Its message is echoed so often in our culture that a lot of listeners would probably ignore its divisiveness. The sad thing is, Drake is probably oblivious to the offensiveness of this song. “Hotline Bling,” Drake’s smash hit from last summer, is added as a bonus track and while it is a nice, casual groove, its lyrical sentiments about a woman who used to call him often and now has moved on with her life since he left come off as outdated and sexist in a deeply-rooted way. “One Dance” works the same kind of retro-eighties, post-disco club vibe that Moby was working on his 2008 album, “Last Night.” It brings to mind that album’s “I Love To Move In Here.”įuture’s rambling mars the skeletal “Grammys,” while “Childs Play” sounds like it trying to become a low-key club hit with its background hand-clapping and its repeated chorus of “bounce that s- like whoa!” “Pop Style” has some ear-catching eeriness to its beat and Drake’s frequent collaborator, Rihanna, drops by to sing on “Too Good.” This builds the growing R&B momentum that continues the “Summers Over (Interlude)” and “Fire & Desire.”Īt the point where it feels like Drake is singing far more than he is rapping, he drops the album’s title track which finds him flowing over the set’s most authoritative beat. Any true hip-hop head will tell you that this is more of a pop and R&B record than a hip-hop set. Admittedly the latter at the one-minute mark kind of sounds like it is revving up to quote Lionel Richie’s “All Night Long,” even though it is working a subtle dancehall vibe that comes to fruition with a mid-track momentary interruption.ĭrake has his eyes more on being a pop star than on being a great hip-hop artist. The emphasis on both “Still Here” and “Controlla” is on making catchy chants. Overall, it is evident that Drake is out to make semi-ambient, chilled party music with some emo edges. On “Faithful,” he takes a few too many spaces in his lyrics, reverting back to his old, minimalist style. (Also, didn’t he just say that he won’t “fade away?” Keep it consistent, man!) I’m sure in six years he will change his mind. On the latter he brags that he plans to retire at 35. “Weston Road Flows,” again finds him working a strong R&B groove. Get the Review of Drake's 'Nothing Was the Same' Get the Review of Drake's 'If You're Reading This It's Too Late' While “Hype” has an almost Kanye-like sense of self-satisfaction even as it denounces the fleeting flash, “Redemption” is all about finding peace with past relationships and “With You” is a fun, reggae-infused party groove. His verse style may be occasionally clunky, but he has effectively cut out his own unique niche. Still, there is nice warmth to this record and he gets some decent lyrical energy going on “U With Me?” and he works a smooth groove with “Feel No Ways.” That being said, the write-up in the iTunes store (currently an Apple Music exclusive) talks up this album’s “immaculate vocal turns.” (Do vocals count as being “immaculate” when they are noticeably auto-tuned? Not in my book.) I just don’t fade away.” It’s good to have dreams.
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Still a track like “9” shows some growth, in spite of his occasionally delusional declarations. He’s noticeably upped his game, but as a lyricist, he still doesn’t earn the level of hype he often receives. He dropped another line that rhymed with that previous rhyme in the simplest of ways. Admittedly the substance level is a bit higher on this set and he’s obviously put much more effort in maintaining a flow. He’s a performer who puts style over substance.
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One listen to the dramatically symphonic opening track, “Keep The Family Close,” and you know immediately that this is going to be a radically different effort than last year’s “If You’re Reading This It’s Too Late.” It is evident that this is also a better - and more dynamic - album.ĭrake’s best gift has always been setting moods. It’s an album he’s been hyping since 2014.