In this episode of The Need to Know Podcast, the hosts dive deep into the latest release from Drake and PARTYNEXTDOOR, dissecting everything from the album’s aesthetic choices to its musical direction and the lingering impact of the Kendrick Lamar beef.
Before even pressing play on the album, the hosts analyze the title, cover art, and tracklist. One of the first major discussions centers on accusations that Drake and PARTYNEXTDOOR copied Freddie Gibbs’ signature aesthetic, specifically the use of dollar signs and rabbits in their visuals. While some argue that Gibbs has used these elements frequently—referencing his past work like Big Boss Rabbit, Space Rabbit, and Rabbit Vision—others push back, saying no one can truly “own” symbols like rabbits or dollar signs.
The conversation also touches on claims from Canadian rapper John River, who suggested that Drake stole elements from his work as well. While the hosts acknowledge that Drake has a history of drawing inspiration from other artists, they also point out that the internet often assumes relationships or connections between artists that may not actually exist.
A significant portion of the episode revolves around how Kendrick Lamar’s diss tracks have impacted the way people perceive Drake’s music. One of the hosts compares Kendrick’s attack on Drake to what 50 Cent did to Ja Rule—shifting how fans hear and interpret an artist’s work rather than outright ending their career.
They argue that while Drake is still going to make hit records and dominate charts, Kendrick has fundamentally changed the perception of his artistry. One host even admits that they struggle to listen to Drake’s music, including his R&B tracks, without thinking about the beef. Another host disagrees, saying they still enjoy R&B Drake without any influence from the Kendrick situation, emphasizing that Drake has always been a genre-blending artist rather than strictly a rapper or R&B singer.
Moving into the music itself, the hosts share their thoughts on Some Sexy Songs for You. While they acknowledge standout moments on the album, they also note that the first several songs felt sonically similar, making the album feel slow at first. One host debates whether this is a lazy critique or a valid observation, ultimately agreeing that the first few tracks blend together before the project picks up momentum.
They discuss listening habits—some have played the album in full multiple times, while others prefer shuffling through it. The consensus is that Some Sexy Songs for You isn’t necessarily bad, but it doesn’t bring anything groundbreaking to the table.
