Drake - Nothing Was The Same (Review)
What up one & all. Sky Bento here on the check-in once again. Big Bento Energy is most definitely in full effect. Hope you & yours are doing good & well. Drinking water, protecting your mental health, knowing the vibes & all.
Normally, I try to have a theme or reason why I’m picking the albums I do in any particular month. Not this time. I just really like this album and wanted to review it. A few joints been really stuck in my head lately as real life events pop up. Crazy to be doing another Drake record so soon, but we was going to get to double dipping on artists at some point anyway. Kanye West alone has at least 5 I’d like to touch. And they all contributed to this - what I consider to be the gold standard for Drake albums. This was the point where Drake could no longer be written off as a flash in the pan. No, he was here to stay. For real. Can you believe this album is turning ten next year? Gonna need one of them singing birthday cards for this joint. Not only is the nostalgia super real for me right now, the music still holds up super well. I’d even argue that from a production standpoint, this is one of the most influential projects of the last decade due to its use of samples. Who knows if we’d even have the Soundcloud generation like we did without this one. But enough of this, I don’t need to sell you on a Drake album. It’s Drake. So roll something up, pour a glass of wine, and reflect.
Because after 2013, Nothing Was The Same.
As always, these are just MY opinions and do not reflect the views of TDN as a staff, brand or a m***********g crew. Feel free to crucify me on Twitter @plzsaythebento. Iight, let’s get to it.
1. Tuscan Leather - So as always, let me set the stage. It’s 2013. Drake is four years removed from breaking through with his classic mixtape So Far Gone, and two years removed from the sophomore album that delivered on it’s potential. Common complaint is still that dude sings too much. He’s too soft, too shallow, too reflective, too sappy, too… whatever. Classic as Take Care may be, you also gotta remember it dropped the same year as Watch The Throne. And this is supposedly being positioned as gonna be the leading guy in rap? The guy who was basically given the torch from Lil Wayne? Drake knew he had to appease more than just his generation this time. He had to assert a little more dominance this time. So he threw a baby picture on the album cover (you know what that means) and rapped over three beats flipping one sample 3 different ways for his intro. All to let you know that this ain’t little Aubrey from Degrassi, Drake really does this. He’s coming off the last record not giving a fuck about the radio, but he still gonna naturally make music with that sensibility. That’s how nice he is. He really rapping his ass off on this one. The beats get better each switch up, and Drake matches the pace. When that synth comes in for that third beat though… Kanye West must’ve been proud. It gives the record so much gravity. How much time IS this n**** spending on the intro? He really seen what Meek’s intro did and gave us the Drake version of that.
Remember when Twitter looked like this?
2. Furthest Thing - I know I’ve mentioned on here before that the 1-2 punch of an album is the most important part of an album’s entire sequence. I literally just had to pause “Furthest Thing” because I wasn’t ready for it. And I’ve heard this album about fifty-eleven times. So after rapping his ass off for 6 minutes (intentional pun?) he gives us track two to remind us that he is still, in fact, Drake. Nothing was the same except for that, I guess. But he gives us what is perhaps the most quintessential, cliche, tropey Drake song ever. He’s back singing his raps. There’s no drums until the hook except for a lone clap but the pianos and reversed strings give it a real hazy feeling. Drake’s honesty on this record gives the lyrics that good old Drake instagram caption feel. I can’t believe it’s really been like this for a decade because I been seeing captions from every new Drake verse like clockwork since. I knew lyrics from his feature on the new Future album, before I even heard the new Future album… Then just to remind you that there’s more to Drake this time, Jake One gives us a post-retirement Hov type beat and puts that bass back in his voice. This album has all of the confidence Take Care & Thank Me Later lacked. That must be because the album title doesn’t start with a T.
3. Started From The Bottom - Iight let’s get the obvious critique out the way. Drake’s “bottom” is not the average person’s bottom. It’s not exactly a rags to riches story. But that’s exactly why middle class America ate it up. Drake’s first world problems are the most American thing he’s ever rapped about. The thing that really made the record pop was the infectiously rapped hook. That made it bigger than just the people who could actually relate to Drake’s bottom. This might be Drake’s first meme song now that I think about it. I mean, dude had sports announcers slipping the hook into commentary. Karen’s and Cathy’s everywhere rejoiced as their 11 year old white daughters made it into the finals of their local soccer tournament. It was bigger than hip-hop. Yet and still, Drake made this a rap song. He wasn’t abandoning his melodies, but showing that his skill was greater than that. He keeps the same flow for the whole song and it never gets tired (something that would become more of a trend in later years to varying degrees of success). That piano loop wouldn’t sound out of place on Illmatic. Them drums sound straight from the mecca of hip-hop. This is a rap song. Drake’s first single from the follow-up to the genre-bending Take Care was an actual rap song that the pop charts could love. Things were definitely not the same.
