lil yachty her loss

Drake & 21 Savage's "Her Loss" Production Credits: Lil Yachty, Boi-1da, Metro Boomin & More

Following the success of singles like "Jimmy Cooks" and "Knife Talk," among other records, Drake and 21 Savage came through with their new joint project, Her Loss this morning. The two rappers kept the features to a minimum with Travis Scott serving as the sole guest appearance.

However, what the two lack in collaborators is made up with the stacked roster of producers attached to the tracklist . Her Loss 's 16-song tracklist contains appearances from their frequent collaborators, such as Metro Boomin , Boi-1da , 40, and more.

Perhaps, the most surprising contributor to the project is Lil Yachty . The " Poland " rapper boasts four production credits on "BackOutsideBoyz," "Privileged Rappers," "Pussy & Millions" ft. Travis Scott," and "Jumbotron Shit Poppin."

Drake and 21 Savage kept the majority of details surrounding their new collaborative effort under wraps until two weeks ago, when they dropped the "Jimmy Cooks" music video. Unfortunately, the project was delayed by a week after OVO 40 caught COVID-19.

Prior to the release of Her Loss , Drake released his first dance project, Honestly, Nevermind . Though largely panned among his fanbase, the surprise release still had the summer on lock with singles like "Sticky," "Massive," and of course, the 21 Savage-assisted, "Jimmy Cooks."

Peep the official production credits below.

• “Rich Flex” Vinylz, Tay Keith, FNZ, BoogzDaBeast
• “Major Distribution” SkipOnDaBeat
• “On BS” OZ, Elyas
• “BackOutsideBoyz” Rio Leyva, Dez Wright, Taz Taylor, Lil Yachty
• “Privileged Rappers” Earl on the Beat, GENT, Lil Yachty, Noah “40” Shebib
• “Spin Bout U” Banbwoi, Noah “40” Shebib
• “Hours in Silence” nyan, Mcevoy, Noah “40” Shebib, Noel Cadastre, Daniel East
• “Treacherous Twins” Noël, OZ, Boi-1da
• “Circo Loco” Boi-1da, Tay Keith
• “Pussy & Millions” Cheeze Beatz, Go Grizzly, Squat Beatz, B100, Lil Yachty
• “Broke Boys” Wheezy, Tay Keith, Jack Uriah, Anthem
• “Middle of the Ocean” OZ, Noel Cadastre, Nik D, Sucuki, Loof
• “Jumbotron Shit Poppin” F1lthy, Cubeatz, Sad Pony, Oogie Mane, Lil Yachty, Noah “40” Shebib, Klimperboy, Danno, Dilara
• “More M’s” Metro Boomin, DAVID x ELI
• “3am on Glenwood” OZ, Peter Iskander, Noah “40” Shebib
• “I Guess It’s Fuck Me” The Loud Pack
• production credits

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Lil Yachty says he chose the cover for Drake and 21 Savage’s ‘Her Loss’

It’s been a short, but twist-filled road between the announcement and release of Drake and 21 Savage ’s collaborative album ‘ Her Loss ’, and while the world is busy digesting its contents, Lil Yachty took to Instagram to offer up a bit of trivia about the album’s cover.

The ‘Poland’ artist made the casual revelation that he supposedly picked out the album cover for ‘Her Loss’, along with an explanation for why he picked the photo, citing the rawness and authenticity of the image. Whether the claim is legitimate or not, it’s definitely garnered some attention.

The music video for the last single on Drake’s latest solo album ‘Jimmy Cooks’ (which also featured 21 Savage) released last month, in which a sly announcement for the impending ‘Her Loss’ release was made. The album’s initial release date was Oct. 26, but it was delayed by a week after the record’s mixing and mastering engineer contracted COVID-19.

Between now and then, the pair promoted the album with an elaborate gag involving a supposed trailer for their appearance on NPR Music’s Tiny Desk program, which turned out to be fake . Drake has been pretty off the rails on Instagram today, marking the album’s release by posting adult anime content all over his Instagram story . 

Some keen-eared fans think that ‘Her Loss’ closes out the narrative of a trilogy of albums from Drake. If you’ve had a chance to listen through the album and were wondering what the song sampled on the ‘Circo Loco’ track is, we’ve got an answer for you here . 

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Who Is the Woman on Drake and 21 Savage's 'Her Loss' Album Cover?

Here's everything you need to know about Suki Baby, the mysterious woman on the cover artwork for Drake and 21 Savage's new album 'Her Loss.'

Drake is no stranger to peculiar album artwork (just look at the  Certified Lover Boy  cover), but the imagery for his new collab album with 21 Savage,  Her Loss , might be his most unique yet. The cover, shot by Houston-based photographer  Paris Aden , features a close-up shot of a young woman grilling the camera with jewelry in her mouth and colorful eyelashes. Drake and 21 shared the image without any context, other than describing the image as the “front cover” of  Her Loss . The shot immediately confused fans, with many asking who the mystery woman is and why she’s on the cover.

We immediately started investigating online to find answers. Fortunately, we stumbled on some bread crumbs that led us to answers about who the mysterious woman is:  Qui Yasuka , aka Suki Baby, a nail stylist and professional adult dancer based in Houston. Suki revealed a lot about herself on  Gulniyal’s   gtalks! podcast about a year ago when talking about her personal interests, which left some clues about why Drake and 21 wanted her to be on the album cover. We also got in touch with the photographer for some more information about how this all came together.

Here’s everything we know about the woman on Drake and 21 Savage’s  Her Loss  album cover.

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Suki Baby is currently working as an  adult dancer  in Houston, Texas. During her  gtalks!  podcast interview, she reveals she also has her own nail business and first started doing nails when she was in high school. Suki also has a deep interest in grills and teeth jewelry, explaining that she even has books on teeth anatomy so she can better understand how the human mouth works and how grills can be shaped. She also  sells prints  of photos she takes.

Suki, born Quiana Yasuka, is a Japanese, Black, and Cherokee nail artist and professional adult dancer. She was born in North Carolina and spent her younger years in Japan (Japanese is her first language) before moving to Houston. She moved back to America for good when she was in high school because she had to deal with bullying in Japan—she was the only Black and Japanese student at her school—but her mother would defend her.

The cover photo of Suki is about three years old. Photographer Paris Aden tells Complex that the OVO camp reached out to her randomly and asked to use the shot for the album cover. “Drake just saw the photo I guess, and they asked if they could use it for the album,” Aden explains over the phone. “I shot that shit a long time ago. It was her profile pic and he probably fell in love with what he seen.”

But how and why did Drake choose this specific photo? At this point, we can only guess. Drake has a well-documented  love for Houston , so it isn’t a huge surprise that he would be drawn to an image of a woman from the area. Or, perhaps more likely, Drake just saw her profile photo on IG, thought it looked cool, and decided to use it for their cover. Everything about the rollout for  Her Loss  has been a spoof of a normal album rollout so far, so it’s only fitting that they’d choose a head-turning image and catch people off guard.

