Hot 97's Who's Next Series Featuring Drake
Johnny Nunez

'So Far Gone': Re-Reviewing Drake's Iconic Mixtape 10 Years Later

Looking at ‘So Far Gone’ 10 years later, we catch a glimpse of how Drake became such an attractive force in the industry.

“Draaaake?! Draaaake?! Aubrey Graham in a wheelchair... Draaaake?!”

Soulja Boy’s viral rant, while hilarious to 15 million viewers who watched The Breakfast Club interview, seems almost silly to contemplate now in a musical climate so easily dominated by the OVO frontrunner. But in 2009, at the release of Drake’s breakout mixtape, So Far Gone, Soulja’s questions of Drake’s influence and placement on the hip-hop spectrum actually mimicked the inquiries fans may have been asking at the time. Even Drizzy seemed to share those same contemplations on the project as he reflected his newfound stardom and the future that would unfold as a result.

So Far Gone, however, diminished those ounces of doubt. Ten years later, the 18-track project still comes together as one of the most cohesive mixtapes of this decade and has become the building block to one of the sturdiest foundations of a hip-hop artist to date. Revisiting So Far Gone and taking its temperature anew, we get a glimpse of how the personas of the emotional rapper came to be such inescapable and successful forces within the music industry at that time.

 

View this post on Instagram

 

@futuretheprince a decade ago you were Dj’ing all ages [email protected] a decade ago you were scared to share your [email protected] a decade ago you worked at a clothing store selling someone else’s [email protected]boi1da a decade ago you were in a basement with pink insulation walls figuring out fruity [email protected] a decade ago we were handing out flyers promoting club [email protected] a decade ago you were working the makeup counter at Beverly [email protected] a decade ago your moms house was my safe place and we really ran through the 6 everyday [email protected] a decade ago you were a legend and you will remain that [email protected] a decade ago you promoted me as if you were getting a cut of my [email protected] a decade ago you were the first person to recognize potential and give me a [email protected] a decade ago you came to the Beverly Wilshire Hotel and laid a verse for an unknown artist from [email protected] a decade ago you emailed me the cover art for something that would change my life [email protected] a decade ago you came to my release party at 6 Degrees and made me the biggest artist in the city off your presence [email protected] a decade ago I rapped over your beat cause you just made the best shit and even though you stay wildin on twitter these days I will never forget what you contributed to the game and my career...Portia I don’t know your IG but a decade ago you told me to rap over June 27th and bonded me and Houston Texas [email protected] a decade ago you took a chance on MySpace and introduced me to [email protected] a decade ago you took me out of Toronto and gave me the biggest blessing anybody has ever given me...I will never forget anybody involved in this journey even if you don’t fit in this caption...So Far Gone streaming everywhere for the first time ever Thursday. 🙏🏽

A post shared by champagnepapi (@champagnepapi) on

With his follow-up to Comeback Season (2007), Drake interrupted the hip-hop landscape with introspective songs that played up relationships instead of violence and street life through a healthy mix of confident raps and charming vocals. The idea of “emotional rapping” was so novice that it seemed uncool or too feminine in a male-dominated genre (Lil Wayne’s No Ceilings, Nicki Minaj’s Beam Me Up Scotty, and J. Cole’s The Warm Up also created noise at the time), but Drake’s ability to reach his female audience while still resonating with the masses was irrefutable. The somber tone of “Sooner Than Later,” sung in his lower register, perfectly conveys his efforts to reach an estranged lover before she’s gone for good. “The girl or the world? / They say someone gotta lose / I thought that I can have it all, do I really got to choose,” Drake ponders on the record.

