Every year, Travis Scott's powers grow stronger. Since dropping Owl Pharoah in 2013, the Houston native has been on a steady climb to become one of hip-hop’s biggest stars. Scott’s profile grew again with the release of ASTROWORLD, his most commercially successful effort yet. Highlighted by massive hits like “Sicko Mode” alongside standout album cuts like “No Bystanders,” ASTROWORLD contains some of Scott’s best work yet—bolstering an already strong catalog for the 26-year-old artist. These are Travis Scott’s best songs.
25. Travis Scott "BUTTERFLY EFFECT"
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Album: ASTROWORLD (2018)
Producer: Murda Beatz, Felix Leone
"Butterfly Effect" hit the ground back in May of 2017, setting the tone for ASTROWORLD. Produced by regular collaborator Murda Beatz, the song catches a whole vibe, sounding like the cut that is being played during whatever insanity is going down in ASTROWORLD's cover. The chilled, hypnotic track lets Travis hop deep into his bag, cultivating an anthemic, Instagram caption-worthy hook ("for this life, I cannot change"). Aspirational music. —khal
24. Travis Scott f/ Migos and PeeWee Longway "Sloppy Toppy"
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Album: Days Before Rodeo (2014)
Producer: FKi
Sometimes explicit can be sweet. (Ty Dolla $ign’s gorgeous “$tretch/$he Better” is a recent example.) Requiring bodies as it does, sex is often gross and that can be a source of real fun and joy. “Sloppy Toppy,” on the other hand, is like listening to a kinda confused middle-schooler explain a blow job based on Yelp reviews of the act written by the worst Reddit dudes. You’ve got language related to dentistry, bovine play, 7-Eleven, and digestive gas, to say nothing of the gurgling sound effects, which are more pornographic than most porn. Nice. —Ross Scarano
23. Travis Scott f/ Kid Cudi "Way Back"
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Album: Birds in the Trap Sing McKnight (2016)
Producer: Mike Dean, Roget Chahayed, Da Honorable C.N.O.T.E., Cashmere Cat, Hit-Boy
In a similar fashion to Rodeo's “Oh My Dis Side,” “Way Back” is a two-part performance that finds Travis Scott flexing his melodic flow. He’s also got a few #bars for those doubting his pen: “Dropped the Rodeo, I dodged a bull like olé/Hopped in the Bronco, skrrt off like O.J.” The addition of Kid Cudi’s backing vocals give “Way Back” that extra kick. —Edwin Ortiz
22. Travis Scott f/ Young Thug "Skyfall"
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Album: Days Before Rodeo (2014)
Producer: Travis Scott, Metro Boomin
Have you ever heard those stories about humans displaying extreme feats of strength during an adrenaline rush, like a mother hoisting a 3,500-pound Volkswagen in the air to save her pinned child? Proof of the “hysterical strength” phenomenon is still hearsay, mostly because it’s impossible to recreate those conditions in a lab. That said, try turning a doorknob when the bass drops on “Skyfall” without ripping that door clean off of its hinges.