UPDATE [12:10 a.m., November 4]:  According to  a new Instagram post from Lil Yachty , he is the one who found the image and chose it for the cover. “I Chose This Cover Because This Photo Is So Raw… So Authentic.. Not Fabricated.. Suki Can And Will Only Be Suki,” he wrote. “MY BROTHRRR @aristatalovich BROUGHT IT TO LIFE…. HER LOSS 🦉🗡️ FUCK WHO AINT WIT US.”

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Every Song Ranked On Drake & 21 Savage’s ‘Her Loss’ Album: Critic’s Picks

The 16-track effort features guest appearances from Lil Yachty and Travis Scott.

By Michael Saponara

Michael Saponara

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Drake and 21 Savage delivered their anticipated Her Loss joint project after a week’s delay on Friday (Nov. 4).

After teaming up for Billboard Hot 100 chart-topper “Jimmy Cooks” to close out Drizzy’s Honestly, Nevermind album earlier this year, the “Knife Talk” duo decided to go ahead with a full collab album.

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Pour up and run through our song rankings below.

16. “Privileged Rappers”

Being a “privileged rapper” is a label Drake is tired of hearing about. He calls out those walking around the industry with their head high even though they haven’t made a hit in years while 21 uses his 16 bars to get raunchy about a certain love interest. Either way, this isn’t going to be anyone’s favorite record.

15. “Treacherous Twins”

There’s not enough bromance in rap. The Atlanta-bred rhymer and Drake show love to each other as “Treacherous Twins” — or they might be talking about other people altogether. Regardless, there are times when simplicity wins. That was the case for 21 Savage when he gets off a cheeky bar about how he never gets ID’d at night clubs because they already know he’s 21.

14. “Hours In Silence”

The pace is slowed down for a six-minute intermissions of sorts. Drake refills his glass of wine and recalls some of his mishaps in romantic encounters. “Hours in Silence” finds Drizzy running into the same toxic women issues that plagued him on Take Care while essentially boxing 21 Savage out of the marathon. Whether it’s the regret of buying her a Rolex or even a condo within the first month, that’s simply a reality most listeners can’t relate to.

21 Savage finally gets the best of Drizzy on a record by a unanimous decision. The “Sneakin” duo won’t talk to broke boys, but unfortunately for fans, that’s about 99.99 percent of listeners compared to Drake and 21. They both flip the middle finger to adidas while proudly wearing their Nike stripes, which should make Kanye happy. “Broke Boys” sits toward the back of the line when it comes to album favorites though.

12. “I Guess It’s F–k Me”

First off, what a song title for a worthy album closer. Drake is always calculated and precise with what message he wants to leave fans with before heading into the next era of music. Here, Drizzy gets evocative about a certified lover girl where he painfully admits at times he has no choice but to avoid the truth even if that’s followed up with a flex about how his Air Drake plane couldn’t even land in the small Hamptons airport. “Truth or dare, I’ma take a double dare/ Truth is a suicide/ I would rather live a lie, keep you on the outside,” he raps.

11. “Pussy & Millions”

The solo credited feature comes to the rescue on “Pussy & Millions” giving the album a different texture thanks to the Houston rager. Travis Scott heats up while leaving fans feigning for more as UTOPIA ‘s landing shortly awaits.

10. “More M’s”

Metro Boomin’ reuniting with 21 Savage is always a dangerous yet welcomed combination. “More M’s” adds to the list of Metro-21-Drake collabs that includes “No Complaints” and “Mr. Right Now.” The 6 God invades the beat “skating like a Montreal Canadien.” Drake confidently claims a Verzuz match with his catalog is an unfair advantage as no opponent is worthy of his time.

Drake on a F1LTHY beat is the upset of the year. Although, Drizzy doesn’t embarrass himself while trying to find his pocket inside the distorted sound where the likes of Playboi Carti and Destroy Lonely call home. We’re even letting Drake get away with referring to himself as a Vamp at 36 years old because he’s the 6 God.

8. “Major Distribution”

Drizzy’s pompous singing about success leads the listener astray before the dark beat makes a hard left turn off the road. The OVO boss stick shifts up a gear and tries to match the acceleration with the fastest he’s rapped all year. He hands the baton to 21 for one of his more forgettable verses on the album outside of somehow name-dropping NBA players Steve Francis and Andrew Wiggins in back-to-back bars.

One of the many headline-snatching lyrics comes when Drake references a beautiful girl trying to rap, but he’s not impressed “She a 10 tryna rap, it’s good on mute,” he admits. Many fans tried to connect the dots to emerging “Munch” rapper Ice Spice, whom Drake unfollowed on Instagram after an initial meet-up in the 6. The first solo venture is a bullseye for Drizzy.

7. “Spin Bout U”

While Her Loss might be the album title, Drizzy stands up for women while jabbing U.S. politicians fumbling decisions about their reproductive rights. He then flexes on broke boys who can’t get reservations at Italian hotspot Carbone while he’s got the last table any night.

Savage also gives out free game when admitting he asks girls for their “Finstas” to find out who they really are instead of their actual Instagram accounts. However, it’s almost halftime and Drake has shined while bringing 21 along for the ride to this point of the album.

The tag-team champions pass the baton back-and-forth with one looking to outdo the other. The braggadocios rhymes reach a crescendo when the Slaughter Gang CEO and Drake flex about their feature prowess. 21 admits he has no issue turning someone else’s song into his own while the 6 God boasts about how his simple presence will have labels blowing up an artist’s phone.

“I jump on your song and make you sound like you the feature,” 21 raps over OZ’s ethereal production before Drizzy hops in. “I jump on your song and make a label think they need ya, for real!”

5. “Backoutsideboyz”

Lil Yachty tags in for 21 and provides ad-libs across the horn-tinged record. Drake is back to his bragging ways while simultaneously second-guessing his romance decisions. It’s rare to hear the king of Canada comment on politics where he admits he’s never voted, but if he did adult film star Teanna Trump has his ballot.

4. “3 AM On Glenwood”

With Drake not breathing down his neck, 21 Savage enjoys another bona fide moment defining Her Loss . It’s usually Drizzy blacking out over pitched-up samples, but 21 shows that two can play this game as he took a page out of the 6 God’s book by making use of a time stamp song title, which is usually reserved as a Drake specialty, but the OVO captain even had to be impressed.

21 displays his matured lyrical sparring ability with Steph Curry and Stephon Marbury references and then disses Mase’s artist relations. He even gets candid about turning to Kim Kardashian to get his brother out of jail while taking listeners on a journey of what’s going on in his turbulent life.

3. “Rich Flex”

Drake takes his intros very seriously and he and 21 don’t miss here by setting the tone for the project. The 6 God steals the show on the menacing Tay Keith beat switch in the second half where Drake interpolates T.I.’s classic “24’s” flow while flexing on the industry, which he then shrewdly flips into an homage to the late great Kobe Bryant.

This is peak Drake in his Goyard bag. A pitched-up sample and plenty of space to breathe — just give Drizzy enough room on the tarmac to take off like LeBron James in 2008. Drake opens up about his opulent life of luxury eating food most people can’t even pronounce and in the same sentence takes a snipe at Serena Williams’ husband, Alexis Ohanian, letting him know they still got beef. That’s the type of versatility lacking in hip-hop.

