good kid, m.A.A.d city

kendrickão da massa

I wish I "got" rap, I really do.

Interesting to hear this immediately after Notorious B.I.G. Hip-hop just evolved so much; the sound and production here is incredible, almost Rundgren-esque in places, and I really like it. Such a unique voice, in both ways, as well.

Though I don't like this as much as "To Pimp A Butterfly," in many ways this album is more down to earth and, if not relatable, authentic. You can tell it's coming from a very real place of friends, family, and environment. One thing I always love about Kendrick Lamar is his ability to have these reflective, almost confessional verses that somehow interweave the usual rap bravado with a brave vulnerability.

The first time I ever listened to this, I recognized it as a good album, perhaps the best of its time, but I was really in unknown territory, as I knew nothing about modern hip hop, Kendrick Lamar, or the tone of the album in general. Now, I find myself thinking this truly is one of the best albums of the 2010s, and only cements Kendrick's role in music as an essential part of its history. Nearly every song has some sort of hook that is instantly memorable, and the storytelling throughout this whole album is stronger than most other concept albums. The album doesn't pull its punches, giving you concepts to weigh yourself upon with each step, and its long length is hardly noticeable among its brilliant pacing. You'll find yourself at the home stretch without really thinking about it, and Compton as a finale, sonically, couldn't be a better fit, even if it makes the story a tad more streamlined. That sacrifice of storytelling to focus on the music is what rises K-Dot above the rest for me. This decision not only built more intrigue within the story, but shows that Kendrick isn't only an immaculate rap artist, but knows what makes music, music. Despite its leanings into the more downtempo, the album constantly feels like it could be the soundtrack to a party and to sitting at home in the dark, and to be able to bridge that gap so well is fantastic. My only slight gripe is that the album doesn't experiment as much as his later projects, and while that could feel more thought out as a result, I find it making it so no one song truly stands out above another. Again, more consistent, but fewer things to truly blow the listener away. I will note, however, that I heard this album nearly a decade after its initial release, and so I was plenty exposed to tracks like Bitch, Don't Kill My Vibe, m.A.A.d city, and Swimming Pools years before a proper listen. If you can help, go in completely blind, it will do wonders for the writing, and will show already how on top of the world Kendrick was even on his second proper outing.

This is a great album. Kendrick's flow, story telling, and beat and rhythm work are all top notch. I too wish I could fuck the world for 72 hours. m.a.a.d city does a great job of spinning an engrossing yarn of a terrifying existence, and then totally flipping the atmosphere less than halfway through. A story of violence, redemption, and retrospection. Wow.

The GOAT

I really lost track of Rap / HipHop the last decade and a half because of the insane amount of absolute garbage that is being released in the genre. I'm glad I'm catching up on some excellent albums

The production on this album is superb.
And what I genuinely like about it is that besides a great flow, and excellent beats and melodies, the lyrics are actually the greatest strength on the album, much more than with a lot of his contemporaries.

The Art of Peer Pressure and Money Trees are great coming of age stories. Swimming Pools and Good Kid (with the fantastic Pharell beats) are superb. The only dissonant on this album I find the weak Backseat Freestyle and Compton.

I read this album is no longer in the latest version of the book, this is an absolute travesty… one of the all time great rap albums the story telling through the album along with some huge bangers makes this a 5 star masterpiece.

artist and storyteller.