“I play the hand that was dealt, I got a deck full of aces / I gave birth to your style, I need a check for my labor” From: “Intro” Album: Quality Street Music 2 Setting the tone for the second installment in DJ Drama’s Quality Street Music series, Wayne kicked off the album in a way that was hard to live up to.
Shout out Capone and Noriega / We can shoot it out and see who live to tell the story later / Diamonds in my Ollie face cannot be exfoliated” From: “Believe Me” Album: They Carter V Wayne’s ability to call back to hip-hop legends is highly appreciated here, as well as his use of the word “exfoliated,” for those of us passionate about our skincare routines.
The great Benjamin Franklin makes another appearance, as well as yet another unique play on language and sound. Lil Wayne, also a sex education teacher, giving sound advice on a song that was one of his biggest hits.
Not only a play on Wayne and Baby’s geographic location and a not to migration tactics, but also a reminder of happier times. On an album that pretty much served as a vehicle to capitalize off of Wayne’s hot streak, he still didn’t take any plays off.
“Forewarning / Young Money’s armed / And we can shoot it out / I got the money drawn / Yeah, take that to the bank wit' ya / I rock my hat to the side like I paint pictures / Smoke weed, talk shit like Lane Kyffin / Whole country in recession, but Wayne different” From: “Banned From TV” Album: No Ceilings Despite the dated USC-era Lane Kyffin reference, Wayne’s onslaught on this classic Swizz Beatz-produced Noriega beat is one for the ages.
“Just bought a new charm / Fuck the watch, I buy a new arm, you lukewarm” From: “No Problems” Album: Coloring Book A vintage Wayne guest verse coming last year, he anchored this song and stole the show.
A guest offering on Orange’s stunning album produced one of Wayne’s most vulnerable and honest verses of all time. Hard to pick a single line from this song, which is one of Wayne’s most iconic and memorable from his brilliant run.
This is Peak Drake: In the span of two bars, he plans trips to Europe, then remembers his side piece’s Benz needs snow-equipped tires. You’d be remiss to bring up this verse around lyrical heads, but admit it: Drake’s performance on “DNF” is unbelievably catchy.
Predictably, his decision backfired: Drake not only washed the Detroit rapper on his own song (“Made”), but arguably had the best overall verse on the entire mixtape. I wish I could say Sean learned his lesson, but considering what took place three summers later (Kendrick’s guest spot on “Control”), we both know the answer.
Writing about the song in his review of Port of Miami 2, my friend You said it best : “Drake has one of the most seamless deliveries in hip-hop. Congrats to Joe Burden for turning a one-sided war against Drake into the most unnecessary rap beef in recent memory.
After owning the winter with “Look Alive” and “Walk It Talk It,” the summer with “Yes Indeed” and “SICKO MODE,” and the fall with “Never Recover” and “MIA,” Drake still had enough left in the tank to supply his former rival, Meek Mill, with one of his best verses of the year on their reunion collaboration, “Going Bad.” After spending 2010 singing hooks for A-list rappers like Bird man (“Money to Blow”), Lil Wayne (“With You”), and Rick Ross (“Aston Martin Music”), Drake capped off the year by flexing his versatility alongside an A-list R&B star.
On Jamie Foxx’s “Fall For Your Type,” Drake’s closing verse introduced fans to the off-script, sing-song style he’s now known to implement when rapping over R&B beats. “ Best I Ever Had” and “Find Your Love” may have been the first tracks that showcased Drake’s mainstream popularity, but his guest spot on Rihanna’s No.
On the No Mercy standout, Drake makes up for a lack of lyrics with a devastating flow, cementing his swag-soaked performance as one of the first iconic club dangers of his career. Despite being one of the cornier verses in his catalog, you’d be hard-pressed to find another Drake guest spot as funny as his appearance on Game’s “Good Girls Go Bad.” The 16-bar verse is filled with hilarious quotable, from the opening lines (“ Good evening, I’m in Chicago at the Elysian / With some girls that say they model but MMM, I don’t believe ‘em ”) to his use of childhood TV references as pickup lines, to the way in which he tosses aside a former flame in brutally honest fashion.
Eight years on, you won’t find many people who’re familiar with Drake’s verse on “Wildfire,” let alone aware of its greatness. But that doesn’t mean it’s not an entertaining listen, especially Drake’s verse, which is perhaps the funniest guest spot in his discography.
As someone who loves to ride the latest wave, Drake had no choice but to link up with 2014’s hottest rapper-producer duo, KG and Mustard, on the former’s hit single, “Who Do You Love?” After lacing the Compton rapper with an excellent guest spot, though, Dizzy was forced to settle a dispute with Rapping’ 4-Tay, who called him out for biting his 1994 song, “Play Club.” Nearly a year after linking up on Thursday standout “The Zone,” Abel and Aubrey joined forces for “Live For,” the fourth single from The Weekend’s debut studio album, Kiss Land.
DJ Drama’s “We In This Bitch 1.5” is one of those rare instances, as Dizzy needs just one minute to set the tone and hijack the song, with a lively opening sequence. The first collaboration between The Weekend and Drake on one of Abel’s projects, “The Zone” lived up to the potential the duo displayed on Take Care standouts “Crew Love” and “The Ride.” “The Zone” sees The Weekend set the stage for Drake’s big entrance.
