![]() She wanna hear some Afrobeats ’cause she just popped a TeslaĪll that workin’ out, that n-a must think he a wrestlerīut this ain’t UFC, this chopper came with a compressor (21) I be with my gun like Rozay be with lemon pepper The chopper like to feel on all the opps, it’s a molester (21) Let my brother drive while I shoot, team effort (21)Īskin’ all these questions, bi-, you must think you Nadeska ![]() OVO 4L, we come out when it get dark (21, 21)īig stepper, he came in a Rolls, but he left in a stretcher (21) Smack the backside of his head like he Bart (pussy) Spin a block twice like it ain’t nowhere to park (21) You don’t like the way I talk? Then say somethin’ Pull up and you know it’s us, the bass jumpin’ You don’t like the way I talk? N-a, say somethin’ Rest in peace to Drama King, we was straight stuntin’ They ain’t in the studio, but they’ll lay somethin’ I can tell her head good before I even knowīi-, don’t tell me that you model if you ain’t been in Vogue Love the way they hang, babe, f- the siliconeĮverybody fake now, you could crack the codeĭread talkin’ to you n-as like I’m J. H–s say I’m suave, but I can’t get RICO’dīro think he John Wayne, I bought him yellow stones Pot start to bubble, see the suds, that sh– good to go Plus I’m cookin’ up ambition on a kitchen stove I can’t stress about no bi- ’cause I’m a timid soul I would have you courtside, not the middle row Heard you with a shooting guard, just let a n-a know I might have to make her paint a six on her pinky toe They need me to go, but I don’t wanna leaveį- a pigeonhole, I’m a night owl, this a different mode Just awaken shaken once again, ho, you know it’s on The love they profess for one another might at first play as eyebrow-raising, but to question it would be to willfully ignore the notion that laying down raps, like nearly anything else, is just that much more fun with your bestie in tow.Just awaken shaken once again, so you know it’s on Her Loss is much of the same, with the pair leaning into a shared disdain for less-accomplished artists (“On BS,” “Privileged Rappers,” “Broke Boys”), sharing their views on contemporary courtship (“Spin Bout U,” “Hours in Silence”), detailing what life as a superstar rapper entails (“Circo Loco,” “Pussy & Millions”), and, in one instance, rapping about how much they appreciate one another (“Treacherous Twins”). The song was a stylistic outlier from that album’s house and techno-adjacent dance music thread, allowing Drake and Savage the chance to do what they’ve always enjoyed doing together: rail against entitled love interests, revel in the lifestyle they’ve earned, and, for 21 Savage specifically, remind listeners that his guns still do go off. It was likely Honestly, Nevermind standout “Jimmy Cooks” that inspired, or at the very least prioritized, Her Loss. Some eight years and three additional collaborations later, 21 Savage is most assuredly a bona fide rap star and Drake is still arguably the most impactful singer and MC in the world, but the 16 tracks that make up Her Loss reveal the pairing as somehow larger than the sum of its parts. Drake and 21 Savage’s Her Loss is the culmination of a relationship that dates at least as far back as 2016, when the pair linked up for “Sneakin’.” Back then, 21 was a burgeoning Atlanta rapper with a lot of promise (and an association with producer of the moment Metro Boomin), while Drake was arguably the most impactful singer and MC in the world and the guy whose co-sign could be counted on to usher bubbling talents into proper rap stardom. ![]()
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