good kid, m.A.A.d city

In general, this just isn't for me but it did grow on me over the course of the album. I liked good kid, with it's retro vibe and the music of Swimming Pools (Drank) was really cool. I also liked Sing About Me, I'm Dying Of Thirst and Compton.

I still don't like hiphop skits, and on a practical level, the skits being part of if the track on streaming so you'd be unable to skip through them, makes them even more annoying to me. They also make the album very long.

I feel like I'm probably not appreciating the short movie format of this album, but it's just fine to me.

3/5

One of my all time favorites.

Das ist meine Art von Hip-Hop. K-Dot hat so einen geilen Flow und geile Songs. Kenne ihn leider erst wirklich seit diesem Jahr von Not like us und seinem neuen Album. Hab mich gefreut, dieses Album zu bekommen. Ich finds genial, wird in meine Rotation aufgenommen.

Good reminder of how great he can be after all this tedious Drake bashing. Few things more boring in music than a hip hop beef.

One of the best Concept albums of all time. SAMIDOT is a top 10 song of all time

Lukewarm, potentially cold take: I think Kendrick may legitimately be the GOAT. I am not a rap/hip-hop expert and will never claim to be, and I have heard considerably fewer albums in the genre than many people here. But across his catalog/career, I think he’s proven to be nothing short of otherworldly. His shifting vocal timbres and deliveries; his flow and technical prowess; his lyrics and everything they encompass (intelligence, emotional resonance, humor, cleverness, social awareness); his ability to craft both subtle master classes and undeniable bangers; his cultural impact; I struggle to think of too many artists who have excelled at/matched him on all of these levels. No one impresses me quite like he does.

Hot take: although I think GKMC is clearly an absolute triumph from a thematic and storytelling angle, I don’t think it’s as strong on a song-by-song basis as some of his later works, and certainly not To Pimp a Butterfly. Honestly (and this may be an even hotter take), even though I like some of the earlier tracks, it doesn’t really get going for me until “m.A.A.d city”, which is the first track I truly love. Then, the three-song run of that, “Swimming Pools (Drank)”, and “Sing About Me, I’m Dying of Thirst” is one of the most impressive 5-star run of songs I’ve heard on any hip-hop album. Again, all of this should be taken with a grain of salt given my general stance on hip-hop (I enjoy it much more as a songs genre than an album genre, and acknowledging that “genre” is being used loosely here due to all of the eras/sub-genres that could be discussed), but for me personally, although I applaud the overall accomplishment of GKMC, I think he goes on to make better records. One of them, at least.

3.5/5

Struggled with the first 5 or 6 songs. Really redeemed itself in the second half. Loved Swimming Pool (Drank)!!!

Started off not great but got much better. Though I think to pimp a butterfly is better. Enjoyed the beach house sample in money trees.

Allright. So. This is my least favourite Kendrick Lamar album by a long way. The narrative aspect is intereting, the flow and lyrics are obviously fine, but the sound and tempo is just not really my thing. That does not mean that it's a bad album by any stretch, but it's not amazing either.

I hated listening to this, but I don't think it's actually bad, thus a 2

This is one of my favorite albums. It’s one of the best hip hop albums of all time, and one of the best concept albums of all time. Kendrick Lamar is destined to go down as one of the greatest to ever do it.

Fantastic stuff. I liked this just as much as TPAB. The man's a poet.

The backing tunes aren't at all bad except some annoying bloke keeps talking over the top of them.

It is most definitely conscious hip hop. The through line is in the title - he’s a good kid in a mad city. He is a world away from being a gangster, even if he’s surrounded by them. You hear him talk with relief and regret over an early (almost) run in with the law on The Art of Peer Pressure. The features on this album are quite clever, in contrast Jay Rock and MC Eiht play the role of trouble makers, rapping about guns and cocaine while Kendrick’s response is "and they wonder why I rarely smoke now.” The repeated themes of prayer and religion push this further - his mind is on other things. While other rappers are rapping about drugs and gangs, he’s rapping about how his family and faith serve as a grounding force. He is exploring his struggle to stay true to their values while being exposed to the various negative forces of his environment. Okay, he’s also rapping about drinking and his hot girlfriend, but you get my point.

