Drake, you know him, you’ve heard of him, you either love or hate him, the Champagne Papi is back with his 5th studio album (7th if you count “If You’re Reading This, It’s Too Late” and “More Life” as albums, but he doesn’t so we won’t). Before this album was even announced, I made sure to marathon review each of Drake’s projects dating back to the “So Far Gone” EP, and for the most part, I’ve enjoyed his work. However, this album has some big shoes to fill, as it comes on the heels of two of Drake’s lesser-loved projects: from the “studio album” standpoint, it’s the follow-up to 2016’s “Views,” an album that sold extremely well, and was one that I personally enjoyed in spite of its flaws, but many critics found it to be one of Drake’s weaker, more drab and more silly releases. In relation to his entire discography, however, this new album is the follow-up to the aforementioned “More Life,” a "playlist" he dropped last year that I found to be one of his lesser projects, and one that felt more like an exercise in gimmicky marketing than anything else. He started the year by releasing the “Scary Hours” EP, which had an amazing song in “God’s Plan,” but also a weaker, more forgotten track in “Diplomatic Immunity” on it. He was then a bit more inconsistent with his later singles, as “Nice for What” turned out to be one of his best singles yet, while “I’m Upset” was one of his weaker ones.
None of the inconsistency or weaker critical reviews have stopped Drake’s charting success, however: in 2017, he was able to get “Fake Love,” “Passionfruit,” and “Portland” to reach the Top 10 on the Billboard Hot 100 (“Free Smoke” also hit the Top 20), and this year, he’s arguably had more chart success than almost any other artist. Obviously, “God’s Plan” and “Nice for What” have been his biggest singles, with the former topping the Billboard Hot 100 for 11 consecutive weeks, and the latter topping for 7 non-consecutive weeks, but even beyond that, he’s gotten “Diplomatic Immunity” into the Top 10, and “I’m Upset” has peaked in the Top 15 thus far. He’s also earned prominent Top 10 features on songs like “Look Alive” with BlocBoy JB, “Walk It Talk It” with Migos, and “Yes Indeed” with Lil Baby. In fact, his chart success this year has been so strong that, even after “losing” his recent battle with Pusha T (Pusha started it with “Infrared,” Drake dissed Pusha’s artistry with “Duppy Freestyle,” and Pusha T made it personal with “The Story of Adidon,” where he insinuated that Drake had a child he wasn’t letting the world know about), Drake continued to chart high on the Hot 100 and “Nice for What” continued to stick at #1. Drake is so powerful that you can literally come out with this massive personal information about him and call him a “deadbeat dad” and basically reveal things that could've killed another artist's career…and no one will really care, they’ll still listen to his music.
Now, when approaching this new album, I was kind of torn: on one hand, I’ve generally enjoyed even Drake’s weaker projects, and even the worst of his works have at least one or two songs that I gravitate toward and really enjoy. However, I was also skeptical because, as many of you may know, Drake is no stranger to putting out long projects: “Thank Me Later,” “Nothing Was the Same,” and “If You’re Reading This, It’s Too Late” were all at least an hour long, and “Take Care,” “Views” and “More Life” were all at least 80 minutes (again, “More Life” was a “playlist” and it was longer than “Views?”). So, I had that worry floating around my head beforehand, and then Drake revealed that this would be a double album with 25 songs. While it’s refreshing to get a rap album that’s a bit longer than 7 songs after the last few, I start to wonder if 25 tracks is pushing it. Still, the two sides are two different vibes and two different styles, so maybe that’ll help them out just a little bit. Either way, let’s get into Side A, which is said to be the more rap-oriented side (by the way, I don’t think I’ll be giving them separate ratings, though I will analyze them and give some thoughts on them on their own after I finish each side).
Survival: Kicking things right off, Drake gives us a short intro that talks a lot about his beefs and his histories with other rappers like Diddy and Meek Mill, and he also talks about his experiences with Cash Money Records, who held his labelmate Lil Wayne hostage and stopped him from releasing “Tha Carter V.” I like the somewhat electronic production here, as well as Drake’s tone as he rapid-fires through this bars. His cadence feels confident, but still somewhat emotional. It’s almost as if he has the best of both sides of himself working on this one, and even though it’s a very short intro, it really sticks and it’s a really solid start.
Nonstop: Drake talks about how he “flipped a switch” on this track, flexing his abilities as not only a rapper but as a businessman, with numerous lucrative deals allowing a lot of money to come in for him. The beat on this one is a lot more energetic and click-clacking, and I like the trap influences as well. Drake’s rap flow is also a bit faster compared to the last track, and he just oozes confidence and braggadocio here. The sampled hook (which comes from D.J. Squeeky and Mack Daddy Ju’s 1995 song “My Head Is Spinnin’”) is also really fun, and the song is just so easy to turn up to. I love the energy and excitement of this song, it’s just too damn fun to resist!