4. Wu-Tang Forever - Once again we was back at the melodies like we never left. Modern R&B drums as perfected on Take Care with a Wu Tang sample, the typical 40 synths, and some piano to give it that Drake feel. Drake featuring Drake this time as we get a rap verse on the back half. Honestly, I loved this song when it dropped ahead of release, and I also really like it in the context of the album. But it just doesn’t stick to me the way it used to. I’m never skipping it on the album but I’m probably not putting it on by itself. I don’t even think it’s in any my playlists. Not even that one. And ain’t that what it’s for? Or maybe it’s just Drake’s diary entry dedicated to a woman. A lot of this album feels more like he’s talking directly to the people he’s lost his connection with, rather than blatantly speaking out into the world like he did on Take Care. This feels personal but it also feels like his heart’s not as in it as it could be. Maybe that’s the point. But musically, I dig it. It’s just missing something for me 10 years later.
5. Own It - Contrarily to the last record, I used to hate this song. It felt like an unnecessary extension of “Wu-Tang Forever”. It also brought back that underwater vibe from So Far Gone, which I only ever really liked when it was in smaller doses or better balanced with some other sounds. But this actually has the feeling the last record lacked. I’m usually much more likely to skip this than “Wu-Tang Forever”, but it’s not a horrible record. In fact it’s actually a better song, if that makes sense. It fits the context and gives us a taste of what we’ve gotten from Drake in the past. The rap verse on this better than the one on the last song too. “N***** talk more than b****** these days” let that sink in for real. Such a simple line, but it’s really immortal. He said this 9 years ago at the time of me writing this. And every year I still hear someone quote this like it’s still “these days” he was talking about. And then at the end the production value really takes a turn at the end with Details harmonies. I think it’s a much better put together song than the last joint and together they make a full package. No skips so far.
6. Worst Behaviour - Man this is beat is all over the place. It feels like it has no idea what it wants to be until the hook comes in. It’s so glitchy. That gives it this crazy energy Drake records rarely have, if ever. Lyrically, there’s nothing special here until Drake comes in and does his feature-on-my-own-record thing. Noticing a pattern? But that "M************ NEVER LOVED US” refrain catchy as hell. “I swear I could beat Serena when she playing with her left” is a crazy flex, let’s be honest. I really like the real rap verse he gives us. I almost wish he did the whole record like that. There’s something about this voice he and Big Sean were doing around this time to better fit on trap beats. This big false bravado that’s kinda become more acceptable as part of their kits as they practiced it… just is under-practiced here. That said, it’s infectious. Whether or not it’s actually a good song is up for debate. But it definitely isn’t the same old Drake song we always get.
7. From Time (featuring Jhene Aiko) - This could be argued as the best song on the project. It’s definitely one of the more memorable joints what with it’s ‘06 Marques Houston vibe. Just a piano, a kick, and a snap. Then Jhene Aiko comes in conversationally with a “Wassup” and some positive talk to remind us kings of our worth. Seriously, reconnecting with an old friend and being reminded of how crazy things have gotten since is one thing. Let a woman sing this to me verbatim and I’m melting in her arms no cap. I want a hug just listening to this hook, I keep having to pause it. This was really a standout performance by Jhene. She absolutely stole the show. Drake agrees. He needed to hear it. The confidence and bravado from the previous records is gone, it’s just Drake being honest with Jhene. And I think that’s really what I love most about this album. It’s much more self aware than Drake’s previous work. There’s a bit of transitional maturity here. Instead of keeping new friends at distance from paranoia, Drake is re-grounding himself through this album. He’s adjusting, finding balance. Wow. I just googled “how old was Drake in 2013” and it turns out I’m now that exact age. No wonder this is hitting so close to home right now. But biases aside, the fact that we get yet another subtle beat switch on this record (twice) is indicative of how nothing is truly the same. First we get some reversed instruments thrown into the mix to replace the piano, then we get some slower trap drums. The lyrical content about looking in he mirror and acknowledging the changes but taking ownership of your own path is really hitting me right now. Baka said it best, you need to know yourself. Could definitely be the best song on the album.
