Drake and Swae Lee have collaborated on a new track entitled “Won’t Be Late”.
Rapper Lee, who is the younger of the two brothers in Rae Sremmurd, had teased the new single earlier this month, writing on Twitter: “August is going to be an exciting month, that’s a promise.”
“Won’t Be Late”, which you can listen to below, is produced by Afrobeat artist Tekno, and Lee also released the track “Sextasy”, featuring production by Mike WiLL Made-It and Chopsquad DJ.
Lee has teamed up with a number of artists in recent months, including Miley Cyrus for “Party Up the Street” on her She is Coming EP, Madonna for “Crave” on Madame X and Post Malone on his Spider-Man: Into the Spider-Verse track “Sunflower”.
1/4
4th: Overly Dedicated (technically a mixtape, but the breakthrough one) – Tracks like ‘Michael Jordan’ and ‘Alien Girl’ felt a bit stock and Kendrick had yet to really find his voice and musical style, but you could see the potential there on this debut. P&P is still a banger, the use of samples is so effective in ‘Opposites Attract’ and on songs like ‘Average Joe’ he cut his teeth on recounting stories from his gangbanging days with a critical eye.
“I don’t do black music, I don’t do white music, I do everyday life music.” – prophetic.
2/4
3rd: Section.80 – Kendrick’s storytelling really came into its own with this record, telling the stories of beaten girlfriends and prostitutes solicited by corrupt police. Bangers were plentiful (‘A.D.H.D’, ‘Ronald Reagan Era’, ‘The Spiteful Chant’…) and K-Dot’s interest in jazz started to blossom in songs like ‘Rigamortus’ and the incredible ‘Ab-Souls Outro’.
“I’m not on the outside looking in / I’m not on the inside looking out / I’m in the dead fuckin’ centre, looking around”
3/4
2nd: To Pimp a Butterfly – The fact that this is one of the best albums of our generation and yet only Kendrick’s second best album (imo) speaks volumes. An unbelievably well-orchestrated odyssey of a record that came as such a fresh and different proposition when we were all busy bumping dancefloor-orientated Drake tracks. ‘Alright’ became anthemic for the movement against police brutality, and ‘u’ gave us one of the most tearjerkingly personal insights into the human psyche ever committed to record. Masterful instrumentation pinned down by an intricate flow. I immediately wanted to hear it on vinyl and I don’t even buy vinyl.
4/4
1st: good kid, m.A.A.d city – You could very legitimately argue that TPAB is Kendrick’s finest album to date, but to me, GKMC is just absolute magic. It is such a cohesive record from start to finish, transporting you from wherever you are listening to the streets of Compton, a real ‘day in the life’. I’m as rapt listening to ‘The Art of Peer Pressure’ as a child is to a ghost story, and ‘Sing About Me, I’m Dying of Thirst’ manages to completely enthrall for all of its 12 minutes.
‘Backseat Freestyle’, ‘Money Trees’, ‘Swimming Pools’ and ‘m.A.A.d City’ were all people were waiting for to come on at house parties that year, the pitch-shifting verse in the latter being a huge highlight for me. TPAB’s politics was overt, but I like how subtly it was embedded in this record.
1/4
4th: Overly Dedicated (technically a mixtape, but the breakthrough one) – Tracks like ‘Michael Jordan’ and ‘Alien Girl’ felt a bit stock and Kendrick had yet to really find his voice and musical style, but you could see the potential there on this debut. P&P is still a banger, the use of samples is so effective in ‘Opposites Attract’ and on songs like ‘Average Joe’ he cut his teeth on recounting stories from his gangbanging days with a critical eye.
“I don’t do black music, I don’t do white music, I do everyday life music.” – prophetic.
2/4
3rd: Section.80 – Kendrick’s storytelling really came into its own with this record, telling the stories of beaten girlfriends and prostitutes solicited by corrupt police. Bangers were plentiful (‘A.D.H.D’, ‘Ronald Reagan Era’, ‘The Spiteful Chant’…) and K-Dot’s interest in jazz started to blossom in songs like ‘Rigamortus’ and the incredible ‘Ab-Souls Outro’.
“I’m not on the outside looking in / I’m not on the inside looking out / I’m in the dead fuckin’ centre, looking around”
3/4
2nd: To Pimp a Butterfly – The fact that this is one of the best albums of our generation and yet only Kendrick’s second best album (imo) speaks volumes. An unbelievably well-orchestrated odyssey of a record that came as such a fresh and different proposition when we were all busy bumping dancefloor-orientated Drake tracks. ‘Alright’ became anthemic for the movement against police brutality, and ‘u’ gave us one of the most tearjerkingly personal insights into the human psyche ever committed to record. Masterful instrumentation pinned down by an intricate flow. I immediately wanted to hear it on vinyl and I don’t even buy vinyl.
4/4
1st: good kid, m.A.A.d city – You could very legitimately argue that TPAB is Kendrick’s finest album to date, but to me, GKMC is just absolute magic. It is such a cohesive record from start to finish, transporting you from wherever you are listening to the streets of Compton, a real ‘day in the life’. I’m as rapt listening to ‘The Art of Peer Pressure’ as a child is to a ghost story, and ‘Sing About Me, I’m Dying of Thirst’ manages to completely enthrall for all of its 12 minutes.
‘Backseat Freestyle’, ‘Money Trees’, ‘Swimming Pools’ and ‘m.A.A.d City’ were all people were waiting for to come on at house parties that year, the pitch-shifting verse in the latter being a huge highlight for me. TPAB’s politics was overt, but I like how subtly it was embedded in this record.
Rae Sremmurd’s most recent release was their 2018 triple album SR3MM.
Drake dropped Care Package—a compilation of tracks originally released between 2010 and 2016 – earlier this month.
