After multiple teases towards the album and a few delays over the course of the summer, “For All The Dogs” was released with 23 songs on the track list and an hour-and-a-half long run time.
In complete transparency, I am not a massive Drake fan. While I love certain songs, like “Hold On, We’re Going Home” and “Jumpman,” the majority of Drake’s catalog is underwhelming. Regardless, I can understand what makes a Drake song good. You want some solid energy, a good rhythm, and fun, albeit corny, lyricism.
“For All The Dogs” promised some of that energy, such as the aggressive, cutthroat energy he gives on “If You’re Reading This It’s Too Late,” especially by naming the album for the “dogs” out there. However, the album itself feels like a breakup album.
Drake’s mellow, auto-tuned singing takes center stage, for both better and worse. Certain songs benefit heavily from the atmospheric, shimmering vocals, such as the delivery on “Tried Our Best,” which is moderated and backed up by solid vocals from new collaborator Teezo Touchdown, who also appears on “Amen.” However, this new-age R&B style has its weak moments, such as the uninspired refrain on “All The Parties” with Chief Keef and the meandering lament of “Polar Opposites.” This trademark Drake style, which had its moments, just feels tired on his 13th album.
Not only do you see it under the spotlight on certain songs, but you get a taste of it in the various intros, outros, interludes, and beat switches throughout the album. One thing I must give Drake credit for is the album is wonderfully produced. Mainstay producers are joined by up-and-coming talents BNYX, responsible for “IDGAF,” “Another Late Night,” and “Away From Home,” and Conductor Williams, producer of “8am In Charlotte.”
These new producers allow Drake to experiment, specifically BNYX, which does add some much-needed color to an otherwise understated album. Nocturnal bangers like “Fear of Heights” go over the top thanks to the concoctions of BNYX, whose ferocity in beat creation is plain to see.
BNYX also brought frequent partner-in-crime Yeat on “IDGAF” and completely washed Drake out of the picture, stealing the show five times over. This happens frequently over the course of “For All The Dogs”: Drake will invite other artists onto his album and they will steal the show completely. J. Cole, even with an underwhelming verse by his standards, is stellar compared to Drake’s verse on “First Person Shooter.” SZA, who has more raw vocal talent than Drake, makes the two features she was given count, with vibrant additions to “Slime You Out” and “Rich Baby Daddy.” Female rap sensation Sexyy Red jolts the album to life on the chorus of “Rich Baby Daddy.” Drake plays second fiddle to every feature on the album, even with his awkward team-up with Bad Bunny, “Gently,” feeling like Drake paid to get on the song.
Many of my complaints about this album stem from just how over-saturated Drake is at the moment. As of right now, we’ve gotten 4 albums in a 2-year span, each with different tones, experiments, and features, but consistent themes. I was hoping “For All The Dogs” would divert from the overdone romantic themes that Drake gravitates towards, but I had no luck. If you’ve loved everything Drake has done recently, I’m sure you’ll love this album. If Drake has been hit or miss for you as of late, skip this one.
With that being said, the highlight of the track list is no doubt “8 a.m. In Charlotte.” The Conductor Williams beat alongside an introspective, natural Drake verse makes for a listen that goes down easy. Drake isn’t afraid to let the soul sample work as well, making for a much more balanced experience.
My least favorite track is the off-beat, vaporous nothingness that is “7969 Santa.” While the light drums make this more palatable, the atrocious writing and apathetic delivery make this difficult to sit all the way through, with the Teezo Touchdown outro feeling completely unnecessary (not to mention the strange radio monologue from Snoop Dog).
My recommendation, as a whole, would be to save a few of the solid hits, like “Daylight” and “Rich Baby Daddy,” and throw the rest of the album out of your memory, and pray Drake actually puts something of quality out next time.
