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Set against the song's stark piano and imposing bass hum, it's simultaneously one of the most sensual and disqueting tracks on the album, making the whole thing a pretty spot-on sonic approximation of in the morning insecurity and horniness, like a more self-reflective version of J.
Cole's "Power Trip. That hook--even the Wu-Tang sample--shows up again in "Own It," though this time the meaning is again twisted: Rather than Drake using it as confirmation of the love and devotion he owns, he's now pledging his own to his girl, an almost disorientingly straight-faced proclalamation of feelings from Drizzy. As a song, the whole thing is pretty amorphous, particularly when it takes a late-song turn for an extended Drake complaint about how "Ns talk more than bitches these days"--thanks for the PSA, Aubrey--and musically, it's a hard track to get much of a read on.
Don't have an account? He's exhausted the topic of fame in and of itself — always his least interesting obsession — and shifted the focus to its emotional consequences, from how he has been alienated from his family to how he couldn't make it work with the girl he wanted to marry. Sonically Inspired Gifts for the Music Lover. But even if a sea change was anticipated, nobody could have anticipated just how drastic it would be. Check out our opinions on each of the album's 13 tracks, collected in one place for your convenience below. Aiko's sweet, sympathetic crooning on the chorus here is a most welcome sound, then, as is the gentleness of the song's piano hook and snapping beat, lacking the sinister, growling edge of most of the earlier tracks. It's an absolute jaw-dropper of an album climax, and it makes the trip there through the likes of "Own It" and " to My City" well worth the journey.
It's pretty evocative, but it's hard to tell exactly what Drake's ranting about for most of the time: His father? His haters? His rivals? Does it even matter? Undoubtedly, the album suffers for it.
When you hear Jhene Aiko's voice kicking off Nothing Was the Same 's side-one closer "From Time," it's surprisingly jarring--mostly because aside from the samples and pitch-shifted hooks that littered the first half, the only voice we've heard so far on NWTS has been Drizzy's. Though there were high-profile featured appearances scattered throughout his first two albums--at this point on Take Care , we'd already heard from The Weeknd, Rihanna and Kendrick Lamar, with Birdman, Nicki Minaj and Rick Ross all soon to come--the roster on NWTS is far thinner and less star-powered, with an up-and-comer like Aiko best known at the moment for her appearance on the Big Sean single "Beware" actually being one of the biggest names on the album.
This approach makes Drake's vision for the album clearer and less cluttered, but it also risks listener exhaustion at spending almost an hour hearing about Drake's compelling but inevitably repetitive issues with fame, fortune, friends and family--and just a whole lot of his voice in general. Aiko's sweet, sympathetic crooning on the chorus here is a most welcome sound, then, as is the gentleness of the song's piano hook and snapping beat, lacking the sinister, growling edge of most of the earlier tracks. Drake also finds somewhat new fare to discuss here, giving us a rare look into his ongoing relationship with his parents, sparking one up with his dad and dealing with his mother's despairing self-pity, and then name-checking a number of the less-famous women of his past Bria from Macy's, Kourtney from Hooters and how they were the "muses that inspired the music," though most of them have since moved on.
It's sweet and sentimental, which NWTS certainly needed a touch of, lest listeners start dreading the album's second half as a Yeezus -like slog, without Kanye's aptitude for reaching to the dark side musically or lyrically.
When it first debuted, Drake's single "Hold On, We're Going Home" sounded pretty out of step with his catalog--much less insulated, much more unapologetically hooky, much But man, if we thought it sounded like a Top 40 record as a single, as the centerpiece to Nothing Was the Same , it may as well be "Call Me Maybe" in the middle of a free jazz set.
After four straight slow songs, the "Billie Jean"-like drum intro hits like a cold glass of lemonade on a blazing summer afternoon in H-Town, reviving you back to life after the album's sagging middle dragged you down into a near-catatonic state. OK, so the middle of the album isn't that rough, and maybe "Hold On We're Going Down" isn't that crowd-pleasing--it's still relatively minimal and moody for a big pop song, and its chorus is pretty vague in its intentions.
But it's undoubtedly catchy, both in its vocal hooks and that little chorus synth line that you've had stuck in your head for the months since the song leaked, and the song has that kind of communal feeling of general good vibrations that is so crucial to most truly great pop songs, which is exactly what Drake and 40 were going for here. We still have no real clue who the hell Majid Jordan are, but we are thankful for their contributions.
Singing about poison relationships is a common theme on Nothing Was the Same and in Drake's music in general, though he rarely has sounded quite as powerless as he does in "Connect," where he recalls with excruciating detail--down to the gas prices he couldn't afford for his uncle's car on the rides over to her house at a moment's notice late at night--a girl who had total control over him, despite the fact that she would inevitably leave him swangin' in the wind. Drake doesn't sound all that angry or upset at being jerked around, though--he seems at peace with the late-night booty call treatment, so long as she doesn't fall asleep before he gets there.
Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic.
Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip.
Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Release Date September 24, Genre Rap.
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