag surfs throughout his verse, establishing his brand rather quickly. La Flame and Migos’ sounds mesh so well.
Offset or Takeoff (who knows, who cares) are irrelevant on this particular song; at the same time, I don’t mind a filler… I mean, what would “Move Bitch” by Ludacris be without I20, right?
People are going to argue with me that this is the best song on the album, but I’m ready for war! 😤
2. CALL CASTING
There is absolutely no reason why this song will not be a hit in the next couple of months. I might be speaking some blasphemy here, but I think musically, “Call Casting” might be even better than “Bad and Boujee!”
Offset opens up the song, laying down both a fire chorus and a tone-setting first verse. he raps with his usual tongue-twisting flow, but something about those piano notes accompanying him adds this riveting sound to his verse.
Quavo has the second verse, and his wit is what carries him throughout. He’s raps tough, leaving the harmonizing and the auto-tune at home. Has his voice become one of the more recognizable ones in the game now?
Is that you, Takeoff? I forgot how you sounded, bruh! His verse lacks the appeal of the other guys, but it still follows Migos’ signature flows.
1. BAD & BOUJEE
There’s nothing I can do but crown this song as number 1. Think about it like this: Anytime you have a song that got to number one in the billboard charts while maintaining its gutter sound, gutter lyrics, gutter vibe, and gutter beat, it has to be labeled as another level of special.
As Offset navigates through his verse, you await each line like your life depends on it. He pretty much has our ears on a leash throughout his verse, as he has this responsibility to maintain his catchy verse, combined with lines that match the toughness of the beat. Overall, it’s the biggest tone-setting verse of the year, to me (thus far).
Quavo definitely does his thing on this song, as he raps with this Fonz-like demeanor on his verse. He knows he’s the s–t, which means he also knows he can say whatever he wants, too.
I absolutely hated Lil Uzi Vert’s verse at first (say that quickly four times), but now I f–ks with it! You can tell he heard the finished product of this song and said “I’ma stick by the rules, but please let me be weird as f–k on it just a tad!” If you ignore the wackiness in his delivery, you’ll realize his verse is full of some pretty decent lines.
This was definitely a song that blew up without being made to blow up.
SONG BY SONG BREAKDOWN
1. CULTURE (4.4/5)
2. T-SHIRT (4.5/5)
3. CALL CASTING (5/5)
4. BAD & BOUJEE (5/5)
5. GET RIGHT WITCHA (3.8/5)
6. SLIPPERY (4.5/5)
7. BIG ON BIG (4.2/5)
8. WHAT THE PRICE (4.2/5)
9. BROWN PAPER BAG (4.7/5)
10. DEADZ (4/5)
11. ALL ASS (4.2/5)
12. KELLY PRICE (4.7/5)
13. OUT YO WAY (4.7/5)
Migos doesn’t water down their sound on this album, despite the obvious temptations to from their new commercial fans. You are treated to lyrics that are just as tough as their previous efforts on this album, combined with their signature tongue-twisting flows. Nowadays, beats are more catered to them due to the fact that producers finally have a gauge of their unique sound, which allows them to be the best version of themselves on this album.
My beef: If you are anything like me, you didn’t pay any mind to the topics on this album; if you did happen to pay close attention, all they talk about is hoes, flossin’, and dracos. Do yourself a favor and ignore the topics, fam.
Overall, the album has exactly what I thought it would have: Sick ass beats, nice-ass flows, and club bangers. Nothing is super great about the album, which is probably how I wanted it, anyway. I do look forward to more experimental s–t when Quavo drops that solo project, though 👀
Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.