He even checks the box for hip-hop nerds with the shrewd AZ and Nas “Mo Money, Mo Murder” sample. Isn’t that what Drake does? He checks every box as a rapper. Receiving a Birdman TED talk was a nice touch for the outro too.

1. “Circo Loco”

A certified standout from Her Loss . Sampling a classic like Daft Punk’s “One More Time” can easily go corny — which it did on DJ Khaled’s “Staying Alive” — but Drake bottles this up into greatness. He wants smoke with everybody and even admits he only agreed to stand alongside Kanye West at the Larry Hoover concert last year because of his admiration for industry titan J. Prince. Megan Thee Stallion has already responded to a bar Drake possibly targeted her with when referencing the shooting case she’s entrenched in.

Drake used this album as the chance to reassert himself as the top dog on the rap food chain once again with Her Loss serving as a stark reminder for fans who may have been distracted by his dance-leaning Honestly, Nevermind album from earlier this year that he is not to be played with.

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‘Her Loss’ Is A Misfire That Drake Will Hopefully Learn From

By Mosi Reeves

Mosi Reeves

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But it’s the furious backlash to the “stallion bar” in particular — Megan’s anguished tweets in response , a claim from Lil Yachty that Drake’s words are a standard misogynist joke about cosmetic surgery and not a specific reference to the Megan/Tory Lanez shooting, all while innumerable gossips decode Drake’s intentions — that threatens to overwhelm Her Loss . The controversy is reminiscent of angry reactions to Kendrick Lamar’s Mr. Morale & the Big Steppers earlier this year, in particularly the violent he-said-she-said argument “We Cry Together” and his transphobic confessions on “Auntie Diaries.” The difference is that Lamar invited listeners to an uncensored therapy session and miscalculated their level of empathy. Drake’s error is that he unintentionally reveals himself as a self-centered jerk who refuses to grow up.

The album begins promisingly with “Rich Flex,” where 21 Savage opens with a threat to “get your ass smushed.” It’s a decent introduction that allows him to skate around impropriety as he asks, “I know you’re on your period, baby/Can you suck it?” In general, 21 Savage sounds great on these opening tracks, especially when he uses “On BS” for hilarious lines like, “She won’t/Wear no panties ‘round me even if she could/Gave out/Plenty spankings ‘til that got it understood.” That song is one of a handful of Her Loss numbers that find the two clicking in tandem. “I jump on your song and make you sound like you the feature,” raps 21 Savage. “I jump on your song and make a label think they need ya, for real,” retorts Drake.

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But there’s a gloominess this time around, and it’s not just the sloppy sequencing and hit-or-miss quality that ranges from clear standouts like “Pussy & Millions,” where the so-called “treacherous twins” team up with Travis Scott, to aimless dross like “Major Distribution.” Drake’s 2015 collaboration with Future, What a Time to Be Alive , was equally uneven, yet the two’s carefree happiness buoyed them past its structural problems. They conjured a joyously lit vibe Drake and 21 Savage can’t match with Her Loss . Yes, 36-year-old Jay-Z caught plenty of jokes for “Beach Chair.” Yet by acknowledging that he wasn’t making out with women in showers and commanding girls on molly to strip anymore, he freed himself to grow as an artist, leading to post-retirement classics like American Gangster and 4:44 . Every hero’s journey is different, and it’s unclear where Drake will evolve next after the singular misfire that is Her Loss . Does he even care?

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Drake Shows Love To Lil Yachty: ‘Where Would I Be Without Our Friendship’

Drake has shown some love to his close friend Lil Yachty, who had a heavy hand in crafting his new album Her Loss with 21 Savage.

Her Loss dropped on Friday (November 4), and while fans and critics alike spent the day picking through Drake’s subliminal disses at Megan Thee Stallion, Kanye West, DRAM and Serena Williams’s husband, Drizzy took some time to praise Yachty for all of his contributions to the project, which included its unique cover art.

“WHERE WOULD I BE WITHOUT OUR FRIENDSHIP @lilyachty I LOVE YA KID THANK YOU FOR YOUR TIME YOUR INCREDIBLE TALENT AND YOUR ADLIB GAME,” Drake wrote on Instagram Stories.

Aside from choosing the cover art, Yachty not only produced a bunch of the 16 tracks, including “Jumbotron Shit Poppin” and “Pussy & Millions,” but he also performed memorable ad-libs throughout “BackOutsideBoyz.”

“I chose this cover because this photo is so raw. So authentic. Not fabricated. Suki can and will only be Suki,” Yachty said of the striking portrait of Qui Yasuka for the  Her Loss  cover.

Yachty and Drizzy have linked up several times before. The pair have been spotted hanging out numerous times, and musically joined forces for Yachty’s 2021 hit “Oprah’s Bank Account.” The pair are so close Yachty celebrated his 25th birthday with Drake, and got a new OVO tattoo and free flight aboard Air Drake – the 6 God’s private jet.

Lil Yachty also previously spoke to Variety about what it’s like to collaborate and be friends with Drake after he was a fan growing up.

“He’s one of my favorite artists since fifth grade. Now he calls me sometimes,” Yachty said. “It’s really cool. I mean, he’s the biggest artist in the world so he has to really want to do it I can’t speak for anybody else but for me, it means everything to have a Drake feature. I’m so thankful and appreciative.”

As previously mentioned, Drake and 21 Savage’s Her Loss  project has been making numerous headlines since it dropped on Friday (November 4). DRAM was particularly upset when he heard Drizzy’s dig at him on the Yachty-assisted “BackOutsideBoyz.”

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November 3, 2022

On the track, Drake raps: “ Tried to bring the drama to me, he ain’t know how we cha-cha slide (Yeah) ,” seemingly in reference to when DRAM caught a beat down from Drake’s security in 2015.

“Aye somebody tell Drake to shut the fuck up about that shit, man,” DRAM said in a video. “Fucking five years ago. This n-gga never touched me n-gga. I pressed his ass. His fucking bodyguards, God damn, I ain’t gonna hold you, his bodyguards went to town on the kid, but his bodyguards did it, not his bitch ass. He ain’t touch me. He’s a bitch, you know that.”

He continued: “Why I gotta get into all of that? When I see him, I’ma see him. I’m saying what’s good with the one-on-one though, my baby? What’s up my n-gga? But he don’t wanna do that. You want to have your guards. That’s cool though. He ain’t touch me, though and that shit from five years ago, come on, n-gga. Why are you bringing that up? Why don’t you talk about how you got smacked by Diddy?”

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Here Are The Production Credits For Drake & 21 Savage’s New Album ‘Her Loss’

Just minutes ago, Drake and 21 Savage put out their new album Her Loss which was announced just a couple of weeks ago. You can stream it here .

With big names like theirs also come instrumentals from big, in-demand producers. Boi-1da, Metro Boomin, 40, OZ and more make appearances here across the 16 tracks. As far as guests are concerned, only Travis Scott contributes which is not really surprising.

Luckily for you, below we’ve compiled a list of the production credits on the album.

