Guest contributor Sampha admits on “4422,” “I know I fear trust/I know I fear fear to much/On my plate, lookin’ up/Out space, pearly gates.” Earth, Wind and Fire sings, “Blessed are the children” on “Glow.” And rapper PARTYNEXTDOOR exclaims “Thank God I’m a Christian” on “Since Way Back.” “Blem” uses that abbreviated version of “blemish” to honestly confess Drake’s perception of his flaws: “I’m blem for real.” On “Teenage Fever,” guest Jennifer Lopez wonders, “If you had my love/And I gave you all my trust/Would you comfort me?” “Fake Love” revisits the theme of people who want to take advantage of Drake even as they pretend friendship. Drake also notes spiritual resistance to his success (“Devil’s working overtime”). “Madiba Riddim” expresses Drake’s frustration about discerning whose friendship is genuine and whose cloaks hidden motives (“I cannot tell who is my friend/ … God knows I’m trying”). “Jorja Interlude” finds Drake claiming, “I practice good over evil.” And guest Jorja Smith sings, “These things’ll fall down/But you’ll pick ’em up again.” She appears again on “Get It Together,” voicing these honest relationship desires: “I need someone to hold me/I need someone who needs me/I need someone that loves me.” Later she adds, “You know, we don’t have to be dramatic/Just romantic/Do all the little things, little things, little things/ … Give me a kiss goodnight.” “Do Not Disturb” finds Drake resenting those who pry into his personal life, admitting that his anger is at times counterproductive and recognizing the danger of drifting off course in life (“Distractions will do you in, in the truest sense”). Drake sings, “Cleansin’ my soul of addiction now,” and he wisely realizes, “Listen, hard at buildin’ trust from a distance.” He also suggests tabling a romantic commitment until the two people involved are in a better place. “Passionfruit” includes some self-aware moments. But he’s also quick to point out that his success has been hard-earned, as several songs note his seemingly tireless work ethic, including “Free Smoke,” “Sacrifices,” “KMT,” “Do Not Disturb” and “Can’t Have Everything.” The latter song also shows the artist trying (though mostly unsuccessfully) to move toward contentment instead of constantly seeking more. So what did fans binging on those 151 million tracks find here? In short, it’s vintage Drake: low-key and melancholy reflections on broken romances mingled with world-weary complaints about the stress of being arguably the most popular rapper in the world.ĭrake has no shortage of ego. (And that doesn’t even count the 250,000 folks who actually purchased the “playlist” online). In the first 24 hours of release, tracks from More Life were streamed a whopping 89.9 million times on Apple Music and 61.3 million times on Spotify, both records for those streaming services. They’re gobbling the digital release up (a physical album may come later) at a record pace. Said fans don’t seem to care whether it’s an official album or not. Drake calls his latest effort, More Life, a “playlist,” and he’s said that it’s just a (rather large) cache of tracks to hold fans over until his next official release. 1.When is a 22-track album not technically an album? When it comes from one of the biggest rappers on the scene right now. 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.
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