In addition to lyrical content, Drake’s audacity to sing on heavily R&B-inspired tracks is unmatched. We saw that on “Houstatlantavegas”—possibly the genesis of his infatuation with strippers (“Hey there, pretty girl/You know, exactly what you got/And I don't blame you at all/You can't resist it/Especially when the lights so bright/And the money so right/And it's comin in every single night,” he crooned)—a seductive song that listens as an open love letter to a mysterious working girl. The romanticization of this woman is reminiscent of T-Pain’s 2005 single “In Luv With a Stripper,” but it seesawed back and forth between velvety refrains and confident bars that captured the allure in a way that felt both sexy and humanizing. The girl was no longer just a stripper, but one who dreamed of making it out of her hometown.

His singing may have seemed comparable to Kanye West, who had just released his predominantly auto-tuned album 808s & Heartbreak just a year before (Drizzy actually sampled Kanye’s “Say You Will” from the same album, flipping it to be a rap track). Even so, Drake dared to pair his vocals alongside talented voices within the R&B space, proving that he could sing just as much as he could rap. “A Night Off” was an incredibly bold and ambitious move. Drake had cojones to pair his sensuous crooning with the high notes of a certified songbird like Lloyd, but somehow it worked. This was the vulnerability that would give him his “Heartbreak Drake” persona, and he won for it.

While his vulnerability would be his gateway into the industry, Drake wanted to remind fans that he was still very much a rapper and a force to be reckoned with. In comparison to “A Night Off,” Drizzy flexed his flows on “Successful,” while Trey Songz held down the chorus. The materialism that was an undeniable 2009 rap music theme stood on the forefront as the eerie harmony led into Songz’s hook, fully encapsulating the desperation of a rookie attempting to overcome struggles and bolster from nothing to everything.

A seasoned Drake would surely not equate his success to simply h*es and cars, but its message, while simple, was honest and provided insight into a naïve conversation on what fame meant to a newcomer. Drake went harder on “Uptown,” though. The rapper had no choice to flex cocky bars over the Boi-1da-produced beat in order to keep up with its A-list features, Lil Wayne and Bun B.

This reminder of Drake The Rapper was also prevalent in his sampling. He demonstrated his understanding of hip-hop’s rich history on songs like “November 18th,” where DJ Screw provided the perfect assist with a chopped and screwed sample of Kris Kross’ “Da Streets Ain’t Right” (which also borrowed from Notorious B.I.G’s 1994 single, “Warning”). Although the track held a lot of weight in its instrumentals, Drizzy forged his own story by illustrating the day Lil Wayne called him, which in turn changed the course of his fate. Likewise, a purely-rapping-no-hook Drake over Jay-Z's original “Ignorant Sh*t” on his version, “Ignant Sh*t,” is quite nice. Yes, breaking away from the usual blueprint of breaks and harmonious choruses makes it teeter on the exhausting side, but the song’s lyrical content was a time capsule of the last decade (“Rest in peace to Heath Ledger, but I’m no Joker”).

The entirety of So Far Gone set the pace for Drake’s career in the years to come, but the tape’s final track, “The Calm,” foreshadowed his position in the landscape of hip-hop the most. “Leader of the new school, it’s proven and it’s known / I’m sitting in a chair, but in the future it’s a throne,” he prophesied. The electronic and muffled beat leads in to Drake’s reflection about a sense of alienation in the industry and his personal life that surely has continued well into the 2010s. While he is now one of the most commercially sought after talents in pop culture, his artistry has often been questioned by his musical peers. But even then, like the song said, Drake has always known that things were going to work out in his favor: “Everything will be okay and it won’t even take that long.”

From the Web

More on Vibe

VIBE/ Jessica Xie

Review: Jessie Reyez’s Expressive EP Proves There’s Beauty In ‘Being Human In Public’

Jessie Reyez’s recently-released EP Being Human In Public proves that the Toronto musician’s fiery exterior comes with a cool, introspective center. Her 2017 EP Kiddo introduced her to the world as force who was willing to “go there” by singing about major issues like sexual assault and emotionally abusive relationships. This time around, Reyez muses about the softer side of love, displaying her flexibility within the overarching theme.

Much of her latest EP, which dropped Friday (Oct. 19), pertains to the wide range of emotions that come with romantic appreciation. Thanks to her animated performance ability, Reyez encapsulates the complex gamut of the strong emotional state; there’s longing, anger, confusion, confidence and so much more. The 27-year-old songbird’s vocal versatility has gained fans like Kamikaze collaborator Eminem and Aerosmith’s Steven Tyler, and her attention-grabbing abilities are showcased throughout the multi-dimensional seven-song project.

Reyez’s true vocal gifts shine through when paired with more demure production, evident by the EP’s starting track “Saint Nobody” and the stand-out love anthem “Apple Juice,” produced by Tim Suby and Fred Ball. Her effortless falsetto notes at the duration of the aforementioned song are a melodic combination with the strings that finish out the track.

Perhaps the song that best displays Reyez’s tender core is “Sola (Interlude),” which is sung entirely in Spanish. She coos over an acoustic guitar to a lover about how she’s not necessarily the type of woman they should be with—she would be better off sola (alone). The result? A heart-wrenchingly relatable track that could have served best as the EP's stunning finale.

“I'm not the type of woman that your mother wants to see you with,” the lyrics translate to. “I could never please you...I'm an eagle, flying alone.”

While the content throughout Being Human In Public is rather profound in nature, Reyez makes sure that her signature unapologetic delivery to tackling topics through her songwriting is also highlighted. Thanks to assistance from budding music sensation Normani and Grammy-nominated R&B singer Kehlani on the “Body Count (Remix),” all three singers’ stances on body positivity, sex positivity and all forms of love are highlighted.

Additionally, the straightforward “F**k Being Friends,” which is slightly reminiscent of her quirky Kiddo track “Shutter Island,” deals with the occasionally murky divide between courtship and friendship. “My p***y beat better than my heart do?” she sings, “so why you p***y-footin’ on this part two?”

“In every aspect—in my music, in my life—I’m going to be straight with you, and I tell people too, I’m like that,” Reyez told VIBE in April about the importance of being upfront. “I need you to just tell me direct, because if the roles were reversed, I’m the type to tell you direct.” Love is one of the things that connects all of us as people, and if you can’t be real with that, what can you be real about?

Reyez makes sure that her honesty on wax is as plain and simple as it is in her personal life, and Being Human In Public is an audibly-pleasing extension of her personal beliefs and values.

READ MORE: NEXT: Behind The Extraterrestrial Voice, Jessie Reyez Is Human Like The Rest Of Us

Continue Reading
Lupe Fiasco performs as part of the benefit concert, 'Power To The People' at Coliseo Jose M. Agrelot on March 18, 2018 in San Juan, Puerto Rico. (Photo by Gladys Vega/Getty Images)
Photo by Gladys Vega/Getty Images

Lupe Fiasco Eschews Label Drama And Controversy For Ambitious 'Drogas Wave'

In the early 2000s, JAY-Z called Lupe Fiasco “a breath of fresh air” for rap. Most of the hip-hop world agreed. He delivered a standout verse on Kanye West’s “Touch The Sky,” and a well-regarded Food & Liquor studio debut that led rap fans to saint him as an imaginative, skilled lyricist, adept at weaving storytelling, social commentary, sustained metaphors and technical precision together in an A+ package. Unfortunately, it didn’t take long for that figurative breath of fresh air to become a sigh.

While crafting his third album Lasers, he began having creative differences with his former label Atlantic Records. Though the album was eventually released — after his fans literally petitioned for it — the struggle derailed what seemed like his inevitable trajectory to the heights of music that stylistic peers like Kendrick Lamar and J. Cole now occupy.

Lupe’s known in part for his sophomore album, The Cool, but it seems like a good stretch of his career was more defined by the frustration. In 2018, though, Lupe’s finally on the right wave — the Drogas Wave. Lupe dropped his first independent album last week, a 24-track conceptual piece dually exploring the drug trade and the transatlantic slave trade that cap-stoned his own trade of Atlantic Records for artistic freedom.

