Drake Shares New Song “Desires” With Future: Listen

Drake and Future are back with new music.

On Friday (Jan. 31), the OVO Sound founder and the Freebandz Gang leader released their new song "Desires." On the track D-Hill-produced track, Drake and Future lay down smooth bars for the special women in their lives. Drizzy kicks off the song with a catchy chorus before diving into his slick verses.

"I should have put you somewhere where no one could find you," Drake sings on the chorus. "Mansion out in the sticks with nothin' around you/ Katy, Texas, Dallas, Texas, you know, a different environment, 'Cause you got desires, I know, I know, I know."

Meanwhile, Future holds it down by rapping about a particular woman who he wants to shield from the world so that he can have her all to himself.

"I had you stayin' too close to the city, You actin' too vulnerable livin' this life," Future raps in his verse. "I shoulda moved you away from Houston, before I copped you all this ice/ You wanna be my number one, you're not actin' like the main thing / I let you play my number two, you barely made the second thing."

"Desires" arrives months after Future previewed the song on Instagram. Back in August 2019, Future Hendrix uploaded a video to his Instagram Story that contains a snippet of the song that may appear on the sequel to their What a Time to Be Alive album.

Listen to "Desires" below.

See 50 of the Best Hip-Hop Albums Since 2000

4:44, Jay-Z

It only took 13 albums, but Marcy Projects’ rap deity gave us a more human side with his latest album. 2017’s 4:44 is easily Jay-Z best solo platter in a decade. Through some grown-man rap beats crafted by No I.D. we learn Jigga was raised by a closeted lesbian, his infidelity nearly destroyed his marriage and he regrets stabbing Lance "Un" Rivera. Turns out, there is a little dirt on his shoulder.

Be, Common

Executive-produced by fellow Chicagoan Kanye West, who manages to provide Common’s exploratory art with just the right about of boundary, Be signals the modern poet’s most focused and accessible work since 1994’s Resurrection. West crowned Common “today’s Marvin Gaye of rap,” and Com delivered with a masterclass in writing, finding hope in the grimiest of street corners.

Below the Heavens, Blu & Exile

One of the standard-setters among a proliferation of one-producer, one-MC albums that have populated the hip-hop underground since 2000, rapper Blu and beatsmith Exile’s 15-track union is hailed as the quiet classic of 2007. Unassuming and crafted with care, Below the Heavens endures with its everyman appeal and its ability to illuminate a side of Los Angeles hip-hop the burns largely under the radar.

Boy Meets World, Fashawn

As fine of an underground debut as one could hope for, Fashawn links with soulful sample-bender Exile for a coming-of-age extravaganza that is, by turns, introspective, insightful and fun as hell. “The album is what I call traditional, real hip-hop. Mad different dimensions. I was very impressed,” said the legendary Large Professor in a YouTube interview. We concur.

Damn., Kendrick Lamar

The first non-jazz, non-classical album to win the Pulitzer Prize for Music, Damn plays equally enrapturing as a front-to-back or back-to-front listen. Kendrick Lamar’s pen game finds rarified air as he wrestles with topics the size of his ambition—“Lust,” “Love,” “Loyalty,” Fear,” “God”—and scorches through hair-raising moments like “Humble” and “DNA.”

Daytona, Pusha-T

Just when you swear King Push has run out of fresh coke rhymes, he dips into his pockets for another stash. Fierce and distilled, Daytona’s rapid seven-track playlist—produced almost exclusively by Kanye West—hits like a combination that leaves its listener dazed and amazed, and crawling back for another hit.

Disposable Arts, Masta Ace

It’s commendable that 11 years after his snapping Juice Crew debut, 1990’s Take a Look Around, Masta Ace could churn out this brilliant concept album that follows the release of a young man from prison as he realizes how dire life in Brooklyn has become. Few can execute a full-length theme as effortlessly as Ace, who dodges the traps of sounding corny or forced. We dare you to crank “Take a Walk” and resist bobbing your head.

Donuts, J Dilla

Diagnosed with an incurable blood disease while also battling lupus, Dilla toiled away on Donuts, a special beat project, between treatments at Cedars-Sinai Medical Center. This weird, lovely instrumental piece stands as one of the last great accomplishments by a man whose impact on the beat game is difficult to overstate.

