Aaliyah, Aubrey and Antagonists

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

As a rule of thumb, I tend to look at pledges that a posthumous album release is rooted in the pursuit to “preserve the artist’s legacy” as utter bullshit. Chances are if an artist has a vault of unreleased music its owners are considering reworking and putting up for sale, said artist already has a pretty damn great legacy. It’s usually more about money, or in the case of Drake, ego.

Given he has her face tattooed on his back, her birthday tattooed on his side (in a double entendre of a tattoo), and published a sincere but nevertheless creepy letter to her dead spirit that addressed her by her middle name (as if his ass was the Salt to her Pepa), it’s pretty apparent that Drake just wanted to say he had a song with Aaliyah.

Fine, but let’s all say what it is. Aaliyah fans want more music. The label wants to make whatever money it can off our desire. Drake, an almost The Bodyguard like stan, wanted to do a track with the person he claims he was “truly in love” with despite never, ever knowing.

Some of you might even find that sweet in a Yolanda Saldivar’s dream realized kind of way, though it’s still kind of narcissistic.  That’s why when I first heard this song I closed my eyes and smiled thinking about how nice it was to finally hear new Aaliyah. That feeling subsided the second I heard Drake’s verse. I used to be so into this guy after he dropped So Far Gone. Somewhere along the way his revenge of the nerds tinged rap started to irk me.

People have waited a decade for new Aaliyah in some fashion, and the first time we hear just that, not only are you on the song, Aubrey, you’re going out of your way to diss Chris Brown on the song about his record sales.

I understand that Drake is essentially the outsider who managed to find his way in and that he remains a target, hence the defensive attitude. However, Drake often brings the ridicule on himself. See: Dissing Chris Brown on the first fucking new Aaliyah song we’ve heard in 10 damn years.

Dude.

Get over yourself. Even if you remove that line from the equation, as one music writer I enjoy put it on Twitter:

GIANT FUCK YOU TO DRAKE FOR THE AALIYAH TRACK SHE IS ABOUT EXPRESSING WOMEN’S EMOTIONS HE IS ABOUT MANIPULATING THEM

No lie, no lie, no lie-e-e-i-e-ie.

Not only is it annoying to hear was Drake’s ass constantly asking, “Yo, wassup?” in the background of Aaliyah’s song to remind us that he’s on it, his actual rap conveys the kind of sentiments Aaliyah probably wouldn’t co-sign on her song. Such a devout fan should know such a thing, no?

He probably does, but identity crisis’ are a bitch.

But we get it, Drake? You are helping executive produce. You, you, and yours. I don’t find Drake being at the helm of the project  to be a bad idea in theory. Not entirely sure yet to what extent the producer 40 contributed made to this song and others forthcoming, but from a label’s perspective seeking a more current rapper/producer duo to sell material makes sense.

I could even see 40 and Aaliyah’s styles meshing (as on this very song), but I don’t want an hour of “Marvin’s Room,” or as I like to call it, “I’m going to call my dad if you don’t stop snooping around my bushes music.”

Meanwhile, it’s pretty reasonable for most longtime Aaliyah fans to associate Timbaland and Missy with Aaliyah and prefer they take the reigns any posthumous release from her despite not being so heavy handed on her third album. A third album that I love to this day, but wasn’t doing well before her death, and a third album whose biggest single was still produced by Timbaland. Not to mention another fan favorite on the track was penned by Missy.

Maybe it’s not completely realistic to feel only those two should be at the helm (though I think it’s more of a natural fit and less offensive for a posthumous release), but totally understandable why it’s a popular opinion. And for the record, people who like to point out the obvious, it’s not so much that Aaliyah didn’t want to work with Timbaland on her third album so much as Timbaland had some issues with her label. He ultimately gave two tracks, and as previously noted, we see how well those went.

We mustn’t antagonize for the hell of it.

In any event, I read that they will have some involvement, so alls well that ends well. I can’t wait to hear what comes next, but I sincerely hope whatever sounds do come from a new Aaliyah album, the people behind them remember to make it about her. You get that, Aubrey?

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone