Drake’s For All the Dogs finally arrived after months of build-up, promising a return to the sounds that defined his earlier career. Following a string of Billboard 200 chart-toppers like Certified Lover Boy, Honestly, Nevermind, and Her Loss, which received somewhat lukewarm receptions, the anticipation for For All the Dogs was immense. The buzz around a return to the “old Drake”—evoking memories of Take Care and his early introspective, R&B-infused rap—had been persistent. Fans yearned for the Drake who delved into relationship complexities with moody, stream-of-consciousness lyrics.
Clocking in at a substantial 23 tracks and an 85-minute runtime, For All the Dogs embarks on a sprawling journey to potentially recapture that initial spark. The album boasts an impressive lineup of collaborators including SZA, J. Cole, Chief Keef, Sexyy Red, Snoop Dogg, Sade, Teezo Touchdown, Bad Bunny, Yeat, 21 Savage, Lil Yachty, and PARTYNEXTDOOR, showcasing Drake’s knack for assembling diverse artistic partnerships. Sonically, the album traverses a wide landscape, from soulful, Griselda-esque piano arrangements to Miami bass and 80s synth-infused party tracks, maintaining a surprising level of cohesion despite its breadth. While the album’s length can feel indulgent, For All the Dogs finds its footing when Drake embraces a lighter approach, exemplified by the comedic “BBL Love (Interlude).” However, this levity isn’t consistent, leading to moments where the project feels unnecessarily drawn out.
Navigating such an extensive tracklist is a task in itself. To help guide you through, here’s a detailed ranking of every song on Drake’s For All the Dogs.
“Calling For You (feat. 21 Savage)”
Drake and 21 Savage have a proven track record of successful collaborations, highlighted by their joint album Her Loss. However, “Calling For You” falls short of their previous standards. Coming so soon after Her Loss, the track feels like a less inspired continuation rather than a distinct entry in the For All the Dogs universe. The voicemail interlude referencing Her Loss further cements this connection, making it feel somewhat out of place. While the production is sparse, neither rapper delivers particularly memorable verses. They touch on familiar themes of past relationships and vague diss tracks, territory thoroughly covered in their earlier collaborations and lacking fresh perspective.
“Another Late Night” (feat. Lil Yachty)
Lil Yachty has enjoyed a diverse and successful year, showcasing his versatility across genres. His feature on “Another Late Night” presents an interesting sonic texture, but the song itself struggles to stand out within the album’s extensive tracklist. The shimmering beat and fuzzy synths create a pleasant backdrop, but the hook, with its repetitive and somewhat uninspired lyrics about a “b-tch,” feels underwhelming. While not inherently bad, “Another Late Night” lacks the distinctiveness needed to leave a lasting impression among the album’s 23 songs, feeling more like filler than a highlight.
“Fear of Heights”
For All the Dogs contains some of Drake’s less compelling hooks, and “Fear of Heights” is a prime example. While the beat borrows elements from the energetic rage rap subgenre, injecting a sense of urgency, Drake’s delivery feels surprisingly listless. He delivers subliminal jabs at past relationships and industry peers, but his vocal performance lacks the energy to match the beat’s intensity. Ironically, the verses themselves contain some of the more intriguing lyrical content on the album, but the overall dragging feeling caused by the lackluster hook and delivery undermines the song’s potential.
“Amen” (feat. Teezo Touchdown)
“Amen,” the first of two collaborations with Teezo Touchdown, is a unique track reminiscent of a Drake-ified “Ciara’s Prayer.” The song opens with a spoken prayer from Teezo, setting a spiritual tone, followed by church-like piano chords and doo-wop inspired harmonies. However, Drake’s prayer isn’t for gratitude or repentance, but rather a plea for divine concealment of his infidelities, even as his partner prays for him while he’s on tour. This paradoxical juxtaposition creates an interesting thematic tension, exploring themes of guilt, faith, and the complexities of modern relationships within a religious framework.
“IDGAF” (feat. Yeat)
The highly anticipated collaboration with Yeat, “IDGAF,” feels more like a victory lap for Yeat than a true partnership. The 23-year-old rapper from California effectively brings Drake into his sonic world, characterized by bass-heavy, chaotic energy. The track is an anthem of indifference, fueled by wealth and fame, where both artists express a detachment from those they deem beneath them. Drake manages to adapt to Yeat’s style without sounding out of place, showcasing his versatility. However, the track ultimately highlights Yeat’s distinct sound and rising star power, making it feel more like a Yeat showcase featuring Drake.
“Polar Opposite”
“Polar Opposite” deviates from the expected theme of attraction between opposites. Instead, Drake delves into armchair psychology, criticizing a former partner for blocking him seemingly “unprovoked.” While the reality might be more nuanced, Drake’s perspective is self-centered. He attributes the relationship’s demise to “propaganda,” employing some of his arguably clichéd lines to express his grievances. Lyrics like, “You tried to grease me, but we’re not in Mykonos/ I don’t get hurt much, but I’m not invincible/ Bidin’ my time with you, then things got political,” showcase a level of corniness that detracts from the song’s intended emotional impact.
