It’s albums like these that are the most enjoyable to review- the type of album that feels like one you’ve finished the track you know the artist, and right after hearing that last track you go right back to track one to see if you can decipher the artist any further. So, a round of applause to Chicago native, Saba and his sophomore studio album, CARE FOR ME, which is much better labeled as a soundtrack to Saba’s adolescence, than just a standard album.

 

Chapter 1 of this novel of an album starts with, “BUSY/SIRENS”, a two-part song that puts other intro’s to shame with double the normal length of a typical intro song at five minutes. The beginning half of the album is a transformative journey of Saba’s relations with friends, and how Saba has separated himself from those he used to consider himself close with. The “BUSY” part of the track is fairly self-explanatory, with Saba initiating his verse detailing the isolation he’s been through the entire duration of his adolescence, and feeling some sort of remorse for not being there for the people whom he grew up with. This is juxtaposed by describing his own rationale from intentionally distancing himself from his peers: “Cause the friendships that I can't recall//Done turned my heart into camouflage//While the guys I used to play basketball with//Doin’ shit that I can’t endorse”. It’s as if adolescent Saba feels like his indifference to those around him has become normalized- being from Chicago, Saba likely feels distanced from people he once knew as friends, then turned thug, and became too “busy” to involve himself with committing heinous acts. After a transition into a slow, wavy, synth-tune, “SIRENS” emerges as the part two of the track. Slurring the hook of, “Sirens on the way, ayy//Now you’re lying with the angels, ayy”, Saba centralizes this part of the track around the dangers of being on the receiving end of a corrupted justice system and manages to bring this track full circle from start to finish. Initiating it with his distance from a life of crime; yet, somehow still getting involuntarily dragged into it simply because of the uncontrollable circumstances of being branded as a criminal as a Black in Chicago.

 

After an immensely dense track, Saba takes it into an easier to swallow track with “BROKEN GIRLS”, while still remaining in touch with himself; here Saba reemphasizes insecurities that have spawned with females, ranging from his need to never get into a serious relationship, and his irrefutable desire to chase girls that he knows are weak and broken as the title suggests. This track holds its importance in stressing to the listeners how important interactions with females are to Saba, and his conflicts speak more about his true-self than his actual actions. With a luscious acoustic melody and a catchy hook that doesn’t become repetitive, Saba shows his range as an artist with this track and provides something much easier to introduce the Saba-virgins to. For the 40-year-old uncle who badgers you every barbecue about how there’s no real rap in this generation, look no further, because “LIFE” will make him eat his words. From the raw emotion to an insane cadence that’s spit faster than you can ask, “Why is this guy slept on?”, and a theme of loss, focusing on the passing of his uncle, his cousin, and the deaths he’s experienced in Chicago, causing him to fear that Death will knock on his door next. Unfortunately, CARE FOR ME gets its first knock for “CALLIGRAPHY”. Considering how high the bar was set in the last three songs, it’s no surprise that any flaw in the following songs creates an even greater contrast, and with “CALLIGRAPHY”, it was just a bit underwhelming. While still remaining introspective, simply speaking on the effects of writing as an outlet isn’t enough to be paired with the rest of the album, and anything, where the whole song feels like a dry hook, is just unsatisfactory.

 

“FIGHTER” more than picks up the slack left behind, with nothing but a raw beat, immaculate storytelling, and a reflection of the altercations that occurred throughout all of Saba’s life. First speaking on literal fights like ones with the named, Cell, and E-Guy, then touching on fights at a social level with his girlfriend and his grandfather’s disappointment in the next verse. All while having each verse divided by a compelling hook with Saba and Kaina harmonizing, singing that they no longer no want to fight, because they’re not a fighter. Again, this reiterated just how different Saba feels compared to those around him, throughout the album he hasn’t managed to find trust in a significant other and treats them as an emotional liability, and despite being in Chicago feels no desire to fall into the trend of violence that has captured so many others. “SMILE” beckons a feeling of ethereal happiness, tranquility, and nostalgia, as Saba directly expresses the happiness that being in the South with his grandparents brought him. He bounces around from the very of setting of his grandparents home, playing with his cousins, getting in trouble with his grandparents, and the whole song is wrapped in what’s easily the most upbeat instrumental in the album.

 

The next stage of adolescence cannot be mentioned without referencing the revolution of technology and its effects on human interaction. Saba does this with “LOGOUT”, which much like “CALLIGRAPHY” has it’s respective place in the album, but sonically isn’t pleasing, and even when there is a point to the song, doesn’t necessarily guarantee the listener enjoyment, and Chance the Rapper doesn’t provide much to offer with a substandard verse, and lacking insight on the subject of technology’s effect on us. For every artist in existence, “GREY” needs to be their anthem, despite not being relatable to the average person, it still touches on the necessitation to prioritize ones artistry and creativity over popular satisfaction.

 

Saba’s greatest fault is in the track “PROM/KING”. No disclaimer for tissues, or that you’d listen to the seven-minute track ten times in one sitting, it’s simply selfish. In light of Kanye’s transformation evidently in Ye, seems like there’s a new Ego King of Chicago because this song was utterly WRONG. All jokes aside, the only real parallel between Saba and Kanye, is when Saba’s career is all said and done, this track will be his “Roses” (no not the Outkast track). Easily some of the best storytelling, condensed into one track, this track is bittersweet, because as good as it is, it feels like this song kind of encapsulates the entire album and can make certain songs feel a bit redundant because he covers so much here. The track comes to an unfortunate ending of Saba’s cousin Walter being sampled singing: “Just another day in the ghetto//Oh, the streets bring sorrow//Can't get up today with their schedule//I just hope I make it 'til tomorrow” and the song dies out to the tune of a piano. Which transitions into “HEAVEN ALL AROUND ME”, a song purely dedicated to confirming the death of his beloved best friend, and cousin, Walter. Reluctantly, the track ends on the note of stating no matter the circumstances, Saba is remissed to know he has Walter watching over him.