Saturday, July 25, 2015

DRAKE'S GHOST



After Meek Mill’s emotionally influenced slew of tweets about a week ago, the world at large was taken aback by his accusations. Meek is quoted as saying to not compare him to Drake, Drake doesn’t write his raps, he didn’t write his verse for RICO(a song on Meek’s latest solo album) and that his work should really be attributed to Quentin Miller, a member of the OVO camp who allegedly gets paid $5000 USD a month to write and craft records for Drake. Since this fiasco which lasted anywhere from 5-6 hours to 3 days, involving a slur of other rappers, including OG Maco, Roscoe Dash and OVO Producer “40”, Drake has yet to release a statement. Quentin Miller has denied being Drake’s Ghostwriter and prefers to be known as a collaborator. Funk Master Flex has played the reference track recorded by Miller for 10 Bandz, and claims there are reference tracks for Know Yourself, 6AM in New York and 6 God, all songs of Drake’s last solo album (though none of those were played). This has brought the big question into being, “Does drake having a Ghostwriter matter?”. Being the avid hiphop head I pride myself on being, I’ve decided to chime in and give my opinion on the matter.

Firstly let’s get something clear, there is a HUGE difference in getting ideas for lines or song structure or even entire hooks for songs from persons present during the recording process. This has and always will be a very integral part of Hiphop, it’s almost the manifestation of “Hiphop is the voice of the people, by the people”. That part of it is not considered “ghostwriting”. When someone else is paid to write entire verses or like 70-80% of their material is taken, paid for and done over and added to by an artist and we hear the final product, THAT is ghostwriting. In that regard, Mr. Miller’s statement that I alluded to earlier is in fact false, because the reference track that was used for Drake to do over 10 Bandz is not simply collaborating, but way more into the realm of Ghostwriting, much the way it is done in R&B. Now that the distinction is drawn let me say this, Ghostwriting in hiphop has always been alive and well. In fact entire classic albums have been ghostwritten (The Chronic, The Chronic 2001, Doggystyle, Big Willie Style, etc). However those albums have been celebrated the way they are because the artist made the fact that they paid for writers very well known previously and we accepted that and the MUSIC was still able to resonate with the world at large. The problem arises where an artist is heralded for having a sick pen game, and for being one of the great modern lyricists and having such real and personal content that invokes strong emotions in his fans, but then information leaks that they have ghostwriters. That in no way tarnishes the music, those records are still GREAT records but the artist, the legend to be, definitely is tarnished. Drake falls into this category, unfortunately. Though solid facts have not come out to prove how far back this has occurred, this goes back to the age old metaphor “if you take a teaspoon of dirty water and drop it into a glassful of clean water, you are going to end up with a glassful of dirty water”.

There is a silver lining for him though. Drake is one of the rare rappers whose music is not as big as him. His music is in his shadows, so to speak. Allow me to explain what I mean. Drake has never released a body of work as a major label, mainstream artist (post So Far Gone) that has stood the test of time and has impacted Hiphop in a way a MBDTF or a Blueprint or a Carter III has. Neither has his singles. Yes he has a slur of hits, but a majority, if not all of them are big not because they a classic timeless songs, but because they are Drake records. When you think of an artist like Jay Z, you think Hard Knock Life, PSA, Can I Live, Empire State of Mind, Big Pimpin etc. Landmark records that have and will stand the test of time and that have shaken up Hiphop and shifted culture forever. These songs mean a lot to the culture. Drake however, in my opinion has none of these type of massive records that are timeless and meaningful to the culture. He still somehow has managed to rack up 15 number ones and had all the songs off his entire last full-length album IYRTITL chart on the billboard simultaneously. It’s because somehow with Drake, it’s about him more that his music. He just needs to put something out and people are going to herald it. My point in saying this is that, Drake having a ghostwriter or ghostwriters (who knows) is not THAT terrible as say a NaS or Jay Z or Kendrick Lamar having ghost writers. Their music is bigger than themselves and means more to hiphop if they sincerely penned it. They shifted culture with their honest music and stories. Drake will continue to be a multiplatinum artist and still probably go on to be a legend in hiphop BUT, solely as an artist not and emcee and lyricist. That conversation is no longer available with Drake’s name in it.

