Top selling rap artists aren’t exactly famed for their easy-going nature and composure, but when faced with the news of his album being leaked a week or so early Drake just accepted it. Tweeting ‘Listen, enjoy it, buy it if you like it…and take care until next time’ oozes his trademark calmness and soothing nature, a trait that’s rubbed off on his second LP entitled Take Care.

Well that is until ‘Under Ground Kings’, but we’ll get to that later. Throughout, Drake’s melancholic style blurs the lines between singing and rapping that has served him so well, earning him the title of ‘Canadian rap sensation’. ‘Over My Dead Body’ perfectly sets the tone, an ethereal collection of soft piano and ghostlike vocals before Drake’s breathy floating vocals float in on top. ‘Shot For Me’ keeps his modern day crooner ambitions in view.

Drake’s talent for making a song that even the whitest of white kids want to rap along to is why he’s made it so big so quick, and in ‘Headlines’ there’s no better example. Seamlessly slipping between his collection of vocal styles, sounding as smooth as Canadian maple syrup.

After the old Kansas City Shuffle intro, which is the most interesting part of the song, ‘Crew Love’ featuring the much hyped The Weeknd fails to take off. It sounds like an excuse to get on a record together with Drake nowhere near his best, clocking in just under a minute’s worth of material surrounded by X Factor worthy ooh-ing and ahh-ing.

Thankfully the Jamie XX produced ‘Take Care’ drags it back and stamps its authority as the albums club track. Caribbean drums accompany the Barbadian talents of Rihanna to make an instantly loveable, instantly danceable masterpiece. Put aside ‘Marvin’s Room’s’ lazy hook and it’s as equally likeable, but then we hit a slump. What follows are four tracks of just completely forgettable, heard it done a thousand times a thousand times better, by-the-numbers, hip-hop.

Thankfully waiting on the other side is ‘Lord Knows’, a gutsy and grand East Coast style anthem that more than picks up the slack. With Drake channelling Kanye, Jay-z and with the support of the legendary Rick Ross, ‘Lord Knows’ becomes a real contender for rap track of the year. It’s just a shame it’ll probably never get a single release.

Although never quite reaching those heights again, particular highlights for the tail end of the album include Andre 3000’s overpowering performance on ‘The Real Her’, which doesn’t last long enough. To everyone’s surprise when the tracklisting was released Lil Wayne gets 3 collabs, but these tracks all feel like Weezy’s stomping ground, with Drake mimicking his flow and temperament to a T. These could have been Lil Wayne feat Drake, not the other way around.

It’s a good album, but it’s just not great. There is greatness in it, no doubt, but it seems to be a case of quantity over quality.