Elevate: Here, Drake talks a bit about all the people that he’s helped in life, but comes to the realization that he needs to pursue more things in life than others. Think of it like what Drake was talking about back on “Energy,” except the song has a more moody vibe, and Drake sing-raps a lot through it. It’s eerie and it’s got a very fun trap drum beat, and I honestly really like Drake’s sing-rapping here, it’s smooth and it flows nicely through the song. I only wish there was just a little bit more to the song, because it feels like it ends a bit too quickly, and it could’ve benefitted from maybe another verse, but all in all, it’s still a pretty enjoyable cut.
Emotionless: Yep, the moment you’ve all been waiting for, this track confirms it: Drake IS INDEED the father of Adonis, as Pusha T pointed out in “The Story of Adidon.” Can we stop making jokes about it now? Great. In any case, while this may not be the “hard, career-ending response” to Pusha that everyone was expecting it to be, it’s got a really great sample of “Emotions” by Mariah Carey, and I’m actually glad it’s not a super angry track because we didn’t need that kind of anger anymore. I like that Drake’s lyrics are a bit vulnerable (not like “whiny Drake,” legitimately "vulnerable Drake"), as he talks about social media’s effects on people and how, despite what he might lead you to believe, comments from randoms on social media can in fact hurt. I think it’s got a good flow to it and Drake sounds great here. Will everyone love it? Maybe not, but I’m really digging it!
God’s Plan: Let’s be real here for a second, raise your hand if you think Drake, despite already putting this on “Scary Hours,” put this on the album without “Diplomatic Immunity” because it was #1 on Billboard for 11 weeks and he wanted it to jump back up on those charts. Don’t worry, I’m raising my hand, too. Even so, I’m not mad about it, because I personally love the song. I love the earworm-y hook on this one, Drake’s sing-rapping is smooth as always, and the instrumental is dark, moody, and exciting. Personally, this was my favorite of the two songs off of “Scary Hours,” and I’m okay with the fact that Drake put it on the album because it’s definitely a good track.
I’m Upset: Now THIS, unfortunately, is one of the weaker singles on the project. Sure, the hook is occasionally somewhat fun when you’re not laughing at Drake yelling “I’M UPSET!” and the dark, eerie production is kinda cool, but this is Drake in his worst form: whiny, abhorrent, and just laughable, the form that people meme from him. That said, though, I have to credit this song because with how people intensely analyzed the lyrics and tried to claim that it showed how Drake scripted out the recent killing of XXXTentacion (because, ya know, conspiracy theories), this song proves more and more why I don’t weigh lyrics as heavily as the actual sonic elements of a song (again, I do weigh them a decent bit, but some people have asked me to be a bit more specific sometimes. Songs like this are why I’m not). That said, I just found the song as a whole to be really silly and boring, definitely not up to snuff with Drake’s usual tracks.
8 Out Of 10: Hey now, Drake, don’t be rating your album for us critics. We write a lot here, we can’t have you picking out the ratings that we want to give you. Okay, for real, this song basically talks about that point I was making earlier in my review: Drake's life is very high-profile, he’s getting dissed left and right and people will come at his credibility…but at the end of the day, he’s still out here getting plays and people are still speaking his name. So essentially, he gets the last laugh in the end. I think the hook is pretty funny and enjoyable on here, Drake’s flow is great, the instrumentals are grand and luscious, and I like the subtle callouts to Pusha T’s diss track, where he mentions that he’s not a “deadbeat father” and how each of GOOD Music’s recent “Wyoming Sessions” albums have been 7 tracks. It’s obviously not a “deadly” diss, but it’s a nice "high road" response to Pusha, and it’s a good song all in all.
Mob Ties: Drake talks on this one about how he has ties to people that have been in the mob, specifically Baka Not Nice. He takes this song as an opportunity to cut ties with people he is no longer associated with. This one definitely has the most trap influence of any song on the album; once again, it’s somewhat eerie, it’s got a fast-paced 808-drum beat, and Drake heavily follows the triplet flow on the hook. I also dig Drake’s very charismatic performance, rapid-fire flow, and smooth vocals on this one, and the ethereal instrumentals mesh well with Drake’s vocals. It’s a song that’s definitely a lot of fun, and I like what Drake’s doing with it. Definitely could see this one breaking the replay button a bit in the future, and uhh, Drake…might I suggest releasing this as a single? Think about it.