I really only did this album for solid Lupe fans. The PhD’s in Lupeism. It’s in no way for new fans, the casual listener, record sales, the year 2018 or radio. Just the core fans to have a ball with. https://t.co/N76F5YAeDJ

— “DROGAS WAVE” NOW PLAYING (@LupeFiasco) September 26, 2018

He’s always been a master of conceptualization, weaving thematic, if not narrative-driven connections from verse to verse and song-to-song on albums like Food & Liquor, The Cool, and Tetsuo & Youth. Drogas Wave is among his most ambitious work in that regard. The album, which he’s said was made specifically for his “core fans,” ideates what the rhymer called an alternate, fantastic history of the slave trade in which a group of Africans jumped off a slave ship, survived underwater, and spent their new lives sinking subsequent slave ships.

But he still delves into the reality of what happened on songs like “Manilla,” where he sheds light on the currency that European countries used to purchase slaves from West Africa to build so much of the western world. Looking to unite black and brown people across the Americas, Drogas Wave shows him representing for three communities of African descent cultivated in spite of western colonialism: Latinos, West Indians and Black Americans. He rapped fluent Spanish on “Drogas.” He collaborated with reggae royalty Damian Marley on “Kingdom” and rhymed in patois on “Gold vs. The Right Things to Do.” On the thrilling “King Nas,” he dedicates some of the project’s most impeccable rhyming not to God’s Son, but his two young nephews King and Nas who are coming of age in a treacherous environment for all black people in America.

The album was well-crafted and laden with thought-provoking, research-worthy bars examining the scourges that plunder black and brown communities, but it wasn’t flawless. He utilized over a dozen different producers on the project, which resulted in a few compositions that are less compelling than others. There are also choruses by Nikki Jean on “Down” and Troi Irons on “XO” that felt a tad too eager for mass appeal. But even on those tracks, the invigoration and dedication that Lupe rhymes with make them worthwhile listens.

Drogas Wave shows Lupe on the right track. While so many of his fellow rap veterans were ravenous publicity hounds this year, he spent his online time on Instagram Live, dropping what he called “super facts” about the fallacy of white supremacy and the music industry. He also apologized to people he’s insulted like former President Obama, Childish Gambino, Kendrick Lamar, and others. Throughout that March apology session, he ended his statements with variations of, “I should have kept that to myself.” Perhaps he’s now in a space that he should have been his entire career: independent and letting his incredible lyricism speak for him.

Lupe always has wisdom to impart, but like his Chicago comrade Kanye West, he doesn’t always communicate his thoughts in the best way. Over time, he developed a reputation for being an easily agitable presence on Twitter. He’s gotten into arguments with Kid Cudi, Azealia Banks, and several others. In 2013, he derogated Donald Glover as a “Black” instead of a “n***a” for arbitrary reasons.

In 2014, when Australian rapper Iggy Azalea was being accused of cultural appropriation because of her put-on “Atlantastralian” accent and racist lyrics, he defended her by saying she had “a space” in hip-hop. That comment made him one of the first victims of the dreaded social media “cancel,” and he lashed out with his own tweetstorm. He tweeted, “b***h I been here on the rooftop screaming in the ears of these brainwashed a** more money on they feet than in they pocket a** n***as,” and also proclaimed, “I'm here...kick pushing you ignant a** n***az and fast trout mouth a** b***hes all the way to the promised land kicking and screaming h**.”

His retorts were based in truth, but sometimes, brutal honesty is just brutality. The tweets typified why Phonte infamously likened Lupe to The Newsroom as a “technically brilliant show that would be a lot smarter if it stopped trying to show people how smart it was.” Compared to Q-Tip’s thoughtful hip-hop treatise to Iggy, Lupe came across like a know-it-all. But at the base of his anger was a frustration with being misunderstood. He incredulously groused, “I thought I was one of the good guys.”