Drake & 21 Savage Her Loss Production Credits

1. Rich Flex Prod. by BoogzDaBeast, FNZ, Tay Keith and Vinylz

2. Major Distribution Prod. by SkipOnDaBeat

3. On BS Prod. by Elyas and OZ

4. BackOutsideBoyz Prod. by Dez Wright, Lil Yachty, Rio Levya and Taz Taylor

5. Privileged Rappers Prod. by Earl On The Beat, Gent, Lil Yachty and 40

6. Spin Bout U Prod. by Banbwoi and 40

7. Hours In Silence Prod. by Daniel East, MCEVOY, 40, Noel Cadastre and Nyan

8. Treacherous Twins Prod. by Boi-1da, Noël and OZ

9. Circo Loco Prod. by Boi-1da and Tay Keith

10. Pussy & Millions (Feat. Travis Scott) Prod. by B100, Cheeze Beatz, Go Grizzly, Lil Yachty and Squat Beatz

11. Broke Boys Prod. by ANTHEM, Jack Uriah, Tay Keith and Wheezy

12. Middle Of The Ocean Prod. by LOOF, Nik D, Noel Cadastre, OZ and Sucuki

13. Jumbotron Shit Poppin Prod. by Cubeatz, Danno, Dilara, F1lthy, Klimerboy, Lil Yachty, 40, OOGIE MANE and Sad Pony

14. More M’s Prod. by DAVID x ELI and Metro Boomin

15. 3AM On Glenwood Prod. by 40, OZ and Peter Iskander

16. I Guess It’s F*ck Me Prod. by The Loud Pack

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Music Reviews

Drake and 21 savage are sore winners on 'her loss', the atlanta rapper's presence is the ovo megastar's ticket to play supervillain.

Sam Hockley-Smith

Despite the churlishness, or maybe because of it, Drake sounds, for the first time in a long time, like he's actually enjoying rapping. Courtesy of the artist hide caption

Despite the churlishness, or maybe because of it, Drake sounds, for the first time in a long time, like he's actually enjoying rapping.

In 1966, writer Stan Lee and artist Jack Kirby, the creative team at the center of the golden era of Marvel Comics, created Galactus, a massive alien god who travels the universe in a hulking purple helmet, consuming entire planets in order to keep himself alive. Drake has become rap's own Galactus, subsuming bits of his collaborators' traits — a flow here, a vocal intonation there, maybe an accent or an entire worldview — into his persona. Each Drake collaboration is creative sustenance.

This feasting is an artistic method that casts him as a perpetual student of hip-hop in admiration of rap's trendsetters and legends, even as they become his peers. On 2015's What a Time to be Alive , a joint album with the tormented Atlanta rapper Future, the pair plumbed the depths of loneliness from the inside of opulent strip clubs. Every single time Drake and Miami's faux kingpin Rick Ross link up, they create lush, sumptuous music that sounds like diving into a Scrooge McDuck-style pool of gold coins during a sunset so impossibly beautiful that your eyes can't even register it without Cartier shades.

Up until now, it's been clear that Drake enjoys working with the straight-faced Atlanta rapper 21 Savage — who found success through a meat-and-potatoes combination of canny beat selection and a menacing and thin voice that rarely rises above a flat murmur — just as much as those other guys, but their creative give-and-take has been a bit murkier. Most recently, 21 Savage out-rapped Drake on "Jimmy Cooks," the only straightforward rap track closing out Drake's dance music-focused album, Honestly, Nevermind . It would not be unreasonable to assume that that moment is what prompted Drake to enlist 21's support as he transitions back into his usual realm more antagonistic than ever.

The pair's collaborative album, Her Loss , announced toward the end of the "Jimmy Cooks" video, is a recognizable Drake album that gains some emotional heft from 21's inclusion. It is a fascinating example of what happens when two ideologically similar rappers with very different approaches try to meet each other in the middle. 21 made a name for himself threatening his enemies in an extremely calm voice over impeccable production, while Drake is, by nature, not violently menacing. He is far too maudlin to ever believably threaten anyone. His terror is more emotional: Where 21 Savage practices tried-and-true gun talk for the bulk of the album's runtime, Drake discards virtually all the sensitivity and empathy he's ever displayed for a steady stream of insults and glimpses of his naked interiority. It's ugly, but it mostly works because it's a more targeted, focused version of his whole deal.

After more than a decade of cashing in on his supposed vulnerability, Drake knows he can't be the lovelorn underdog confined to the studio anymore; his rise to megawatt stardom is not just a well-worn story, it's one he's exhausted. Instead, he takes a cue from 21 Savage and becomes everyone's arch nemesis, taking too big to fail to its logical conclusion. The pair trade threats and out-of-pocket disses of virtually everyone they've ever encountered — other celebrities, groupies, friends, enemies, industry losers, total randos — over some of the best beats Drake's rapped on since 2015's If You're Reading This It's Too Late . That production, from OVO stalwarts like Noah "40" Shebib and Boi-1da, along with Tay Keith, Metro Boomin, rapper-turned-beatmaker Lil Yachty and many more, is sumptuous and intricate, full of tiny flourishes and details, hinging on recognizable mid-song beat switches and a pervasive sense of melancholy. It's not really a surprise that Drake feels at home in this sonic landscape, but it is nice to hear 21 Savage both encourage and temper Drake's more base emotional tendencies, acting as a counterpoint and a realist weight to his neurosis.

Their chemistry is apparent on "On BS," when the duo bounce lines off each other: 21 Savage is penitent, calm, and menacing, where Drake is angry, high on pills, and paranoid. But Drake, whose personality tends to dominate on every song he's on, sets the tone, and it's on "P**** and Millions" that he drops his most unintentionally telling lyric: "They say, 'mo money, mo problems; bring on the problems." He is, of course, saying that his problems are worth all the money, but hear it another way: Drake's problems are his money. Chronicling his grievances, no matter how toxic, defines his music. Without his obsessive airing of slights and snubs, Drake wouldn't be Drake.

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21 Savage doesn't need Drake to succeed. His discography is already accomplished enough to stand on its own: he is flourishing, creatively and commercially, despite not releasing a solo album since 2018, and it's a safe bet that the average Drake fan is familiar with his work. (All four of their previous collaborations, "Mr. Right Now," "Sneakin," "Knife Talk" and the aforementioned "Jimmy Cooks," are certified platinum Top 10 rap singles.) For him, this seems to be about finding new contours and angles — to use Drake as a subtle foil to push his style into new territories. He sings a bit more, he plays hype man, he plays security. To put it frankly, 21 Savage can make his own hit songs (and has, for himself and others ), but making the type of emotionally tortured hit songs that Drake makes on a regular basis without betraying the aesthetic qualities that made him popular in the first place requires the man himself.

