Today, I focus in on Drake, an artist who I really, really have tried to like over the past couple of years. It's relatively pointless to give a bio on Drake (real name Aubrey Graham, you can see why he chose to go by his middle name rather than his first) but I'll give a little insight anyways. Graham was not the atypical artist who emerges from the slums of some major city and he actually was already relevant before he even began his rapping career. Graham, as 99% of America probably knows at this point, played the character Jimmy Brooks on the popular teen program Degrassi from 2001-2009. Brooks was a physically disabled basketball player who struggles to find himself after being confided to a wheelchair (which, no offense to those that have suffered from paralysis, I find hilarious being that Graham raps about how many women he sleeps with when he played a cripple for 8 years. I may be going to hell for that one).
Of course, acting was not the only thing Graham had his attention on, and just as he tried to develop an artistic talent in the show, he was developing one off the set in rap. In 2006, Graham released his first mixtape Room for Improvement and then shortly after, released his second tape, Comeback Season, which he received attention for because of his song "Replacement Girl" that featured singer Trey Songz. He became the first Canadian rapper ever to have a music video featured on BET and soon after, he received a call from Lil Wayne to come and tour with him. The hype surrounding Drake was beginning to bubble, but it wasn't until his release of So Far Gone, that he truly burst onto the music scene. The tape, which featured the ever popular "Best I Ever Had", reportedly had 2000 downloads in just the first hour of its release and just four months later, Drizzy had a deal with Wayne's label, Young Money (which Billboard called "one of the greatest bidding wars ever", to which I'm skeptical of, being that Drake signed for a measly $2 million when rapper ASAP Rocky recently signed with Sony for $3 million, and ASAP had about half the hype Drake had).
I knew Drake had promise after hearing So Far Gone, but I wasn't sold on him, unlike much of the music world was at that point. Had he signed to Def Jam or Interscope, I would have felt better about his future in a critical aspect (I knew he'd sell extremely well; that was never a debate for me). My speculations proved to be true the next year after Drake released his debut album Thank Me Later. The album did exactly what I predicted it would and it sold extremely well. Yet, as we all know (well, maybe not everyone), an album that sells doesn't necessarily mean it's good (Christ, Soulja Boi's debut went platinum; look how that one has played out). Drake's first album, to me, was 95% fluff with only one track that I could even listen to consistently "Light Up" (and most of that was because of Jigga's verse). While most popular entertainment sources praised the album, real hip hop heads were mostly disgusted at it and the album gained more critics in that realm than supporters (me being one of them). He proved he could sell, but he didn't prove he could talk about anything but pussy and partying.
Which leads me to his most recent effort, Take Care. I didn't even want to pick this one up originally, but I did anyways because I knew I would never hear the end of it from everyone else that bought it. So did Drake turn me from a cynic to a believer? Here's my review.
1. Over My Dead Body (Prod. by 40)
For starters, if you don't know who 40 is, he's a Canadian producer who's largely responsible for much of So Far Gone as well as Weezy's No Ceilings. 40 and Drake have had a strong relationship since Drake's work on Degrassi, and it shows since Drake employed him to help behind the boards for all but four songs on this album. I really dug the beat 40 does use on this and it gives the song (and maybe album?) a much more somber, serious feel. One thing I noticed though, that as much as I liked the keys and low tempo, this sounded fucking identical to Thank Me Later's first track, "Fireworks" (obviously, not a good sign). Drizzy comes on and claims "he killed everyone in the game last year" to which I scoff at (are you fucking kidding me? Your album wasn't even half of what 'Ye's or Big Boi's was). He does admit he's a "slave to the pussy" and I was glad to see he at least addressed some of his critics, "Man all your flows bore me: paint drying". Most of this song has no meaning whatsoever, but because it's the intro, he gets a pass. I'm OK with a few lines describing your past year, but an entire song just seems like a bit much. I also don't understand why it's called "Over My Dead Body", considering the hook is more like "Over My Dead Boddd" (she never does finish the whole word). For all my complaints though, I did like this song all in all (and anything is really an improvement over Thank Me Later).
2. Shot for Me
I knew it was only a matter of time before Drake would come out with something like this shit. And yes, it's only two tracks in. I don't care that you made it, we already fucking know. The hook is way too long and the ONE thing Drake got so much criticism for was his lack of diversity on his first album. Apparently, he doesn't care, because he's back with another song for the ladies. "But C.J., that's just his style man!". Yeah, and it gets stale very quickly. Oh, and there's definitely a trend beginning to develop, which is Take Care is really Thank Me Later 2.0, at least sound wise. Play this, then play "Karaoke" and you'll see the extreme similarities between the two.
3. Headlines
OK, so some people will hate on Drake for this one, but I did really like this, no matter how much I could criticize the lack of depth in his lyrics. For one, it's a major improvement over Thank Me Later's first single "Over" (although that really doesn't take much). The hook is actually decent and I thought Boi-1da's beat is one of the best I've ever heard Drake rap over. He does have a point when he repeats his "they know". At this point, Drake does know that everyone knows who it is when his music is played. He's that big. Loved this for a song to warm up or run to as well. Just wish he would have saved his speech for a separate track as a skit.
