Drake did not hold back and name-dropped several in the album.
Our ratings: 9.4/10
There is a deep history between Drake and 21 Savage. Working together for the first time in 2016 for the song “Sneakin,” Drake’s co-sign helped the Atlanta rapper become well-known. On paper, it appears to be the perfect pairing, if we were being bold.
Her Loss, the Drake and 21 Savage record that was ultimately released on Friday, November 4th, teaches us that not all that shines is gold. Her Loss is a compilation of good production songs covering their favorite subjects that were influenced by the Honestly, Nevermind hit “Jimmy Cooks.” Haters! Women! A style of living that their devoted followers can imitate? Everything is there in the album. Topping it off, Drake namedrops people in the album, igniting new and some old beefs.
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Her Loss arrives at an exciting moment for both rappers. Prior to legal difficulties, 21 Savage had a remarkable career; it has been four years from his last solo record and two since his most recent effort overall. Drake, on the other hand, shocked listeners with his home song “Honestly, Nevermind.” As an uncommon break from the conventional, it won him a devoted following while offending many of his more devoted fans.
The title, cover, and release strategy—which included a faux interview with Howard Stern—all gave the impression that the Toronto and Atlanta team would be delivering some toxically male trash. Rather, we got a combination of gangster talk, performing on vulnerable topics about love and relationships along with some upbeat Southern bangers. In essence, the duo behaves as we would want them to.
Her Loss resonates because it expertly combines the conventional and unconventional with standout performances from both rappers, who consistently come across as competitors.
“Rich Flex” kicks off the album. They served the “a lot” format, starting with a blues sample and progressing to a laid-back yet energetic sound. To be frank, I expected Her Loss would have maybe 10 songs that felt like this. “Rich Flex” has the same upbeat pop southern sounds that 21 Savage and Drake have already been collaborating on for a long. The first, as predicted, has a grim reaper, while the latter has a cute person who transforms into a gangster when he goes out with the scary neighborhood kids’ heat.
After approximately a half-minute of Drake playing a slum Ray Charles, “Major Distribution” transforms into a groove waltz that pays tribute to Bad Bunny, Mekhi Phifer, Macaulay Culkin, Steve Francis, Andrew Wiggins, and folks who either don’t call the police when they get stuck up. The camaraderie between Drake and 21 is what renders this single so amazing.
“On BS” is one of the most basic melodies ever. 21 Savage literally states he’s on that bullsh*t over and over. The best part is that the hook sounds great atop the song’s slick trap rhythm. Trash-talking and obvious chest-bumping by Drake and 21 Savage. For example, during their verses, they appear to be able to improve a girl more successfully than the Nets can enhance a squad.
The song “Privileged Rappers” is already making waves on social media and directs some sharp jabs at the rap scene. But with the hip-hop community still reeling after Takeoff’s passing just a few days ago, you can’t help but question if the situation is off. Regardless of how catchy the verses are, far too much hatred isn’t beneficial for anyone.
The finest tracks on the album include “Treacherous Twins,” “Broke Boys,” “Jumbotron Shit Poppin,” and “More M’s,” which has a shout-out to Mississauga and joins “Rich Flex,” “On BS,” “Middle of the Ocean,” and “Major Distribution,” with its basic piano composition.
Travis Scott joins the pair on ‘Pu**y & Millions,’ a single that gets right to the heart of the album. “They say: mo money, mo problems – bring on the challenges,” they remark before launching into a love story of complexities. On ‘Broke Boys,’ fame has its own challenges, with lesser-known rappers taking shots at the duo. Though the body of the song — which has a very appealing melody, consistent lines, and a trap rhythm that would give a crazy genius a hard-on — will attract your interest more than any other, don’t overlook the trivial finish of the song, which has loads of booing and a frightening beat.
In “Middle of the Ocean,” Drake went wild in the most dignified way conceivable. All through the song, he bragged about his friendship with Robert Kraft, his high-end wardrobe selections, his passion for signing deals, and his high-priced hunger over 2 separate sophisticated rhythms. While you may enjoy Drake’s clever funny lines and constant flows, I won’t lie: his lyrics make being wealthy seem like a chore.
Drake really fades on this song. He fainted out after sipping MacLellan number 6, not the MacLellan available at your local ABC shop. The melodious flow of ‘Jumbotron Shit Poppin’ is pure enjoyment, while the gloom of ‘3AM On Glenwood’ is one of the album’s most revealing moments.
The closing song, “I Guess It’s F**k Me,” is a terrific way to end the record and one of the greatest songs on the album. There was a sense of what was lacking prior to it. It has a dramatic and majestic feel to it, thanks to the piano chords and horns. Drake is at his finest when he’s contemplative and genuine, offering us tracks to listen to while driving in the dark and reflecting on our life. While Drake gave us what we needed for the most part of the album, this track was just what we required, raising and shifting the album’s tone.
All The People Drake Dissed On His New Album “Her Loss” & Their Responses
Every second of his existence is consumed with work. It’s basically a Drake solo session that returns to the rap stream, switching cockiness for reflection. It appears to sum up an erratic album that clearly entertains despite not understanding where its boundaries lay.
When Drake and 21 Savage collaborate, I dig it. The big benefit of their friendship is how much it has developed since they initially worked together on “Sneakin” a few years back. Having said that, I like how whiny, juvenile, and arrogant they come across in Her Loss.
Although I praise 21 Savage, let’s keep it stackable: He is cleared of all charges by Drake on this album. The self-described 6 God strikes me as enjoyably vengeful, ice cold, highly competitive, extremely snooty, and unusually merciless. Additionally, he does a wonderful job at experimenting with a variety of original flows and vocal techniques. In actuality, I believe Drake handled this task similarly to an NBA player who began carelessly aiming for a 50-point performance after his team had a 30-point lead. I enjoy how 21 Savage gives this record a realistic gritty quality.
Club bangers, a Travis Scott cameo, a love ballad, one of the finest rap performances of the year, Yeat’s flows, a sly dig from Megan Thee Stallion, Kanye West, Serena Williams & her husband, and just the appropriate balance of menacing emotions can all be found on Her Loss. Even while I sincerely believe that hearing an effort where the lead singers make you feel like common folk is likely terrible for your well-being, it will unquestionably be to your detriment if you choose not to enjoy it.
Overall, the album is successful and meets all of our expectations. As usual, the tones and sounds of Drake and 21 Savage fit nicely together. There are a few cheery parts scattered throughout, but you won’t find any major singles or albums that seem like pop music. This one is “for the streets,” according to quote Future.
