“I might be too strung on compliments, overdosed on confidence,” Drake delivered on massive hit single “Headlines”. 2011’s Take Care saw Drake straddling self-importance and paranoia. “HYFR”s exuberant chorus deflated into “Practice”. That confidence he was so strung-out on couldn’t help him on the drunken stupor of “Marvin’s Room” and he was left pleading, “you can do better.”
Nothing Was The Same’s sample flipping opener “Tuscan Leather”
makes good on the promise to do better, Drake spitting stately raps “Prince
Akeem they throw flowers at my feet n****” over a chipmunked Whitney Houston
vocal. “Tuscan Leather” carries all the grandeur of Just Blaze production “Lord Knows” and for a
full seven minutes the Toronto MC promises to never compromise and moves past
proving “s*** to no one except yourself.” One track in, the golden armor cracks
and Drake is left exposed, “I’m honest I make mistakes I’d be the second to
admit it.” As My Beautiful Dark Twisted
Fantasy reminded us all, heavy is the head that wears the crown.
The thumping
bass and buried piano of “Wu-Tang Forever” sees Drizzy enter into the ring of
southern-rap royalty. Here he takes accusations of his tenuous H-town
connections head-on assuring, “I just gave the city life, it ain’t about who
did it first, it’s bout who did it right, n****s looking like preach.” During
the bridge as a miniscule RZA vocal sample fights for space, Drake adapts an
affective snarl delivering “only f***ing out of spite” with the right amount of
venom.
“Too Much”s placid vocals
(courtesy of London R&B artist Sampha)
temper Drake’s feeling trapped in his own house while his mom stays cooped up
in an apartment. The chorus’ words “don’t think about it too much” are pearls
of wisdom Drake has passed by before in his career. Outside Kanye West, he’s the
ultimate rap obsessive, intensely scrutinizing every choice he makes. Short texts
turn into treatises. Late night conversations become graduate level discourses.
No detail is irrelevant, everything is open to discussion.
Bilious “Worst
Behavior” sees Drake trying out a new voice; a throaty shout that didn’t need
to be heard. The song conjures what would happen if Rick Ross’ undersized
sibling attempted to hop on one of his bangers. It’s a self-inflicting banger
in parts, Drake consumed by the notion “motherf***ers never loved us.” As a miss it’s engaging; one imagining Drake’s
conflicted conscious erupting in the open.
Jhené Aiko
feature “From Time” becomes that outright onslaught, a toxic amalgam of mixed emotion
and oversharing. In verse one he details the rocky relationship with his missing
in action alcoholic father. “I've been dealing with my dad, speaking of lack of
patience, just me and my old man gettin' back to basics. We've been talking'
'bout the future and time that we wasted, when he put that bottle down, girl
that n****'s amazing” he breathlessly raps over the airy beat. Round 2 pulls no
punches; getting more personal in the process. Drake’s late-night drunk dialing
presented in the wispy “Marvin’s Room” landed in him in hot water with a former
flame. However, “Marvin’s Room” was an abstraction compared to the photorealism
of “the one that I needed was Courtney from Hooters on Peachtree, I’ve always been
feeling’ like she was the one to complete me. Now she engaged to be married, what’s
the rush on commitment? Know we were going through some s**t, name a couple
that isn’t.” A chronic condition of celebrity is to want what you can’t have
and “From Time” makes it apparent Drake has a permanent affliction.
Aforementioned
chest-pounder “Wu-Tang Forever” eventually flatlines and Noah “40” Shebib’s aqueous
synthesizers underscore Drake’s emotionally robotic vocals in the first verse
of “Own It”. “And next time I spend, I want it all to be for you” he warmly
mumbles. Twitches and a bellowing “own
it” soon open the floodgates into a torrent of incisive insults “n****s talk
more than b****es these days” and enquiries targeting those who can’t commit to
the “yolo” lifestyle, “when the last time you did something for the first time?”
It’s one of many album moments where Drake tows the thin line of crippling
fragility and invincibility.
One of the most
alluring aspects of Drake’s junior release is the constant conflict the music
and lyrics are locked in. “Furthest Thing” refuses to hold any applause;
mechanical clapping drowning out admissions of selfishness, “I made every woman
feel like she was mine and no one else’s”. The sturm un drang trap-rap drums
and snaps Mike Zombie provides “Started
from the Bottom” mask Drake’s insistence on former struggles. Past the stunting
“wearing every single chain even when I’m in the house”, he’s confronting charges
of comfortable living that have pursued him from day one. “Boys tell stories ‘bout
the man, say I never struggled, wasn’t hungry, yeah I doubt it n****” he
confrontationally raps. Even Drake’s lyrics occasionally oppose each other. “Connect” castigates “Own It”s pipe dream
plans to try something new; why attempt to swing when a strikeout is ensured?
Musically, no
track belies its lyrics quite like album centerpiece “Hold On We’re Going Home”.
A muscular bass line and disco strut stand dichotomous to Drake’s stark
emotions, “I can't get over you, you left your mark on me, I want your high
love and emotion endlessly”. Take Care calcified my belief Drake stands second to Kanye in another category,
self-conscious confidence. All the swagger of “just hold on we’re going home” will
inevitably lose its sway and only a stop-gap measure remains. Now the concept
of the dual album covers seems less nonsensical, 5 years in Drake is caught between
starry-eyed adolescence and sobering adulthood. Nestled somewhere in the middle
of “I want it and I got it".
"Hold On We're Going Home"
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