DS2, Future

The second edition of Future’s Dirty Sprite series holds up as the most complete studio work of a prolific and zeitgeist-altering career, easily one of the most influential in the 2000s to this point. “Fuck Up Some Commas” is the anthem of the aspirational rich. Through a barrage of chants and club-rattling trap, Future gives us refreshing peeks at his vulnerability. A tip of the cap to producer Metro Boomin is necessary here.

Fantastic, Vol. 2; Slum Village

Originally completed in 1998 and scrapped by A&M Records, the coming-out party from the original incarnation of Detroit trio Slum Village—T3, Baatin and Jay Dee—finally saw release in 2000. Icons like Q-Tip, D’Angelo, Busta Rhymes, Pete Rock and Kurupt co-signed this next-wave, Native Tongues–influenced crew, but Fantastic’s most enduring tracks (“I Don’t Know,” “Get Dis Money,” “Players”) don’t need any assistance from their famous friends. Dilla’s beats still bump like a pubescent face.

Fishscale, Ghostface Killah

Following a pair of decent but inconsistent efforts, Tony Stark celebrated a return to form in 2006. Fishscale—Ghost’s highest-charting LP since 1996’s Ironman—was welcomed with rave reviews across the board, nailing us with indisputable jams “Be Easy,” “Back Like That,” “Kilo” and “Charlie Brown.” “The Champ” could make a wimpy kid want to take on the schoolyard bully, and “Whip You with a Strap” stands as the realest rap song on child discipline committed to wax.

Flower Boy; Tyler, The Creator

Already born way left, Tyler veered even farther in that direction, delivering his most polished, nuanced and heartfelt LP in 2017. A collection of screwy, off-kilter, pretty love ditties is stitched together by Tyler’s charisma and confidence that he’s making music that means something to him. If it means something to you, bonus.

Game Theory, The Roots

Questlove, Black Thought & Co. stripped down their compositions and scaled back on the instrumental excursions for their first effort on Def Jam. Darker and grittier than their early catalog, Game Theory nails its serious tone, and Thought, as usual, churns out whirlwind verses (“Here I Come”). Hot tip: A Peedi Crakk cameo never hurts.

Get Rich or Die Tryin’, 50 Cent

This eight-times-platinum monster dominated airwaves, clubs and everywhere in between in 2003. Steeped in the real-life backstory of a man who survived nine shots and steeled by the bulletproof backing of Dr. Dre and Eminem at the height of their powers, Get Rich or Die Tryin’ supplied accessible anthems for gangstas and wankstas alike. “In da Club,” “21 Questions” and “P.I.M.P.” are entrenched in the hip-hop canon, while album cuts like “What Up Gangsta,” “Many Men” and “If I Can’t” remain undeniable.

good kid, m.A.A.d city, Kendrick Lamar

About as instant as a classic can get, Kendrick’s first platter since hooking up with the Aftermath/Interscope machine reads like a magnus opus a lifetime in the making, as if the dexterous MC had been waiting until he had the most ears possible before unleashing his most personal and punishing work. From backseat freestyles to alcoholic swan dives, listeners left 2012 feeling like they understand the world from which Lamar grew—and hopeful for the future of lyricism in hip-hop.

Graduation, Kanye West

Whereas West’s first two LPs were sprawling, exploratory efforts sprinkled with (too many?) skits, Graduation condenses the energy, the focus. The result is confident celebration of a hip-hop artist who’s already won. “Good Life,” “Stronger,” “The Glory,” “Champion”? This is Yeezy pouring champagne for anyone with a glass. You can’t tell him nothing.

Hell Hath No Fury, Clipse

Sharper and more mature than their excellent debut, the Thornton brothers’ sophomore offering drives us deeper into their world of drug-dealing and paranoia. Over The Neptunes’ slinky, sparse and searing soundtrack we get braggadocio (“Keys Open Doors”), regret (“Momma I’m So Sorry”) and one of rap’s greatest sneak disses (“Mr. Me Too”). Yughk!

Invasion of Privacy, Cardi B

Who knew 2018's most dominant rap album would vacillate between revenge fantasies, thick Atlanta tongue-twisting trap, Miami booty shake, passionate relationship analysis and NYC summer block party anthems? With its churning beats and monster hooks, Invasion of Privacy is only outdone by its wildly charismatic inventor.

King, T.I.

Debuting atop Billboard upon its release in 2006, King is the shiny realization of a rubberband man who can now build a castle with all his stacks. Tip uses his position in the throne to add producers Swizz Beatz, Just Blaze, The Neptunes, Mannie Fresh and the dependable DJ Toomp (who brings an A-plus heater in “What You Know”) to his roster. He confidently throws his charisma into everything they whip up.

