Drake Stans spent the better part of last year trying to convince the hip hop community that writing one’s own rhymes is unimportant in the wake of their mans’ beef with Meek Mill. In my opinion, Meek played himself by thinking that people who are fans of Drake’s would care about writing rhymes – not to mention the fact that Drake was no wizard in terms of penning rewindable bars in the first place, ghostwriter or not. This is the guy who makes music for guys who go through their girlfriends’ phones when they’re not looking and girls whose rap knowledge doesn’t go any farther back than 2010 or so. To be clear – rhymes matter, as does writing them, and Drake’s latest album is a perfect example of why.
I have a lot of fun cracking wise about Drake and his fans, but the truth is I’m always listening for a rapper to surprise me. Unfortunately, there aren’t many surprises on Drake’s latest LP, even for people who were looking forward to this thing with bated breath. Views dropped on the heels of me first hearing “Summer Sixteen” not long ago, a record I was surprised to find that I actually liked…probably due to the rapping being at the forefront. Unfortunately, this song doesn’t appear on the album.
“Hotline Bling” is an undeniable jam. It’s textbook in-my-feels Drake, but it isn’t directly derivative of anything else, which is refreshing for a Drake record. Plus, he isn’t really trying to sing on it, just rapping kind of melodically. I think it’s fortunate for Drake that his “era” is one known as the a la carte era of music consumption, where most music fans don’t even remember a time when they had to sit down and listen to most albums front to back and really spend time with them vs. putting their favorite jams on shuffle or just playing only what you want to hear at a given moment. Drake’s nasally, studio-doctored vocals on every single track can be insufferable at times, but I don’t think that’s as much of an issue now as it would have been at a time when really sitting with an album was the norm.
I particularly enjoyed the song “Grammys”, though for reasons that have nothing to do with Drake himself. I find it hilarious that guest Future manages to completely wash Drake on a song where your mans boldly declares “top five, no debating” followed by “topfivetopfivetopfive“, as if he’s trying to hypnotize the listener into agreeing with that ludicrous statement (top five Canadian rappers, I’ll give you…partially because I can’t think of five at the moment). Not even close, homeboy. But this is one record I can definitely see not tomahawk dunking into the recycle bin as soon as I’m done with this review. Infinite soul daps to whoever manages to chef me up a Future-only version (funny thing about this entire paragraph is that I’m not even a Future fan).
“U With Me?” jacks DMX’s “How’s It Goin’ Down” word for word in parts, which I’m not mad at. Tributes can work. What’s weird is when I consider that the majority of Drake’s fans would probably be traumatized for weeks if they actually listened to It’s Dark And Hell Is Hot, the album the original record was on. We don’t even need to mention the fact that last I checked, Dark Man X isn’t particularly fond of Drake. I bet he’s gonna spend whatever check he’s owed for the sample with a smile on his face, though. Hopefully he didn’t try to do DMX like he did Rappin’ 4Tay a while back.
I really wish people would stop trying to force posthumous Pimp C verses onto Drake records. Even though Bun B’s given Drake a permanent pass, those in the know also recall that it was Bun B who approved the UGK feature on Jay-Z’s “Big Pimpin'”, while Pimp C dragged his feet purposely and finally ended up doing it, but only at Bun’s behest. If C thought “Big Pimpin'” was too pop-sounding, I can only imagine what he would have had to say about appearing anywhere on this album, let alone what he would have to say about Drake himself. This collaboration seems (and literally was) forced. This brings us to the patois-tinged “Controlla” where, for the umpteenth time, Drake adopts another region’s sound in an attempt to be all things to all people without ever giving us a feel for “the 6” as a foundation for his experimentation. As you may know, Views was originally titled Views From The 6, which is a reference to his hometown, Toronto. As Canada’s golden child, one might think Drake would take the chance at establishing a signature sound for his part of the world aside from the mopey robot sound adopted by cronies like The Weeknd and Partynextdoor. None of this homogeneous material gives me any feel whatsoever for the energy of the region, unless everyone up there sounds like drowning robots with hella personal issues to tell you about. No shots.
“Child’s Play” is easily the most childish record rap has heard since Smedium Sean’s “IDFWU”. Played-out, ignorant references to “actin’ lightskin” and trite Love & Hip-Hop fare really set the bar pretty low here. Due to the apropos title of the song, one can only hope Drake’s being tongue-in-cheek, but even in that case, the record could have remained on the cutting room floor. “Too Good” finds Drake alongside Rihanna, where even her bleating manages to outshine his tired vocals. The biggest flaw in Drake’s repertoire throughout the course of his career aside from absolutely vapid content is his insistence on singing. Call me crazy, but when I want singing, I listen to people who actually can, not rappers who play at it.
Ultimately, this is an okay album on the surface, but once you get to the lyrics, you’re bound to be disappointed…that’s if you’re an oddball like me and expect rappers to actually be good at rapping and even singers to be good at singing (imagine that). This is where the more irrational Drake fans must stand apart from fans of the craft itself. Views would be an amazing instrumental album, but the vocals and raps tend to drag it all down, like pearls before swine. Drake consistently manages to slap together some absolutely abysmal Carter 4-level metaphors and punchlines (“toying with it like Happy Meal” or the infamous “Chain-ing Tatum” line) throughout the album, giving credence to the idea that fans need to stop trying to shoehorn the rapper into discussions about top-tier MCs. He simply isn’t one. Hitmaker? Sure, but that’s a separate conversation and depends solely on what you think that title is worth in the long run, especially in a time where the lowest common denominator rap records tend to reign supreme. I see Drake as an entertainer – not a particularly compelling one, to me – but a successful one, nonetheless, for what that’s worth. People are entertained for the moment and I guess that’s what’s important in music for the time being, but I doubt if anyone will still be discussing this record next year or in the years to come. Either way, Views will bang throughout the summer or at least half of it for party-goers and anyone with a sound system to show off. At the end of the day, though, who knows? Maybe fans will start to reconsider their belief that rhymes don’t matter anymore and start demanding better quality from their idols. A critic can dream.