Drake, one of the most prolific rappers in the hip-hop industry, has finally released one of the most anticipated albums of the year, Nothing Was The Same. Although first week sales didn’t meet expectations, it still exhibits the fact that he is the ‘most-popping’ artist right now. Platform’s Oscar Berkhout dissected the highly anticipated album.
“Tuscan Leather”: This intro is possibly one of my favourite songs ever, and definitely one of my favourite Drake songs ever. It’s almost a victory track for all of his career before this new album. He raps, “I reached the point where don’t shit matter to me, nigga. I reached heights that Dwight Howard couldn’t reach, nigga”. Here, in this track, he is expressing what he’s done in the game and it’s unquestionable; he is the most successful rapper around and has been for some years. Before the aforementioned lyric, Drake raps, “…this is nothing for the radio, but they’ll still play it though. Because if that new Drizzy Drake, that’s just the way it go”. The beat is extremely likeable too, it’s a joyful beat, I love it. It just seems as if Drake is having fun on this record – it’s incredible. Drake has entered a new era, you can tell from the whole album; his mindset, his topic choice and his styles. He is the most versatile rapper out, possibly even to ever live. There are two parts to this intro, the second half is a more serious topic. But, throughout, Drake lays down some of the best lyrics he’s ever spat because “[his] life is a completed checklist”.
“Furthest Thing”: A different sound from Drake. Different does not mean worse. If anything, better. My favourite thing about this track is the production. The production and engineering across the whole album is extremely impressive. There is also a second half to this track. I favour the second half, the beat is on point – it’s great. And the rapping is also on point. He raps, “Your lack of effort got me rapping different”, complementing his confidence from the first track. He knows exactly where he stands in the hip-hop industry. On top. “Yours truly, the boy”.
“Started From The Bottom”: Hip-hop song of the year; an anthem, a club song, a radio song, a soundtrack. Double platinum single. Everyone has their own opinion on the track by now so we can move on promptly to the new tracks.
“Wu-Tang Forever”: This track is fire. Three flows, three topics. The main rapping verse being my favourite part of the track as Drizzy raps, “I just gave the city life, it ain’t about who did it first, it’s ’bout who did it right, niggas looking like ‘preach!’”.
“Own It”: I see this track as an extension to “Wu-Tang Forever”. The first half of the track is more of a preview of the hook, with repetitive rhythms and words. Then, the second half features a strong verse that addresses personal issues. One notable thing about this album is that Drake digs a lot deeper into his feelings and emotions and doesn’t pick too many relatable subjects, he talks about himself. This is one of my less favoured tracks from the album.
“Worst Behaviour”: Man, this track. The song is crazy! One of the illest tracks from the album, undoubtedly. This is a track you want to bump driving around your city, in the club, at a party, when you’re feeling like flexing. “Bitch, you better have my money, when I come for the shit like ODB”. I admire this track so much because it just exhibits Drake’s versatility so much. You’ve never heard a Drake track like this (and that goes for a lot of the album). It’s admirable to say the least. From 2:55 onwards, Drake is fronting. He is really rapping. On his “Worst Behaviour”. “Remember, mufucka”.
“From Time”: This track, featuring Jhene Aiko, is more of a typical Drake song. An R&B beat with a soft-voiced verse. But this track really makes you think what’s going on in your life, it makes you look back, look forward and look at the present. I’ve heard people say that it really gets their emotions going, I’m not surprised. It’s deep. Although it’s not relatable and is personal, you can try and put yourself in his position and reshape Drake’s words. One of my favourite lyrics from the track is, “Then she start telling me how I never be as big as Trey Songz, boy, was she wrong” – no disrespect to Trey, but it’s true. I like when Drake acknowledges his presence and realises how important he is. Rappers need to be cocky and arrogant at this stage in their career, especially with this sort of stature.
“Hold On, We’re Going Home”: The lead single for the album, a radio hit and chart topper. There?s not much to say about this track (from me). It?s a massive hit, Drake?s vocals have improved massively and it just shows that versatility runs through the whole OVO crew and it exemplifies 40?s (Noah Shebib?s) great versatility as well as Drake?s (when it comes to rapping/singing).
“Connect”: This is one of my least favoured tracks from the album. Why? Because I much prefer the “Tuscan Leather” or “The Language” sort of Drake, when he’s really rapping. I admire this track mostly for production, as said before, the whole album’s production is impeccable. I don’t have many comments for the track, but don’t be put off, it’s a solid album track – just one of my less favoured.
