Review Summary: A relic from 2007, and an interesting footnote in Drake's dynamic career
Drake had humble beginnings. He emerged as a talented actor whose rapping ability only first received wide exposure on a Canadian teenage drama. Although clearly a competent wordsmith even on a show far-removed from hip hop culture, few could have seen the rise of a half-Jewish kid ridiculed for being confined to a wheelchair in the series. Even fewer could have seen the success occurring in the curious realm of hip hop, where hitherto no actor had been able to make the actor-to-rapper transition with any merit outside of one-off novelty songs (and no, Mos Def doesn't count). Comeback Season is an interesting stop along Drake's journey to the zenith of hip hop, so much so he aptly name drops it in many of his more recent works. While lacking his charismatic, melodic flows, it features some of his most proficient and technically impressive rapping to date.
From the outset, it is evident that the playful R&B-styled cadences of Drake's rapping 2009 onward aren't here, or are at least incredibly minimal to the point of being unrecognizable. Instead, we are treated to a much more reserved and orthodox delivery from him; it's more standard hip hop fare. In lieu of basing his style around his singing ability and poppy infectiousness, Drake placed much more focus on lyricism in the same vein of many up-and-coming rappers . The track 'Closer' is particularly exemplary of this stressed emphasis on lyricism.
"I need somethin' to balance out the fact
That it's hard to find a woman when you talented and black
When you hollerin' at labels
And they silencing you back
'Cause you fail to thoroughly discuss some violence in ya track
Well, gunshot for the young yacht owner
See there's everybody else then there's one top loner
First place is often the worst place
But *** it I love it here I call it my birthplace
Whenever I walk in they makin' the worst face"
On display is a seamless polysyllabic rhyme scheme, both technically impressive and aesthetically pleasing to the ears. Also evident is the topical matter Drake delves in. Being largely unknown as a hip hop musician at the time, he decries and deplores his up-to-this-point lack of success in the genre perhaps because of his non-violent subject matter. Topically, Comeback Season features him performing a style of hip hop that is characteristically Canadian, with some socially conscious subject matter and a distinct lack of materialistic boasts. Similarly, the track "Think Good Thoughts" mulls over the "never judge a book by its cover" mantra, with featured guest Elzhi comparing a relationship gone wrong to the events and physical traits of a book.
Aside from virtuosic polysyllabic rapping and varied themes, Comeback Season contains a wide assortment of instrumentals that vary from electro-inspired "Replacement Girl" to the more jazzy "Going In For Life", and also the dreamy soundscape of "Share". This diverse palette of beats provides a solid foundation for Drake to insecurely emcee a slew of quotables and metaphors ("when pops turned over the keys like a new ignition", "if Hov is Jordan I guess I'm cool with Pippen"). The definite highlight production-wise is the contribution from 9th Wonder, who beautifully chops up Anita Baker's "Sweet Love" for Aubrey, his heavy influence Phonte, and brilliant Elzhi on the aforementioned "Think Good Thoughts".
In hindsight, Comeback Season is a curious footnote in Drake's burgeoning hip hop career. It's interesting to hear a man who nowadays raps in melodic, incredibly boisterous inflections tone down the exuding charisma and instead resort to a much more humble, laidback style of delivery. While Drake still comes off as undeniably insecure in his recent releases, it's important to note that the insecurity in this mixtape stems from his uncertainty as a rapper and uncertainty over his place in hip hop rather than relationship problems or inner turmoil. He was at this time being courted by several labels, including notably Jay-Z's Rocafella records, but turned down all offers due to wanting a deal that allowed him enough creative control to develop as an artist. There was no guarantee such a deal would ever come, and this largely nonchalant, incohesive mixtape reflects the artistic avenues he wanted to explore but may not have been able to. The vast potential of Champagne Papi is on display here. And hey, it's also cool to hear a multi-platinum rapper in his career's infancy rapping over some Dilla, no?