Late Registration, Kanye West

Mr. West wakes us up to the realization that the sophomore slump can be overcome with a dedication to your craft and a willingness to spread ones wings creatively and collaboratively. Tapping film score composer Jon Brion to help oversee the project, Ye paints entire worlds with each song, piling up the indelible moments on standouts like “Gold Digger,” “We Major,” “Drive Slow” and “Hey Mama.”

Let’s Get Free, dead prez

A triumphant return to the type of full-blown politically conscious rap music pushed by Public Enemy, X-Clan and Brand Nubian, dead prez’s debut railed all the way left at a time most artists were playing it safe down the middle. The anthemic “Hip Hop” alone, with its chanting hook and thunderclap bass, would be nearly enough to support an album, but M-1 and stic.man’s excursions into fully realized concept tracks (“Police State,” “Mind Sex,” “Be Healthy,” “They Schools”) gives enough food for thought to feed a nation.

Madvillainy, Madvillain

At the height of Stones Throw’s powers, shadowy MC MF Doom and dusty-fingered production genius Madlib formed one of the greatest and most dastardly duos of our time. Over 22 weird and wonderful snippets crafted in a makeshift studio inside a Brazilian hotel room—some as brief as 52 seconds, a scant few longer than 2:30—the metallic masked one huffs and puffs scattered pages from a graphic novel that doesn’t exist but totally should.

Miss E… So Addictive, Missy Elliott

One could make the case that Miss E… is Missy at her very best. Thanks in large part to her co-producer Timbaland, by 2001 the duo had settled on a sound—this brand of liquid, futuristic electro-thump—and were enjoying the party within those walls. They knew their formula worked, so the guests (Jay-Z, Ludacris, Eve, Busta Rhymes) come prepared to adapt to their sounds.

Monkey Barz, Sean Price

Of all the wonderfully arrogant and abrasive music Sean P released into the ether before his death, Monkey Barz, the Heltah Skeltah MC's 2005 solo debut, packs the most punch. Few give less of an eff or more left-field punchlines than Ruck. This is music to smack someone to.

My Beautiful Dark Twisted Fantasy, Kanye West

Kanye jets to Hawaii and morphs into a sort of hip-hop Quincy Jones, acting as a head chef with access to a zillion ingredients. A dash of Nicki Minaj here, a splash of Rihanna there. A Chris Rock riff, a RZA composition. The result is gorgeous, nuanced and unapologetic proof of the power a mad scientist can unleash when he wholly embraces the spirit of collaboration.

My Krazy Life, YG

The thuggy, in-your-face counterpart to Kendrick Lamar’s good kid, m.A.A.d. city, My Krazy Life reveals that “Toot It and Boot It” rapper to be so much more than a crafter of carefree radio jams, although he can still spill a hit (“My Nigga,” “Who Do You Love?”). Here, it’s YG’s storytelling acumen and wicked mood-setting—plus Mustard on the beat—that compels us to keep the LP on repeat.

Nothing Was the Same, Drake

On Nothing Was the Same, Drake strikes a better balance of his dual threats, singing and spitting. “Started from the Bottom,” “Worst Behavior” and “The Language” dazzle with a hard edge seemingly cribbed from his many trips south of the Mason-Dixon, whereas a smash single like “Hold On, We’re Going Home” is wonderful in a completely opposite, Billy Ocean kinda way. Even Drake’s cutting-room-floor material from 2013 (“All Me,” “The Motion”) holds up.

Only Built 4 Cuban Linx 2, Raekwon

The oft-delayed, much-anticipated sequel to the Chef’s 1995 debut finally arrived in 2009, but judging from how many critical best-of-the-year lists it made, the project was worth the wait. Adopting a similar cinematic feel as its predecessor, OB4CL2 wins because Raekwon somehow pulls a myriad of big-name beat-makers (Dilla, RZA, Necro, Erick Sermon, The Alchemist, Moss, Dr. Dre, Pete Rock) into his orbit and spins out a cohesive and consistently sinister dramatization that runs on a razor’s edge.

Phrenology, The Roots

Phrenology is a discredited pseudoscience that involves the measurement of bumps on the skull to predict mental traits. It’s also an inventive 2002 creation from The Roots that doesn’t forget the joy. Be it the unearthing of Cody ChesnuTT on “The Seed (2.0),” the word wizardy of “Thought @ Work” or the blunt realization of the power of lust on “Pussy Galore,” Philly’s house band continues to bring heat—and ideas.