Drake has clearly taken this idea to heart. 21 Savage's mere presence is his ticket to unabashedly play the supervillain at every turn. (21, for his part, claims he encouraged Drake to be more unfiltered in his lyrics.) "Broke Boyz" is possibly the most menacing moment on the whole record: a hulking beat lurches and screeches like an air raid siren dying out, while Drake is loose and confident. On "Rich Flex," a song that has already become a meme, Drake is egging 21 Savage on, harnessing malice for his benefit: "21, can you do somethin' for me? / Drop some bars to my p**** ex for me? / Then 21, can you do somethin' for me? / Can you talk to the opps' necks for me?" You can picture Drake standing behind 21, whispering in his ear, lightly shoving him toward an imaginary opponent. Drake, meanwhile, is the bad guy everywhere he goes. He's a bad guy on a private jet. He's a bad guy when he doesn't get what he wants. He has trust issues ... still. He hates clout chasers and feels suspicious of groupies ... still. He revels in each heel turn because why wouldn't he? The more toxically he portrays himself, the more popular he gets — taking cues from destructive collaborative friends like Future and the Weeknd — even when he misreads the room and takes his evil pantomime too far.

Cut to "Circo Loco," a track interpolating Daft Punk's "One More Time" as it hiccups into a stuttering wall of filtered synths — all build and no release. It's a fun albeit trivial song that would have gone relatively undiscussed but for the moment when Drake decided to cast doubt on whether Tory Lanez actually shot Megan Thee Stallion during a 2020 altercation. It's one of those "just asking questions'' moves, played under the guise of wordplay, that tips what is normally performed apathy into harmful trolling. Why even go down this road if not for ugly misogyny? What's the point? Would Drake doubt the veracity of the claim if the roles were reversed? His songs suggest otherwise. The bachelorhood of previous records has escalated to unbridled chauvinism. It is, of course, calculated, because everything Drake does is calculated. On "Hours in Silence" he sings, "It's my fault, for once I take accountability." It reads as honest, but not believable ( saying that you take accountability doesn't actually mean you take accountability), which is Drake's entire recipe for success. Self-delusion, even when practiced, is relatable: we've all fooled ourselves about ourselves in order to survive. The fake press run the duo manufactured feels representative of the album's narrative spin.

Despite the churlishness, or maybe because of it, Drake sounds, for the first time in a long time, like he's actually enjoying rapping. You can hear it on standout "Major Distribution," where Drake and 21 trade verses over a tense piano loop and a smattering of ASMR-ready "Hms" from Lil Yachty that punctuate every line. Briefly free from the burden of being Drake, the rapper shuffles through animatedly as he talks about his success in the music industry like he's been dealing a lot of drugs. But for all Drake's enthusiasm and looseness, it's 21 Savage who steals the show: "Ever seen somebody get shot? Lot of shit I've seen before the top / I ain't trying to wrestle like the Rock / F*** the trish, I'd rather sip the Wock / Lot of things I'd do to stay alive / Everything except for call a cop." In detailing his actual struggle, the trauma he's experienced, the lack of trust he has for corrupt authority figures, the fundamental loneliness of having nowhere to turn, he's lending some pathos to his braggadocio. His concerns are often real and serious, not imagined or shallow. As a result, 21 Savage's confidence feels earned. Drake, meanwhile, has flipped back toward the twisted contradiction at his core — this is a guy who will never, ever be happy, no matter his achievements. Here, he's buying Benzes "out of spite," watching people lie to him over the course of exhausting three-hour dinners and feeling the burden his own incredulity.

That sort of emotional dichotomy is why the album ultimately overcomes the resentment emanating from its title — beneath the petty desire to rile up those who've jilted you is an underlying bitterness; an unfillable hole at the center of your being that Drake knows all too well — but it's also why this album feels more like a Drake project that uses 21 Savage as a prop than a true collaborative work. Honesty comes naturally to 21 Savage, but it is something that Drake is still searching for. Even on "Treacherous Twins," a song about friendship and loyalty that sounds like it was recorded driving a convertible across a purple highway made out of cough syrup and nostalgia, 21 is inhabiting Drake's world, and Drake is consuming his, as Galactus always does.

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'Her Loss' Review: 21 Savage Does Something For Drake

Released on Nov. 4, Drake and 21 Savage’s new album “Her Loss” is “the most relatable album ever,” according to Michael B. Jordan. Serving as the epitome of that post-breakup acceptance phase, the album sees a long-overdue comeback from the Toronto and Atlanta rappers. The two first paired up in 2016 on “Sneakin,” when 21 Savage was still up-and-coming and Drake was basking in the limelight of yet another successful album, “Views.” Much has changed since then — 21 is now a well-established frontman of the Atlanta rap scene while Drake remains as relevant as ever thanks to his many subsequent, albeit less successful albums. However, if one thing remains the same, it is undoubtedly that Drake and 21 remain a force to be reckoned with.

The album’s first track, “Rich Flex,” offers a fitting introduction to the album. It reflects the duo’s longtime collaboration and mutual love. Drake’s iconic viral line, “21, can you do somethin' for me?” works to hype up 21 Savage and reflects Drake’s guidance and support in his career. Track three, “On BS,” features some clever wordplay in the second verse, with Drake’s acapella leading into the monorhyme scheme.

Throwback tracks like “Privileged Rappers” and “Broke Boys” are a nod back to their early days, when “Sneakin” saw Drake and 21 first join forces to hash out beef with “reachin and dissin” rappers. The nostalgia thickens with the re-sampled vocals from Drake’s 2013 song “Come Thru” on “Hours In Silence,” the somber refrain making it sound like it came straight from “Nothing Was the Same.” The lyrical continuity aids the familiar sound, with 21’s sappy lovesick line “Tryna be the one for you, but my nickname true.”

“Her Loss” is a masterclass in seamless transitions. On “Rich Flex,” the melody constantly switches between the 90’s nostalgia heard in the intro, to the R&B in Drake’s crooning segue, and the borderline drill-like hi-hats in the chorus and the track’s second half. The flow is equally as transient; from Young Nudy’s conversational lines in the intro and outro, to 21 Savage’s raunchy lyrics: “I'm a savage / Smack her booty in Magic” — a nod to Megan Thee Stallion’s beat on “Savage.”

The very next track, “Major Distribution,” follows that thread, doing a 180 on the beat with the slapstick line “You say I'm persuasive, girl, but you can't spell that shit, for real.” The subs don’t stop there, with the controversial lyrics on “Circo Loco” that take a swipe at artists like Kanye and Megan Thee Stallion over a Daft Punk sample .

The samples play a big part in bridging these gaps, like in “Spin Bout U.” With choraling vocals pulled from B.G.O.T.I.’s “Give Me Your Lov-N,” Drake breaks the fourth wall between the samples and production with the line, “But just like that R&B group from the '90s.” This self-awareness is a good look for post-“ Certified Lover Boy ” Drake, who learned to lean into the cheesiness of his rapping.

This lighthearted approach doesn’t prevent him from getting into the more thoughtful topics — on the contrary, it makes them stand out on the track even more: “Damn, just turned on the news and seen that men who never got pussy in school / Are makin' laws about what women can do.” Or in “Treacherous Twins,” where Drake and 21 characterize their close, yet problematic, friendship over the 1996 sample of Ginuwine’s “Lonely Daze.” The toxic dependency on a loved one connects the two songs thematically and makes the track whole.