The album manages to be robust but light and good fun throughout. On an album full of highlights Swimming Pools (Drank) is a really nice hit of pop rap. I could imagine this getting better with each listen.

I am not a fan of rap but this is accessible, love the melodies and production. Happy Birthday KEndrIcK!

Hip Hop not for me

The prestige TV of 2010s music: drawn out multi level storytelling with plenty of sex and violence, social commentary via personal coming of age narrative, flashy high end production, self consciously artsy, expertly assembled with some real virtuoso performances, building tension that drags a bit in the middle, loved by middle brow critics for its gritty authenticity.

occasionally vivid storytelling from a gifted writer. i like his poetry when he lets his guard down. i like his voice best when it cracks and gets wacky, gets a little weird. but this isn't consistently clear, vulnerable, or weird enough for me.

it also lacks anything that gets me out of my seat. not surprising: dr. dre was executive producer. "m.a.a.d. city" probably comes closest to something funky when it morphs into a different song at 2:35 (boom boom bap), even with the squiggly high chronic synth that worms its way in near the end.

apparently "backseat freestyle" is supposed to be kendrick's teenage self showing off for his buddies after one of them hits record and prompts him to rap, providing the backdrop for the juvenile eiffel tower dick stuff. but i listened to it four times, and i don't know how i'm supposed to get all that context.

i also don't give a shit for skits or songs about someone's dick or sexual prowess (dr. dre, repeat offender: doctor's office / pause 4 porno). tryhard shortcut stuff. you're a good writer. find a metaphor. maybe that makes me a puritan, or maybe i just like wordplay when i know the artist is more than capable of it (kendrick, not dre). make it clever, not obvious, not crass, not boring. god it's boring.

on the other hand, a song like "the art of peer pressure" is great. drop the posturing, peel back the production, give us something honest and biographical and retrospective. full of little details -- backseats and his boys and super nintendos and close calls. his voice is right there, too. go figure it's one of the least-listened-to songs on the album on spotify.

count "good kid" and the aforementioned "maad city" in the same boat. more of that.

i like some things about kendrick lamar, mainly tearing drake a new asshole before, during, and after the super bowl halftime show, but this sounds made for the masses. it's an autobiographical album, but the plot isn't clear enough and the beats aren't infectious enough to hold my attention for long enough to tell its story.

Et 200... "good kid, m.A.A.d city" sera donc mon 200ème album écouté dans le cadre de mon projet "1001 albums a écouter avant de mourir".

Autant la 100ème bougie m'avait laissé de marbre avec les Beatles et leur "Rubber Soul" (noté 3 sur 5) autant ici on rentre dans un autre monde.

Sorti en 2012, le deuxième album studio, souvent sous-titré "A Short Film by Kendrick Lamar", n'est pas un simple album mais une immersion dans les rues de Compton, en Californie.

"good kid, m.A.A.d city" est le récit poignant d'un jeune homme, K-Dot, naviguant entre l'innocence de la jeunesse et les dures réalités d'un environnement gangréné par la violence, la drogue et les pressions sociales.

Dès les premières notes, l'album s'impose comme une œuvre conceptuelle ambitieuse. Kendrick Lamar nous invite à monter à bord du van Dodge Caravan de sa mère, et à travers ses yeux, nous vivons une journée type, ou plutôt une série d'événements cruciaux qui vont façonner sa transformation.

Tel un puzzle biographique, chaque morceau est une scène, chaque interlude une transition. L'album tisse une toile complexe d'expériences personnelles qui parlent d'une vérité universelle sur la jeunesse confrontée à l'adversité.