4. Crew Love ft. The Weeknd
Oh man. I thought "Fancy" was bad, but this one, without a doubt, takes the cake as Drake's worst song to date. The beat is just fucking awful, as well as The Weeknd's hook. I can't even make it to Drake's verse while reviewing this. When you start your song off like this, I have no reason to give it a chance.
5. Take Care ft. Rihanna
The hook is considerably better here, which didn't take really anything to do, considering how atrocious the last one was. Again, Drake raps about nothing meaningful and really sings the majority of this rather than raps it. Which begins to beg the question: is this even a rap album? If it isn't, then it doesn't belong on this blog. Drake claims it is though, so I'm putting him under the same microscope as everyone else, and yes, this song is pretty awful when looking at it that way.
6. Marvin's Room/Buried Love (Interlude)
I heard this one a few months back and I still hate it. It's way, way too long and it shouldn't even be called an actual song, as it acts more as an interlude (which Drake says the second part is, but sorry, the entire song functions as this). What's worse, is that this, again, does nothing to show me the guy has any diversity whatsoever. "I'll start hating only if you make me" he says, that's beginning to be how I feel, as he's doing a tremendous job of that. How people even consider this listenable is beyond me.
7. Underground Kings
Now THIS is more like it. True, it doesn't bring anything really new to the table, but this is why Drake actually calls himself a rapper. I have trouble believing anyone could be as cocky as 'Ye or Hova, but Drizzy certainly makes a case that he has the most bravado in the game now. The beat here is a good one, and although I know it's similar to another song I've heard recently, I can't really place a finger on it, so I give this the benefit of the doubt. One good thing about this album (which there aren't many) is that we're seven tracks in and there's three tracks I could listen to more than once. There was only one on his previous album, so that in itself is an improvement. My only gripe with this is that there definitely could have been another verse in here somewhere, and being that Drake is no stranger to guest appearances, I wonder why he didn't employ an extra buddy to perform along with him (maybe Kendrick?).
8. We'll Be Fine
Like the beat, but I have no idea why Drake is acting like he has a past he wants to forget. Remember, this ain't a dude that came from nothing to suddenly everything. He's had more than 96% of Americans had before he even started rapping, so his hook is confusing, even though it sounded OK. There's another reference on his admiration for Nicki "she's beauty and the beast". As if it's just unavoidable at this point, Drake takes his third verse to talk to another female and produces nothing that is worthy of most music listeners' attention. The song sounds good, there's just not much here (which has always been one of my biggest criticisms of Drizzy).
9. Make Me Proud ft. Nicki Minaj
I've realized that the production on this album is basically a crapshoot. The beat isn't terrible, but it's not that great either. Minaj though, sounds terrible herself on here, and while this is nowhere near as bad as her last appearance with Drake, "Up All Night", this is still not good in any sense of the word. There are songs that shouldn't have even seen the light of day: this is probably one of them.
10. Lord Knows ft. Rick Ross (Prod. by Just Blaze)
There's been some backlash on Drake for choosing the title of a famed 'Pac song, although I don't really believe that Drizzy was meaning to disrespect the legend in any way. In fact, maybe he should just start doing every one of his songs to 2Pac titles, because this is miles beyond most of what he has to offer on Take Care. I'm relieved that Graham hired Blaze to give him at least something to work with on this album, and the brief change in production is welcoming (especially after hearing "Crew Love" and "Make Me Proud"). Drake still comes out with some ridiculous claims (he legitimately compares Weezy to Jordan and Stunna to Haffa, which is fucking absurd) but he does at least give a few verses better than most of what he has given for the album. Ross doesn't add anything to the song, but the "Maybach" feel does work for this (even though I can't really explain it) and Ross certainly doesn't hurt the song.
11. Camera/Good Ones Go (Interlude)
I had to do a double take to see if this was still part of Take Care or if my iTunes decided to go into shuffle mode, as the first 20 seconds of this sounds nothing like I've heard Drake go over (and this is a good thing). The sample, which has been mastered to sound more like elevator music, is a nice addition and I was happy with the overall beat in general. Drake talks about how things look like one thing on camera but are completely the opposite in reality. While it's a cool subject, this song gets way too repetitive and it's a shame the song takes this route, because this one had promise (key word: had). I do appreciate that Graham finally, finally went a little outside his element (or at least attempted to) on here.
12. Doing It Wrong
Basically, it's "Take a Shot", just worse than the original. That's all I need to really say about this one.
13. The Real Her
Again, another miss. If Drake decided to make a solely R&B album (which I hope, and anticipate, he will because I do think he's got a decent voice). Again though, I'm looking at this like a rap album, and this does not work, no matter how hard someone (most likely one that doesn't listen to hip hop often) will try to convince you otherwise.