Hiphop was built and born on talented chosen individuals, having the unique gift to craft real life stories all around them or real life experiences of others into music. With rhyming and flow and melody, people were able to connect with the words of this talented emcee and the message was able to resonate with them emotionally. The person who did this the best, or does this the best, is heralded as the G.O.A.T. (greatest of all time) and the people determine him/her. If someone has a “ghost” so to speak, penning these words for them and portray it to the world as if it was constructed/created by them and then later on it is found out to be false, he/she does not fit that GOAT criteria. They may still be a GREAT artist and song creator, but the words and the lyrical ability to pen their realities into pictures that have life through rhymes, is essentially the MOST important element in Hiphop. I accept that many a rapper has this ability and lack the gift of making a GOOD SONG with melodies and good structure. Drake has those other qualities and as such is not automatically kicked out of the conversation of not being a talented artist. BUT that sincere factor, that lyrical ability and the fact that in hiphop your pen is your sword, THAT now is up in the air for him. Here is where I respectfully disagree with “40” who came out in Drake’s defense and stated that Drake is more than a rapper, and more of a creator and that the OVO team will not be stuck in the box of the mentality of hiphop that the artist must write their own rhymes. While this might be so, one is free to do as he/she wishes, but it does not change the CORE values and foundations of the art form. It’s almost an unwritten rule/requirement for being a great rapper. I am no Drake fan, post-So Far Gone. I thought Comeback Season and So Far Gone were damn near perfect projects, and I do like some tracks here and there over the years, I even found Know Yourself and 0 – 100 to be phenomenal records, but overall Drake’s content and hiphop persona is completely opposite to what resonates with me, and I personally find him to be an overrated emcee. Now that this Ghostwriting fiasco has surfaced, I hope other people begin to accurately rank Drake where he is supposed to be in the lyricist and emcee category. Continue to love his music, yes, and continue to buy is work, he does make good songs and is a talented artist, but please don’t put him in the conversation of “best rapper of our generation” or “on of the best rappers of all time” etc etc. Drake is a great icon and legend in music; his actual pen game and lyrical ability leaves a lot to be desired. We’ll see how this story continues to develop.

Aight enough on this, peace.


PS: Stop hating on Meek for being a real nigga and speaking his mind. I ain’t no Meek fan, but I respect him actually not giving a fuck and going against the conformist status quo of just keeping quiet for fear of other people chastising you etc. He felt that is another rapper don’t write his own raps, he shouldn’t be compared to him and rightfully so. It wasn’t simply because Drake didn’t “tweet his album”. Do your research.



Wednesday, June 17, 2015

AT. LONG. LAST. A$AP ALBUM REVIEW

Whaddup folks. Welcome to another not so frequent edition of hiphopmade album reviews, where your boy jellz, aka the personification of hiphop itself 100% accurately reviews and gives FACTS (not opinions) on new popular hiphop releases. My last review was Aubrey’s non-free load of fuckery mixtape, but luckily since then the hiphop gods have forgiven us of our sins and sent their only begotten Lord Pretty Flacko Jodye to save hiphop. So with out further adieu, At Long Last A$AP…

    1.     Holy Ghost (feat. Joe Fox)

This was a perfect start to the album. I love the fuckin sample at the start reminded me of Jay Z’s What More Can I Say, track off the Black Album with the sample from Gladiator, shit was fuckin EPIC and really set the tone for how seriously Flacko took this entire project. We get a rare serious track here, with the topic focusing on his struggles with religion and God, shit we can all relate too, because lets face it… we a bunch of fucckinnn heavy sinners my nigga, we ain’t lookin too good out here. Good track though Rocky. I’ll address the Joe Fox feature later on in this review because this motherfucker is EVERYYWHERE on this album.
  
    2.     Canal Street (feat. Bones)

The production on this shit was jiggy as fuck! Has this clean bounce to it and some DJ Premier level scratches, I feel like I’m in a fuckin Ma$e video minus the corniness with this one. Rocky’s flow on this is flawless too, my word. I really like the general airy feel of the track especially on the chorus. It sounds like they recorded that hook in a cathedral or something love the effects they utilized on Bones’ voice. Rocky always got the weirdest but freshest hooks bro. Great track!