La production, assurée par Dr. Dre, Pharrell Williams, Sounwave, Hit-Boy, et bien d'autres, est d'une richesse et d'une diversité remarquables. Elle oscille entre des ambiances West Coast classiques, teintées de G-Funk, et des sonorités plus modernes et introspectives. Les beats sont tantôt langoureux et atmosphériques, comme sur "Bitch, Don't Kill My Vibe", invitant à la réflexion, tantôt explosifs et urgents, à l'image du titre éponyme "m.A.A.d city", qui dépeint avec une intensité brute la folie ambiante.

Au cœur de cet univers sonore se trouve Kendrick Lamar. Son flow est capable de passer d'un murmure introspectif à une diatribe enflammée en l'espace de quelques mesures. Il incarne différents personnages, module sa voix, joue avec les rythmes et les cadences avec une aisance déconcertante. Ses textes sont d'une densité rare et d'une honnêteté désarmante. Il ne glorifie pas la vie de gangster ; au contraire, il en expose les conséquences tragiques et le cycle infernal.

L'album explore une multitude de thèmes interconnectés. La pression des pairs est omniprésente, comme l'illustre "The Art of Peer Pressure", où Kendrick raconte comment l'influence de ses amis le pousse à commettre des actes qu'il regrettera. La tentation et ses dangers sont au centre de "Swimming Pools (Drank)", un morceau faussement festif qui dénonce en réalité les ravages de l'alcoolisme et la culture de l'excès. La violence est une toile de fond constante, culminant dans des titres comme "m.A.A.d city", avec ses couplets fiévreux et ses sirènes stridentes, ou le poignant "Sing About Me, I'm Dying of Thirst". Ce dernier, divisé en deux parties, est une méditation profonde sur la mort, la mémoire, et la quête de rédemption. Kendrick y donne la parole à ceux qui sont partis trop tôt, et questionne le sens de son propre art face à la tragédie.

Mais "good kid, m.A.A.d city" n'est pas qu'une chronique sombre. C'est aussi l'histoire d'une prise de conscience, d'une quête d'identité et d'une volonté de s'extirper d'un destin qui semble tracé d'avance. Des chansons comme "Good Kid" expriment le sentiment d'être pris au piège entre deux mondes, celui des "bons enfants" et celui de la "ville folle". La spiritualité et la religion apparaissent comme des phares dans l'obscurité, offrant une voie vers le salut, notamment dans les interludes parlés où l'on entend les prières et les conseils de ses parents.

L'album est parsemé de sketchs vocaux impliquant ses parents et ses amis, renforçant l'aspect autobiographique et l'authenticité du récit. Ces moments, souvent empreints d'humour ou de tendresse, ancrent l'histoire dans une réalité tangible et permettent à l'auditeur de s'attacher davantage au jeune Kendrick. Ils servent de liant entre les morceaux, assurant la fluidité du "court-métrage" musical.

L'un des aspects les plus fascinants de l'album est la transformation progressive du personnage principal. De K-Dot, jeune adolescent influençable et parfois naïf, il évolue vers Kendrick Lamar, l'observateur conscient, celui qui a compris les mécanismes de son environnement et qui cherche à briser le cycle. Cette évolution est palpable à travers la narration et la tonalité des morceaux, culminant avec la prise de conscience finale dans "Real".

"good kid, m.A.A.d city" a non seulement propulsé Kendrick Lamar au rang de superstar, mais il a surtout offert un regard nuancé et humain sur la vie dans des quartiers souvent stigmatisés. Il a ouvert des conversations importantes sur la violence urbaine, les inégalités sociales, et la complexité de l'expérience afro-américaine.

Un 4 sur 5 pour un classique instantané, pour un album essentiel à découvrir.

Me like old rap. Me not like new rap.

Three or four decent songs in over an hour is a poor return on investment. Compton is the best song by far. Real, m.A.A.d city, and, surprisingly (because Drake), Poetic Justice were the other good songs.

Most of the time, I enjoyed the phone conversations about dominoes more enjoyable than the songs. Almost every chorus is terrible and annoying. The list of producers is longer than the phone book.

3/10