8. Hold On, We’re Going Home (featuring Majid Jordan) - Or it could be this. Let’s be honest, Drake has tried to make this song so many times. He’s always wanted that dance-floor pop-star moment, letting all the Michael Jackson influence shine through. Thank Me Later had “Find Your Love”. "Take Care had the title track featuring Rihanna. This side of him would take over on the album after this (not the mixtape). Drake’s aspirations are much greater than one genre, and on this song he really did it right. This record is timeless. This is cookout, family reunion, wedding, date night, whatever you want. And a little fun fact I’ve always loved is he kept it hip-hop by using the Ace Hood “Hustle Hard” flow that Meek Mill ran into the ground on the bridge. Remember when everybody was rapping like that? The original Migos flow, truly. But leaving that little side note where it is, it’s amazing how well Drake pulled this off. He’s not the most gifted singer ever but this record fits perfectly in his range. The signature 40 synths and bass feel perfectly nostalgic. It has such a retro flare while feeling completely modern still. This record hasn’t aged a day. I literally just started singing out loud. I bet your mother loves this song. Them drums practically have a 2 step built in. I don’t know if you can cook a bad meal to this. It’s the perfect karaoke song. Michael would’ve been proud. Lyrically, it’s just like the last record. Being your honest and best self. Centering yourself with a loved one. Someone who feels like home. The breakdown with Majid Jordan gives it the perfect slow down and stare into your lover’s eyes moment. This was such an important record for Drake, and an equally important moment in pop music. I might run this back if I didn’t realize this is basically the halfway point of the album. I’m a clean the crib to this one later though.
9. Connect - For a long time, this was my favorite Drake song. In fact, if someone were curious what Drake does, this would be the record I play. Lyrically, melodically, production-wise, it really feels like another quintessential Drake song. By-the-numbers? Maybe. But extremely well executed. I’m a bit biased because I love Houston rap (partially because of Drake) and this track oozes that influence. The same “25 Lighters” sample from Trae tha Truth’s Michael Jackson-sampling “Swang” gives it such a fire texture. This his dad’s side speaking on this joint for sure. The baseball imagery, the way it’s used as a metaphor for a relationship plus the context “swangin” has in Texas… this is a rapper’s kind of theming even if he’s singing most of the lyrics. A lot of cliche stereotypical Drake bars but that’s part of the charm. He’s confident enough to let a corny bar out and it almost gets framed as just being creative. As is usually the case with Drake, the misogyny is running rampant with how much Drake feels like he owns his old lovers. He’s the romantic other half of Future’s coin in that regard. This really could’ve been a What A Time To Be Alive record. The atmosphere of this record is incredible, especially the part where he’s at the gas station (you know that’s where that car door is beeping at). 40 snapped all throughout this album but this record especially you could tell he was just showing out and pushing himself. This feels like the natural evolution of the Take Care sound. Records like this retroactively make me care about that album less. This joint will always have a special place in my playlist. I don’t think we’ve gotten one like this since. Drake has given us plenty of Drake songs (duh) but none this robust, thematic, conceptual. This feels like he took notes from good kid, m.A.A.d city. He been talking about borrowing relatives cars all throughout his career and a lot throughout this album, but this feels the most like we’re actually in the car with him. And there’s just something about that Houston sound that makes it perfect driving music. Especially when the sun is down.
10. The Language (featuring Birdman) - Ah yes, the one where he continued to do the Migos thing. At the time, this was still the genesis of this flow so it was super obvious. But on the other side, Drake doing this played a part in it becoming what it is now. It’s like when Lil Wayne first showed rappers they could go crazy with auto-tune. This is a very for the moment song. I don’t think we get A Boogie wit da Hoodie without this hook. I feel like this is an influential song more than a good one. It’s not a skip. But it’s not getting play outside of the album. But when this album first dropped I remembered doing that all the time. It was dope to hear that Versace style re-contextualized in the dark, spacey vibe that 40 sauced up. Birdman’s outro is actually the best thing he’s even done on a song with Drake, so there’s that. Lyrically, it’s more of Drake’s lifestyle bars. He’s around the baddest women ever, when he wants to be. He smokes the best weed. He drinks the best liquor. He has the best jewelry. He drives the best cars. He’s Drake. He runs things now. Doesn’t feel out of place, but Drake was really in a pocket with the reflective, romantic joints and now we’re just back in the club with him it feels like. Or more likely, we’re driving by the club back to his crib where the real function is. That is, if he does decide to invite anybody.
11. 305 To My City (featuring Detail) -
12. Too Much (featuring Sampha) - I feel like this one goes hand in hand with “From Time”. Where that record was reflective and reconnecting, this is the one about moving forward. Not thinking about it too much, just living in the moment and seeing where that takes him. Or more appropriately, taking it where he wants to. ‘Cause he’s Drake. He starts off talking about how he’s “done saying he’s done playing” before showing his self awareness by letting us know that the last time will be on the outro. The Sampha vocal chops make the production feel lost and forlorn while also blissfully progressive. It’s like someone whistling on their way to an unknown destination. I hear what sounds like alley cats meowing in the distance too, just for extra uncertainty. The whole beat is uncertain but comfortable. The bass don’t go exactly where you expect it to for a real resolution. This one’s about the journey, not the conclusion. Can’t obsess over that. Damn, I feel like I’m journaling over here. Is this really a album review? I’m blessed to be able to do this for real man. You gotta have gratitude. “You could still do what you wanna do, you gotta trust that s***”. Drake speaking to me right now and I get to write about it. This is easily one of the best records on the project, and one of the first ones I think of when I think of Nothing Was The Same, and it’s very much an evolution of the Take Care sound. Let me dissect you something real quick.