    3.     Fine Wine (ft. MIA & Future)

I gotta come clean… I don’t all the way fuck with this record. Rocky was fuckin fresh as usual, using that deeper voice like the one on the Goldie hook from Long Love A$AP, but I ain’t really dig the way they constructed MIA’s hook, like something was off. Then FUTURE came in UUGGGGHHHHH… let’s be clear, not referring to this track, but Future is Top 5 worst recording artist of our generation, all genres included. This Dinosaur lookin flat faced fucker is TERRRIIBBLLLLEEE I don’t get his appeal. That being said he dropped a fuckin 4/10 verse on this as usual, but like that’s his best g. This is one of the best Future verses you gonna hear, period so appreciate how not so mediocre son came here. Overall it’s an OKAY track… like I wouldn’t skip it, but it’s probably the weakest track on the album.

   4.     L$D

First of all this song has one of the best music videos I’ve ever seen in my life. This video is trippy as fuck and so well put together. All the lights and colours and the little story that you have to follow to understand the track… fuckin artistic and original shit. Now the track is even better bro! This is easily my favorite song on the album. Rocky is not even rapping on the record, he’s fuckin singin(and not very well might I add) but son does puts it together so fuckin tastefully. The production is stellar, and song feels like drugs, this is the most drug influenced track you gonna hear in a while. In many ways this track symbolizes the undertone of this album, it’s almost like a title track. I would say if you need a song to identify the feel of this record, L$D does it perfectly. Fuckin phenomenal track from Flacko!

   5.     Excuse Me

This the Rocky we all know and love. Braggadocios, cocky (pause) and confident flowing all over all the beats changes and dip on this record. Son has like four flow changes g, it’s beautiful to listen too. Plus he sings the hook. This track was one of my most anticipated records because it came out as a cameo midway into the L$D video. Rocky lyrics is funny and clever, ideally everything you will expect from a Rocky track. Great song!

    6.     JD

THISSS NIGGA’S FLOOOWWWWW BRRRUUUUHHHHHHH. I’m not sure how much more I can stress this, we 6 tracks in and I’ve been blown away with a new, fresh n unique flow like 4 times. This beat on this track BANGS. That bass fuckin sped up my heart rate to be honest with you. You can do CPR with this beat, I’m sure of it. The sample on the opening, I’m not too sure where it came from actually, I want to believe it’s from the new movie he’s starring in called “DOPE” (how fitting of a title) but I’m not sure. It could just be a staged conversation in the studio. This track was more of an interlude where just by the content of the lyrics, and the use of his alias “Lord Pretty Flacko Jodye” numerous times during the song, you already know what track he was setting up for this to flow into…

     7.     Lord Pretty Flacko Jodye II

“WHO DA JIGGY NIGGA WIT DA GOLD LINKS?!?!?” Yo… if somebody tells me they don’t like this song, well I automatically don’t like you. This track is so much fuckin flames, I sometime sweat if my speaker volume is too loud. This track is sooo fuckin fresh and exudes so much confidence you start to look more appealing to women after you listen to it fellas (n girls too, shouts out my lesbian real quick). But yooo, I all the way fuck with this, like the record has all the elements of a banger and replay value is damn near infinite. This song came out monthsss before we even got an album date, I’ve played this at least 100 times before I got this album, I fuckin kid you not and I was STILLL excited to hear it when I was listenin to this record. Perfect track from Rocky.

      8  .     Electric Body (ft. Schoolboy Q)

These two have only made great songs. Their chemistry is like Wu Tang level synchronized. They feed off of each other’s energy soooo well yo, like it’s a joy to listen to. First and foremost the beat is jiggy as fuck. The bounce and that sorta clap effect on the hook got me ready to just make it rain on some hoes bro. This should be the new strippers anthem. The hook was kina not all that great but still I get why it is what it is. I’m gonna hazard a guess and say this is the next single off this album with the most fuckin rachet and stripper laden video one can imagine (watch out Tyga!) Let’s take a moment of silence for Rocky’s flow on the first 30 seconds of this record (cry face emoji) I really think son is out doing himself at this point…
Also Q said “I can fuck your bitch off hype!”  LMMMMAAAAOOOOOO
  
