Fresh off the release of Scorpion, an album Rolling Stone dubbed “the most ambitious album” of Drake’s career, the magazine reached out to 11 of Drake’s contributors for a full picture of the album’s creation.
As with any album with this many cooks, there’s always bound to be an intriguing backstory behind the production selections. For instance, Supah Mario revealed that his “Blue Tint” beat was originally intended for Big K.R.I.T. “The ‘Blue Tint’ instrumental, which drips with southern funk, was first intended for Big K.R.I.T.,” Rolling Stone writer Elias Leight wrote. “But when Big K.R.I.T. didn’t record to the beat, Supah Mario sent it to Drake instead.”
The gummy and winding quality of “Blue Tint,” which was co-produced by !llmind, places it right in the pocket of Big K.R.I.T.’s latest offering, also a double album, 4eva Is A Mighty Long Time. While there’s no doubt K.R.I.T. would have killed this bass-knocking production, Drake’s bright Toronto panache is an equally impressive and fresh take on Supah Mario’s sound.
“Blue Tint” is far from the first time high-profile beats traded hands. In 2017 we learned that Future’s massive hit “Codeine Crazy” was originally made for Nicki Minaj. Drake has also been on the Big K.R.I.T. side of this coin, with French Montana's smash “Unforgettable” originally crafted for himself.
Just as we wouldn’t want to live in a world without “Codeine Crazy” or “Unforgettable,” we can settle into the reality where Drake takes “Blue Tint” and brings a Northern spirit to Southern funk.