Quavo (of Migos) releases his highly-anticipated debut album, ‘QUAVO HUNCHO.’  While the LP has its moments, the rapper also seems to run short on fresh ideas

Cutting straight to the chase, it was bound to happen. What exactly ‘was bound to happen’? Why, a solo studio album by Migos standout Quavo.  Arriving months after Migos dropped Culture II, QUAVO HUNCHO ends up being the project one expects from the ubiquitous rapper.  Ultimately, Quavo has his fair share of moments, but at north of an hour in length, QUAVO HUNCHO could’ve easily been trimmed.

“Biggest Alley Oop”

“I said, this the biggest alley oop (alley oop) / I’m gon’ air it out if I shoot / It’s only one mic in the booth / Guess it’s my night to tell the truth / Who got the biggest bag in the room?” “Biggest Alley Oop” commences the album sensationally, with smooth production work featuring a heaping dose of flute and choral vocals.  Quavo delivers a compelling, confident flow, riding the beat like a champ. Follow-up “Pass Out” keeps the bangers coming, featuring 21 Savage.  The rhymes aren’t chocked-full of depth mind you, but the flex action – “Skrr, skrr, skrr…” – is real.  “Huncho Dreams” definitely raises eyebrows, thanks to the numerous lyrics directed towards Nicki Minaj.  Some of the most colorful moments include references to her hit single with 6ix9ine (“No ‘FEFE’, I skeet-skeet [‘FEFE’] on yo face ass”) and lifting off the Drake mega-hit, “In My Feelings” (“Nicki [Nicki], do you love me? / Why you crying?”).

Speaking of Drake, he appears on the follow-up record, “Flip the Switch.” Here, both rappers seem to be most concerned about material things and of course, “bad bitches.” It’s about what you expect, and the same can be said of “Give it To Em,” featuring Saweetie.  It’s okay, but ultimately, Q doesn’t seem to have much to say that we haven’t previously heard.

“Shine”

“Shine” keeps things short and at least relatively sweet.  Again, Quavo continues to flex, totally carefree, and loaded up with swagger.  He continues to keep things brief on advance single, “WORKIN ME”. “WORKIN ME” clocks in under three minutes.  It’s a sufficient amount – no shade.  The rapper continues to be true to self – confident, with a compelling flow.  No, he doesn’t have much to say, but the vibe is on-point.  Among selling points for Q is the chorus, which is catchy, easily getting stuck in your head. Follow-up “How Bout That?” is none too shabby, though ‘nothing to write home about’ either.

One of the songs that catches the eyes from a collaboration standpoint is “Champagne Rosé.”  Notably, Madonna appears on the chorus, a repetitive, but memorable portion of the record.  She also appears on her own, delivering a distinct-sounding fourth verse.  “It’s my game / Please let me entertain you / Get inside your vein, too / Intoxicate your brain, ooh.” Cardi B also makes rounds, performing the first verse, notably delivering the ‘bullet’ – “I don’t do number two / That’s the type of shit I’m on (woo).” Of course, the main attraction drops a couple of bars himself, though nothing as memorable as Cardi B’s ‘shit’ reference.

“Keep That Shit”

Speaking of ‘shit’, “Keep That Shit” keeps the track list moving.  Naturally, the chorus, which features the word ‘shit’ countless number of times, is also full of ‘shit.’ Unsurprisingly, Quavo enlists fellow Migos member, Takeoff, who spits on the second verse. Shit gets more explicit on “Fuck 12,” which opens with a Malcolm X intro (“Who taught you to hate the texture of your hair? Who taught you to hate the color of your skin?”).  Takeoff is traded for the other ‘Migo’, Offset, who brings the heat on the second verse.  “Fuck 12” features a repetitive hook, but also manages to make a statement about the police.

“You shot him ‘cause you thought he had a gun or he black

You better watch out for the boys when you’re black.”

Lil Baby appears on “Lose It,” another joint driven by vibe and lacking much substance. Travis Scott arrives in all his glory on “Rerun,” playing to his idiosyncratic sensibilities. This includes his signature ad-libs, not to mention being drenched in autotuned and vocal effects.  “Go All the Way” picks up the pace, finding Quavo rapping over an awesome, Pharrell Williams-produced backdrop.  The inspiration is there, but as QUAVO HUNCHO progresses, it’s clear that the rapper keeps things pretty one dimensional.

“LAMB TALK”

Advance single “LAMB TALK” clocks in south of three minutes.  The hook is incredibly simplistic – understatement.  It goes a little something like this: “Lamb talk, uh, yeah / Lamb talk, Lamborghini (woo)…” Moving on, the record is backed by smooth, trap production, already previously delivered on QUAVO HUNCHO.  The drums are hard, while the synths are softer and cooler.  This is a good fit for the rapper, who delivers a solid flow, and rhymes packed with personality – “Then I take the pot, skrrt, skrrt, Fork it, skrrt, skrrt / Gumbo, like I’m from New Orleans.”

The album rolls right along with “Big Bro,” yet another instance of a so-so concept from Quavo.  The longest record of the LP comes by way of the tropically-infused, sexy “Swing” featuring Normani and Davido.  It has it’s redeeming qualities, but it’s entirely too long. Penultimate record “Bubble Gum” gets a smooth, soulful backdrop, which helps to ‘fuel the fire’ at the end.  “Lost” concludes QUAVO HUNCHO in moody fashion. Fitting – it does feature Kid Cudi after all, in all his humming glory.

Final Thoughts

So, how does QUAVO HUNCHO stack up? All in all, it has its fair share of moments, but doesn’t move the needle.  Quavo continues to bless us with his captivating flow, but the bars themselves merely aren’t as compelling.  Too often, there’s the sense that the rapper lacks more material beyond the tried and true. Similarly, the same observation could be made about Migos.  Still, if you are a big-time Migos fan, and you totally ‘Stan’ for Quavo, you will appreciate this album.

Gems: “Biggest Alley Oop,” “Pass Out,” “WORKIN ME,” “Champagne Rosé,” “Fuck 12,” “LAMB TALK”

Quavo • QUAVO HUNCHO • Quality Control Music/Motown/Capitol • Release: 10.12.18

Photo Credits: Quality Control Music/Motown/Capitol