 9.     Juxebox Joints ( ft. Kanye West)

First and foremost I love the underlying concept of this record. The title of the track is the driving force behind the sound and the beat change ups throughout the song. Basically it’s all traditional juxebox sounding songs as the beats and as one finishes it transitions into the other in a similar manner as a juxebox would. Rocky came in with some of his more memorable lines here “she the type that seek love and make it everlasting, I’m the type to wake up and say it never happened, I mean I fucked the bitch with hella passion, but it’s cold how we smashed and left her sleepin on a separate matress” lmaaoo like if that’s the first 4 lines of your song, I’m already loving this. Not to mention Mr. West is in the building with a hilarious verse. At the point the “juxebox” is coming to an end and the beat slows down drastically so we’re getting a oddly slow sounding verse from yeezus, but I fcuk with it super hard yo, it made a lot of sense, despite being funny. It gets better with each listen, like it’s difficult at first to grasp the pace of the raps. This was overall another stellar track.

  10.  Max B (ft. Joe Fox)

The song structure of this song is so unique and fresh. Joe Fox did his thing hook and writing wise. First lets start with the hook, it sounds like a sample but to my understanding it’s actually that crafty Joe Fox singing in this light raspy but high pitched and distorted voice, wondering to himself “did I fuck it up”. It’s such an interesting sounding hook. Not to mention the actual distortion sound that buzzes before the hook comes in. Rocky really sound energetic and bold on the verses despite the somber mood of the hook and overall track. The beat has this sort of dragging horn I believe, it kina sounds very Indian influence like some sort Indian instrument. I love at the end of the song how Joe Fox strums the guitar and sings then it flows into his normal voice without the distortion, as he speeds up the percussions of the guitar strums, only to realize YO this guy is British! LOL who knew. FUN FACT ABOUT JOE FOX: Rocky saw him on the street on his way back to the hotel from grabbing a bite to eat at 4am in London. Fox tried to give him a demo CD, Rocky refused but asked him to play something with his guitar as he had one on him (he was a street performer). Rocky was so impressed he fuckin took him with him to help him record the rest of the album we have now, hence why he is on all these tracks. And basically he is part of Rocky’s camp. How fuckin cool is A$AP Rocky?!?!? The COOLEST OF ALL TIME, that’s how much.

  11. Pharsyde (ft. Joe Fox)

Beginning to believe Joe Fox is a human 70’s RnB/Blues Sample… why the fuck his hooks so classic sounding?! I love the topic on this track to , Rocky kina is rapping about this place he goes when times get hard or things seem rough, and his regrets about those times and paints these vivid pictures of trials he faced growing up in Harlem and still faces now. Apparently this place he goes to is when he sleeps, so it seems as though it’s imaginary or prolly drug infused, who the fuck really knows?! I love the change of pace on this track as well as it’s very somber but not druggy, so it feel very serious… it’s always interesting to see characters like A$AP Rocky be vulnerable from time to time, it was super refreshing. Of course we get another excellent display of rapping and one of the best lyrical displays on the album so far. The beat is really slow paced but still very thematic… well put together track.


  12.  Wavybone (ft. UGK $ Juicy J)

This track is that staple ode to southern classic hiphop that Rocky has on every single project he’s put out so far. Fuckin Bun B is like this niggaz hero according to him. For a New York rapper that ballsy as fuck but being this smooth silky, jiggy muhfucka that he is… those southern legends embrace Rocky’s homage whole heartedly and show up here to prove it. How the fuck do you get the entire rachet ass hood as UGK group on one track as a FEATURE in 2015, that’s not a Bun B track bro?!?!? Who the fuck are you, the King of the South?! Rocky got some fresh fucking quotables too, “I went to France and almost got deported, the fans were screaming when I hit the border, I visit Nice like it’s my sister’s daughter!” Then the southern legends came in and blessed us with wise words of how to be the best fuckin southern hood nigga one can be followed by a decent verse from one third of satan’s own rap group 3 six mafia, Juicy J. This was a really fun record about makin money and being a nigga, who doesn’t love this sorta stuff g?!