The son of a Black Panther, Lupe had always delivered anti-establishment messaging in his music that hampered his budding status as the “Superstar” he rhymed about in 2007. In 2011, when most of mainstream hip-hop was deifying Barack Obama, Lupe was telling CBS that “the biggest terrorist is Obama and the United States of America” based on America’s warmongering throughout the Middle East, South America and Africa in particular.

His ire toward the country’s tyranny inspired an awkward, 30-minute rendition of the Obama-critical “Words I Never Said” at an inauguration party in D.C., which the show’s organizers called “a bizarrely repetitive, jarring performance that left the crowd vocally dissatisfied.” Songs like his “American Terrorist” series display his analytical acuity when it comes to diagnosing the roots of systemic oppression and its consequences, but at that point he seemed unable to properly convey his intellect outside the booth.

Lupe has said that he felt he was “immediately blackballed” after his Obama comments. While Lasers had sold 204,000 copies in its first week, 2012’s Food & Liquor II: The Great American Rap Album was Grammy-nominated, but sold just 128,000 records overall as of 2012. His aforementioned Twitter antics were overshadowing his lyrical gifts, his attempts to drop knowledge were being mocked or misunderstood, and worst of all, he couldn’t release music on his own volition.

He told Power 106 in August 2014 that he was “worn down” by the “nonsense” of dealing with Atlantic, and that “we’re just trying to get albums out just to get off the label.” Months earlier he told Torae that, “I don’t have a 360 deal,” so “since they can’t eat off my merchandise or my publishing or my touring they treat me like a third-class citizen.” Still, he resolved, he’d ”fight through it.”

That determination defines him. While discussing “Mission” from 2015’s Tetsuo & Youth, he reflected, “I’ve been inspired by those who are surviving, thriving and fighting.” Just like he’s been fighting to thrive, in spite of label woes, the backlash from subversive beliefs, and self-sabotage that collectively tarnished his mainstream standing. Others artists have let the industry consume them, but Lupe’s still here, rekindling a musical brilliance that his fans knew he was capable of.

On Drogas Wave’s “Jonylah Forever,” a poignant song that ideates 6-month-old Jonylah Watkins, shot dead in 2013, as an adult, he rhymed about how “the coolest thing is when they offered you that high paying slot, you replied ‘they need me in the hood,’ and that's where you reside.” He then talked about her saving a shooting victim, rhyming, “and in that moment, where you gave your help/I bet you didn't know that you saved yourself.”

That powerful summation also applies to him, as an artist who helped others see the light while vying to keep his own spirit alit in a music industry that he mentally “quit” on a decade ago. He told Billboard in 2015 that “I'm happy being that somewhat sophisticated, overly deep weird guy making powerful music — but just two or three degrees away from the center of attention.”

Einstein once mused that, “creativity is intelligence having fun.” It didn’t seem like Lupe was having much fun as a major label artist. But after fulfilling his obligations to Atlantic with Drogas Light, and releasing Drogas Wave independently, he’s revitalized for the next chapter of his career — on his terms.

He recently stated that there would be no interviews for this album cycle because, “I’ve never seen myself as a star and I still don’t.” That makes sense. Stars can’t see themselves, it’s only us spectators who experience the fascination of watching them hover.

Continue Reading
Jack McKain

When It Comes To Both Sound And Sartorial Matters, Masego Has Upgraded To Silk

With his new album 'Lady Lady,' Masego strides into grown and sexy territory.

Masego is a silk man now, or so he tells me. He’s just shaken off the water from his body length PUMA coat, where a committed Reykjavik crowd braved an Icelandic “summer” rainstorm for him. Plastic bags are tied securely over his flashy sneakers, because he isn’t messing them up in the visible mud puddles cratering the city’s Laugardalshöll sporting grounds.