The sixth track on Days Before Rodeo is jet fuel for the soul, the kind of song that could make a middle school librarian put her head through a glass coffee table. The bass makes the walls shake; the vocal effects give me chills; and Young Thug snaps. If you need to replace a door or save a baby, just press play. —Sean Evans
21. Travis Scott f/ A$AP Ferg "Uptown"
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Album: Owl Pharaoh (2013)
Producer: WondaGurl
Whenever you see old footage of Travis climbing various things while he's performing, it's a pretty safe bet that "Uptown" is the song that's playing. This would've been the soundtrack to the Warriors if it came out back in '79 or better yet why don't play this on repeat while you cruise the GTA streets? WondaGurl and Travis were on crank when they came up with this beat as if Trevor were in the booth with them in full rampage mode. Next time your in NYC and headed Uptown for that Dominican Haze that'll burn your throat, play this. —Angel Diaz
20. Travis Scott f/ Future and 2 Chainz "3500"
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Album: Rodeo (2015)
Producer: Allen Ritter, Zaytoven, Million $ Mano, Metro Boomin, Mike Dean
On first listen, Travis Scott's "3500" didn't grab me as much as some of his other singles. Hear it on a night, though, and, lo and behold, it hits. Travis delivered yet another slowed-up banger, where he actually makes you consider dropping $3,500 for a coat while reminding listeners that he only rolls with real ones. The hook and bridge are stellar, and Future and 2 Chainz bring forth A+ efforts throughout the seven-minute-plus cut. Chainz especially snaps with his verse, rapping, "Tity Boi my alias, real niggas my radius, trill niggas on the song with me, if she bad as hell I'll pay the babysitter." Add Future flowing about how you can smell Promethazine in his piss and you have a certified winner. —Zach Frydenlund
19. Travis Scott f/ Gunna and Nav "YOSEMITE"
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Album: ASTROWORLD (2018)
Producer: Turbo, June James
"Yosemite" is the dark-horse candidate for ASTROWORLD's standout banger. While "Sicko Mode" and "No Bystanders" garnered the initial declarations of outright fire, "Yosemite" calmly waited for its just due, which could only come from enough time spent with the overall project. At two and a half minutes exactly, the song is filled with airy flutes and Western twangs, and powered by the Gunna effect: the College Park rapper starts things off with an entrancing lyrical cadence that feels like audio tug of war—reminiscent of his flow on "Sold Out Dates"—which Travis gladly picks up and carries forth during his verse. "Beibs in the Trap" collaborator Nav makes an appearance, too. Unfortunately for him, the first version of "Yosemite" sounded like he was singing through a tin-can phone in 1942. While his feature was eventually updated, it was still weird—but not weird enough to throw off the vibe of one of Trav's best songs to date. —Kiana Fitzgerald
18. Travis Scott f/ Don Toliver "CAN'T SAY"
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Album: ASTROWORLD (2018)
Producer: London Cyr, Frank Dukes, WondaGurl
The opening seconds of "Can't Say" clang against one another like the churning energies of the next big bang. That might sound dramatic, but have you ever listened to this song with your eyes closed and your imagination on 1000? By the time Travis finishes singing about smoking weed and shawties licking him clean, the rest of the production unfurls into its own universe. As expansive as the beat becomes, it never overpowers Travis nor his collaborator, fellow H-Town representer Don Toliver. The producers of the track—London Cyr, Frank Dukes, and WondaGurl—laid a groundwork that was equal parts new and familiar for both Travis and Toliver. The familiarity kicks in via the screwed-up voice of the late Fat Pat, whose words here were initially immortalized in "25 Lighters," then "Swang." (FYI, both songs are Texas anthems.) Alongside Scott's Auto-Tune'd crooning and Fat Pat's deepened voice, Toliver's vocals stand out, thin and vibrant, like an oboe letting loose in a solo. Without Travis' confidence and subsequent willingness to share the spotlight, Toliver wouldn't have been able to shine in such a major way. —Kiana Fitzgerald
17. Travis Scott "Apple Pie"
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Album: Rodeo (2015)
Producer: Mike Dean, Travis Scott
Language doesn't always have to make sense. “I don’t want your apple pie no more/I need my own pepper seeds”—that doesn’t mean anything to me. But it’s fine, because “Apple Pie” is one of the warmest songs Travis Scott’s ever recorded, the product of a piano-driven collaboration between Mike Dean and Terrace Martin. If Scott ever goes USDA-certified organic with his instrumentation, it’ll be just like this: mellow, sweet, inscrutable. —Ross Scarano
16. Travis Scott f/ Nav "Biebs in the Trap"
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Album: Birds in the Trap Sing McKnight (2016)
Producer: NAV