  13.  Westside Highway (ft. James Fauntelroy)

This song was really laid back and subtle, but a very different sound for Rocky. A lot more mainstream if you ask me. Nevertheless he executes it well and James Fauntelroy delivered a clean hook. I always found his voice sounded a little computerized, it’s weird, but fresh as fuck at the same time. This ain’t one of the best songs on the fuckin album, but it’s aiiiittteee, ya dig.

  14. Better Things

Classic deep voice effect at the beginning of the track, A$AP really delivered here. After the first 20 seconds, which were super slow and eerie sounding, the beat switches and ohh fuckk was that shit amazing. It’s some kina futuristic trap meets new york meets cloud rap. Shit is like New York in 2050. Sound like fuckin Daft Punk’s attempt at hiphop it’s fresh beyond explanation. Lyrics-wise we can’t forget the 4-6 bars fuckin up Rita Ora, apparently he busted in her mouth she spit it out and he kicked her out… I know what you mean fam, I’ve been there, can’t be fuckin mistreatin niggaz kids n whatnot.

  15. M’s (ft. Lil Wayne)

Bruh, that track SLAPPPSSS like the beat is audible hardness, pause. The beat had me in awe at first listen. Not to mention the fuckin lyrics… A$AP has this unique ability to sound and rap and flow exactly like the aura he exudes and the way he acts. If you’ve never seen an A$AP Rocky interview or documentary, and you’ve hear his music, look no further. This nigga lyrics is the fuckin coolest shit ever bro… “me n yams made a plan, then I paid myself n I gave myself advance…. Way before I became myself, I’d like to thank myself because I made myself the man”  who else BUT Rocky gonna glide so effortlessly over such a hard be spewing gems like that.
BUT THE REALLLLL MVP LIL TUNECHI AKA BIRDMANS EX HUSBAND… WEEZY F BABY. Let me just give you a brief history as to why lil wayne always got a special place in my heart (pause) despite the recent FUCKERY he been putting out. The first album I ever bought with my own fucking money, Tha Carter I. In 2005 after hearing Tha Carter II for the first time I played that album for like 2 years straight, I put it in my Top 5 favourite hiphop albums period. Upgrade U freestyle is like fuckin punchline gold, noooobbboooddyy ever escalated to them punchline heights since. Wayne is that nigga and he returned to form on this feature. Thanks God, I really need this!

  16. Dreams Interlude

It’s an interlude… fuck you want from me here?!

  17. Everyday (ft. Miguel, Mark Ronson & Rod Stewart)

First of all, Mark Ronson might be Top 3 song writers and constructors in music right now, PERIOD. He gets wayyyyyyyy too little credit. WHY THE FUCK BRUNO MARS GETTING ALL THE PRAISE FOR UPTOWN FUNK?!?!? Fuckouttahere wit that, but back to the topic at hand, excellent hook writing skills from Mark here. Rocky fuckin floated ever so gracefully over the beat here, and when that beat SWITCH UP BRO, we got some kina super saiyan double time god flow from Rocky, shit was majestic. Miguel was superrrbbbbbbb as per usual, and my nigga… Rod Stewart, on an A$AP Rocky track… HOW THE FUCK?!?! Yo this kid is special to have this legend bless him with a handshake, much less a goddamn feature. This lowkey probably the best song on the album, if we being un-biased towards niggerdom, but that’s a damn near impossible way to approach it, so I put it right after L$D.




  18. Going Home (feat. YASIIN BEY & Acyde)

A single tear streamed down my cheek in the most manly way possible, when I heard Yasiin Bey aka Pretty Flacko Senior fka Mos Def, the fuckin GAWD emcee. Yo I truthfully think I love that dude (again, pause) He rose from the ashes like a fuckin Pheonix and soared it to place the crown Jewel on the end of this album. Truthfully the verse was just decent, and a little too short… but bro… Mos FUCKIN Def is on a track, in 2015. We as a human race need to start praising and thanking God more for moments like this in history, shit is like a fuckin meteor shower. Anyways, such a fuckin classic sample at the start of the track, and the beat matched it perfectly not to mention that subtle hook which contrasted so perfectly with Rocky’s outstanding verses. Yams audio at the end was fuckin classic Yamborghini… yo Earth gonna miss that guy, for real. Great way to close the album Rocky.



