YellowRedman
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- 4. Mai 2007
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schon wieder einer der meint zu wissen was rap aus d braucht und was nicht.
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schon wieder einer der meint zu wissen was rap aus d braucht und was nicht.
Du willst jetzt aber nicht ernsthaft MoTrip in die Bushido oder Azzlack Schublade stecken oder?
Er ist doch genau das Gegenteil von denen...
Ich glaube du hast da irgendwas nicht ganz verstanden.
kommt ihr klar ? das is der take care thread.
yeeeeah' autotune geschwuchtel nervt..
"Weezy and Stunna my only role models/ Hef and Jordan my only role models." On "Lord Knows", Drake toasts to four absurdly rich and successful assholes who are by all accounts manipulative, emotionally unavailable, and altogether miserable human beings. So while they might be Drake's peer group, they are not the men he aspires to be on Take Care. Boasting more complex songwriting, vastly improved mic skills, and an astounding curatorial ear, Drake opened himself up to pretty much everything the human condition has to offer.
With partners Noah "40" Shebib and the Weeknd in tow, Take Care integrates dubstep, house, blaring Young Money boasts, New York City thunder, quiet storm, and cloud rap to form the dark center of 2011's pop universe. And yeah, "I blew six million on myself and it felt amazing" isn't something any of us will relate to any time soon, but the elemental sensations underpinning the mood swings connecting the title track's wounded heart, the stunning emotional bottom of "Marvins Room", and the earned triumph of "Underground Kings"-- intoxication, depression, friendship, hatred, jealousy, empathy, lust, loneliness, ego, doubt-- make Drake's experience no more contradictory and complex than our own. In fact, the only emotion that might be missing from Take Care is contentment-- closer "The Ride" might sound like a victory lap for his sophomore album, but then Drake promises "my junior and senior will only get meaner-- take care." So what do you give the man who has it all? The gift of thinking he doesn't.
It feels like everything that can be said about Take Care has been said already—and that fact alone should let you know that Drake made one of the most important albums of 2011. Even before the night it leaked it was impossible to ignore the impact of Drizzy's sophomore release, and we've been immersed in the moment ever since. From social networks to passing automobiles, the album's 18 songs have been quite literally inescapable. Not that the most popular music is always the best music, but in this case, those millions of Drake fans can't be wrong.
Shifting between styles with total confidence, Drake puts on a clinic fueled by beats courtesy of producer / engineer Noah "40" Shebib. "Under Ground Kings," "The Ride," and "HYFR" find rappity-rap Drake at his finest, and even his softer tracks are difficult to dismiss when they sound like "Cameras" and "The Real Her." 50-plus-bar blackouts like "Lord Knows" are great, but so are R&B moments like "Crew Love," grounded as they are in a thoroughly modern hip-hop sensibility. And then there's "Marvins Room," a psychological mood piece that rewrites much of the rap rulebook.
Beyond form and function, Drake captures the zeitgeist of the times with songs about the pitfalls of drunk texting that strike chords in the same way Q-Tip's Skytel pager narratives did for an earlier generation. Relevant, honest, and painstakingly crafted, TC cannot be dismissed except on the grounds of deeply rooted personal preferences. To call it anything less than a triumph is straight hatin'.
und complex auf platz 3: the zeitgeist
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