"Tried to text my accountant, ain't no service in the mountains," is some serious life goals. Of course, Scott doesn't stop there, bragging about driving a Lambo out of the hood. XO affiliate Nav shines on the opening verse and hook, singing about the drugs he likes to do and the girls he likes to do them with. Initially, people thought Justin Bieber was on the track, which made sense considering "Maria I'm Drunk," but instead this is a coming out party for yet another collaborator in the ever-expanding Travis Scott universe. —Zach Frydenlund
15. Travis Scott f/ Kacy Hill "90210"
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Album: Rodeo (2015)
Producer: Travis Scott, Mike Dean, Allen Ritter, DJ Dahi
This shit reminds me of when Brenda Walsh and Dylan McKay first fell in love on Beverly Hills, 90210. Y'all might be too young to get that reference, so be sure to google it. This song goes through changes like the seasons. The first half feels like that autumn weather coming in when you start to see the leaves change while the second half feels like sunshine once that beat switches up and really gets kinky. This should be Top 5, tbh, but I got outvoted. —Angel Diaz
14. Travis Scott f/ T.I. "Quintana, Pt. 2"
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Album: Days Before Rodeo (2014)
Producer: Lil C, AudioKlique, Southside, Mike Dean
The opening synths of "Quintana Pt. 2" wouldn't sound out of place on an '80s new wave dance floor. Of course, after a few bars spent crooning the word "finessing," Travis switches the beat and things takes a turn for the dark. Then, it keeps turning. By the time T.I. is ready to tag in, the beat has lost all traces of the shiny veneer it opened with. By the end of the song, it's gone through what feels like a symphony's worth of movements. He didn't produce a single note of the song, but it still feels classic Scott; a willingness to keep a beats restlessly dynamic and joining disparate parts that, when put together, feel right. —Brendan Klinkenberg
13. Travis Scott "Drugs You Should Try"
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Album: Days Before Rodeo (2014)
Producer: Charlie Handsome, FKi
Much fuss has been made over whether Travis Scott, premier vibe curator, can actually carry a song on his own. Tell any lost soul who'd argue such to report directly to track four on Days Before Rodeo. Hazy, Xan music at its finest. —Frazier Tharpe
12. Travis Scott f/ James Blake, Kid Cudi, Philip Bailey, and Stevie Wonder "STOP TRYING TO BE GOD"
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Album: ASTROWORLD (2018)
Producer: Travis Scott, Mike Dean, Cubeatz, JBeatzz
I knew La Flame was not to be fucked with when I first heard the harmonicas come in at 1:48 of “STOP TRYING TO BE GOD.” There are plenty of songs warning against falling victim to the God complex that can come with wealth and success, but this one does so in a way that’s not patronizing. Travis isn’t holier than thou (no pun intended); he’s in the midst of it all, trying to remember this lesson—that “air traffic controls the landing”—himself. The mellow snare and piano keep things grounded, while James Blake’s verse poses some important questions for anyone putting up a facade. Then Cudi and Stevie Wonder join him for a haunting outro. Oh, and I better not see any more tweets mocking Cudi’s “mmMmmmMmmm”-ing, because that shit feels like a warm cup of tea on a chilly winter’s day. —Carolyn Bernucca
11. Travis Scott f/ Kid Cudi "Through the Late Night"
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Album: Birds in the Trap Sing McKnight (2016)
Producer: CuBeatz, Cardo
Given Kid Cudi’s musical influence on Travis Scott, hearing them on the same track was a matter of when, not if. That moment is fully realized on stand-out Birds cut “Through the Late Night,” where Cardo and CuBeatz lace the pair with a sonic bed that plays up their rager sensibilities. Travis even slides in a nod to “Day 'n' Nite,” bringing the connection full circle. Hopefully this leads to more collaborations between the two. —Edwin Ortiz
10. Travis Scott f/ Juice WRLD and Sheck Wes "NO BYSTANDERS"
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Album: ASTROWORLD (2018)
Producer: TM88, Mike Dean, Gezin of 808 Mafia, WondaGurl
FUCK THE CLUB UP. Wildly energetic and rebellious, those four quick words accomplish everything we’ve come to love about Travis Scott at this point in his career. Borrowed from Three 6 Mafia or Waka Flocka Flame (depending on who you ask), it’s the kind of line that sounds great on release day and gets even better in the middle of a massive festival crowd months later. With the addition of a few explosive “BITCH!” ad-libs from Sheck Wes, syrupy guest vocals from Juice WRLD, and deceptively self-reflective verses from Travis, “No Bystanders” is one of ASTROWORLD’s most exciting (and replayable) cuts. Travis also fends off skeptics of his technical ability when he raps twice as hard as usual on the song’s first verse, rattling off a series of high-energy, Houston-steeped bars. Fuck the club up. —Eric Skelton
9. Travis Scott f/ T.I. and 2 Chainz "Upper Echelon"
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Album: Owl Pharaoh (2013)
Producer: J Gramm Beats, Kanye West, Anthony Kilhoffer, Travis Scott, Mike Dean
There’s nothing understated about this song. The beat levels everything in its wake; this is a scorched-earth march, a post-Lex Luger piece of hip-hop fury mixed with an operatic sense of bombast and ceremony. Scott doesn’t need to impress here lyrically. Instead, he keeps things menacingly methodical; he’s the ringleader, and he knows it. T.I. rips into his verse with staccato glee, and 2 Chainz’ verse—a middling one from him—makes him sound like the king of a dystopian hellscape, thanks to a generous beat switch-up. This was, for many, their introduction to Travis Scott. It’s quite an entrance. —Brendan Klinkenberg
