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There's the self-indulgent, but still dynamic collaboration of Jay-Z and Kanye in Watch the Throne. And then there's the new one from Rhianna, Talk That Talk. Obviously, hip-hop nation is alive. And fucking well; Gone are the days when hip-hop was simply about gang-banging, drive-bys, and hooking up with them nasty ho’s–well. The genre has evolved, capitalizing on the glitz and glam and harnessing its own self-awareness and putting it on the forefront of their music.


Canadian rap-crooner Drake’s sophomore album, Take Care, is a fluent representation of this generation’s understanding of mainstream hip-hop: no longer just about getting out of the ghetto, but making one’s presence known in a world obsessed with the Internet, celebrity and God damn it, too much TV!

The album opens with “Over My Dead Body” and immediately the lo-fi vibe sets the tone for something much more sentimental and sincere. But as soon as Drake chimes in, his rap lyrics are profane and unapologetic. “I think I killed everybody in the game last year, man/Fuck it I was on though…Shout out all to all my niggas living tax free/Now-a-days its six figures when they tax me”–that self-awareness permeating through his stoic rhymes. There’s something dark and dreary that lingers when he raps about survival as ghostly voices color the background.


                    "Headlines" is the first single taken off the album.

Noteworthy of this album is its numerous collaborations with industry bigwigs. “Take Care,” with former flame Rhianna, is a lounge and techno-laced ballad with overtones of modern-day electronic elements. The beats toy with you, creating suspense as you wait for the song to peak, with the two young ingénues exchanging words on a lovelorn relationship lost.  As tribal percussion mark the end of the track, the listener is left with a sense of longing.

“Make Me Proud” with hip-hop’s current darling Nicki Minaj is the song that showcases Drake’s masterful flow, his speed and precision, quick as a gun. Together with Minaj, the duo work together to create a powerful testament of why they’re revered by critics and their peers.

"Gospel-like" best describes “Lord Knows” with The Boss himself, Rick Ross. The smooth and silky vocal talent of Drake mixed with Ross’ harsh and brash poeticism is an uplifting song of redemption. He sings: “I’m the descendant of either Marley and Hendrix/ I haven’t figured it out cause my story is far from finished.” We can’t really agree on his allusions to the reggae and guitar God, but it’s crystal clear that he has a handle on where he stands in the realm of rap.

“Doing It Wrong” with the legendary Stevie Wonder is a unique and surprising gem. It slows down the album with its ambient instrumentals and relaxed lyrical flair. While the moans and constant wailing present in “Crew Love” with hipster-hop group The Weeknd is a displaced, ear-tingling collaboration where the heavy bass packs a mean punch perfect for hanging out with the homies while sipping on some gin and juice.

Take Care is a fresh album that utilizes the benefits of its guest artists. It is at once subtle and in-your-face. It’s innovative in taking the genre just another step further by adapting techniques from other forms of music. Drake is still young and he still has a lot to learn, but the album is evidence of his maturity and the care he takes when it comes to producing quality hip-hop music.