Vultures 1’s opening track offers a cinematic introduction to the 56-minute album. The track opens with a chorus and creates a nostalgic atmosphere entering the album. “Stars” is kept short and sweet, lasting just under two minutes, but has an intense effect that lasts throughout the entire work.

The vocal style of “Keys to my Life” is reminiscent of West’s older tracks, and the backing instrumentals focus more on bass and choruses rather than a typical electronically produced beat, giving it a unique sound. The song hints towards the slower and more emotional energy of Vultures 1. 

This track starts off with intense bass and dull, omniscient screams. This intensity is carried on throughout the entire song. A common occurrence throughout the album is exaggerated, high-pitched verses, which are featured in “Paid.” The lyrics are slightly repetitive, but the beat distracts from the repetition. One factor of the track that separates it from the rest on the album is the sample of the classic “Roxanne” by the Police.

This song, which was previously released as “Talking / Once Again,” features West’s daughter, North West. The first half of the song, which features the 10-year-old rap prodigy, includes immature vocals and lyrics. However, the second half of the track contains emotion and vocals resemblant of West’s fan favorite “Violent Crimes,” which was written about his fears of his children growing up into the world.

This one stands out because of its sample of the Jay and Silent Bob film Dogma, but other than that, the lyrics and flow fall short, creating a generally boring track with an annoyingly sped-up chorus. The beat is good, but falters in the shadows of extraordinary beats of surrounding tracks. The track also utilizes a sample of “Rock Box” by Run-DMC, along with a feature by Freddie Gibbs. 

Being one of the more vocal tracks of the album, “Hoodrat” balances the bass-filled beats prominent throughout the album with a fresh R&B sound. The track also introduces the deep, robotic voice repeating the title of the track, which is repeated again in “Beg Forgiveness.” The track also features piano throughout the backing instrumentals. The track ends with a spoken word outro talking about West’s mental issues, along with his impact as an artist. 

This song revamps the energy and presents a more upbeat yet intense beat. The backing instrumentals also resemble a much more retro, ’90s-era beat that could be featured in a track by De La Soul or A Tribe Called Quest.

The lyrics in “Paperwork,” along with the vocals, fall short of other tracks on the album. However, the beat and electronic sound effects build throughout the song, creating an anthem that could be present in a fervent video game battle. The song also includes a feature from Quavo, delivering an all-around solid track. 

“Burn” reciprocates the retro beats found in some previous tracks, and it slows down the tempo of the album. The track is at an awkward spot in the setlist, making it easy to overlook, especially because of its mellow beat. However, the impressive bassline combined with the sample of the 1976 track “Love Me or Leave Me” by Band of Thieves provide a groovy and refreshing break in the album. 

With features from Playboi Carti and Travis Scott, “Sumn” is likely the most loaded song on the album. The track has one of the most passionate and impressive beats, and it contains great lyrical quality. “Sumn” immediately rejuvenates the energy lost during the previous track, with heavy bass, more retro samples, and monumental features.

The title track of the album and the opening single release, “Vultures” is one of the more mediocre tracks on the album. On the official album release, however, a new outro is added to the song, adding some redemption. The track is lyrically equally impressive and controversial, but in terms of the beat, it falls short.

Featuring Playboi Carti and Rich the Kid plus samples of a previously released song by Carti, this is easily the most impressive and energetic song on the album. The track introduces a raging style unfamiliar to West and executes it perfectly. The features also add to the song's merit. “Carnival” is the only song on the album to also feature heavy electric guitar. The emotions throughout the album are varying, but are most loudly expressed through this track.

This may be the longest song on the album, but throughout the six minutes of the track, it doesn’t drag in the slightest. In the beginning, the song features many modern pop elements and heavily autotuned, electric effects, but eventually it works up to a deep and heated melody. The deep, robotic voice repeating the title of the track in “Hoodrat” is also present nearing the end of the track, adding to the menacing atmosphere. The song controversially features Chris Rock, which slightly takes away from its seriousness, but the sounds still deliver.

“Good (Don’t Die)” holds an upbeat and lighthearted energy while still harping on the emotions also present in earlier tracks like “Talking.” The track’s airy sound is enhanced by a sample of “I Feel Love” by Donna Summer, and it is similar to those found on the fan favorite album Kids See Ghosts by West and Kid Cudi. Creating a summery and danceable track to fit into Vultures 1 does not seem like an easy task, but it is executed seamlessly. 

The album is slowly brought to an explosive end with second-to-last track “Problematic,” which showcases West’s emotions towards dealing with his mental disorders. Lyrically, the track exceeds many, and instrumentally, the track is one of many that go past electronic rap beats. “Problematic” is bass heavy, as many songs on the album, and features a woodwind ensemble.

The final track of the album, “King,” encapsulates the contradictory emotional expressions of Vultures 1, and it perfectly wraps up the release. The instrumentals on “King” are fairly basic, but what separates the track from the rest musically are the samples of “Hit It Run” by Run-DMC and “Crazy Train” by Ozzy Osbourne.