Take Care: Track by Track
Drake understands melody, a topic a lot of rappers are not yet quite well-versed in.
Over My Dead Body (9.5/10)
Displaying his prowess as one of the best melody rappers in today’s hip-hop scene, Drake raps over a dreampop-type piano hook on the opening track. The featured female voice of Canadian singer Chantal Kreiviazuk is beautifully smooth and a perfect complement to the overall soft flowing background soundscape. The juxtaposition of Drake’s sometimes harsh lyrics and Kreiviazuk’s velvety chorus line creates an unexpected seamless transition from his open-booked flows to her distant-sounding dreamscape.
Shot For Me (7.5/10)
This song really should listed under “Drake feat. Drake.” This second track is a display of Drake’s versatility as an artist. The opening voice is indeed Drake himself. Not only does he sing the hook with an unexpectedly strong voice, his raps are just as clever and quick despite the fact that they don’t start until over 90 seconds into the song. The opening minute makes you forget that you’re still listening to a Drake album, and the lyrical ending is just as beautiful as the beginning hook:
May your neighbors respect you, trouble neglect you, angels protect you, and heaven accept you.
Headlines (9/10)
The head single of Take Care had gotten some seriously steady radio play in 2011 being the clear pop standout in the album. This upbeat track is the first change of pace on Take Care after the two slower melody/instrumental powered opening tracks. “Headlines” grabs you immediately with a rhythmic beat that plays throughout the track framing Drake’s voice well without disrupting or distracting from his flows. Don’t let the pop play deceive you as Drake’s lyrics are as honest as ever in this single. For an artist who has often been criticized for wallowing in self-pity, the arrogance in Take Care is not a bad look for him.
In a very bold hip-hop move, Drake closes “Headlines” with 30 seconds of silence-backed candid lines:
I heard once that they would rather hear about memories than enemies/ Rather hear what was or what will be than what is/ Rather hear how you got it over how much it cost you/ Rather hear about finding yourself and how you lost you/ Rather you make this an open letter about family, and struggle, and it taking forever/ About hearts that you’ve broken and ties that you’ve severed/ No doubt in my mind, that’ll make them feel better.
Crew Love feat. The Weeknd (6.5 +1(bonus) = 7.5/10)
The Weeknd is the Canadian record producer responsible for the interesting House-esque start of “Crew Love.” The Weeknd feature creates an interesting spin on a typical Drake song. Unfortunately, the song as a whole lacks the easy cohesiveness of “Over My Dead Body” and the pop appeal of “Headlines.” Overall, it’s a decent track but may be one that needs some a few more plays to fully get into the groove of it.
+1 for the Harvard shout-out though:
I guess we’ll never know what Harvard gets us/But seeing my family have it all/Took the place of that desire for diplomas on the wall.
Take Care feat. Rihanna (7/10)
Without Rihanna’s feature and the music by Jamie xx’s (of The xx) remix of Gil Scott-Heron’s version of “I’ll Take Care of You,” this song never fully gets it. Drake’s rap takes a backseat to his former flame’s hook. Though she might not be at her “Good Girl Gone Bad” best, Rihanna makes this song. Her voice is truly incredible from start to finish. “Take Care’s” gentle instrumentation is a refreshing change from Rihanna’s typical dance-pop/heavy hip-hop beat hits, and it’s Jamie xx’s great simple production that highlights her minimalist singing.
Marvin’s Room (9/10)
Another Drake song that centers on relationship pains, this one feels even more particularly sincere. It may be the ex-girlfriend’s voice saying “Are you drunk right now?” into the phone in the hook. It may be the clarity of Drake’s voice over the beat-powered background. It may be the slight echo of his lines that adds to the eerie bluntness. Whatever it is, “Marvin’s Room” has the perfect balance of pop and emotional appeal.
Buried Alive Interlude (5/10)
This Kendrick Lamar interlude is a brief break from Drake. The most interesting part: the Rihanna reference. I’ll leave it to you guys to figure out what he means.
That said last year that she slept with a Canadian/That gave him an addiction that would keep him in Mercedes Benz/Bright lights and Rihanna as a lady friend.