Can’t Take A Joke: Well, right after that last trap-flavored song, this one keeps the trap vibe alive. On this track, Drake lives in the lap of luxury, discussing what it’s like living as a celebrity, taking vacations, and being rich. Even still, the trap-drum beat remains fast-paced, energetic, and really sticky, and I once again love Drake’s vocal performance here: his sing-rapping remains as smooth as ever, and his rapid-fire flow is really strong. Again, I think he oozes very real confidence here, and I really dig the cut all the more for it. Drake, if “Mob Ties” doesn’t get a single release, make this one a single. Please?
Sandra’s Rose: A tribute of sorts to Drake’s mother (her name is Sandra), this track takes things much slower than the last two trap bangers. I like the somewhat jazzy feel of the song, and Drake does a good job implementing the sample on this one (I couldn’t find what said sample was, unfortunately), though I don’t really find his flow or the bright instrumentals to be quite as sticky on this one. Sure, there are a few decent bars here, but all in all, I just don’t find much about it to be quite as interesting as a lot of the other cuts on the record. It’s certainly not as silly as “I’m Upset,” but it’s not quite as memorable as “Mob Ties” or “Can’t Take A Joke.”
Talk Up (ft. Jay-Z): Jay-Z is the lone feature on Side A of the project (it’s their first collaboration since 2016, apparently), and the two of them talk a bit about their come-up, with Jay-Z talking specifically about being in the streets and making a reference to the recent killing of XXXTentacion (as well as the George Zimmerman scandal). I actually find the X reference interesting because, considering that X previously had beef with Drake, and Jay-Z got to spit this bar on Drake’s record, I like that it shows solidarity on Drake’s part, even if he and X weren’t necessarily “friends,” if you will. As for the song itself, it samples “Dopeman” by N.W.A. and it’s certainly not short on energy, but I don’t really think the song has much of a hook to it, which definitely hurts. Jay-Z’s guest verse is particularly strong, but I don’t find Drake’s quite as interesting, unfortunately. And even though I liked some of the things I mentioned about it lyrically, I don’t really think I’m digging this one all that much outside of Jay-Z’s verse, sadly.
Is There More: Yes, there is. A whole side, in fact. Oh, that wasn’t a question? Sorry. Anyway, Drake talks a lot about how there is more to life than just the “rap life” that stereotypically includes women, stacks of money, and in many cases, drugs. I find this track to be particularly fascinating because it’s got the somewhat faster pace and 808-drum beat of the other cuts on the album, but I think that it’s got the ethereal, minimal instrumentals of some of the tracks from “Thank Me Later.” I like those instrumentals, I think Drake’s flow is also very strong, and lyrically, there are some really good things going on here (special shoutout to the bar where he mentions that once this album drops, he’s officially out of his deal with Cash Money Records). I also like how the track does have some light R&B influences on it, as it feels like a nice transition into the next side of the record. A good end to Side A.
Now, I won’t exactly be giving full-blown individual reviews to each side, but since that ends the first side of the record (the more rap-oriented side), and since the double album was advertised as having two different feels (unlike something like Chris Brown’s “Heartbreak on a Full Moon,” which was two discs for the sake of being two discs), I’ll give some light thoughts on this side. Overall, after listening to Side A, I definitely like where the album is going. I think that Drake definitely answered a few of the questions that we had of him after the whole Pusha T ordeal, and beyond doing that, I think he’s made several cuts that are very charismatic, energetic, and just plain fun. I can’t lie, this is just a fun album so far. I know, as a critic, it might seem weird to just gauge an album off of fun factor, but I listen to music to enjoy myself. Thus, I definitely really enjoyed myself during the first side of the record, thanks to the many turn-up jams that it had. I’m sure some will disagree (it is a Drake album after all), but I just had a great time with it. That said, let’s get into Side B (which is said to be more R&B-oriented) and see if it maintains that momentum from Side A.
Peak: Ahh, here’s the Drake we all remember: the one that talks all about his relationships and girl problems. Welcome back, Drizzy. That said, though, I kinda dig this one. As you’d expect from an R&B-flavored Drake track, it’s a very moody, ethereal song with some autotune-filtered vocals, but it gives me some pretty cool “Thank Me Later” throwbacks that I really dig. I’m sure I might be in the minority with digging a song like this, but I think Drake sounds great on it, and the very spacey production really works for me. Even with the somewhat strange Stefflon Don interludes (that also feature Vinessa Douglas and Rhea Kpaka), the song itself has a great vibe to it and I do like it.
