![]() As for Travis, he recalls a few dark times in his life and explains that he would rather break bread than watch his friends break down he also lifts the lid on how he stores certain people in his phone contacts – ‘Scrollin’ through my call log, by emojis, how I’m savin’ ‘em’. In a moment of clarity, he realises that cutting toxic people out of his life in exchange for peace and happiness isn’t as big a cross to bear as some might think. Shining a light on fellow Toronto artist Charlotte Day Wilson, Drizzy samples part of the rising R&B artist’s 2019 track Mountains. Quotable: ‘This ain’t the same Shawn that you knew once / I don’t shine shoes, uh, this ain’t what you want, no / All that back and forth on the internet / N****, we don’t tennis that, y’all gotta do something.’ As the smokey backdrop plays, channeling the same vibes as the pair’s Pound Cake collaboration from 2013, Drizzy and Jigga address foes and disloyal friends, with one key message: never mistake kindness for weakness. ![]() However, stick with it because what unfolds is a collaborative rap masterclass anchored by arguably Jay Z’s most outspoken verse in years. Opening with the same ‘previously on’ skit featured on The Notorious B.I.G.’s Life After Death album, you’d be forgiven for thinking your streaming provider was on the blink. ![]() Quotable: ‘Think I’m Tiger Woods, the way I’m teed off thе 17.’ A sluggish and dreary low-point on Certified Lover Boy, the track welcomes an injection of energy from Lil Durk midway through as well as a beat switch towards the end of the record, but even these aren’t enough to make you want to return to it. Here, Drake questions the hypocrisy of the church-going women who opt to throw shade on him because of his sexual past yet won’t acknowledge their own ‘sins’. Quotable: ‘Starin’ at your dress ’cause it’s see through / Yeah, talkin’ all the s**t that you done been through / Yeah, say that you a lesbian, girl, me too / Ayy, girls want girls where I’m from.’Ĥ. While there isn’t much substance to it, underneath the explicit tales of girl-on-girl action, platinum player lines and Drake’s bizarre claim that he’s a lesbian, the alluring production – courtesy of OZ, Ambezza and 40 – steals the show, sounding like something that could have been recorded during Drake’s Take Care era. This is the first track on the album that hears Drake dip into his singing bag, complete with arguably the catchiest hook on the project. Quotable: ‘Rap n*****s doing weak features for a pop artist ’cause they popped down / Used to wanna throw the Roc up, n*****s know how I rock now.’ If that wasn’t enough, he recruits Nicki Minaj as ‘mama’ to flex on her underlings too. On Papi’s Home, he alerts his contemporaries to the fact that he’s back and that he’s better than ever. Having been at the top of rap’s totem pole for the past 10 years – something acknowledged this summer when he was awarded Billboard’s Artist of the Decade – it’s fair to say that Drizzy has influenced his fair share of artists. Only Drake could turn an obscure Montell Jordan sample into a track about something other rappers.
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