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In the second verse, Drake takes listeners back to his pre-fame days a time when he would steal his mom’s debit card and drive around in overpriced rental cars to maintain an image. He details his current situation of fame and fortune, rapping from a position worthy of dinners at French Laundry in Napa Valley, where the maître d' treats you like a king and puts the cloth across your lap as soon as you sit down. On “The Ride,” Drake delivers the first two verses in the second person, arguing that us mere mortals can’t understand how his success has him feeling so alienated.
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But, whereas on So Far Gone’s “Say What’s Real” and the 2010 loosie “Paris Morton Music,” he remains optimistic facing the pressures of celebrity brought on by his sudden rise, Take Care’s closing statement finds him trepidatious and jaded. By then, he’d mulled over the idea on a handful of songs. “The Ride” wasn’t the first time Drake grappled with the trappings of fame. It all amounts to arguably the best song in Drake’s discography, one that makes every hookless freestyle of his inferior by default. On the first verse, he’s confident, on the second, he’s defiant, and on the closing frame, he’s introspective. Drake matches every 40 switch-up with a completely different flow and mood. Of course, production this monumental would’ve been all for naught if Drake hadn’t brought his A-game. He samples one of the most recognizable songs from the biggest female pop star of the ‘80s (Whitney Houston’s “I Have Nothing) speeding it up and reversing it before flipping it three different times to create three distinct beats. While similar to the chirping vocal loops the Harlem-bred Heatmakerz trademarked on the Diplomats’ “I’m Ready,” 40 raises the stakes.
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“Tuscan Leather” starts with 40’s hall-of-fame production. How do you follow up one of the best album openers in hip-hop history? Take a Whitney Houston sample, inject it with steroids cut from the same cloth as the chipmunk-soul sound popularized in the early-2000s by Kanye, Just Blaze, and the Heatmakerz, then rap as if your life depended on it-for three consecutive verses. From the jump, “Over My Dead Body” didn’t just feel like the perfect opener for his first classic album it was also the beginning of the Drake Regime. His vocals sat comfortably behind 40’s airy production, a distorted piano loop, and an eerie hook sung by Canadian singer-songwriter Chantal Kreviazuk. “ I think I killed everybody in the game last year, man, fuck it, I was on though,” Drake raps. Every millennial hip-hop head had cemented the album as an instant classic as soon as he sent warning shots to rivals earlier that summer on “Dreams Money Can Buy” and “I’m On One.”Īlas, the first lines of Take Care were powerful enough to erase any sense of doubt. Drake’s sophomore LP hit the Internet, accompanied by impossible expectations.
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On November 7, 2011, during the twilight of the pre-Instagram era-before scheduled release dates were abided by and albums arrived at the crack of midnight via streaming giants Apple Music and Spotify- Take Care sprung a leak.