Summer Games: Keeping on the theme of heartbreak, it looks like this one talks about a relationship Drake was in that ended during the summer. So, does he have that….Summertime Sadness? Okay, that was forced, sorry. Anyway, the song is a little more fast-paced than the last one and I really like the nocturnal, electronic production and the very busy, energetic percussion on this cut. That said, I don’t think the song does anything all that enticing vocally: there’s no real hook here, and Drake’s lowkey vocals just aren’t really all that interesting to me. Not really all that crazy about this one.
Jaded: Drake spends this song talking about his alleged romantic connection to Jorja Smith, as he croons over a somewhat more uptempo trap-drum beat and more bright, but still very moody, low-key production. Drake’s vocal flow on this one kinda reminds me of “Too Good,” which I actually enjoyed even if no one else did. I do think he sounds quite nice on this one, the hook is pretty sticky and fun, and Ty Dolla $ign adds in some nice uncredited vocal ad-libs as well. Though I wasn’t 100% crazy about Drake’s flow on the second verse, I still really dig the song and think I’ll definitely come back to it in the future.
Nice for What: Chances are you’ve heard this song more than a few times, it’s only been #1 on the Billboard Hot 100 for 7 weeks, and it’s only one of the biggest songs of the year. And, on top of that, it’s only been getting quite a bit of critical praise lately, and rightfully so because it's one of my personal favorite Drake songs. With a great message about female empowerment in the age of social media, a really great sample of Lauryn Hill's "Ex-Factor," plenty of very real bounce and energy, great smooth vocals from Drake, and a hook that gets stuck in your head easily, this is Drake making what is easily one of the best tracks in his storied discography. It does feel weird following up on a few more downtempo tracks with this, but there’s a good reason this one has been at #1 on the charts for so long: because it’s just that good.
Finesse: WE OUT HERE DRIPPIN' IN FINESSE, IT DON'T MAKE NO SENSE, OUT HERE…oh, crap, sorry, I thought this was Bruno Mars’s “Finesse.” Uh, either way, it’s another song about a girl (or two, since he seems to be alluding to Bella and Gigi Hadid)…go figure…but anyway! This one takes things right back to the slower pace after “Nice for What,” and while I like the click-clack percussion and chill feel of the song, I don’t really think there’s much of a hook here, and it also feels like there’s just not enough to the song. It ends all too quickly and it doesn’t feel like there’s a whole lot about it that makes it warrant repeat listens, unfortunately.
Ratchet Happy Birthday: I don’t know what it is, but that title fascinates me for some reason. “Ratchet Happy Birthday?” Huh, okay then. Anyway, Drake talks here about a girl (yes, again) who feels emptiness and emotion on a day where she shouldn’t: her birthday. You know, as someone whose birthday will be here next week (July 7th, in fact), why do I feel like this isn’t actually about a girl, and Drake was writing it about me? Either way, I like the very mellow feel of the song that’s juxtaposed by the very frantic keys and fast-paced drum beat, though I do think Drake comes through with some struggle bars here (“I know you're soft like buttercups / Reese's, Reese's, don't be ridiculous” just made me chuckle a bit). Still, Drake sounds decent enough (even when he does the goofy tongue roll when he says “it’s your brrrrr”) and the production is great on it; it’s just not one of my favorites on the album.
That’s How You Feel: Again, it’s a song about a girl that Drake likes, even if she might not like him back. This is the “pop” side of the album, the lyrics matter less and less unless they end up being complete cheese. Luckily, they don’t end up being cheese here, and I think that Drake’s vocals and flow are very smooth and fun as well. The trap drums might seem very similar to a lot of the other songs on the album, but it’s still pretty solid and the moody production is quite nice. Oh, and the song samples a Nicki Minaj remix to “Boss Ass Bitch” and it’s used to very entertaining effect. I did like this one quite a bit.
Blue Tint: Oh, but HERE…HERE, dear readers, Drake talks about getting back with his ex! It’s different!…in a way!…I promise…oh, hell, it’s not. But still, I like the production here as well, with a very energetic, click-clacking drum beat, some very bright instrumentals and fun strings, and a great vocal performance from Drake. I like his flow throughout this one, his vocals are as smooth as ever, and I think the hook is one of the better ones on the R&B side of the record. Future also makes an uncredited appearance here, and while he hardly amounts to much more than a cameo, I do think his short appearance flows nicely enough. Definitely enjoyed this cut.