Run the Jewels 2, Run the Jewels

At the speed of sound, El-Producto and Killer Mike ratchet up the intensity and forcefulness of their head-turning debut. The beats bang harder. The quotables ring truer. And they could be the only duo to throw Zack de la Rocha, Boots Riley and Gangsta Boo on the same playlist and make them all fit like a boxing glove.

Speakerboxxx: The Love Below, OutKast

It’s as if Big Boi and André 3000 had already broken up, but neither they nor we wanted to admit it. So Atlanta’s most cherished hip-hop couple gave us two solo LPs thinly disguised as a group double-album. Over the course of this 39-track behemoth, Big Boi asserts himself as songwriter capable of wowing by his lonesome and André is given the freedom to let his freak flag fly—and his vocal cords glide.

Stankonia, OutKast

At the turn of the century, André 3000 and Big Boi proved they could cross over without sacrificing a smidgen of integrity. Our favorite ATLiens scored their first No. 1 pop hit with “Ms. Jackson,” balancing their ode to baby mommas’ mommas with pimptastic arrogance (“So Fresh, So Clean”), hyperspeed Jupiter raps (“B.O.B.”) and misadventures in booty calling (“I’ll Call Before I Come”).

Summertime '06, Vince Staples

Takes a big pair to go with the double album as your debut, no? But after honing his skills through some stellar cameos and mixtapes, Cali kid Vince Staples swings big in 2015. Produced primarily by accomplished Chicago boardsman No I.D., Summertime was welcomed with widespread acclaim. It's an hour of stories from one of the cleverest minds to bless a mic in this century.

Supreme Clientele, Ghostface Killah

With back-to-back classics, Ghostface came off the top ropes in 2000 to steal the crown of Most Consistent Wu-Tang Solo Act. Wielding his up-tempo, unpredictable rhyme flow like a shiv in a prison yard, Ghost and producer RZA bless us with a wild, loud thrill ride of a record that crackles with urgency and yanks the best out of guests like Raekwon, Redman and Cappadona.

Take Care, Drake

Whereas Drizzy’s major-label debut lulled at times, the Toronto superstar’s second go-round is a more immersive work that picks at its author’s neuroses and does a superior job of shifting you into its moods. The bangers (“HYFR”) smash harder, the R&B duets (“Take Care,” with Rihanna and “Crew Love” with The Weeknd) feel more like events, and the emo moments ring truer (“Marvins Room”).

Tha Carter II, Lil Wayne

Tha Carter II is the first studio effort that signaled Lil Wayne alone was a force greater than a Hot Boys contributor or mixtape monster. He could write crossover hits (“Shooter”), spin heads with his verbiage (“Tha Mobb”) and emerge as a contender for the throne (“Best Rapper Alive”). Regional bias be damned.

Tha Carter III, Lil Wayne

The third and most pop-polished installment of Tha Carter series represents peak Weezy, in both the record’s anticipation and its making good on a promise of something memorable, special. With its sticky hooks, marquee collaborations (behind the mic and behind the boards) and long flourishes of creative wordplay, the album rides that rare line between accessibility and inventiveness. Hype justified.

The Black Album, Jay-Z

Debuting at No. 1 and spawning an entire craft industry of Black Album remix projects, Jay-Z’s supposed goodbye letter to the art form supplies enough pure bangers to last most MCs through retirement. “Encore,” “Dirt Off Your Shoulder,” “Lucifer,” “Public Service Announcement”… and who will ever forget the Jay-Z/Rick Rubin collab “99 Problems”? Hov blacked out.

The Blueprint, Jay-Z

Hova’s best and most focused solo project since his Reasonable Doubt debut doubled as a showcase for the soul-sampling skills of a couple of earthshaking super producers (Kanye West and Just Blaze) while also igniting a fierce feud with Nas (“Takeover”) and giving us a rare glimpse of emo Jay (“Song Cry”). There’s joy, sadness, anger and bangers aplenty. No wonder The Blueprint became the first recording from the 21st century selected for preservation in the National Recording Registry.

The College Dropout, Kanye West

In 2004, we discovered something. Not only could that chipmunk-soul producer spit, he was also capable of churning out a classic. Kanye’s debut, while indulgently long at 76:13, serves up a masterclass in both myth making and beat-making. Sure, there are just-for-fun trifles like “Slow Jamz” and “The New Workout Plan,” but the detail and passion poured into biographical tracks such as “Spaceship,” “Through the Wire” and “Family Business” had us invested in Kanye West, the person.

