Track Highlights and Track Lowlights (Mo Hafeez)
HIGHLIGHT: ‘U With Me?’ – the first track where Drake outshines the production, Kanye West and 40 take away from what easily could have been one of the best musical moments from Drake we would have heard – the third verse ends in a crescendo with a half-sing and a half-shout of the very quotable line “A lot of n-ggas try to cut the cheque so they can take this flow”. The first half of the song can seem a bit slow in comparison, but it’s a price I’d pay just for that 3rd verse. Drizzy shows he’s still down with the kids with mentions of DMs, LOL, grey chunks and three dots.
HIGHLIGHT: ‘Weston Road Flows’ – Drake finally dedicates more than 2 or 3 lines at a time to his childhood and growing up in Toronto, and he pulls it off really well. He talks about his friend Renny whilst growing up, the antics they got up to even when Renny’s elder brother told them not to follow his path. Very biographical, very personal. Nostalgic and smoky production with the Mary J. Blige sample adds to this, Drake dropping hooks altogether and opting for a constant stream form instead.
HIGHLIGHT: ‘Still Here’ – maybe the hardest beat on the album, the old Drake returns to devastating effect. That classic Drake flow is here as he raps about his accomplishments, the obstacles he’s hurdled by himself, whilst still giving shout outs to his closest friends and family in Toronto.
LOWLIGHT: ‘With You’ – I didn’t enjoy the PARTYNEXTDOOR features on If You’re Reading This It’s Too Late and I didn’t really enjoy him here either. Even though he comes centre-stage this time, it’s easily one of the more forgettable tracks on the album.
LOWLIGHT: ‘Grammys’ – Future returns with mediocre chemistry and one of the worst hooks on the album. It’s repetitive, not clever, and generally just doesn’t sound good. It was probably recorded at the same time as their collaborative album which itself was below parr for the duo. Drake is okay on the track and has interesting flow switches, but that hook man, that hook. If anything it tells you why Drake didn’t win a Grammy.
LOWLIGHT: ‘Summers Over Interlude’ – this a fucking long album yes, but this interlude is just so out of place that it makes little sense. Maybe he thought people would be tired of the similar sounding style and he switched it up big time? According to OVO Sound Radio the album was meant to be moulded around Toronto’s seasons, but if so this is really grasping at straws. Lupe did it better on Tetsuo & Youth.
Closing thoughts (Tobias Berchtold)
The hype and the build up around this Drake release made me expect something that would be a landmark album for him, something to solidify his position at the very peak of hip hop. Drake is in such a strong position right now to express himself and experiment with his style and do something new. That’s why I’m so surprised at how mediocre this album is.
The thing that bothers me most is that this album is just incredibly boring – there’s nothing new or interesting to get your head around at all. It’s the same old Drake sound, and while for some that’s ideal, for me it shows a lack of progress. Of the 20 songs on the album there are maybe a handful that I honestly enjoyed – ‘U With Me’, ‘Hype’, ‘Weston Road Flows’, and ‘Still Here’ in particular stand out. I think the common theme with these songs is that they all could have fit in easily on If You’re Reading This It’s Too Late – whereas the rest of the album feels more like they’re from Nothing Was The Same.
I wish more of the album was like ‘Weston Road Flows’, which is an incredibly biographical account of Drake’s time in Toronto before coming up in the rap game. With the original album title being Views from the 6 and the cover of Drake sitting on Toronto’s radio tower, this is what I was expecting this album to be. Alas.
But on a ridiculously long (20 song) album these moments are few and far between – so much so that when I got half way through I was actually dreading the fact that there was about 40 minutes of runtime left. There are easily six or seven songs that could be cut from this album and nothing much of substance would be lost in my eyes.
Drake is no stranger to slightly cringey lyrics but this record contains some of his worst offerings yet (see below). I found some of the song really painful to listen to because of the downright awful subject matter and lyrics. ‘Child’s Play’ is really the icing on the cake – the songs chronicles an argument Drake had with his girl at the Cheesecake Factory, which then leads to Drake hiding his car keys so she can’t go out to buy tampons. Come on man, really?
Bring back the ghostwriters
“Always saw you for what you could’ve been ever since you met me / Like when Chrysler made that one car that looked just like the Bentley.”
“And I turn the six upside down, it’s a nine now”
“You toying with it like Happy Meal”
“Your best day is my worst day, I get green like Earth Day”
“Why you gotta fight with me at Cheesecake? You know I love to go there”
“Got so many chains call me Chaining Tatum”
“I pull up in yachts so big that they try to hit me with boat fines”
“Tipping scales, bars heavy like triple XL”
The established Drake style obviously works for him – this album sold like crazy so he’s not going to change his approach any time soon, but personally I think Drake has the range and ability to step out of his comfort zone and make something more interesting. For me the scales have tipped on Drake – his emotionally open songs about relationships have broken the border into becoming incredibly annoying and whiny. Views feels like a massive step back from If You’re Reading This It’s Too Late which is easily my favourite project Drake has released – this latest feels more like a sequel to Nothing Was the Same, which I really did not enjoy at all.
5/10 – turn the five upside down, and unfortunately it’s still a five.
This article was written by Tobias Berchtold and Mo Hafeez