“Members Only” (feat. PARTYNEXTDOOR)
A Drake and PARTYNEXTDOOR (PND) collaboration usually guarantees a solid track, and “Members Only” is a decent addition to their joint discography. Immersed in PND’s signature murky R&B vibe, their chemistry remains potent. Their overlapping rap-sung deliveries create a layered and nuanced sonic texture. However, “Members Only” is somewhat undermined by juvenile and uninspired lyrics. Lines like, “Say you started datin’ girls now, say it to me with a straight face/ Oh, now it’s girls/ I wanna know all of your kinks,” feel lazy and detract from the otherwise smooth and atmospheric track.
“Gently” (feat. Bad Bunny)
“Gently,” along with “Slime You Out” and Travis Scott’s “K-POP,” suggests a trend of major artists collaborating on somewhat uninspired and predictable tracks. With a dembow rhythm and explicit Spanish lyrics from both Drake and Bad Bunny, “Gently” isn’t necessarily a bad song. However, it lacks the catchiness of Bad Bunny’s “MIA” and isn’t particularly memorable within the context of the album. Given the caliber of these artists, collaborations should ideally be more adventurous. While commercially safe, “Gently” misses an opportunity to be truly innovative or impactful.
“Slime You Out” (feat. SZA)
The initial reception to “Slime You Out” was surprisingly critical, despite it debuting at the top of the Billboard Hot 100. In the context of For All the Dogs, it’s far from the weakest track. Compared to some other collaborations on the album, “Slime You Out,” a duet between SZA and Drake, possesses a genuine tension and emotional weight. While it doesn’t reach the potential heights of a SZA-Drake collaboration, it’s far from a throwaway track and offers a more substantial offering than some of the album’s less engaging moments.
“Virginia Beach”
Opening For All the Dogs, “Virginia Beach” is an unexpected ode to Pusha T’s hometown, delivered with a reflective tone. Drake muses about the city’s women, describing them as “pretty but ghetto,” and their contrasting effects on him. However, the song is hampered by a clunky chorus and more questionable lines like, “He gon’ find out that it’s on sight like W-W-W/ On sight like dot-com, put a baby in you, a hot mom.” Despite these lyrical missteps, 40’s production, with its skittering rhythms, keeps the track engaging and provides a compelling sonic landscape, even if the lyrical content is less consistent.
“7969 Santa”
“7969 Santa” effectively synthesizes various elements, including a sample of Chief Keef’s iconic “I Don’t Like” and a surprise interlude from Teezo Touchdown, to unpack the album’s title. The song suggests a dual meaning behind “dogs”: representing both Drake’s loyal crew and the womanizing persona he often embodies. The track itself is solid, with stellar production from BNYX and a cool Snoop Dogg radio host snippet at the end. However, Teezo’s interlude, featuring wolf howls that emphasize the “dog” theme, arguably steals the show with its humorous and memorable contribution.
“Daylight”
Prior to the album’s release, a Drake and Nicki Minaj collaboration was teased but ultimately didn’t materialize. “Daylight” serves as a partial consolation. It interpolates the Scarface speech previously used in Minaj’s “Chun-Li.” While Drake’s “villain era” persona feels somewhat forced compared to Minaj’s, Southside’s ominous synth-driven production is strong. Drake also addresses BBL accusations and XXXTENTACION conspiracy theories with cheeky lines, adding a layer of contemporary relevance and self-awareness to the track.
“Bahamas Promises”
“Bahamas Promises” is a direct throwback to the “old Drake” sound. Channeling the spirit of “Marvin’s Room,” Drake delivers an emotionally raw, stream-of-consciousness verse over a melancholic piano beat. The final line, “Promise I won’t cause a scene/ I got too much respect for me,” perfectly encapsulates the vulnerable yet self-serving energy that defined “old Drake.” This track effectively recreates the introspective and emotionally charged atmosphere of his earlier work, offering a moment of nostalgia for long-time fans.
“BBL Love (Interlude)”
For All the Dogs finds its comedic sweet spot in “BBL Love (Interlude).” Drake leans into the more absurd aspects of his public persona. Referencing lavish gifts to plastic surgeons and rumors of cosmetic procedures, he fully embraces the contemporary BBL trend. The line, “They say love’s like a BBL, you won’t know if it’s real until you feel one,” is undeniably ridiculous, yet hilariously self-aware. The interlude works because Drake allows himself to play a character, blurring the lines between his real self and his exaggerated artistic persona, resulting in one of the album’s most genuinely entertaining moments.
“First Person Shooter” (feat. J. Cole)
Marking their first collaboration in a decade, Drake and J. Cole address the “Big 3” debate in hip-hop. Having dominated the genre alongside Kendrick Lamar since the early 2010s, both artists adopt an elder statesman perspective while still asserting their continued relevance. J. Cole’s lines, “Love when they argue the hardest MC/ Is it K-Dot? Is it Aubrey? Or me?/ We the Big Three like we started a league, but right now, I feel like Muhammed Ali,” directly engage with this ongoing conversation. Set against a subtle yet triumphant instrumental produced by Tay Keith and Boi-1da, among others, both rappers deliver braggadocious verses with a restrained confidence. Drake also offers a sequel to his “more slaps than the Beatles” line with, “What the f–k bro? I’m one away from Michael/ N—a, beat it, n—a, beat it, what?”
