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It’s a stage play of familiar faces and solvable problems.
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(This makes leaking Kanye West and André 3000’s shelved Donda collaboration - if we are to believe these Hidden Hills neighbors genuinely hate each other and aren’t just in a cynical theater of mutually beneficial spite - a miscalculation rooted in the idea that West cares as much about the prestige he gets from a collaborator as Drake does, when West clearly has no qualms about cutting talent still, Kanye posting Drake’s home address, which was already a matter of public record, is the sillier jab.) The better releases gently update formulas, minding emerging sounds on the radio but never displacing the core appeal of a Drake track, that usefulness of the yearning lyrics in his love songs and the lonely egotism we all relate to on a certain level as the protagonists of our own tales, plagued by doubters and haters, real and imagined.
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As much as Drake knows how to rap and write good hooks, he knows his audience loves sage branding exercises, carefully curated nostalgia, expensive gestures, and power plays: the guest bars from Jay-Z, the Michael Jackson sample, the Beatles chop.
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This is true of both the way he positions himself to be adjacent to every massive trend and the reality that this is making his art feel safe.ĭrake’s regency dovetails with a larger moment in modern pop culture characterized by an endless wave of sequels and revivals for beloved intellectual properties, a torrent of historical documentaries and period pieces, and a focus on the messy brilliance of auteurs, where a unique vision of the present and a dusting of retro vibes are tickets to mass appeal. His albums survey developments in street rap across regions, R&B across decades, and Black art across continents. Drake is the man about town in every town. He’s a weathervane for what’s popular, always ingratiated with the right rappers, athletes, and models, always apprised of the best kicks, kits, jerseys, streetwear, athleisure pieces, and designer gear, of what teams to support, what shows to watch, and whose sounds to dabble in.
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His official singles rarely miss the top ten his albums routinely top the charts internationally his guest spots have the power to break new artists. In the event the subtlety of the message in Lover Boy’s intro “Champagne Poetry” eluded you, “You Only Live Twice” recapitulates later: “Not sure if you know, but I’m actually Michael Jackson / The man I see in the mirror is actually going platinum.” Drake is the moment, top two in any conversation about the biggest-selling artist of the era, and not often the runner-up. If you follow the lore, you know the Boy got a tattoo on his forearm a few years ago depicting himself waving back to the Fab Four, in commemoration of shattering a few chart records previously held by the Liverpool legends. The first sound heard on Certified Lover Boy, the sixth studio album by Canadian hip-hop heavyweight Drake, is a sliver of the 1965 Beatles song “Michelle” (as performed by Chicago vocal group the Singers Unlimited, as sampled by Virginia R&B star Masego in his 2017 track “Navajo”).
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Ironically, Drake also makes an “uncredited appearance on Astroworld, bringing that particular chain of coincidence full circle and fully establishing Travis Scott as one of rap’s upper echelon artists.īelow is a breakdown of the features that popped up on Astroworld to play musical foils to the chameleonic Travis.On Certified, the Boy’s truest loves are family, wealth, and self. One, Stevie Wonder, is not only unexpected, but truly special as Stevie’s only ever made one other special guest appearance like this for a rapper - Stevie appeared in his harmonica-playing mode on Drake‘s 2011 album Take Care on the song “Doing It Wrong” (which was later sampled on Drake’s More Life “Jorja Interlude”).
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While some of the features were hinted at ahead of the album, like the appearance of GOOD Music rookie Sheck Wes and Toronto MC/producer Nav, others like Frank Ocean and James Blake have come as utter shockers. Of course, it wasn’t long before listeners could figure out for themselves, and social media has been abuzz with the delighted discoveries of both casual fans and hardcore “Ragers” alike. However, in typical Travis fashion, he’s left an element of mystery hanging over it, as its listings on streaming services and on the tracklist he posted online keep the features a tantalizing secret. With the release of Astroworld, his followup to 2016’s Birds In The Trap Sing McKnight, Travis Scott has put an end to two years of speculation about the album.