THE COVER ART.
We’ve really made it this far without really talking about it aside from my baby picture comment up above. Take Care took place indoors. Drake was by himself with a drink. The color palette is muted browns and yellow. Earth tones and s***. The beats are dark and brooding and somehow spacious and claustrophobic at the same time. There feels like a mud to it that makes the emotion shine bright in contrast. Knowing all that about the sound of Drake’s work, what could you expect him to do with the next album to expand and move forward? Well his facial expression looks a bit less sad and his heads in the clouds. He look like a damn video game character. It’s like he’s numb to it. But the bright blue and the clouds themselves give the record a more calming vibe to live besides the melancholy. It’s like he’s making peace with it. Drake is painted to be the same tone as the Take Care cover, he’s still that same guy. Black-face and colorism jokes aside, he still has those same feelings inside them but they’ve matured and are being allowed to fly more freely. Put that side by side with the baby picture cover and how it’s looking up at Drake. There’s so much emotion in the baby’s face, and none in the adult’s. I think the album cover does a lot to change the way this album feels. I think it resonated with a lot of other people this way too. Take Care was meme’d somewhat, but TO THIS DAY people parody this album cover. It says a lot about where Drake is at at this point. He’s coming to terms with the fact that at this point in his life, even if he reconnects with the same people at the same places, nothing is the same. All he can do is push further and encourage others to do the same.
And I think that’s beautiful.
Or maybe I’m projecting again, I don’t know. Anyways, outro time.
13. Pound Cake (featuring JAY Z) / Paris Morton Music 2 - The intro about good music lasting is really incredible. Then you get hit in the face with one of the greatest freestyle beats ever, you immediately feel the impact. Then you get what sounds like Timbaland rapping Wu-Tang Clan. “I’m holding all the cards and n***** wanna play chess now”. This is more boss talk from Drake, but the high school reunion bars were quite a fun take on an old flex. Having Hov on it alone is a flex. One that Drake has done before. But this time he’s outrapping Hov. THAT is crazy. And don’t try to deny it either. Them cake bars he tried to get in at the end, memorable as they are, are just never gonna be it. I’ve never been as crazy over this as everybody else is. I love the instrumental. I like what Drake did. I like the idea of having both of them on this song. I just always felt like they could’ve came harder lyrically. But it’s a perfectly serviceable outro. When you’re Drake & JAY Z you can have fun on a record like this. It’s a very good song. Just not better than “Light Up” (except for the beat). “Paris Morton Music 2” on the other hand picks up the lyrical slack. Drake is defending his braggadocio, saying he’s just tryna do it big like those who did it before him. Why fake humble when you can be great? Don’t stop yourself from being great like that. This whole album has been about knowing yourself, trusting yourself, and re0grounding your perspective in the facts. It’s really an inspirational record from that angle. This is his victory lap. He came back home as the man and nothing was the same. Not even him.
Yes I know the bonus tracks on the deluxe are big part of the Drake canon as well. But that’s not why we’re here. If it isn’t painfully obvious, we’re here for the narrative meat and potatoes of this album. Unlike most other Drake albums, this one has more meat and less potatoes. Drake does so much, he’s so over ambitious, his albums are often too bloated in runtime with far too many dragging moments throughout that are gonna vary from person to person. Drake himself has said he appreciates this album because of its concise nature. I think he also said this was his favorite album but don’t quote me on that. Since its release it’s always been my favorite project of his. I promise it has nothing to do with my name being Sky (but it might contribute to my feelings about the cover since its my favorite color). I revisit this album frequently. Not to gain anything new from it, just to enjoy the music. I always end up revisiting old memories through it but that’s almost never my intention. It’s at the point where I have memories of having memories to this joint. Today though, at the exact age Drake made this project, it feels different. I can see the added depth of maturity (in comparison to his other works) that I guess I always felt was there. I can see the added lens of storytelling that Drake snuck into this one. I can appreciate him acknowledging where he’s at in life, even without having all of the money and fame myself. Things change. Constantly. You either adapt to it and grow with it, or you keep it pushing on your own.
This, to me, is THE Drake album.
Nothing HAS EVER been the same since.