In My Feelings: Drake gets meme’d quite a bit for being very emotional, and now this new album actually has a track called “In My Feelings,” following Side A’s track “I’m Upset.” I think Drake is slowly becoming self-aware. In all seriousness, this very uptempo cut sees Drake crooning (and rapping a bit) about "Kiki" and "KB" (apparently a nod to model and social media personality K'yanna Barber) as well as The City Girls, and oddly, while I thought I would be making jokes about this one, I actually really enjoyed it! The uptempo production brings me back to “Nice for What” and it keeps that same energy (there were points where I legitimately thought Drake sampled that song, which would’ve been ironic), and I like how Drake mixes up between his smooth crooning and his rapid-fire rap flow. The hook is also really great, and the background guest appearances from Lil Wayne and Magnolia Shorty round out the song and make it a great listen!
Don’t Matter to Me (ft. Michael Jackson): Drake with a Michael Jackson feature? One, how? Two, respect. This very nocturnal song sees Drake using vocals from an unreleased song that he had recorded during the 90s, and look, when you put Michael on a song, chances are you’re making it better. That’s what happens here, as the song has a very sticky drum beat, great hook, smooth crooning from Drake and, of course, gorgeous upper-register vocals from Michael. Actually, outside of the more electronic feel of this song, I actually can imagine how this could’ve been a great MJ song. I really dig it!
After Dark (ft. Static Major & Ty Dolla $ign): Paying his respects to yet another fallen artist, this track actually features the late Static Major, as Drake adds some of his unreleased bars to this cut. On it, Drake and Ty Dolla $ign (of course) croon about a girl, doing so over a somewhat old-school instrumental that reminds me a bit of some 2000’s Mariah Carey (think “We Belong Together”). I like the smooth guitars on this one, Drake and Ty Dolla $ign have some great vocal interplay, and Static Minor’s appearance might be small, but it’s a cool track that feels like a pretty nice throwback. I really enjoy it!
Final Fantasy: Okay, look Drake, two things: one, if you’re gonna make a song called “Final Fantasy,” make it the last song. I know the next song kinda needs to be the last, but if you make a song called "Final Fantasy" the penultimate track, it’s embarrassing. And second, I get that you want to talk about your sexual fantasies, but…bruh, a song called “Final Fantasy” that doesn’t bother to reference the video game series? Come on, man! Either way, while the instrumentals are nicely dark and eerie, I don’t really find Drake’s somewhat emotionless vocals on the first verse to be quite as interesting here. And while I think the mood feel is interesting on the second verse (Drake alludes a bit to the baby rumors, and then takes things back to the more ethereal instrumental feel in the second half), I don’t think it’s quite enough to make the song amazing, though it does save the song from being one of the worsts on the album.
March 14th: This is another song that’s gonna get A LOT of talk because, remember how Drake admitted in “Emotionless” that Adonis is his kid? Yeah, this one goes into a lot more detail about that. I really dig the instrumentals on this one that interpolate the “Khalil (Interlude)” by Boyz II Men, and I like the mature approach that Drake has taken to the controversy that Pusha T brought up about his kid, and how instead of trying to fire shots at Pusha T about the whole ordeal, he instead came clean on it and admitted his hopefulness that he and the mother of their child, Sophie Brussaux, will be able to stop the fighting for the sake of him. It’s an emotional track, yes, but I appreciate Drake’s mature tone on it. I’m sure that this would’ve been a hard-hitting track even if Pusha T didn’t reveal that Drake had a kid, but I feel that even the additional context doesn’t really take away from my enjoyment of this finisher.
And, that’s the end of Side B. Overall, I dig that, with this more emotional side of the album, Drake decided to take things back to the older sound that made him successful on albums like “Thank Me Later” and “Take Care.” Even if it is “moody Drake” and “sad Drake,” I still think that the production and vocals throughout this side were great and they made it worth listening to. I’m sure it’s not for everyone, and most people might disagree, but I really dig enjoy this side of the project a lot.
Can’t Take A Joke: Well, right after that last trap-flavored song, this one keeps the trap vibe alive. On this track, Drake lives in the lap of luxury, discussing what it’s like living as a celebrity, taking vacations, and being rich. Even still, the trap-drum beat remains fast-paced, energetic, and really sticky, and I once again love Drake’s vocal performance here: his sing-rapping remains as smooth as ever, and his rapid-fire flow is really strong. Again, I think he oozes very real confidence here, and I really dig the cut all the more for it. Drake, if “Mob Ties” doesn’t get a single release, make this one a single. Please?
Sandra’s Rose: A tribute of sorts to Drake’s mother (her name is Sandra), this track takes things much slower than the last two trap bangers. I like the somewhat jazzy feel of the song, and Drake does a good job implementing the sample on this one (I couldn’t find what said sample was, unfortunately), though I don’t really find his flow or the bright instrumentals to be quite as sticky on this one. Sure, there are a few decent bars here, but all in all, I just don’t find much about it to be quite as interesting as a lot of the other cuts on the record. It’s certainly not as silly as “I’m Upset,” but it’s not quite as memorable as “Mob Ties” or “Can’t Take A Joke.”