CONCLUSION

Truly an outstanding and bar setting project from the lord, that pretty muthafucka himself (yeah, pause again) A$AP Rocky. This man has improved his lyrical ability tremendously and his flows have elevated beyond everyone in rap today. ALLA was a much more refined and polished Live.Love.A$AP where Rocky was young and a little un-focused back then, now he has mature and perfected is craft and carved out a very entertaining and unique lane in hiphop for years to come. Great fuckin way to set the pace for the remainder of 2015!

My Rating 9/10


Next review in wheneverthefuckifeel weeks, Look out for it!





Saturday, March 7, 2015

IF YOU'RE READING THIS IT'S TOO LATE TRACK BY TRACK REVIEW

IF YOURE READING THIS, WELCOME BACK
No formalities,  here's what you came for...

Drake – IF YOU’RE READING THIS YOU’RE TOO LATE Track by Track Review


1. Legend

Im not sure if I necessarily agree with what Drake saying, but I definitely don’t fuck with the flow on this… shit is slow and annoying as fuck. The beat was fire tho, so the track can get a pass. Like I not all the way hating it, I would like play it in the background, while I’m like on watsapp or reading thru blogs on the internet, really not captivating enough for me to care what he is saying. It was a good intro track tho, in terms of vybe.

2. Energy

This is more Drake than Aubrey for sure this track was decent. Like it aint the best Drake shit that dropped in years, but I fuck with it like a lil bit at least. The beat was real subtle and kina needed a catchy flow to carry it, so Drake delivered where that is concerned at least enough to not make the song boring. Topic-wise I see what Drizzy sayin for sure, that boy has the world of enemies(me included). Like the general “real hiphop” community, actual rappers included, just do not FUCK with Aubrey AT ALL. Diddy slapped your boy Aubrey and sent him crying to the hospital g… I kina need not say anymore.

3. 10 Bands

Why does this sound exactly like the track before it? This album BETTER REALLY BE THROWAWAYS THAT YOU PUT TOGETHER DRAKE, because this already has no “no thought put into this” written all over it. I’m not sayin this track is bad… so take it easy, but this is basically the same melodies as the track b4 it… but i’ll let drake live. This track was bragadocious raps, which seems to be Drakes way of tryna prove he don’t only make songs for 16 year old girls n their less than manly over aged boy friends. But I kina dig it, like I will play this omw to a party easy. It was cool

4. Know Yourself

AITEEE DRAKEEEE I SEE YOU… tryna get me to like your music again na?!?!  I WAS RUNNIN THRU THE SIX WITH MY WOES!!! This track for some strange reason is all kinds of fire , too much for my liking, THIS SHIT WAS HARDDDDD. Reminded me of Started From The Bottom. Drake really crafted a good HIPHOP track here without soundin fake tough, like on Headlines n all that other trash. The beat deserves just as much plaudits, this is my favorite record on the album easy… and it, technically not a “great” song, it just so fuckin enjoyable and well put together. My only gripe is Drake “trying” to sound like Migos and the fake gangster Jamaican scene at the start and end :/  like son, that not goin on in the “6IX” -_-



5. No Tellin

This was another highlight, the flow and lyrics on this track was that Drake we kina got post NWTS. Drake kina wasting FIRE beats though… like this beat deserves more effort from whoever decides to flow over this audible fire. Drake actually putting together decent lil quotables, minus that “biggest boss other than ricky ross” BULLSHIT. The three different flows was a good idea, I dig it minus the last flow switch…, which was reminiscent of that Migos/boring ass flow from track 1. Otherwise his track was cool, good job Aubrey


