Drake – For All The Dogs (Album Review)

Drake’s bite matches his bark in “For All The Dogs.”

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TOP 5

5. Slime You Out (Ft. SZA)

The picture Drake used to promote “Slime You Out” is sick as st. The song’s title? Sick as st. The fact that he called on SZA — arguably the R&B queen of emotional chaos — to hop on it? Sick as st. And let’s not forget, the decision to make the first official single from For All The Dogs a slow, moody, swagged-out jam instead of a high-energy flex record? You guessed it — sick as s****t!

Let’s get serious for a second — “Slime You Out” is Drake and SZA’s long-awaited musical reunion, and it’s exactly as messy, emotional, and entertaining as you’d hope. The track plays out like a toxic therapy session between two exes who should not be in the same room but absolutely need to get some things off their chest. Drake kicks things off, crooning with his signature calm frustration — he’s not yelling, but you can feel the smoke. He’s talking to a woman who clearly fumbled him, and the way he dismisses her new man is borderline disrespectful. Drake makes the dude sound like he’s lucky to even have a name — man caught a stray for no reason.

When the beat flips and Drake switches into his second verse, he turns the volume up. The slick talk turns into sharp talk. His tone gets harsher, the flow gets tighter, and suddenly he’s naming all her weasel-like behaviors in a way only Drake can. This is petty king behavior, elevated to poetic art.

Then comes SZA, the calm after the storm — or maybe the storm after the storm. She glides in with her angelic vocals and flips the perspective. While Drake’s lashing out, SZA hits back with grace and venom, reminding the world that “n**as ain’t s**t,” but doing it so beautifully you can’t even be mad.

If you love Drake’s moody, slow-tempo jams that toe the line between apology and ego trip — with a side of soulful R&B chaos — “Slime You Out” will scratch that itch. It’s toxic excellence at its smoothest.

4. 8am In Charlotte

Drake drops fire whenever he is in a random city early in the morning. This time around, he’s in Charlotte right after brushing his teeth.

Let’s be real — everyone and their mama figured out how to do that singy-rappy thing Drake made famous. Some folks even managed to master that soft, “extra light-skinned” tone he uses to make heartbreak sound expensive. But one thing nobody — and I mean nobody — has cracked yet is how to make songs like “8am In Charlotte.” That lane still belongs solely to Drizzy.

“8am In Charlotte” is Drake at his sharpest and most surgical. He’s not here to charm you — he’s here to remind you who’s really running this rap marathon. The way he slides through bars like, “Where I go, you go, brother, we Yugoslavian,” or “Formal is the dress code, dawg, so many checks owed I feel Czechoslovakian,” is pure poetry for the petty. And when he hits you with, “I swear I’m like a young T.D. Jakes to my menaces,” you can almost hear the mic melt. This is luxury trash talk — the kind that’s equal parts gospel and god-level confidence.

What makes this record special is how easy Drake makes the difficult look. His flows are seamless, the beat is polished but haunting, and his punchlines cut like clean glass. It’s not just about flexing money or fame — it’s about asserting dominance with language, presence, and timing.

3. IDGAF (Ft. Yeat)

Who would’ve thunk that Drake and Yeat would form quite the alliance?

While I’m not the biggest fan of “IDGAF,” I can admit it perfectly captures who both artists are. For Drake, it’s proof that he can step into Yeat’s glitchy, video-game-like world and still glide over the beat like a pro, all while taking slick shots at whoever’s on his mind. For Yeat, it’s a clear sign of just how far he’s come — not only does he hold his own next to one of the biggest artists on the planet, but he also shows he’s got major commercial power.

What makes “IDGAF” work is that both artists stay true to their strengths. Drake brings his signature confident flow, layered with all the clever flexing and subtle venom we’ve come to expect from him. Meanwhile, Yeat sounds like a futuristic robot who’s fully committed to chaos — his delivery is wild, unpredictable, and oddly hypnotic.

The chemistry between them isn’t perfect, but it’s fun. It feels like a fusion of two completely different worlds — Drake’s calculated slick talk meets Yeat’s digital distortion.

2. Virginia Beach

Me trying to calculate how “Virginia Beach” is supposed to be a ruthless diss track aimed at Pusha T.

Obviously, it’s not — but let’s be honest, Drake still owes that man a receipt for the “Story of Adidon” violation. Anyway, “Virginia Beach” might actually be one of the most addictive tracks on this whole album. Drake goes full crooner mode, pouring emotion over a chill, steady-beating instrumental that glides like ocean waves. His vocals stretch and linger, painting a picture of a woman who’s conflicted, caught up, and not quite as invested as he is.