8. Travis Scott f/ Rich Homie Quan and Young Thug "Mamacita"
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Album: Days Before Rodeo (2014)
Producer: Metro Boomin, DJ Dahi, Travis Scott
When the heavy bass line kicks in after the distorted guitar strum opening of “Mamacita,” you know it’s about to go down. The vices La Flame partakes in—drugs, liquor, sex—are on full display here as he finds solace in debauchery. “Mamacita” also demonstrates the undeniable chemistry between Travis and Young Thug, which would continue on tracks like “Maria I’m Drunk.” and “Pick Up the Phone.” —Edwin Ortiz
7. Travis Scott "Antidote"
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Album: Rodeo (2015)
Producer: Eestbound, WondaGurl
With its reference to the infamous incident at Hot 97's Summer Jam, it would seem "Antidote" is the last song La Flame recorded, or at the very least completed, for his debut album. Crazy, considering it's not only the best track on there, but one of the best turn-up jams of 2015, easily. No disrespect to the other bangers on Rodeo, but "Antidote" is the most complete realization of Travis' appeal. It's weird, off-putting—for two-thirds of the song he doesn't even sound like himself—and undeniably head-thumping. This is night owl, hit three different moves (all entered through the back door, of course), cross-faded, marauder music—tailor-made for a night that's anything but lowkey. I can't tell you how many weird looks I've gotten from involuntarily yelling "Poppin pills is all we know!" in public places. Thanks, Trav. —Frazier Tharpe
6. Travis Scott f/ Kendrick Lamar "Goosebumps"
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Album: Birds In The Trap Sing McKnight (2016)
Producer: Yung Exclusive, CuBeatz, Cardo
Travis Scott is not a "rappity rap ass n***a," and he readily admits that. He's more about creating vibes, building dramatic soundscapes, and delivering simple but effective melodies and hooks. The perfect balancing point to that: Kendrick Lamar, arguably the best rappity rap ass rapper alive right now. Both Travis and Kendrick showcase their specialties on "Goosebumps," a song that Travis started in his Beverly Hills home and finished on his bus during the Saint Pablo tour.
Over a woozy beat propped up by a sinister bass line, Travis delivers one of the best hooks of his career so far—which is saying a lot—and by the time Kendrick comes in, the song is already classic Travis. Kendrick's opening bars provide a spark and raise the intensity level, but the highlight of "Goosebumps" might just be the part you least expect: Kendrick testing the limits of his upper register in full-blown falsetto mode, singing about pussy. What more could you possibly ask for from a Travis Scott and Kendrick Lamar collaboration? This is the first (hopefully not the last) time these two have worked together, and the bar has been set ridiculously high. —Jacob Moore
5. Travis Scott f/ Justin Bieber and Young Thug "Maria I'm Drunk"
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Album: Rodeo (2015)
Producer: Frank Dukes, Allen Ritter
Maybe one of way of thinking about successful art is its ability to realize something previously considered impossible. (When people talk about something’s ability to generate empathy in an uncomfortable situation, they likely mean this sort of magic.) One thing I always thought impossible was Justin Bieber keeping up with Young Thug on the same song. And yet there’s a song called, improbably, “Maria I’m Drunk,” featuring Travis Scott, Justin Bieber, and Young Thug; I’m an atheist but this song is an honest-to-god miracle. Bieber wants to see what someone’s booty can do. Thugger raps, “Let's take a shot together and then lay up like planks,” and finishes the line with the most sweetly aspirated P sound, it’ll make your heart ache. This shouldn’t exist. But it does. —Ross Scarano
4. Travis Scott f/ Young Thug and Quavo "Pick Up the Phone"
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Album: Birds in the Trap Sing McKnight (2016)
Producer: Frank Dukes, Vinylz
"Pick Up the Phone" is a Travis Scott song that sounds joyous instead of menacing. It's the rare undeniable banger that's also laid back. A dark horse candidate for 2016's song of the summer, it's the most listenable song in Scott's catalog, the peak of his already fruitful collaboration with Young Thug, and a track you're never not happy to hear the opening bars. —Brendan Klinkenberg
3. Travis Scott f/ Big Sean and the 1975 "Don't Play"
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Album: Days Before Rodeo (2016)
Producer: Allen Ritter, Vinylz, Travis Scott
The harpsichord (?) swells so melodramatically you can practically see the clouds of tropical storm Quintana rolling in before your eyes. The 1975 saunter in, introing the song with some indiscernible muttering akin to an incantation. "I ain't playing with these niggas," Travis Scott roars. Thunder crashes. The most urgent, titanic beat that Vinylz has made thus far is unleashed, and Travis backs up his claim.