6. Madonna

FUCKOUTTAHEREWITHTHISFUCKERY


7. 6 God

This track is GROSSLY overrated. AGAIN IM NOT SAYING IT IS BAD… JEEZ. When Mrs. Drizzy dropped this, the Drake Hive was havin orgasms basically. So naturally being the prudent HipHop head I am…. I hopped on ILLROOTS.COM to peep this. Honestly for a couple hours, I was convinced I hadn’t found the song… cuz I could think THIS was what the commotion was about. But then I got to my senses and remembered its Drake’s army of fairies we dealing with, so naturally they gonna think anything mildly hard is the toughest shit they heard for 2014.  Like son didn’t drop Trophies that same year… smh. Anyways, this track was okay, like it passes the time, it gets you to the next track without the urge to press skip. The instrumental was not as stellar as other tracks but the baseline damn near shattered my eardrums, I must admit. The beat kina ALSO sound like the instrumental to a boss level on any SNES or SEGA Beat Em Up game…. But it was fire nonetheless. [SIDENOTE: Obiviously you are the god of the 6 Drake, it’s fuckin Canada…. Who else is from there, JUSTIN BIEBER?]


8. STAR67

Why Drake name this song, after the digits crazy trappy girls from America dial to call back their man sidehoes? Anyways… the flow on this is terrible, Drake talking about DRUGS on a the records as well, lmaoooo…. Yo thank God for all of Drake’s producers, cuz beats is saving this album in a BIGGGG way. When the flow switches tho, the song gets kina decent. I kina get the Star 67 thing as the track proceeds, basically the whole phonecall theme throughout the song. Here we go again with the Jamaican thing, like idk if Drake got family from there or sumthing but he really been on Jamaican culture’s DICK. I actually kian fuck with the second part of this song, minus the singing, it’s an okay song


9. Preach (feat. PARYNEXTDOOR)

ZZZZZZZZZZZZZZZZZ
PARTYNEXTDOOR needs to partyneveragain and quit music. This track is TERRIBLE. I can’t for the life of me see why Drake signed this fool. He croons on autotune for half the song…. Drizzy does his best “Comeback Season Drake” in an attempt to save the song… but na, PARTYLIKESHIT comes back to erase whatever efforts Drake expounded to rescue this track… my advice PRESS SKIP.


10. Wednesday Night Interlude (feat. PARTYNEXTDOOR)

First off…. No interlude should be THREE MINUTES PLUS LONG. Secondly, I thought this was “throwaways” Drake… why you got interludes?! You throwing away those too… Thirdly, why PARTYWHATEVERTHEFUCK tryna be The Weekend, and failing?! THIS TRACK IS JUST AS HORRIBLE AS THE ONE BEFORE, NEXT!!!!


11. Used To (feat. Lil Wayne)

This beat destroyed my spearkers… I promise. This bass should be illegal. Track a little “6 God esque” I aint mad at it though. Drake put more energy into this one so I appreciate that at least. He actually got a topic, which as you may have noticed is the first for this album so far. He basically is kina playing on the words “Used To” in all the different ways it could be used, that was kina fresh. Lil Tunechi came in with some struggle bars tho… man picked up right where “Sorry For The Wait 2” left off, which is NOT a good place. Maybe  this wudda been better without Wayne tbh. Why the fuck son said “Suck a nigga for an iphone 6, fuck my nigga terry for a new blackberry”? Like yo, what kina homeless girls these rappers dealin with?! And who even says the word blackberry anymore…. Shit was wild confusing, even for Wayne.


12. 6 Man

What is this b? Track is way too annoying if im bein honest… not much else to say. The beat wasn’t much different from the description of the song. And when Aubrey started singing… jesussss christtt
if you were worried about where I've been or who I saw or What club I went to with the homies Baby don't worry, you know that you got me I'm never worried about where I'm at or who I saw or What club I go to with the homies Baby don't worry, I know that they got me” How a grown man gon pen this tom foolery?


13. Now And Forever

This is the Mrs. Drizzy type of song. If you liked Marvin’s Room or the Take Car album as a whole, you gonna all the way fuck with this track. My thing with this kind of Drizzy song is that I really do not fuck with this style of “emotional” content in no way fathomable so I can’t really give you a solid informed opinion on this kinda song. I really do not know what a quality “on your period/in your feelings” rap crooning track supposed to sound like. I would say this, you boy Aubrey kina jacking The Weekend swag here, especially with the beat selection, and why the fuck is Drake doing this Jamaican thing on the hook. “Ive been “out n bod” lmaoooo. Tha actually made me laugh out loud… track was kina meehhh apart from the beat.

