Still, you’ve got to hand it to him, he’s one of the more adventurous artists in the game. Even when he decided to return to the dancehall for “Madiba Riddim,” the lackluster, indolent attempt couldn’t hold a candle to standouts like “Portland” (mainly because of Travis Scott’s chameleon-like superpowers when he’s the featured artist) and “Gyalchester,” because of its ominous air of finality. Much of the grime work on the album sounded out of sorts, passable at best. More Life was a 22-track celebration without purpose, just because.īut then again-and this becomes a common thread in the path of Drake releases-the Toronto crooner’s ability to trim bloat from projects practically doesn’t exist. Young Thug, Quavo, Travis Scott, 2 Chainz and PartyNextDoor offered their voices as well.

Frank Dukes, Boi1-da, Murda Beatz, Kanye West, T-Minus and countless more producers paraded through the door and dropped off beats outside of Drake’s typical palette. Freeing the album from any narrative guise afforded Drizzy the opportunity to throw stuff at the wall ‘til it stuck. Billed as a “playlist,” More Life was boilerplate Drake - surface-level introspective, just enough-type raps and strategic feature placements from the hottest artists that could support the notion that he’s everywhere listening and soaking in game at all times.

Drizzy thank me later album