Underground Kings (9/10)
I dare you to not dig Drake’s flow in the track. It’s clear that this is a very rap-focused piece with his verses lasting multiple lines without any breaths in between. The overall balance is impeccable, with great production, hook, verses, and everything in between.
We’ll Be Fine (7.5/10)
An interesting and unexpected change of pace in the first verse creates a sudden burst into a rapid flow from what initially sounded like it would be another slower droning Drake piece, but ultimately it is Drake’s affinity for pop that dominates the hook. Solid track, but the ending verse by Birdman is a little feeble and awkward sounding.
Make Me Proud ft. Nicki Minaj (9/10)
It can be easy to forget that Drake is a rapper with a single like “Headlines” promoting the album, but “Make Me Proud” showcases Drake’s rap prowess in its speedy lines.
And although it’s easy to hate on Nicki Minaj, she kills it on this track balancing her famously slick raps with a touch of pop vocals.
Drake is loving his Ivy League references in this album, this time opting to include a bit on that one school in New Haven:
Sound so smart like you graduated college/Like you went to Yale but you probably went to Howard.
Lord Knows ft. Rick Ross (7/10)
What can’t this guy do? Drake takes on some funk in the groovy track. The production in this piece is unique with a great ensemble of instruments creating the rich soulful sound.
Album cover reference?
That’s why I walk around with all this gold on/And every time I run into these niggas they want no problems/Bottom sixes and chains, and some bracelets and rings/All of the little accents that make me a king.
Camera/Good Ones Go (Interlude) (4/10)
I’m not sure if it’s the seven minutes in this song or if it’s just Drake’s signature drone that drains everything from you. It could also be his cynical take on relationships in conjunction with everything else, but whatever it is, this track is the first on the album in which I wanted to skip to the end.
Doing It Wrong ft. Stevie Wonder (5/10)
Stevie Wonder is a music legend, and anyone who disagrees is automatically untrustworthy. His work on the harmonica in this piece is sweet and smooth, but the rest of the song is, sadly, lacking. Drake is at his best when he balances both his singing and raps, but this piece completely lacks the latter. His lyrics, again, discuss his personal relationship pains and lies.
The Real Her ft. Lil’ Wayne & Andre 3000 (6.5/10)
The gentle piano chords played throughout are reminiscent of the hook in “Over My Dead Body,” but whereas the opening track owed its entirety to the keys, this time the heavy beat string overshadows the prominence of the piano melody. Lil’ Wayne’s entry into the piece is abrupt but surprisingly polished. Andre 3000’s verse ends the piece with a quicker pace.
HYFR (Hell Ya Fuckin’ Right) feat Lil’ Wayne (9/10)
To all those who are still skeptics on the whole “Can Drake rap” debate, check out his flow in the opening verse of this piece and get back to me. And that Lil’ Wayne guy? He’s not too shabby either, and the lyrics in his hook are too real when he lists the ridiculous questions girls ask him.
Do you love this shit?/Are you high right now?/Do you ever get nervous?/Are you single?
Look What You’ve Done (9.5/10)
The production is beautiful. The beat is great. The melody is gorgeous. But all these elements are surpassed by Drake’s lyricism. Pop has forgotten that ultimately music delivers stories. Drake’s honesty in this piece on his struggles on the road to fame and success is heartbreaking. I can only describe this piece with one word: brave. The outro is a voicemail recording of Drake’s grandmother expressing her appreciation and love for Aubrey (Drake’s legal first name.) “Look What You’ve Done” is the most emotionally stirring track on the album.
Practice (5/10)
Any hip hop piece that includes a hook that features “back that ass up” is unoriginal. I don’t doubt that people will dig this song for its pop hook, but it is possibly the exact opposite of “Look What You’ve Done.” Drake repeatedly claims that all the guys before him who hook up with the girl Drake did were just “practice.” Not the deepest of sentiments, but still it’s a catchy tune.
The Ride (6/10)
This second track on the album with The Weeknd listed as a producer features a chorus of voices singing throughout that softens the track. Here he talks about his journey from the unglamorous past to his current overwhelming success with some rather aggressive raps and vulgar honesty.
Drake appropriately finishes off his album:
Take care nigga.
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