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One of the keys to Drake's appeal is his ability to internalize his life and make it relatable.
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This is what it sounds like when Drake does right and kills everything. One of Drake’s most celebratory records, we find Drake in the strip club in the city of the purple Sprite “stacking dollars to the perfect height.” He even invites big name strippers like Maliah out to join him before interrupting his own verse to say he’s in love with Nicki Minaj.īut what really makes this song work is the beat, produced by Boi-1da and 40, that samples Hank Crawford’s "Wildflower" which had previously been sampled by Kanye for “Drive Slow” and 2Pac for “Shorty Wanna Be A Thug.” 40 (with a little help from mentor Gadget) was able to turn the sample out, giving it an unwinding, at times disorienting sound that makes it sound like watching a GIF of confetti falling. When you heard Drake had song called “Miss Me,” you’d might have thought it was about to be one of those “emo” songs, but this is far from it. (40 is the only credited producer, too-this is back to basics with a bullet.)ĭuring that unfurling verse, he sways through different flows before going totally liquid two-thirds in: “You tip the scale when I weigh my options/West Palm girls are spoiled rotten/Tiffany on you, you know you poppin/I'll kill somebody if they give you problems/Master bedroom where we get it poppin/Just ignore all the skeletons in my closet/I'm a walkin come-up, I'm a bank deposit.” His final line is one of the most poignant of his career: “I’ll never be forgiven.” What the title promises cannot be delivered. The details offered in the lyrics feel lived in-“Your brother brought me through, you saw me”-and Drake is, for once on the album, critical of himself: “Why do I want an independent woman to feel like she needs me? I lost my way.” The song also deploys that tried-and-true, Drake-featuring-Drake structure, with multiple sung verses and a sung hook before a long rapped section. 40 stitches ghostly portions of Ray J's "One Wish" into a beat that sounds like Burial on depressants. If you were to pare Views into a digestible R&B experience, “Redemption” would be the downbeat heart, the apology and plea, the stubborn rebuttal and melancholy conclusion.