Lupe Fiasco’s The Cool, Lupe Fiasco

A concept LP based on title character from his debut, Food & Liquor, Lupe Fiasco’s The Cool was recorded as the artist dealt with the deaths of his father and his good friend Stack Bundles. “It was a very dark period,” Fiasco would explain later. (Un)fortunately, those often make for good art, and The Cool expands Lupe’s prowess as a commenter on the sociopolitical climate (“Little Shooters”) and raiser of literary bars (“Dumb It Down”).

The Documentary, The Game

Dr. Dre begat Eminem begat 50 Cent begat The Game. And the protégé’s protégé’s protégé comes through with a classic written after carefully studying the classics. While knocked a little for his penchant for name-dropping, Game made a name for himself by hunting down beats (Dre, Scott Storch, Just Blaze, Timbaland, Hi-Tek, Havoc, Needlz, Buckwild, Kanye, Cool & Dre) and voices (50, Em, Busta Rhymes, Nate Dogg, Faith Evans, Mary J. Blige) from the best. In ’04, everyone wanted to be part of Compton’s next big thing.

The Eminem Show, Eminem

Marshall Mathers goes big and bold with this threepeat of classic full-lengths, employing a polished, rock-heavy production aesthetic, as if he was searching for outsized themes and hooks that would soar on his next world tour. The verbal gymnastics are as limber as ever (“Without Me”), but the targets get more personal (“Cleanin’ Out My Closet”) and political (“White America”).

The Fix, Scarface

Reinvigorated Houston legend Brad Jordan sounds at the top of his game on The Fix, his Def Jam debut, in which the iconic street-rap author is paired with mainstream contemporary super-producers like Nottz, Kanye West and The Neptunes, who all bring the goods. The rhymes remain as concise, hard-hitting and insightful as ever, but the polish of anthems like “My Block” and “Guess Who’s Back” (with star turns by Jay-Z and Beanie Sigel) update classic ’Face for the masses.

The Lost Tapes, Nas

Free from the typical pressures to deliver a radio single or two, the observational intricacies and chance-taking nature of this 2002 collection of cuts that failed to make Nas’ I Am…, Nastradamus and Stillmatic albums offers diehard fans a peek at the notebooks, where the words run past the margins. Nas’ writing takes center stage as his knack for narrative and deep thought shines bright on “Doo Rags,” “Blaze a 50,” and “Poppa Was a Playa.”

The Marshall Mathers LP, Eminem

Detroit’s favorite trailer park boy doubles down on the wit, sarcasm and conceptual brilliance he’d established the year prior with The Slim Shady LP. Dr. Dre acts as the control to the blond wordsmith’s chaos, Eminem gleefully exploring new realms of irreverence and offensiveness, while grounding the whole shebang in genuine pain and otherworldly microphone techniques.

The Renaissance, Q-Tip

Decidedly less, um, vivrant than Q-Tip’s first run at a solo album, The Renaissance finds a warm, consistent groove, thanks to the MPC2000XL the MC/producer holds on the record jacket. Any fears of “Does Tip still have it?” after his long break from the mic are quickly and repeatedly allayed. He sounds like he’s having fun again.

To Pimp a Butterfly, Kendrick Lamar

Veering away from the block-centred come-up narrative of his Aftermath debut, Kendrick Lamar flexed a more experimental and conscious muscle on 2015’s To Pimp a Butterfly. Incorporating jazz and funk, spoken word and avant-garde sonic elements, our virtuoso uses scope and a proud sense of Blackness to uplift through insightful, incredible performances of “Alright,” “King Kunta” and “Institutionalized.”

Train of Thought, Reflection Eternal

How do you follow up the underground triumph that was Black Star? Well, if you’re Talib Kweli, you link with an incredible producer from Cincinnati, Hi-Tek, and crank out a series of dense and deliberation dissertations over a rock-solid, soul-influenced bed of sounds. Kweli pours a pound of care into hip-hop culture with an ambitious effort that gives you fodder for thought and drums to snap your neck.

Watch the Throne, Jay-Z & Kanye West

Take your pick: The scrunch-faced funk of the Redding-sampled “Otis”? The nightmarish religious debunk that is “Church of the Wild”? Or the Oslen twins shoutout in the spellbinding “Niggas in Paris”? Watch the Throne brings enough golden moments that there are actually tracks where the sum exceeds the parts.