Can’t Take a Joke sizzles with an old school beat and is one of the album’s front runners. However, the tune has found itself overshadowed by the controversy that Drake’s track borrowed (allegedly) flow and the lyrical subject matter from Albanian rapper Elinel’s 2012 track Bullet. With little knowledge of Elinel or his catalogue it’s hard to say if Bullet had ever come into contact with Drake or his crew of producers and/or writers prior to entering the studio to put down Can’t Take a Joke, but in any form of creativity there are bound to be overlaps and similarities when covering a similar subject matter; overlaps and similarities are not plagiarism. No matter how original one might think one’s blueprint is, if you’re going after the same topic the mathematical equation will always be either the same or a variation on the matter. Unless there is ground-breaking, indisputable evidence of plagiarism, shut the f*#k-up and sit down!

March 14 is another throwback track where Drake grates prevalently on about having a hectic schedule and how his other half needs to be aware he’s on the road more than he’s home. It goes on to directly addresses fatherhood before dropping a Michael Jackson reference, or at least a direct nod to the song Billie Jean.

The track, produced by T-Minus, co-produced by Josh Valle with additional vocals by James Fauntelroy, is another one of the album’s highly speculated-on tracks due to its content and whether it’s referring to Pusha-T. Whatever the case, it’s a nicely crafted piece with a solid arrangement.