14. Company (feat.) Travi$ Scott

This song is a little more tolerable than the previous emo track. Let us first take a moment to acknowledge Drake said he doesn’t wanna marry a chick who like to wake up in the morning and cook meals at 9Am every morning, because she is too perfect…. Son, HUH?! I ain the hugest Aubrey fans, so maybe the Drake hive could help me out here, but I could vividly remember Drake rapping/crooning about stripper chick who he knows can be better  etc, and he wish she would n such n such… Like g, wat DO you want? But anyways, the track not terrible, but it also aint sumn that I gon advise you listen to if I’m tryna get you to like this album. The beat drop when Travi$ came in was super fresh, n I don’t fuck with Travi$ music at all(he fuckin beats up his fans b, eem tho that aint why I don’t fuck with him I thought I should let you know). I wanna go out on a limb n say Travi$ also made the beat which is yet another banger from your La Flame, he really needs to stick to beat solo. Drake cudve done the more justice, but the I not all the way hatin it, I’ll listen to it again.


15. You and The 6

Why drake calling n complaining to mummy like a little bitch? Anyways, I’lll look past that cuz I mean, I call mums to discuss shit that I need advice on, on some grown man shit (yea I’m ONLY 23 tho) so perhaps Drake can too. He really didn’t need to say “mama” so much, n be breathing hard on the call n all that. Otherwise this track is actually fire. Great story telling from Drake, and the tone of the beat was perfect for the subject matter. I actually highgly recommend anybody who doesn’t fuck with Drake to listen to this, this is proof that son can actually RAP n make DOPE HIPOP SONGS.

16. Jungle

Apparently there was a short film titled after this record. Naturally I didn’t see eem bother giving that the time of day… it’s a DRAKE MOVIE yo, why the fuck would I? Anyways, this might shock you… but I actually fuck with this, not really subjectwise at all but for Drake’s Vocals… like he sounded good. He was super swagger jacking The Weekend style, BUT he fuckin pulled it off, props Aubrey. PS: TAKE IN THE UN-MASCULINITY OF THIS BOYS LYRICS, HE SAID: “fuck what they talkin about on your timeline, that’s cutting into my time with you” -_- my g I really don’t eem need to go into that, it speak for itself.


17. 6PM in New York


One word: BARS
This track was BY FAR the best song on the album. Like son needs to just do this, with the occasional singing in the way he did on Jungle. This is the drake I fell in love with (pause) on Comeback Season and So Far Gone. Drake kina forgot he could do this for the last 8 years, bar a couple of gems. Your boy Aubrey came all the way correct on this, no hooks just bars, mean flow and fuckin disses(WHO KNEW!). Great way to close the album.



CONCLUSION

I don’t fuck with post So Far Gone Drizzy, OBVIOUSLY. He consistently releases the softest shit hiphop has to offer. But I DO ACKNOWLEDGE that Drake is the hottest rapper in the game. I’m not fuckin sure why… but this boy sold 570K albums in 2 nights… like that shit unheard of in rap. This ENTIRE album is on Billboard’s Top 100 Singles globally… like Drake is winning. As for his legacy as a RAPPER RAPPER, he light years behind A LOT of dudes, because his catalog leave a lot to be desired. Drake needs to use is OVERWHLEMING global influence on people to fuck with whatever he does, and drop a Comeback Season meet So Far Gone, and prove me wrong. The funny thing about Drake is that I know he CAN do it, and I want him to, but till then fi he keeps dropping shit like IF YOURE READING THIS YOURE TOO LATE, then FUCK DRAKE b.

P.S. Drake if the universe ever line up perfectly and give you the pleasure of reading this, take my advice and stop with the "6" shit... that really ain't helping with the Illuminati/Devil rumors son, unless you really on that, then well... by all means carry on.

ALSO WHAT THE FUCK IS CAUSING YOU TO INFLUENCE THESE OBVIOUSLY FATHERLESS KIDS SUCH AS THIS ONE B?!






MY RATING 5.5-6 outta 10