Talk Up (ft. Jay-Z): Jay-Z is the lone feature on Side A of the project (it’s their first collaboration since 2016, apparently), and the two of them talk a bit about their come-up, with Jay-Z talking specifically about being in the streets and making a reference to the recent killing of XXXTentacion (as well as the George Zimmerman scandal). I actually find the X reference interesting because, considering that X previously had beef with Drake, and Jay-Z got to spit this bar on Drake’s record, I like that it shows solidarity on Drake’s part, even if he and X weren’t necessarily “friends,” if you will. As for the song itself, it samples “Dopeman” by N.W.A. and it’s certainly not short on energy, but I don’t really think the song has much of a hook to it, which definitely hurts. Jay-Z’s guest verse is particularly strong, but I don’t find Drake’s quite as interesting, unfortunately. And even though I liked some of the things I mentioned about it lyrically, I don’t really think I’m digging this one all that much outside of Jay-Z’s verse, sadly.
Is There More: Yes, there is. A whole side, in fact. Oh, that wasn’t a question? Sorry. Anyway, Drake talks a lot about how there is more to life than just the “rap life” that stereotypically includes women, stacks of money, and in many cases, drugs. I find this track to be particularly fascinating because it’s got the somewhat faster pace and 808-drum beat of the other cuts on the album, but I think that it’s got the ethereal, minimal instrumentals of some of the tracks from “Thank Me Later.” I like those instrumentals, I think Drake’s flow is also very strong, and lyrically, there are some really good things going on here (special shoutout to the bar where he mentions that once this album drops, he’s officially out of his deal with Cash Money Records). I also like how the track does have some light R&B influences on it, as it feels like a nice transition into the next side of the record. A good end to Side A.
Now, I won’t exactly be giving full-blown individual reviews to each side, but since that ends the first side of the record (the more rap-oriented side), and since the double album was advertised as having two different feels (unlike something like Chris Brown’s “Heartbreak on a Full Moon,” which was two discs for the sake of being two discs), I’ll give some light thoughts on this side. Overall, after listening to Side A, I definitely like where the album is going. I think that Drake definitely answered a few of the questions that we had of him after the whole Pusha T ordeal, and beyond doing that, I think he’s made several cuts that are very charismatic, energetic, and just plain fun. I can’t lie, this is just a fun album so far. I know, as a critic, it might seem weird to just gauge an album off of fun factor, but I listen to music to enjoy myself. Thus, I definitely really enjoyed myself during the first side of the record, thanks to the many turn-up jams that it had. I’m sure some will disagree (it is a Drake album after all), but I just had a great time with it. That said, let’s get into Side B (which is said to be more R&B-oriented) and see if it maintains that momentum from Side A.
Peak: Ahh, here’s the Drake we all remember: the one that talks all about his relationships and girl problems. Welcome back, Drizzy. That said, though, I kinda dig this one. As you’d expect from an R&B-flavored Drake track, it’s a very moody, ethereal song with some autotune-filtered vocals, but it gives me some pretty cool “Thank Me Later” throwbacks that I really dig. I’m sure I might be in the minority with digging a song like this, but I think Drake sounds great on it, and the very spacey production really works for me. Even with the somewhat strange Stefflon Don interludes (that also feature Vinessa Douglas and Rhea Kpaka), the song itself has a great vibe to it and I do like it.
Summer Games: Keeping on the theme of heartbreak, it looks like this one talks about a relationship Drake was in that ended during the summer. So, does he have that….Summertime Sadness? Okay, that was forced, sorry. Anyway, the song is a little more fast-paced than the last one and I really like the nocturnal, electronic production and the very busy, energetic percussion on this cut. That said, I don’t think the song does anything all that enticing vocally: there’s no real hook here, and Drake’s lowkey vocals just aren’t really all that interesting to me. Not really all that crazy about this one.
Jaded: Drake spends this song talking about his alleged romantic connection to Jorja Smith, as he croons over a somewhat more uptempo trap-drum beat and more bright, but still very moody, low-key production. Drake’s vocal flow on this one kinda reminds me of “Too Good,” which I actually enjoyed even if no one else did. I do think he sounds quite nice on this one, the hook is pretty sticky and fun, and Ty Dolla $ign adds in some nice uncredited vocal ad-libs as well. Though I wasn’t 100% crazy about Drake’s flow on the second verse, I still really dig the song and think I’ll definitely come back to it in the future.
