“Don’t be fooled by the money / I’m still young and unlucky” notes Drake in “Karaoke,” a slow song with faint echoes of Michael Jackson’s “Human Nature.” Between those lines and the entirety of the ubiquitous summer hit “Find Your Love,” listeners can safely conclude that Drake has never had any luck finding real love. But he quickly turns sentimental: “I live for the nights that I can’t remember / with the people that I won’t forget ” his first line of rap, reflects the youth, moodiness, and reflective attitude on fame that pervade the entire album. Soon enough Drake begins his signature silky-smooth croon, begging for a good time that has glaringly obvious sexual undertones. These traits are best displayed on “Show Me a Good Time,” which opens with syncopation that begs for sinuous movement in a smoky, dimly lit room at the end of a house party. “Thank Me Later” is an uncluttered album fueled by spare beats, minor keys, moody synthesizers, and Drake’s hypnotically smooth voice.
Drake has barely an ounce of the swag possessed at near toxic levels by his musical compatriots, but his tortured thoughts on love, relationships, the downfalls of fame, and the difficulty of privilege make him endearing and relatable to the middle-class masses. While Kanye West’s emotional unrest in the wake of personal tragedy incarnated itself on “808s and Heartbreak” and ended up cold, distant, and whiny-transforming West groupies into haters-Drake’s achievements in “Thank Me Later” what “808s” aspired to. And at this year's Grammys (where he was nominated for Best Rap Song and Best Rap Solo Performance, for "Best"), Drake took the mic alongside Eminem and Wayne, his "brother and hero.The platinum success of Drake’s “Thank Me Later” is proof that self-deprecating, privileged, lovesick hipsters can find a home on the rap world’s hard streets.
Rumors swirled that he was dating Rihanna. Jay-Z enlisted him to rap on The Blueprint 3.
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His mixtape, So Far Gone, which he posted for free online in early 2009, earned 40,000 downloads on its first day, anchored by his infectious ode to amazing sex (and inner beauty), "Best I Ever Had." Kanye West heard it, then directed its video. So, literally overnight, on a bus heading to Chicago, the 23-year-old Toronto native, who's influenced by "intelligent, clean-cut, nonviolent, nondrug- oriented" hip-hoppers like Pharrell and André 3000, became the Comme des Garçons–clad wunderkind rolling with hip-hop's most influential heavyweights. They were like, `Oh, you're coming on tour with us.'" And then, six or seven hours later, the bus just started moving. It must have been painful, but he wasn't showing it. "Finally, someone was like, `Okay, Lil Wayne is ready.' I walked onto his bus and he was getting these massive angel wings tattooed on his sides. "I waited for about three hours," says Drake, who trimmed his name (and his 'fro) post- Degrassi. In the summer of 2008, Lil Wayne, at the height of his dreadlocked, coughsyrup- guzzling Weezy-ness, invited Aubrey Drake Graham-part-time rapper and sweet-faced regular on Canada's teen soap Degrassi: The Next Generation
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