“The Language”: Another one of my favourite tracks from Nothing Was The Same. Drake’s flow is incredible, it’s as impressive as his flow on “Versace”. In a recent interview when speaking about the album, Drake said that some people asked “Who is this rapping” and he responded “Me”; I think this is one of the tracks that people would question about. The beat and his flow match perfectly. “She just wanna smoke and fuck, I said: ‘Girl, that’s all that we do’”. Drake and his crew are tight and when he speaks about affiliates in songs (other than females), it’s always his OVO crew. This is a radio banger, a club banger and a song you want to bump if you’re ready to turn up (don’t try and imagine an English accent saying that).
“305 To My City”: This track surprised me, I imagined a different tempo and a different feel to the track when I saw the title and the feature (Detail). But, still, it?s a solid track, Drake?s vocals are brilliant and complement Detail well. 305 (Miami) is where Young Money are famously based with affiliates like DJ Khaled and his We The Best group. But, Drake always shows love to Miami whenever he?s there. He mentions ?281?, which is an area code in H-town (Houston), another one of his favourite places. Again, I don?t have a huge amount to say about this track. But, again, a solid track.
“Too Much”: This is easily one of my favourite tracks on the album. On Take Care, “The Ride” was my favourite softly-rapped track, now, on this album, this track is. What I love about the production is how it switches from a musty, ‘live’ sounding hook into a CDQ, well-engineered and edited verse. The two contrasts entwine smoothly, so props to whoever was on production (presumably 40). His performance of this track on Jimmy Fallon got me thirsty for the CDQ version, I’m so glad to have it playing in my ear at this very second. It’s soothing, smooth and relaxing. I respect the second verse immensely. Drake really dug deep to put his thoughts from pen to paper. Mentioning his Uncle and Mom (pardon the American spelling) in personal situations like that is so admirable. I’ve put my opinion on the track on a post for theNQM (the other site I write for), so check it out, just go through my archive on the site and it’s there. Read up.
“Pound Cake/Paris Morton Music 2: This track features one of the most successful rappers ever to live, HOV, Jay-Z. The intro reads “So, we hope that you’ve enjoyed listening to this album half as much, as we enjoyed playing it for you, because we had a ball. Only real music is gonna last, all that other bullshit is here today and gone tomorrow”. The beat kicks in straight after, it’s euphoric. Then, you hear Wu-Tang’s “C.R.E.A.M” faintly playing in the back. Drake starts rapping, it sounds different, it sounds like he’s a true elitist – flying over every other competitor. “You know it’s real when you are, who you think you are” – again, I love when Drake brags. He is who he is, accept it. He’s the man. He’s getting money, selling records, shutting down the internet and building a legacy. Then you’re hit with HOV. They’ve (Drake and Jay) collaborated before on Drake’s debut album Thank Me Later on a track titled, ?Light Up?; they?re obviously familiar with each other?s’ styles and their chemistry is natural, not awkward and forced. HOV blesses the track with a very respectable verse ? ?Cake, cake, cake, cake, cake!?. The second part to the song, ?Paris Morton Music 2?, kicks it around 4:15. This track is second to a volume of ?Paris Morton Music? tracks, the first was a spin off of Rick Ross? ?Aston Martin Music? that he featured on. ??Like I should alert niggas when I?m ?bout to drop something crazy and not say I?m the greatest of my generation? ? Drake is one a different level, seriously. This is just Drake stunting on all opposing rappers. Kendrick, this is your response (so is ?Tuscan Leather?, I guess).
“Come Thru”: This is another track that features a very repetitive set of words and melodies for the first quarter or first half of the song and then switches into what seems like a spontaneous break out of lyrics. It’s nice to have that, I expect him to rap some time in the track, but you never know where. And, when he does, it’s pleasant as always. This track is for the ladies he sees from city to city. You know Drake gets women on women, so he knows to vent about it somewhere. Then, at 2:20, it switches to what sounds like an alternative R&B track, the production again, dare me say, is incredible from start to finish.
“All Me”: I’ve given my opinion on this track many a time. Overall, a great track. A good rap song to have on the album and some good features to have on the album. I think 2 Chainz is pretty weak and damages the track with his verse, but regardless, Drake kills the hook and his verse. Big Sean also compliments the track with a great verse at the end. It’s an anthem. And, the title exhibits the cockiness he’s maintained throughout the whole album.