Some of the sonic genius packed into the album is courtesy of Atlanta rapper and producer Lil Yachty. Lil Boat produced six of the tracks on the album, but his presence is all-encompassing. It is most immediately felt on “BackOutsideBoyz” and “Jumbotron Shit Poppin,” where he directly contributes in the chorus and raps in the verses. Yachty’s signature ad libs echo in “Pussy & Millions,” and Travis Scott plays his part in flooding the beat with reverb washes, creating a larger than life sound that was made to be a hit with the clubs and festivals alike. Clearly, Yachty is taking his producer era in stride.

No song is more of a sonic standout on “Her Loss” than “Broke Boys.” The producer Avengers assemble (including Wheezy and Tay Keith) for a heavy-hitting, 808-booming, OVO classic. The beat is intentionally overbearing, but the rapping does not get lost in translation. 21 Savage’s energetic verse begins with the call: “Woah, I got more stripes than Adidas,” which is met with Drake response: “Yeah, I got the stripes, but fuck Adidas,” reminiscent of 21 Savage’s whisper verse on Metro Boomin’s “Don’t Come Out The House.” The intensity of the song’s first half is replaced with a fast-paced, keyboard trill after the beat switch, the change-up mirrored by Drake’s high-tempo bars. The opening beat sees Drake’s signature vocals echo in the earworm repetition of “You know where this shit 'bout to go,” and the switch helps to pick up where Part I left off with the repetitive line “I can't talk to broke boys.” Hands-down, “Nobody touchin the flow” on this track.

It would be fatal not to mention “Her Loss’”s role in the context of Drake’s immediately previous albums. It’s hard not to compare the album’s overall production to 2022 tracks like “Jimmy Cooks” — which stuck out like a sore thumb in the midst of “Honestly, Nevermind,” and was by far the standout hit on the album. In the hindsight of “Her Loss,” it is clear to see that “Jimmy Cooks” was more of a prelude that offered a glimpse into his next project. Some fans may stand their ground that “Honestly Nevermind” was a filler album of unnecessary experimentation, while others yet see it as a testament to Drake’s adaptability and willingness to abstract from his sound. Wherever one may fall on the spectrum of discourse, it is clear that “Her Loss” sees Drake in a new yet familiar light, and proves him to be a stylistic chameleon who is learning from his discography.

In just over an hour, Drake proves himself in many ways. He cements his role as wingman MC to 21, reinforcing their already close bond. He confirms his artistic continuity, the ability to learn and grow from album to album. And he honors the legacy of his discography in the songwriting, which seamlessly threads in previous themes of love, enemies, and fame.

—Staff writer Alisa S. Regassa can be reached at [email protected]. Follow her on Twitter at @alisaregassa.

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Washington Square News

Review: Drake & 21 Savage’s ‘Her Loss’ brings world-renowned rappers together

While the collaborative album remains controversial, Drake and 21 Savage encompass themes of money, misogyny and the music industry in “Her Loss.”

Aaliya Luthra

“Her Loss” is an album by Drake and 21 Savage, released on Nov. 4. (Illustration by Aaliya Luthra)

Ryan Carney , Contributing Writer November 14, 2022

Last summer, Drake and 21 Savage came together on the closing track of Drake’s album “Honestly, Nevermind,” titled “Jimmy Crooks.” Halfway through the music video of “Jimmy Crooks,” Drake surprised fans with the announcement of his collaboration with 21 Savage on their album “Her Loss.” The two artists rolled out the album perfectly with a fake performance on NPR Music’s Tiny Desk , a mock interview with Howard Stern , a fictitious SNL performance of “On BS” and a faux Vogue cover. While “Her Loss” is the pair’s first official collaborative album, they have also worked together in the past on Drake’s “Sneakin,” and “Knife Talk” and 21 Savage’s “Mr. Right Now.”

Starting off the album with a bang, “Rich Flex” begins the chorus with Drake singing “21, can you do somethin’ for me? / Can you hit a lil’ rich flex for me? / And 21, can you do somethin’ for me?” As the beat stops in his verse, he mimics the cadence of Megan Thee Stallion’s hit song, “Savage.” Drake interrupts 21 Savage’s energetic bars with a melodic chorus about the consequences of accruing fame as a musician.  

On “Major Distribution,” Lil Yachty’s ad-libs replace Drake’s harmonious singing, which switches into Drake rapping. On a bouncy cadence, Drake refers to Macaulay Culkin, the child actor from the movie “Home Alone,” to describe his loneliness in his 50,000-square-foot mansion. Drake leans into glamorizing his wealth by “Buyin’ Benz Benzes out of spite.” 

In the third song “On BS,” starts with a strong beat by 21 Savage. The duo compliments each other by switching verses while joking around, “I jump on your song and make you sound like you the feature / I jump on your song and make a label think they need ya.” With tongue-in-cheek lyrics, Drake claims that he’s a feminist, “I’m a— ayy, I’m a gentleman, I’m generous / I blow a half a million on you hoes, I’m a feminist.” 

However, he forgets his self-chosen title later in the album when he disrespects rapper Megan Thee Stallion. On the song “Circo Loco,” he falsified her claims of being shot in the foot by rapper Tory Lanez in July 2020. When Stallion came forward about the incident, many people did not believe her . In a sneak diss, Drake raps: “This bitch lie ’bout gettin’ shots, but she still a stallion.” Lil Yachty, one of the album’s producers, and several others refuted the diss, but it is clear that the reference is directed towards Megan Thee Stallion. She posted a photo of her foot for evidence, and responded , “I know I’m very popular but y’all gotta stop attaching weak ass conspiracy theories in bars to my name.” 

The irony in Drake’s claim to feminism is not lost on the audience, as many songs within the album directly objectify women for the profit of the artist’s brand. “Spin Bout U,” which samples the R&B lyrics from the B.G.O.T.I.’s 1995, “Give Me Your Lov-N,” starts off with a slow tune, and 21 Savage raps about the girl he had feelings for through his desire to spend money on her : “American Express, you can have it all.” Drake reflects on the overturning of Roe v. Wade this past summer: “Damn, just turned on the news and seen that men who never got / pussy in school are makin’ laws about what women can do.” 

On “Pussy & Millions,” featuring Travis Scott, Drake melodically sings, “they say more money, more problems” with a few ad-libs from Lil Yachty. The song alludes to the success, accolades and wealth that the trio has achieved. Overall, the album is filled with corny lines, excellent bars and beat switches galore. As Drake says, “can you do something for me” — listen to the album.

Contact Ryan Carney at [email protected] .

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Drake & 21 Savage Release Their Debut Collab Album 'Her Loss'

Drake and 21 savage have dropped their first collaborative album her loss , with production from lil yachty, noah "40" shebib and more..

Drake and 21 Savage have banded together for Her Loss . On Friday (November 4), Champagne Papi and The Slaughter King officially released their long-awaited debut collaborative LP, which features production from Noah "40" Shebib , Lil Yachty , Tay Keith , Boi-1da , Metro Boomin and others, along with a lone guest feature from Travis Scott . On the Her Loss album cover is a three-year-old image of model and exotic dancer Qui Yasuka, who goes by Suki Baby on social media. On the back cover are Oakland models and influencers Jazmyn Marie and K’yanna Barber, the latter who Drake referenced on his 2018 hit "In My Feelings."