Nice for What: Chances are you’ve heard this song more than a few times, it’s only been #1 on the Billboard Hot 100 for 7 weeks, and it’s only one of the biggest songs of the year. And, on top of that, it’s only been getting quite a bit of critical praise lately, and rightfully so because it's one of my personal favorite Drake songs. With a great message about female empowerment in the age of social media, a really great sample of Lauryn Hill's "Ex-Factor," plenty of very real bounce and energy, great smooth vocals from Drake, and a hook that gets stuck in your head easily, this is Drake making what is easily one of the best tracks in his storied discography. It does feel weird following up on a few more downtempo tracks with this, but there’s a good reason this one has been at #1 on the charts for so long: because it’s just that good.
Finesse: WE OUT HERE DRIPPIN' IN FINESSE, IT DON'T MAKE NO SENSE, OUT HERE…oh, crap, sorry, I thought this was Bruno Mars’s “Finesse.” Uh, either way, it’s another song about a girl (or two, since he seems to be alluding to Bella and Gigi Hadid)…go figure…but anyway! This one takes things right back to the slower pace after “Nice for What,” and while I like the click-clack percussion and chill feel of the song, I don’t really think there’s much of a hook here, and it also feels like there’s just not enough to the song. It ends all too quickly and it doesn’t feel like there’s a whole lot about it that makes it warrant repeat listens, unfortunately.
Ratchet Happy Birthday: I don’t know what it is, but that title fascinates me for some reason. “Ratchet Happy Birthday?” Huh, okay then. Anyway, Drake talks here about a girl (yes, again) who feels emptiness and emotion on a day where she shouldn’t: her birthday. You know, as someone whose birthday will be here next week (July 7th, in fact), why do I feel like this isn’t actually about a girl, and Drake was writing it about me? Either way, I like the very mellow feel of the song that’s juxtaposed by the very frantic keys and fast-paced drum beat, though I do think Drake comes through with some struggle bars here (“I know you're soft like buttercups / Reese's, Reese's, don't be ridiculous” just made me chuckle a bit). Still, Drake sounds decent enough (even when he does the goofy tongue roll when he says “it’s your brrrrr”) and the production is great on it; it’s just not one of my favorites on the album.
That’s How You Feel: Again, it’s a song about a girl that Drake likes, even if she might not like him back. This is the “pop” side of the album, the lyrics matter less and less unless they end up being complete cheese. Luckily, they don’t end up being cheese here, and I think that Drake’s vocals and flow are very smooth and fun as well. The trap drums might seem very similar to a lot of the other songs on the album, but it’s still pretty solid and the moody production is quite nice. Oh, and the song samples a Nicki Minaj remix to “Boss Ass Bitch” and it’s used to very entertaining effect. I did like this one quite a bit.
Blue Tint: Oh, but HERE…HERE, dear readers, Drake talks about getting back with his ex! It’s different!…in a way!…I promise…oh, hell, it’s not. But still, I like the production here as well, with a very energetic, click-clacking drum beat, some very bright instrumentals and fun strings, and a great vocal performance from Drake. I like his flow throughout this one, his vocals are as smooth as ever, and I think the hook is one of the better ones on the R&B side of the record. Future also makes an uncredited appearance here, and while he hardly amounts to much more than a cameo, I do think his short appearance flows nicely enough. Definitely enjoyed this cut.
In My Feelings: Drake gets meme’d quite a bit for being very emotional, and now this new album actually has a track called “In My Feelings,” following Side A’s track “I’m Upset.” I think Drake is slowly becoming self-aware. In all seriousness, this very uptempo cut sees Drake crooning (and rapping a bit) about "Kiki" and "KB" (apparently a nod to model and social media personality K'yanna Barber) as well as The City Girls, and oddly, while I thought I would be making jokes about this one, I actually really enjoyed it! The uptempo production brings me back to “Nice for What” and it keeps that same energy (there were points where I legitimately thought Drake sampled that song, which would’ve been ironic), and I like how Drake mixes up between his smooth crooning and his rapid-fire rap flow. The hook is also really great, and the background guest appearances from Lil Wayne and Magnolia Shorty round out the song and make it a great listen!
Don’t Matter to Me (ft. Michael Jackson): Drake with a Michael Jackson feature? One, how? Two, respect. This very nocturnal song sees Drake using vocals from an unreleased song that he had recorded during the 90s, and look, when you put Michael on a song, chances are you’re making it better. That’s what happens here, as the song has a very sticky drum beat, great hook, smooth crooning from Drake and, of course, gorgeous upper-register vocals from Michael. Actually, outside of the more electronic feel of this song, I actually can imagine how this could’ve been a great MJ song. I really dig it!