The Boy’s appearance is a short one, but it hooks you immediately, before it ends with him announcing Wayne’s return home in triumphant fashion. Album : My Life II… The Journey Continues (Act 1) (2011) Producer : Jim Jonson & Rico Love.
If Drake was properly credited, there’s a good change “SICKO MODE” would rank inside the top 10. In order to appreciate the overlooked greatness of this 2012 loose, let’s ignore the fact that Drake is listed as the featured artist on an OVO-sanctioned, posthumous Aaliyah single.
Backed by 40s smoky, after-hours R&B production and the late singer’s silky falsetto, Dizzy unleashes one of his classic confessionals. And yet, Dizzy still appears unfazed, too busy making his circle smaller to concern himself with opposing forces on the horizon.
Released in October 2012, “Problems” wasn’t just the year’s most star-studded posse cut, but also a changing of the guard moment for hip-hop. At the time, Rocky was two months away from dropping his debut album; 2 Chain and Kendrick were fresh off releasing theirs.
Built around Sonny Digital and Metro Booming’s syrupy beat and iLoveMakonnen’s Auto-Tune-enhanced vocals, “Tuesday” provided Drake an opportunity to step out of his comfort zone. By delivering perhaps the best vocal performance he’s ever laid to wax, Drake helped “Tuesday” go viral, which in turn, minted Manner a star and gave the most boring day of the week new meaning.
Drake’s appearance on “Poetic Justice” might not jump out at you, but when stacked against either of Kendrick’s verses on the song, it’s obvious who comes out on top. We ain’t get the memo, ” Drake raps on “Moment 4 Life,” a highlight from Nicki Minaj’s debut album, Pink Friday.
In the fall of 2010, the label boasted the Best Rapper Alive, Lil Wayne, along with the Rap co-Rookies of the Year, Dizzy and Nicki, both of which released their debuts within five months of one another. Five years after Lil Wayne told listeners, on “Money to Blow,” not to worry about Cash Money’s future because the label would be alright as long as they put Drake on every hook, ” Drake continued his mentor’s prophetic claims on “Believe Me.” From the jump, Dizzy assumes the role of host to the welcome-back party, rolling out the red carpet for his Big Home, with one of his best guest spots this decade.
Big Sean dropped “Blessings” on January 30, 2015, exactly two weeks before Drake would surprise-release If You’re Reading This It’s Too Late. In hindsight, his verse here gives us a taste of the subject he’d visit on INITIAL :Feuding with YM CMB over unpaid royalties, worrying about his mother, throwing shade at the press, and, of course, rapping the 6.
Backed by triumphant production courtesy of Kane Beat, Drake, the Rap Rookie of the Year, delivered a career-defining guest verse that marks the moment the torch was passed between the Young Money President and his protégé. Considering that the best part of Drake’s guest appearance on “Look Alive” is the infectious hook, you could argue that his eight-bar verse doesn’t deserve to be ranked this high.
And yet, once his calm, cool and collected delivery wins you over, don’t be surprised if you find yourself admiring each arrogant boast. Backed by a gospel-clapping, organ-laced piano loop, there’s no denying fans were shocked to hear Meek rap over a beat so far out of his wheelhouse, so effortlessly.
Fresh off his show-stopping guest spots on Kanye West’s “Mercy” and Nicki Minaj’s “Been In the Trap,” 2 Chain entered the summer of 2012 as the hottest feature in hip-hop. Then, in an admirable move in the spirit of competition, Drake reclaimed the title by dusting City BOI on the Atlanta rapper’s debut single, “No Lie.” Thanks to his contagious hook and instantly-quotable verse, the banger was inescapable that summer.
But rather than celebrating his recent coronation on his first post- NETS verse, Drake warned the rest of hip-hop that his reign was just beginning. Over Mike Will Made-It’s thumping beat, he sounds hungry as ever, yet is well aware of his unchallenged place atop the rap game.
Drake already had a flawless streak of guest spots (from “Money to Blow” and “Say Something” in 2009, to “Made Men” and “Right Above It” the following year), but never had he swiped a song out from under the headlining artist as effortlessly as he did on DJ Khaled’s summer anthem. In August 2010, an early version of “All Lights” leaked, featuring Drake rapping over Kanye’s triumphant beat.
Released in March 2011, Drake’s verse on the “All the Lights” remix serves as our introduction to the tough guy persona he’d tap into later that year on Take Care. Fresh off delivering two of the year’s best guest verses, on Rick Ross’ “Stay Scheming’” and 2 Chainz’s “No Lie,” Drake laid claim to summer 2012 on French Montana’s banger, “Pop That.” In hindsight, Dizzy’s scene-stealing verse is a perfect snapshot of where he was at in his life at that exact moment.
After owning the previous two summers on the strength of stellar guest spots (2011’s “I’m On One” and 2012’s “Pop That”), Drake did it again in 2013, with an earth-shattering guest verse on the remix to Minos’ then-bubbling hit, “Versace.” Six years on, it’s impossible to measure how impactful Dizzy’s verse was, considering it helped catapult the Atlanta trio to superstardom. With no disrespect to DJ Khaled’s “I’m On One,” Drake’s guest verse on Rick Ross’ “Stay Scheming’” is the moment when he snatched the throne for good.