“All the Parties” (feat. Chief Keef)
Chief Keef’s presence on For All the Dogs extends beyond a sample to a full feature on “All the Parties.” Produced by Boi-1da and BNYX, the track finds Drake reflecting on his industry success. It’s structured in two parts, anchored by Chief Keef’s chorus in the first half, referencing “Love Sosa” and providing a melodic counterpoint to Drake’s rap verses. The beat switch elevates the song, shifting to a more atmospheric, synth-heavy tone that allows Drake to express frustrations about mortality and relationships within the rap world. Lines like, “And I wish I could dead all the beefin’/ And I wish I could dead all the dissin’ deceased friends/ I wish we could be friends/ Probably sound like I’m preachin’,” reveal a desire for peace and reconciliation.
“What Would Pluto Do”
While Future isn’t physically present on “What Would Pluto Do,” his influence is palpable. Drake uses “Pluto,” Future’s moniker, as a stand-in for a hedonistic, unrestrained approach to life, contrasting it with more conventional morality. Over a beat with twinkling piano and steady percussion, Drake humorously poses the question of how Future would handle situations. The answer is straightforward: “What would Pluto do? He’d f–k the ho, so I did it.” The song’s strength lies in its simplicity, effective hook, and production that balances comedy and vulnerability, making it a clear standout and a potential candidate for a remix featuring Future himself.
“8am in Charlotte”
Released just before the album, “8am in Charlotte” is a strong addition to Drake’s timestamp song series. Paying homage to Griselda Records with soulful production by Conductor Williams, the track features three dense, metaphor-rich verses. Drake confidently showcases his rap skills, delivering a performance that many consider a genuine return to the promised “old Drake.” This track highlights his lyrical prowess and connection to classic hip-hop sounds, offering a more focused and impactful experience compared to some of the album’s more experimental tracks.
“Screw the World (Interlude)”
The Drake-less interlude, “Screw the World,” surprisingly outshines several of Drake’s own songs on the album. A heartfelt tribute to the late DJ Screw, the track effectively transports listeners to Houston’s distinct hip-hop scene and a time when Drake focused on creating immersive sonic worlds. By giving DJ Screw’s freestyle ample space, the interlude provides a welcome respite from the album’s prevailing themes of celebrity and Instagram culture, offering a moment of genuine musical appreciation and a nod to hip-hop history.
“Rich Baby Daddy” (feat. Sexyy Red & SZA)
For All the Dogs notably lacks the undeniable pop hooks found in albums like Scorpion or Views. “Rich Baby Daddy,” however, steps in to fill this void, largely thanks to Sexyy Red. Her infectious hook and guest verse, along with a second appearance from SZA, elevate the track. With Miami bass-inspired production and Sexyy Red’s interpolation of “Looking for the Hoes,” the song has a summer anthem vibe, even if it’s arriving in the fall. Drake’s outro further solidifies the “rich baby daddy” theme, making it a standout track with strong commercial appeal.
“Drew A Picasso”
“I can’t picture you with him/ That’s just so embarrassin’/ I want to diе, to die,” may be Drake at his most relatable. When he embraces melodrama and relationship theatrics, he often excels. “Drew a Picasso” benefits from production by a team of collaborators, creating a subtly dark and moody atmosphere, perfectly suited for Drake to explore confusion, hurt, and frustration within a dysfunctional relationship. The song captures the messy and often irrational emotions of heartbreak with a raw honesty.
“Tried Our Best”
“Tried Our Best” is quintessential Drake. It strikes a balance between rap and R&B, featuring lyrics that offer insightful glimpses into relationship complexities marked by miscommunication and incompatibility. The ethereal, piano-driven production provides the perfect backdrop for his narrative. Lines like, “There’s no ribbon given to anyone that you dealt with/ No badge of honor, no ceremony or benefits/ I gotta start us up a support group with a membership,” are both witty and self-deprecating, even while absolving himself of full responsibility. The Frank Ocean reference (“The girl that the boy cherishes workin’ late night at the Pyramid, and it ain’t right”) connects it thematically to “Virginia Beach,” creating a cohesive and well-crafted track.
“Away From Home”
As the penultimate track on a lengthy 23-song album, “Away From Home” emerges as a highlight of For All the Dogs. The first verse finds Drake shedding his celebrity persona and revisiting his early struggles, recalling sleeping in his car and channeling heartbreak into ambition. For a brief moment, the hunger of “old Drake” resurfaces, lending his voice a renewed energy absent in much of the album. The song then traces his journey to the present, reflecting on his dual life and career, offering a genuine full-circle moment for an artist often perceived as being in creative flux. “Away From Home” provides a powerful and introspective conclusion to the album’s sprawling narrative.
