I made a version of “HYFR” and he was like, “This isn’t it.” It was more on the R&B end. He said, “I’ll give you 24 hours and I’ll give you $10,000 if you can make this beat,” as a bet. He was like, “Yo, I found this sample, could you try making a beat out of it?” And he played me “Swangin’ and Bangin’” by DJ Screw. Near the end of the project, Drake was into the chopped-n-screwed Houston vibe. I really saw his intelligence as a songwriter. I was blown away watching Drake direct Pain and telling him what to write about. T-Pain is kind of a ghost on the record, he’s in the background singing low melodies. I was at the studio and I remember T-Pain pulling up and adding some vocals to the record.
With “The Real Her,” I loved what 40 did on those keys. I never envisioned that it was going to be a standout track for a lot of people. Then 40 did his thing on it, adding the sample on the hook. I sent it over to Drake and he sent back a couple ideas. When I made that beat, I was inspired by “Unforgettable” with Jeezy. I made the beat in 20-30 minutes and it slapped. I found this little harp sample and it sounded really cool. When I made the “Under Ground Kings” beat, I was in my basement with a few of my boys showcasing how I make beats. My top songs are “Cameras,” “Under Ground Kings,” “Doing It Wrong” and “The Motto.” I was present for almost all of them. I was going through moments in my life that were similar to the emotion of the album.ĭrake Low-Key Celebrated His BBMA Artist of the Decade Award By Renting 70,000-Seat Football Stadium I must have been 22 when the project came out. People connected with a lot of the records on that album. He’ll go out and experience life to speak and write about it and there’s a lot of vulnerability in that. Drake is so classic R&B when he approaches his melodies, it’s so nostalgic, but at the same time, so fresh: 99% of the things writes about comes from a place of truth. sample, people who are in the older generation feel that energy. If you listen to songs like “Cameras,” the Jon B. connected generations because the sound was hitting so many different eras. Take Care really introduced people to The Weeknd on a mainstream level. The city was looked at as one of the new Meccas of hip-hop and R&B with Drake, PartyNextDoor, The Weeknd. The Toronto sound became everybody’s sound at one point. Those filtered sounds, low pads, the super R&B feeling with a rap bounce, a lot of it came from Take Care. After the commercial success of Take Care, everybody was making tracks like Drake’s, it snowballed. I feel like Take Care solidified the Toronto sound and So Far Gone was the introduction. I didn’t realize ’s touch and my touch and other people’s involvement would bring this new version of So Far Gone - those dark pad-y kind of vibes, but a little more dance, a little more dialed in. People have their criticisms about it being a bunch of hard-hitting songs that were like a compilation, and Take Care was this cohesive body of work.
Drake was coming off of Thank Me Later - and it was a successful album - but one thing people were debating was the cohesiveness. When we created Take Car e, I couldn’t see what it would be for the future the impact it would have.
Ten years later, T-Minus discusses how it happened: With Drake’s signature melodic, sad-boy rhymes - coupled with commercial hits featuring artists like The Weeknd, Lil Wayne, and Nicki Minaj - the rapper proved his staying power while simultaneously hand-delivering the R&B/hip-hop blueprint that defined a decade.
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