What really seals it, though, is when Drake flips the switch and delivers a rap verse that cuts just enough to make you feel it. His flow is sharp, his tone is confident, and it gives the track that perfect contrast between heartbreak and heat.

1. First Person Shooter (Ft. J. Cole)

J. Cole and Drake’s relationship is cool as s**t. It reminds me of LeBron James and Kevin Durant’s relationship. Who’s LeBron here, though?

Everybody loves to glorify the ‘90s era of rap—and rightfully so—but can we take a second to appreciate how the late 2000s and early 2010s quietly gave us a new holy trinity? Kendrick Lamar, Drake, and J. Cole all came out swinging, shaping the culture in totally different ways. What makes it even better is that their competition has always felt like a friendly rivalry rather than a blood feud; iron sharpening iron, if you will.

That energy is all over “First Person Shooter.” Drake and J. Cole come through spitting flames—confident, competitive, and clever as hell. The bars hit like two pros at the top of their craft reminding everyone why they belong in the same breath as the greats. There’s no real dissing here either; Cole even takes a second to salute YoungBoy, which is pure class in itself.

What’s wild is how seamless their chemistry is. You can hear both rappers trying to outdo each other without it turning toxic. It’s like watching two MVPs trade buckets in overtime.

Now, imagine if Travis Scott hopped on this joint. That robotic, intergalactic flow of his would’ve been perfect for that beat switch-up. I’m just saying—we might’ve been robbed of an all-time great rap moment.

SONG BY SONG BREAKDOWN

1. Virginia Beach (4.5/5)

2. Amen (Ft. Teezo Touchdown) (4/5)

3. Calling For You (Ft. 21 Savage) (4/5)

4. Fear Of Heights (4.5/5)

5. Daylight (4/5)

6. First Person Shooter (Ft. J. Cole) (5/5)

7. IDGAF (Ft. Yeat) (4/5)

8. 7969 Santa (3/5)

9. Slime You Out (4.5/5)

10. Bahamas Promises (3.5/5)

11. Tried Our Best (3.5/5)

12. Screw The World Interlude (N/A)

13. Drew A Picasso (4/5)

14. Members Only (Ft. PARTYNEXTDOOR) (4/5)

15. What Would Pluto Do (4/5)

16. All The Parties (Ft. Chief Keef) (4/5)

17. 8AM In Charlotte (4.5/5)

18. BBL Love Interlude (3/5)

19. Gently (Ft. Bad Bunny) (4/5)

20. Rich Baby Daddy (Ft. Sexyy Red & SZA) (4/5)

21. Another Late Night (Ft. Lil Yachty) (3.5/5)

22. Away From Home (3.5/5)

23. Polar Opposites (4/5)

RGM RATING

(78%)

You have to admire Drake. The man has evolved—both as a rapper and as a person—but somehow, he’s still the same. He still talks about out-rapping and out-living his competition, except now it sounds more commanding, more refined. He still raps about relationship drama, except now it’s delivered with a little more maturity (and maybe a little more therapy). Yet, if there’s one thing that stands out on For All The Dogs, it’s his temper. This album bleeds mood swings—Drake’s highs, lows, and those signature “why did she do me like that?” moments are all here.

So, is this album for the dogs or the felines? Honestly, it leans heavy on the R&B side. Drake spends a lot of time revisiting heartbreak and emotional chaos (which might leave some dogs side-eyeing their headphones). A decade ago, I was amazed at how easily he could jump from hard-hitting bars to buttery melodies. But while listening to “Polar Opposites,” “Drew A Picasso,” and “BBL Love (Interlude),” I couldn’t help but think, “Another R&B jam?” Still, Drake’s pen keeps things interesting—his writing feels sharper, funnier, and more venomous than ever. It’s like watching a veteran actor add more bite to their performance over time.

To me, a 3.5–4 rating means “cool”—not bad, not great, just cool. And a bunch of rap tracks here are exactly that. “Another Late Night” with Lil Yachty is fly, “IDGAF” with Yeat is chaotic fun, and “Away From Home” hits that humble-brag nostalgia note. But when Drake really decides to rap—like on “8AM In Charlotte” or “First Person Shooter”—it’s a whole different ball game. Those tracks remind you of why Drake’s still in his own lane. If he gave us 23 of those, we’d be talking about a classic album, no question.

And maybe that’s the beauty of it—Drake doesn’t chase classics. He makes music that fits his world, TikTok’s world, and the 20-to-30-something crowd still trying to find themselves. Sure, parts of For All The Dogs feel watered-down, but it’s the kind of water you can sip all year long. It’s relatable, catchy, and perfectly in tune with the times. Not every project needs to be The Godfather—sometimes we just need Friday After Next. Drake continues to be for the culture, not for the critics.

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