Travis Scott & Quavo - 'Huncho Jack, Jack Huncho'

After careful deliberation and cultivation, the collaboration project between Travis Scott and Quavo arrived on December 22nd, 2017. The thirteen track mixtape, Huncho Jack, Jack Huncho, had the last say in a year filled with full-length collaborations.

Fans of these two know just how good Scott and Quavo can be. Quavo—the certified Huncho, has had a monstrous 2017 as a member of the Migos. Travis Scott delivered Birds in the Trap Sing Mcknight near the end of 2016, and hypnotized us with “Butterfly Effect” this past summer. Their latest effort features production from Buddha Beats, Mike Dean, Travis Scott, Murda Beatz, and many more.

Scott and Quavo have shown that they can be a dynamic duo. Tracks like “Pick Up The Phone” are the only proof needed. If nothing else, there’s clearly a budding bromance.

I commend them for stepping out of their comfort zone to even give us this project. It’s more than Kendrick and Cole have done together. But unfortunately, this project isn’t a coherent listen all the way through, which is odd, because I was captivated by Birds in the Trap. Not to mention, Culture was one of 2017’s best albums.

Most of the first half of the album is like trying to produce flame from a dying lighter. Again and again you click the button, but to no avail. You can see the potential as the sparks emanate and vanish, but the flames are few and far between.

They struggle to strike a chord and be catchy. Tracks like “motorcycle patches” are scarce on instruments and unappealing if you don’t care much about what these two are wearing.

Tracks like “Modern Slave” don’t feel developed enough either. No one is looking for them to be “deep,” but this is a lazy intro. The only connection is that they’re wearing chains…very groundbreaking.

“Black and Chinese” sounds like a stripper/twerking anthem, which I’m fine with. However, I hate when rappers say things just for the sake of rhyming words together. “Black” and “Chinese” seem to be randomly thrown in the mix just to make it rhyme with “hands on your knees.”

Perhaps the reason there isn’t a cohesive, consistent sound is because there are so many producers on this project. Multiple producers are credited for some songs alone. Part of what made 21 Savage & Offset's Without Warningcaptivating was Metro Boomin pulling the strings behind the scenes.

This project has too many contributors to warrant consistency. It’s already difficult enough for artists to stay in the zone when collaborating on an entire project; but the producers didn’t make it easier.

Maybe they should’ve considered just Mike Dean, Buddah Bless, and Murda Beatz?

Luckily, they catch fire by the second half, though. Their best qualities come to light as the production starts to feel more vibrant and uptempo.

They’re both compelling hook masters. They put forward their best flows and their melodic cadence is catchy. “Moon Rocks” is a standout track on this project. It’s hard not to fall into a trance as you bob your head to the tracks slick electric guitar, and dark synths.

The album’s closer, “Best Man,” puts their bromance on full-throttle. It’s not the hard hitting outro that we’re used to, but the production feels experimental, and the vibe isn’t terrible. It’s at least better than the intro.

Essentials

“Moon Rock”

“Where u From”

“Huncho Jack, Jack Huncho”

“Eye to Eye”

“Dubai Shit”

“How u Feel”

The Verdict

These two are great separately, and can be great together. This project’s gems show that. But as a body of work, it could be better. I was slightly disappointed, and even bored. I would be interested to hear them collaborate again, but this one could be better. Huncho Jack, Jack Huncho is a C+.