14. HYFR (Hell Ya Fuckin' Right)
Another song with not much to it and Drake's raps are about another girl (surprise!). However, I will compliment the dude on his first verse as he goes hard. Beginning from the line "Tuition is handled by some random nigga that live in Atlanta" to "she asked". I won't be someone that says Drake can't rap; he certainly has a ton of talent. But because Drake doesn't go out of the box here and there and consistently focuses on only one subject, it makes me think, inevitably, that he's lazy. That, or he just knows whatever he writes will sell him records, so until he's actually challenged to become a better writer, it will probably never happen. Weezy's verse is actually not garbage (and really, it's better than half his verses on his own album; that's how bad it was). My only question after this is: how the fuck do these guys get away with saying "Hell ya, fucking right" as your hook and still be thought of as amazing to the general public? Makes just about as much sense as a fucking black hole (seriously, try researching them, you'll give yourself a headache just trying to read the formulas that describe them).
15. Look at What We've Done
The piano loop for the beat sounds dangerously close to what was used for "Over My Dead Body" (which is entirely possible). I wonder if this was actually exactly what was going through Drake's mind before he ever got signed (I seriously doubt he was to the point he "end up robbing a bank"). However, while this song is another personal one, I think it's one of Drake's best. One reason is that the beat doesn't overshadow him. A lot of Drake songs I get too distracted by the beat that accompanies it and I lose track of what he's saying, but Drake is center stage on this and he obliterates his two verses. The hook is pretty decent to. What's also a surprise is that Drake isn't talking to another one of his biddies. He is talking to a woman, his grandma. The track is his arguments with her, not some girlfriend, which makes this song about 10x better, considering it's somebody Drake truly cares about. I'm still not crazy about this album, but I will say one thing, it has produced my favorite (and maybe his best) Drake song I've heard to date. Amazing song.
16. Practice
The good times couldn't last even one more song. Drake has this tendency to throw these tracks into his album which are just fucking horrible. It's a shame, especially since I can hear what he is capable of with the previous track.
17. The Ride
Another throwaway beat, although Drake decides to actually rap on this. The title is appropriate, since it describes Drake's "ride" as a celebrity and it was cool to get some insight into his life as an icon (for instance "It’s feeling like you own every place you choose to be at now/walking through airport security with your hat down/instead of getting a pat down, they just keep on/saying that they feel you, nigga"). Drake also does make a good point with this song: nobody "feels him" except him. That phrase (which I myself am guilty of using excessively) can only be used when you do know what it's like to be a celebrity. You don't ever "feel" Drake on any of his songs about his lush life because most of you have never even had a taste of it. In that regard, I commend Drake for making that statement. It seems many rappers are afraid to address those that are fake and try and pretend they do know how they feel, when really, they have about as close to a clue as Chris Paul has on where he'll end up next year. So while the beat isn't fantastic, I'll give Drake a passing grade for this one. Certainly better than most of what's on this album, anyways.
Closing Statement: After giving this another listen, it's still just about as bad as I thought it was when I heard it the first time. There are some tracks on here that are fucking terrible and I pray I never have to hear anything close to what "Crew Love" sounded like. Drake also, proves that he's almost entirely one-dimensional, rarely escaping his comfort zone of rapping to women and about his life. And while this album isn't Thank Me Later, much of it sounds entirely just like it, both in Drake's verses and in production. It's nice that Graham gives 40 a chance to produce possibly the highest selling album that was released this year, but being nice has its consequences, and a lot of the beats on here are pathetic. Out of the 17 (some have this album going 18 songs, with "Marvin's Room" and "Buried Love" as two separate songs), I counted six that were either decent or pretty damn good. With the album going nearly 80 minutes, that means that only 1/3 (or 26 minutes) of it is actually worth listening to. Yet, for Drake, that is a massive improvement over his last effort and I can at least say that you shouldn't use this as a drink coaster (as for Thank Me Later, that is a perfect coaster for any drink of your choice). Drake does show some growth on here, which leads me to think there may actually be some hope for him as being someone worth my time 10 years from now. He also has arguably one of his best songs ever on here in "Look at What You've Done" and it's clear he is miles ahead of his mentor in the talent department. So my notion that he is actually the Jimmy Brooks of rap (talented, then got shot by Young Money and the rest of his rap career will be crippled) is probably false. There is promise in Drake, but still not enough for me to care about him like other artists his age (Big K.R.I.T., Kendrick Lamar, Freddie Gibbs, etc.).
The Verdict: If you can find a way to get those six songs I was cool with ("Over My Dead Body", "Lord Knows", "Underground Kings", "Headlines", "Look What You've Done" and "The Ride"), then I would definitely recommend you do so. If not, you can burn this one, but be wary of some of the garbage that's scattered throughout it. As for buying it? Well, I'm pretty sure there are plenty of artists out there that deserve your hard earned cash much more than Drizzy.
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