\u201c\u2018Her Loss\u2019 Out Now @Drake @21savage \nhttps://t.co/9BPjMmv472\u201d — OVO Sound (@OVO Sound) 1667534889

The album release follows a troll-worthy rollout, with Drake and 21 Savage dropping a faux issue of  Vogue  along with "appearances" on NPR Tiny Desk Concerts and  The Howard Stern Show . NPR Music responded to the latter spoof, calling out the duo to potentially appear on the  real  music series.

\u201cIn The Bag with @21Savage \n#HERLOSS\u201d — OVO Sound (@OVO Sound) 1667435439

\u201clet\u2019s do it forreal tho \ud83d\ude0f\ud83d\udc4f\ud83c\udffe\u201d — NPR Music (@NPR Music) 1667423381

Both Drake and 21 Savage have been longtime collaborators, last banding together on "Jimmy Crooks" from Drake's latest album   Honestly, Nevermind , his eleventh album to go No. 1 on the Billboard 200 chart. The Canadian-bred rapper recently joined 21 Savage at the Morehouse-Spelman homecoming concert last month.

“Along with OVO, I really live this 4L shit,” Drake said at the event. “By the way, I didn’t get invited to this show. Nobody from Morehouse asked me to perform. My brother brought me here, so make some noise for 21 Savage.”

Stream Her Loss below.

• Drake Homages Virgil Abloh At 'It’s All A Blur Tour' Opening In Chicago - Okayplayer ›
• Drake Trolls Vogue EIC Anna Wintour Months After ‘Her Loss’ Lawsuit - Okayplayer ›

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How Lil Yachty Ended Up at His Excellent New Psychedelic Album Let's Start Here

The evening before Lil Yachty released his fifth studio album,  Let’s Start Here,  he  gathered an IMAX theater’s worth of his fans and famous friends at the Liberty Science Center in Jersey City and made something clear: He wanted to be taken seriously. Not just as a “Soundcloud rapper, not some mumble rapper, not some guy that just made one hit,” he told the crowd before pressing play on his album. “I wanted to be taken serious because music is everything to me.” 

There’s a spotty history of rappers making dramatic stylistic pivots, a history Yachty now joins with  Let’s Start Here,  a funk-flecked psychedelic rock album. But unlike other notable rap-to-rock faceplants—Kid Cudi’s  Speedin’ Bullet 2 Heaven  comes to mind, as does Lil Wayne’s  Rebirth —the record avoids hackneyed pastiche and gratuitous playacting and cash-grabbing crossover singles; instead, Yachty sounds unbridled and free, a rapper creatively liberated from the strictures of mainstream hip-hop. Long an oddball who’s delighted in defying traditional rap ethos and expectations,  Let’s Start Here  is a maximalist and multi-genre undertaking that rewrites the narrative of Yachty’s curious career trajectory. 

Admittedly, it’d be easy to write off the album as Tame Impala karaoke, a gimmicky record from a guy who heard Yves Tumor once and thought: Let’s do  that . But set aside your Yachty skepticism and probe the album’s surface a touch deeper. While the arrangements tend toward the obvious, the record remains an intricate, unraveling swell of sumptuous live instruments and reverb-drenched textures made more impressive by the fact that Yachty co-produced every song. Fielding support from an all-star cast of characters, including production work from former Chairlift member Patrick Wimberly, Unknown Mortal Orchestra’s Jacob Portrait, Justin Raisen, Nick Hakim, and Magdalena Bay, and vocals from Daniel Caesar, Diana Gordon,  Foushée , Justine Skye, and Teezo Touchdown, Yachty surrounds himself with a group of disparately talented collaborators. You can hear the acute attention to detail and wide-scale ambition in the spaced-out denouement on “We Saw the Sun!” or on the blistering terror of “I’ve Officially Lost Vision!!!!” or during the cool romanticism of “Say Something.” Though occasionally overindulgent,  Let’s Start Here  is a spectacular statement from hip-hop’s prevailing weirdo. It’s not shocking that Yachty took another hard left—but how exactly did he end up  here ?

In 2016, as the forefather of “bubblegum trap” ascended into mainstream consciousness, an achievement like  Let’s Start Here  would’ve seemed inconceivable. The then 18-year-old Yachty gained national attention when a pair of his songs, “One Night” and “Minnesota,” went viral. Though clearly indebted to hip-hop trailblazers Lil B, Chief Keef, and Young Thug, his work instantly stood apart from the gritted-teeth toughness of his Atlanta trap contemporaries. Yachty flaunted a childlike awe and cartoonish demeanor that communicated a swaggering, unbothered cool. His singsong flows and campy melodies contained a winking humor to them, a subversive playfulness that endeared him to a generation of very online kids who saw themselves in Yachty’s goofy, eccentric persona. He starred in Sprite  commercials alongside LeBron James, performed live shows at the  Museum of Modern Art , and modeled in Kanye West’s  Life of Pablo  listening event at Madison Square Garden. Relishing in his cultural influence, he declared to the  New York Times  that he was not a rapper but an  artist. “And I’m more than an artist,” he added. “I’m a brand.”

 As Sheldon Pearce pointed out in his Pitchfork  review of Yachty’s 2016 mixtape,  Lil Boat , “There isn’t a single thing Lil Yachty’s doing that someone else isn’t doing better, and in richer details.” He wasn’t wrong. While Yachty’s songs were charming and catchy (and, sometimes, convincing), his music was often tangential to his brand. What was the point of rapping as sharply as the Migos or singing as intensely as Trippie Redd when you’d inked deals with Nautica and Target, possessed a sixth-sense for going viral, and had incoming collaborations with Katy Perry and Carly Rae Jepsen? What mattered more was his presentation: the candy-red hair and beaded braids, the spectacular smile that showed rows of rainbow-bedazzled grills, the wobbly, weak falsetto that defaulted to a chintzy nursery rhyme cadence. He didn’t need technical ability or historical reverence to become a celebrity; he was a meme brought to life, the personification of hip-hop’s growing generational divide, a sudden star who, like so many other Soundcloud acts, seemed destined to crash and burn after a fleeting moment in the sun.

 One problem: the music wasn’t very good. Yachty’s debut album, 2017’s  Teenage Emotions, was a glitter-bomb of pop-rap explorations that floundered with shaky hooks and schmaltzy swings at crossover hits. Worse, his novelty began to fade, those sparkly, cheerful, and puerile bubblegum trap songs aging like day-old french fries. Even when he hued closer to hard-nosed rap on 2018’s  Lil Boat 2  and  Nuthin’ 2 Prove,  you could feel Yachty desperate to recapture the magic that once came so easily to him. But rap years are like dog years, and by 2020, Yachty no longer seemed so radically weird. He was an established rapper making mid mainstream rap. The only question now was whether we’d already seen the best of him.

