Review: Everything must remain

On “The Estate Sale,” Tyler, The Creator expands the album that earned him a Grammy with songs that should have been on “Call Me If You Get Lost”


Allen J. Schaben / Los Angeles Times / TNS

Tyler, The Creator performs on the Frank Stage on the final day of the three-day Day N Vegas hip-hop music festival at the Las Vegas Festival Grounds in Las Vegas on Sunday, Nov. 14, 2021.

Gabe Santos, Arts and Entertainment Editor

Tyler, The Creator’s “Call Me If You Get Lost,” released in the summer of 2021, would go on to win the Grammy for “Best Rap Album” and would be critically acclaimed upon release. 

Many unreleased tracks popped up in the years following this release. Tyler, who normally operates by releasing an album every two years, had fans waiting excitedly for his next release. 

Unexpectedly, he released “Call Me If You Get Lost: The Estate Sale” on March 31, a deluxe version of “Call Me If You Get Lost” featuring eight cut tracks.


“Everything Must Go” and “Stuntman”

“Everything Must Go” works as the intro to the new additions of the album. Motifs such as DJ Drama’s yelling, and luxurious chords are presented, and it works to make the new additions flow with the rest of the album. However, the true first track of new songs is “Stuntman.” This album draws inspiration from “Gangsta Grillz” mixtapes by DJ Drama, and it is most clear in this track. The hype and intense nature of the instrumental, which prominently features hi-hats, siren sound effects, and group vocals, captures the essence of a decade ruled by people like Lil Wayne and Pharell, and acts as a shot of energy. 


“What A Day”

“Call Me If You Get Lost” is a deeply introspective album, but on the flip side of that, it also focuses on luxury. Topics like visiting exotic locations balance with guilt, fears and regrets, and “What A Day” is the epitome of this battle for focus. In the same breath, Tyler raps over a gorgeous, windy instrumental about white diamonds, cars, private jets, his troubles with women, family feeling entitled to his success and feelings of burning out. The thing is; it works. This song perfectly completes the balancing act.


“Wharf Talk”

Tyler also draws lots of inspiration from Pharell and R&B music, and this track wears that inspiration on its sleeve. Higher-ranged vocals, bright chords and groovy drum beats all come together to create a warm, summer-y atmosphere. The song places the listener as the subject, with Tyler singing towards a lover, asking them to come with him– to “make up their mind.” A$AP Rocky comes in with a quick verse on the track, with similar subjects. Overall, the song flows perfectly across the ears and is a joy to listen to. It is upbeat and has a sweet sentiment to it — good vibes.



“Dogtooth” acts as a reminder that Tyler can rap. A more traditional instrumental for the artist, Tyler raps about fake friends and his issues with fame, but continues the balancing act, talking about private jets, women and “buying his neighbor house and turning it to a yard.” This song has braggadocio that makes it a compelling listen, and as the lead single, it fills its role perfectly.


“Heaven To Me”

This song uses a beautiful soul sample to carry the listener through a track that is thankful, and celebratory. Tyler raps about his life being heaven to him, and how grateful and proud he is. The happiness is contagious and the instrumentation is amazing. With production credits from Kanye West, the sampling is perfect, and is a break from the norm thus far with the beats, but doesn’t feel out of place. Tyler also continues a topic of writing here that is present throughout the album; encouraging the listener to enjoy their lives, to find their “heaven.” “Heaven To Me” is a warm, happy, nostalgic song that is an absolute must listen. 


“Boyfriend, Girlfriend”

This track continues the R&B and neo-soul instruments and vocals. The closest to a pop song on the extra tracks, the good vibes don’t stop here. With topics of love, the light instrumental, background vocals, and electronic drums bring the listener into a funky, upbeat mood. It remains unique in its simplicity, and for that, it is worth a listen. It is also my personal favorite.


“Sorry Not Sorry”

The final track on the deluxe, we find ourselves at a mournful instrumental, and more introspective lyrics. Tyler writes a poetic look back, and a regretful one, about how he feels he has failed in so many ways– how he feels the fame has gotten to him, and the money has changed him. He also argues to those who say he’s changed for the worse, and demands his privacy be respected, and it all comes out at the end as one of the best verses Tyler has ever put to tape. The inspirational, confident, and encouraging nature of all the introspective tracks on the album remains, however, and when Tyler builds and builds to the end, talking about how he will bounce back and remain great– continue growing, through a song where he is repeating “I’m sorry”, he ends with “I got two words: f*** ‘em.” It’s triumphant, and the most must listen of the new tracks. 


In conclusion, this deluxe begs the question: why in the world were these not on the album originally? These are some of the best instrumentals and lyrics I’ve ever had the pleasure of listening to, and some of the biggest highlights of Tyler’s career. I can’t recommend it enough. It transcends rap in a lot of ways, making it worth the attention of even people who don’t traditionally listen to hip-hop. An instant classic.