Drake borrows Solange's revivalist sound for his new single
For hip-hop purists, Drake is anathema. On the commercial front, the Toronto rapper easily casts the widest net in terms of sheer popularity amongst his followers. In one fell swoop, Drake is the ultimate emo lover man worshipped by a loyal legion of female fans; one of the last commercial titans that can move the SoundScan needle with multi-platinum ease, surpassing his Young Money label boss Lil Wayne; and a blatantly shameless chameleon that has exhibited the ability to run game with the more street-praised likes of Rick Ross, 2 Chainz and Young Jeezy. And, oh yeah, the mixtape master happens to be a pretty damn good lyricist who has shown the capacity to go toe-to-toe with a throwback wordsmith like Kendrick Lamar, an attribute that Drake’s detractors at time find it hard to come to terms with.
For that reason, Drake’s newest offering, “Hold On We’re Going Home,” is yet another finger poke in the eye of hardboiled fans that like their soundtracks more in the mode of Nas than Babyface. “I got my eyes on you/You're everything that I see/I want your high love and emotion endlessly…” a confident Drake sings on this sensitive pop disco two-step gesture that is devoid of actual rapping. This is a walk in the park for the self-proclaimed “light skinned Keith Sweat,” a record so immediate in its aim (girls, girls, girls) that it could have been the background music for a Lucille Roberts commercial. So how does Drake get away with casually throwing around the B-word (“Long as my bitches love me…”) alongside Weezy only to go all Mr. Softy on a completely different vehicle? Well, that’s show business, baby. Drake will be playing double agent for a long time, so get use to it. —Keith Murphy (@murphdogg29)