It’s a far cry from when we first met in Brooklyn, New York two years ago, where the then-22-year-old was pigging out at Peter’s Since 1969 before a packed Webster Hall show (R.I.P.), dressed in a multicolored velvet robe, busy blue Hawaiian shirt and basketball shorts that matched neither.

He’s almost embarrassed at the memory. “Why did you allow that?” he asks now, shaking his head. “I wanted the cover of The Fader and that's what I thought it would take. I was trying to out-weird n***as.” Masego, now 25, has not only learned from his sartorial flubs, but has overcome the mild insecurities that inspired them. “I was in this weird battle with people I didn't know and then I started to get more comfortable,” he says. “Get that silk.”

Masego 2.0 is upon us, and his grown and sexy debut album, Lady Lady, is the proof in the pudding. Right from the jump of the 13-track project, released on Sept. 7 (an admittedly somber day for music lovers), the “Silk…” opening instrumental makes it crystal-clear that his intention is to soothe and to woo.

His charm and playful sensuality come to the forefront on smooth tracks like “I Had A Vision,” the SiR-assisted “Old Age” (which also features Instagram comedian Renny) and the freestyled “Queen Tings” featuring SiR’s cousin, Tiffany Gouche. However, hip-hop and trap fans aren’t left out of the equation. Cuts like “Shawty Fishin (Blame The Net)," and “Lavish Lullaby” pair slick bars with enough knock and bass to soundtrack road trips as well as coax wallflowers onto the dance floor with a partner.

In the time between the release of his 2016 freebie project, Loose Thoughts, and now, Masego has seen some world. Frequent exposure to different pin drops across the globe and the creatives who live there bolstered his sound in exciting ways, giving way to some of Lady Lady’s standout selections. It’s an understatement to say that the LP’s instrumentation and production handiwork magnify his spotlight.

Take a look at the album’s supernova of a single “Tadow,” brought into full fruition during a jam session with French multi-hyphenate musician, FKJ. “I feel like the overseas travel is the inspiration. It kind of builds up and then when I get a chance to sit down, it just comes out,” he says. “I knew I was going to South Africa and then I sat down and we just free-styled, planted some beats, making stuff and then ‘Queen Tings’ was just freestyled. With ‘Tadow,’ on the plane ride to Paris I was watching a Fresh Prince marathon. You know the one where he slept with Janice? That was mad funny to me so that was the last thing in my spirit.”

Then on the album’s slow-burning title track, full-bodied lyrics are an afterthought. Instead, sensual scats and truncated mutters carried along the notes of his sax dim the lights, while velvety vocals crook the finger at his lady-to-be. "If you classy but you're reckless/Then you gon' get choose a necklace, lady lady," he coos, no stranger to slick talk.

“Everything kind of goes back to my uncles,” he says, reflecting on how the idea for “Lady Lady” came about during a family visit. “After going to Jamaica, I understand why they're so cool naturally. My Southern uncles, they got this Southern respect and there's a more pimp-ish side to my father's side and so that kind of comes together with ‘Lady Lady.’ It’s like ‘Lady Lady’ could mean… it’s like almost saying, ‘Hey love.’ It could be a potential love on that level or 'this my girlfriend,' you know what I'm saying?”

Within his short career, Maségo has remained unmarried to just one scope of music. The singer-songwriter and saxophone savant floats between jazz, hip-hop, and R&B (and the occasional trap) from song to song as freely as he pleases, but he's in his bag the most when they meld together. In his eyes, Lady Lady is the perfect cocktail of that, showcasing his creative maturation and slight pivot from the Pink Polo EP-era Masego fans are used to. “After my glow up stage is done, I want to just go off wherever Adele is chilling right now,” Masego jokes. “I want to like just be in the thick of things. I think [Lady Lady] is going to be lovely in the sense of it’s going to give you that next threshold."

READ MORE: Quincy Jones Gives Masego Advice On How To Become A Living Legend

Continue Reading

Top Stories