This is La Flame, the maestro, doing his best work—one of the hardest beatmakers out alongside the reliably consistent Big Sean, with a random dash of iconoclast flavor to make the recipe complete. But, most importantly, this is Travis at his lyrical best, deploying a double-time flow that even a tongue-wagging scene-stealer like Sean can't shine-block. "It's been a minute since they seen a weird nigga from the corner put it down for the South." Mantle, thrown down. This is the song that turned my interest in Travis Scott into full-on fandom. —Frazier Tharpe
2. Travis Scott f/ Drake and Swae Lee "SICKO MODE"
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Album: ASTROWORLD (2018)
Producer: Tay Keith, Hit-Boy, Cubeatz
“Curator” was apparently the dirty word around the ASTROWORLD sessions, and it's understandable that Travis and his team perceive the word as a backhanded compliment. Let's use the word orchestrator then, because Travis' truly is a singular talent worth highlighting. There are plenty of great rappers, but with a great orchestrator at the helm, all ships rise in the tide. Three songs into his third (and arguably best) album, Travis decides to really show off how Ennio Morricone he's capable of going on us with his most ambitious composition yet: all of 2018's sonic highlights in one turnt up triptych. Drake, Tay Keith, Hit-Boy, Cubeatz—all at their best in service of the rodeo's ringleader.
You can practically see the fog roll in as Drake sets the scene, then the beat mutates for Travis to take center stage—which would have all the components of a fire song in its own right. Good ain't good enough, though. The rollercoaster plummets, Drake tags back in with all the energy he was lacking on Scorpion, and the 2:00 a.m. song set to run the rest of the year is cemented. "Who put this shit together? I'm the glue." Damn straight. —Frazier Tharpe
1. Travis Scott f/ Quavo "Oh My Dis Side"
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Album: Rodeo (2015)
Producer: Frank Dukes, Allen Ritter
The best song wasn't the single. Early into Rodeo, Travis Scott answers the question most listeners ask of a debut album: Who is this guy, and why should I care? "Oh My Dis Side" is a journey, narratively and sonically, the story of Jacques Webster to Travis Scott SparkNoted distilled into six minutes of music.
The first two minutes are all angst, restlessness, Mom's house, etc.—and then the gothic rage unexpectedly resolves into beautiful tranquility, generous piano stabs and warm harmonizing and Quavo crooning about absconding with your ho if you don't keep her cuffed with a zip tie. (CUFF!) The coming-of-age story Travis couldn't wait to escape in the first half becomes a nostalgic memory now that he's made it—but he isn't above letting Quavo swerve all over his origin story. He knows that all songs are made better with Quavious. A two-in-one song transition not seen so flawlessly executed since the days of G.O.O.D. Fridays, the fearless ceding of the spotlight to a deserving guest, and a banger that works as a chill album opener and a mosh-ready anthem at his storied live shows. Who is Travis Scott? The true heir to Kanye West's throne, apparently. —Frazier Tharpe