If his next moves were any indication—writing the  theme song to the  Saved by the Bell  sitcom revival and announcing his involvement in an upcoming  movie based on the card game Uno—then the answer was yes. But in April 2021, Yachty dropped  Michigan Boat Boy,  a mixtape that saw him swapping conventional trap for Detroit and Flint’s fast-paced beats and plain-spoken flows. Never fully of a piece with his Atlanta colleagues, Yachty found a cohort of kindred spirits in Michigan, a troop of rappers whose humor, imagination, and debauchery matched his own. From the  looks of it, leaders in the scene like Babyface Ray, Rio Da Yung OG, and YN Jay embraced Yachty with open arms, and  Michigan Boat Boy  thrives off that communion. 

 Then “ Poland ” happened. When Yachty uploaded the minute-and-a-half long track to Soundcloud a few months back, he received an unlikely and much needed jolt. Building off the rage rap production he played with on the  Birthday Mix 6  EP, “Poland” finds Yachty’s warbling about carrying pharmaceutical-grade cough syrup across international borders, a conceit that captured the imagination of TikTok and beyond. Recorded as a joke and released only after a leaked version went viral, the song has since amassed over a hundred-millions streams across all platforms. With his co-production flourishes (and adlibs) splattered across Drake and 21 Savage’s  Her Loss,  fans had reason to believe that Yachty’s creative potential had finally clicked into focus.

 But  Let’s Start Here  sounds nothing like “Poland”—in fact, the song doesn’t even appear on the project. Instead, amid a tapestry of scabrous guitars, searing bass, and vibrant drums, Yachty sounds right at home on this psych-rock spectacle of an album. He rarely raps, but his singing often relies on the virtues of his rapping: those greased-vowel deliveries and unrushed cadences, the autotune-sheathed vibrato. “Pretty,” for instance, is decidedly  not  a rap song—but what is it, then? It’s indebted to trap as much as it is ’90s R&B and MGMT, its drugged-out drums and warm keys able to house an indeterminate amount of ideas.

Yachty didn’t need to abandon hip-hop to find himself as an artist, but his experimental impulses helped him craft his first great album. Perhaps this is his lone dalliance in psych rock—maybe a return to trap is imminent. Or, maybe, he’ll make another 180, or venture deeper into the dystopia of corporate sponsorships. Who’s to say? For now, it’s invigorating to see Yachty shake loose the baggage of his teenage virality and emerge more fully into his adult artistic identity. His guise as a boundary-pushing rockstar isn’t a new archetype, but it’s an archetype he’s infused with his glittery idiosyncrasies. And look what he’s done: he’s once again morphed into a star the world didn’t see coming.

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Lil Yachty Reflects On His Relationship With Drake: “I Never Had Many Rap Friends” 

Lil Yachty explained how his contributions to Her Loss came about, revealing that he’s been eager to work with Drake for years.

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Lil Yachty has opened up about his relationship with Drake, praising Drizzy for being a true friend to him.  

The Let’s Start Here album creator also reflected on working with Drake on Her Loss , the Toronto native’s joint album with 21 Savage. During a new interview on Rap Radar , Elliott Wilson labeled Yachty “the genius behind” the No.1 project and asked him how he came to feature so heavily.  

“I, for a very long time, wanted to do anything involving music with [Drake],” Lil Yachty explained. “So I’ve been telling him for the last, like, I don’t know how many years, like, ‘Bro…can I even just be in the room? I just wanna soak it up and see how you do it. I wanna see you rap, I wanna anything, you know?’ For real.” 

Lil Boat holds his friend in the highest esteem, declaring him the G.O.A.T. “I just feel like he’s—to my opinion…the greatest rapper ever. And that’s my personal opinion. I ain’t arguing with nobody or their mama,” he added. 

The admiration is mutual. Lil Yachty has writing and production credits on multiple Her Loss cuts. Tracks including “Major Distribution,” “Privileged Rappers,” “Circo Loco,” and “Jumbrotron S### Poppin,” were Yachty assisted.  

“He always loved my beat selection,” the Georgia native revealed. “He was one of the first people to post one of my albums and just be like, ‘Man, your beat selections are so crazy.’ And that’s crazy to hear from him, especially during times when nobody was really f#####’ with me. Like, I never had many rap friends. I feel like a lot of the rap people I even hung around was because I was probably [in Quality Control]. … I probably would never met any of those people if I wasn’t QC.” 

Catch out the clip below and watch the full episode, which premieres today (Feb. 23) on Apple Podcasts .

Drake Shows Love To Lil Yachty

Meanwhile, last year Drake gave Yachty his flowers for all of his Her Loss contributions, which included the unique cover art. 

“WHERE WOULD I BE WITHOUT OUR FRIENDSHIP,” Drake wrote on Instagram Stories last November. “I LOVE YA KID THANK YOU FOR YOUR TIME YOUR INCREDIBLE TALENT AND YOUR ADLIB GAME.” 

Her Loss Album Cover: Story Behind The Artwork

Her Loss Album Cover

In this post, we’ll look into Her Loss   album cover.

Her Loss is a studio album created through a collaboration between Canadian rapper Drake and Atlanta-based rapper 21 Savage.

The album was released on November 4, 2022, by OVO Sound and Republic Records , and it includes a guest appearance by Travis Scott.

Despite receiving mixed reviews from critics, Her Loss achieved commercial success by debuting at number one on various charts, including the Canadian Albums and the US Billboard 200. 

The album’s cover art features Quiana “Qui” Yasuka, an adult dancer and model known as Suki Baby. The rappers posted the then three-year old photograph, taken by Paris Aden, on their Instagram profiles on November 2.

The cover art was discovered by Lil Yachty , who successfully suggested it as the album cover.

As a CD duplication service , we care about the music industry and are fascinated by the beautiful world of album artwork. 

Hello, I’m Josh, and I’ve been honing my graphic design skills for almost 15 years now, catering to the needs of bands and businesses alike. What really fascinates me is the business aspect of the music industry. In addition to my design work, I also happen to play the Hammond organ, and I strive to share my knowledge through helpful articles that I write exclusively for you all!

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The 13 Best New Hip-Hop Songs This Week

Week in and week out, there are plenty of brand-new rap songs, no matter the time of year. It can be really difficult to stay aware of what's out and also what's hot, so XXL decided to make things much easier for you. Instead of sorting out nearly everything that released this week, we've narrowed it down to strictly the best of the week, saving you plenty of time.

Expect to see selections from the established stars, the next wave of new talent, the up-and-comers and everyone else in between. If the song is fire enough to beat the competition, it'll take one of the weekly spots. You can trust us on this one; follow our lead and you'll never get laughed off the aux cord again. Your friends will finally trust you with playlists; it'll be wonderful. In addition to that, you can check back every week for the latest and greatest tracks. You'll always have somewhere to turn to each week, being sure to find some songs you'll dig.

Enjoy this week's list, featuring new songs from  A$AP Rocky ("Ruby Rosary" featuring J. Cole ), Megan Thee Stallion ("Neva Play" featuring RM of BTS ),  LL Cool J ("Huey in the Chair" featuring Busta Rhymes ) and more. See you next week.

"Ruby Rosary"

"neva play", "huey in the chair", "i swear to god", "if i fall", "i like that", "can't hold me down", "no one else", "like baby", "u kno what to do (ukwtd)", see the best hip-hop projects of 2024 so far, more from xxl.