After Dark (ft. Static Major & Ty Dolla $ign): Paying his respects to yet another fallen artist, this track actually features the late Static Major, as Drake adds some of his unreleased bars to this cut. On it, Drake and Ty Dolla $ign (of course) croon about a girl, doing so over a somewhat old-school instrumental that reminds me a bit of some 2000’s Mariah Carey (think “We Belong Together”). I like the smooth guitars on this one, Drake and Ty Dolla $ign have some great vocal interplay, and Static Minor’s appearance might be small, but it’s a cool track that feels like a pretty nice throwback. I really enjoy it!
Final Fantasy: Okay, look Drake, two things: one, if you’re gonna make a song called “Final Fantasy,” make it the last song. I know the next song kinda needs to be the last, but if you make a song called "Final Fantasy" the penultimate track, it’s embarrassing. And second, I get that you want to talk about your sexual fantasies, but…bruh, a song called “Final Fantasy” that doesn’t bother to reference the video game series? Come on, man! Either way, while the instrumentals are nicely dark and eerie, I don’t really find Drake’s somewhat emotionless vocals on the first verse to be quite as interesting here. And while I think the mood feel is interesting on the second verse (Drake alludes a bit to the baby rumors, and then takes things back to the more ethereal instrumental feel in the second half), I don’t think it’s quite enough to make the song amazing, though it does save the song from being one of the worsts on the album.
March 14th: This is another song that’s gonna get A LOT of talk because, remember how Drake admitted in “Emotionless” that Adonis is his kid? Yeah, this one goes into a lot more detail about that. I really dig the instrumentals on this one that interpolate the “Khalil (Interlude)” by Boyz II Men, and I like the mature approach that Drake has taken to the controversy that Pusha T brought up about his kid, and how instead of trying to fire shots at Pusha T about the whole ordeal, he instead came clean on it and admitted his hopefulness that he and the mother of their child, Sophie Brussaux, will be able to stop the fighting for the sake of him. It’s an emotional track, yes, but I appreciate Drake’s mature tone on it. I’m sure that this would’ve been a hard-hitting track even if Pusha T didn’t reveal that Drake had a kid, but I feel that even the additional context doesn’t really take away from my enjoyment of this finisher.
And, that’s the end of Side B. Overall, I dig that, with this more emotional side of the album, Drake decided to take things back to the older sound that made him successful on albums like “Thank Me Later” and “Take Care.” Even if it is “moody Drake” and “sad Drake,” I still think that the production and vocals throughout this side were great and they made it worth listening to. I’m sure it’s not for everyone, and most people might disagree, but I really dig enjoy this side of the project a lot.
Overall, I'm sure you can tell by my sum-ups that I really did enjoy this record, and while many will disagree with me, I’m not gonna let that detract from my enjoyment of it. You guys know that I’m not too fond of these long albums, and I was very nervous going into it, but I do think that, with “Scorpion,” Drake has put out his best project since “If You’re Reading This, It’s Too Late,” and his best studio album since “Take Care.” Is it better than those two? Give me a few more listens then we’ll talk, but I think what I dig most about the album is that, not only does the double-sided nature of it allow it to appeal to different Drake fans and also allow the two sides to be more focused, but I think that, with “Views” and “More Life,” Drake started to experiment a bit with styles that didn’t quite work for everyone (for example, the dancehall-styled songs that used a lot of Jamaican patois that rubbed a lot of people the wrong way). With this album, I think that Drake did the smart thing to throw things back to the style he had before “Views,” and the album was more successful for it. Instead of trying to get too experimental, Drake came through with the vibes that his fans most enjoy, and that’s what makes this double-sided project so successful in my mind. I’m sure it’ll still be polarizing because all of Drake’s albums are, but I have to say, I walked away from this thing really satisfied.
Good stuff, 6 God.
Favorite tracks: Survival, Nonstop, Emotionless, God’s Plan, 8 Out Of 10, Mob Ties, Can’t Take A Joke, Is There More, Peak, Jaded, Nice for What, That’s How You Feel, Blue Tint, In My Feelings, Don’t Matter to Me, After Dark, March 14th
Least favorite tracks: I’m Upset, Talk Up, Summer Games, Finesse
Rating: Excellent
Good stuff, 6 God.
Favorite tracks: Survival, Nonstop, Emotionless, God’s Plan, 8 Out Of 10, Mob Ties, Can’t Take A Joke, Is There More, Peak, Jaded, Nice for What, That’s How You Feel, Blue Tint, In My Feelings, Don’t Matter to Me, After Dark, March 14th
Least favorite tracks: I’m Upset, Talk Up, Summer Games, Finesse
Rating: Excellent
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