The one false move here happens when Drake says, “Girls all in my bed/ and they don’t trip off first impressions,” which makes it sound like he has a small penis.
This song leaked before the release of either of the two official singles, and hearing it in the context of the album after listening to it a million times on its own serves as a good reminder—for me, at least—that the ’ songs that are new will probably sound totally different in a few weeks, once they’ve sunk in.
“You just went and turned your back, dog/ I thought we were family,” Drake sings, inhabiting a tone of voice that manages to contain hurt, contempt, and calm all at once.
The melody sounds like a schoolyard taunt—it’s easy to imagine Drake saying “nyah nyah” at the end of a lot of these lines—and the slow, quizzical beat by 40 and Daxz (a young Toronto producer who also made last summer’s Meek Mill diss “Back to Back”) sounds disappointed and suspicious.
” and takes its title and chorus from “How’s It Goin’ Down”: “How’s it goin’ down?
/ It’s on till it’s gone./ What I gots to know now is/ You with me or what?
The mood and substance of this “Real Friends”–esque track are chilly, too, as Drake sings (on the hook), “All of my ‘let’s just be friends’ are friends I don’t have anymore.” The production, courtesy of the relatively unknown Toronto producer Maneesh (who also produced later tracks “Summers Over” and “Views”) combines orchestral soul with chipmunk soul with dark night of the soul, before closing with some ominous-sounding organs, as Drake laments, “I guess that’s what they say you need to family for/ ’Cause I can’t depend on you anymore.” The wintry atmosphere continues.
Bundled up in a steady bed of fuzzy retro synths—courtesy of producers Boi-1da and Brian Alexander Morgan—Drake muses on his relationship to his city, overwhelmed to find that with his great power comes great responsibility.
The single version of this song included a verse by Kanye West and a brief appearance from Jay Z.
After almost two years of teases, Drake’s fourth official album is here at last, and it’s a monster, clocking in at 82 minutes. Winter to summer and back to winter again.” Sure enough, the album begins with the words “a little chilly out there” and the sound of gusting wind (a sound that repeats through much of the first third of the album).
And what, exactly, is troubling Aubrey Graham’s mind now? is “based around the change of the seasons in our city ...
This one’s just flexin’: Over a beat from Boi-1da, Nineteen85, and Beat Bully, Drake brags that where other rappers hype themselves, he’s just the real thing.
The result is a track that’s more dense with bars than almost any other on the album (example: “That boy light as Michael Jackson/ But off verses, he been blackin’ ”) and one that could have fit right in on As the title suggests, “Weston Road Flows” is another cut that’s dense with rhymes—Weston Road is a rougher part of Toronto where Drake spent some time growing up—but the mood here is less tough and more fun-loving and nostalgic. Blige’s “Mary’s Joint,” courtesy of 40, Drake stays bragging, but with a sense of humor: Addressing his competitors, he brings jokes: “I’m lookin at their first week numbers like ‘What are those!