Hip-Hop, true to the 21st century entrepreneurial spirit, is constantly searching for the next great artist to contribute to its repertoire. At the moment, all eyes are on a young rapper from Compton, CA by the name of Kendrick Lamar. So much so that Hip-Hop pundits are considering if his recent debut album good kid, m.A.A.d city has placed him presently at the number 1 spot in the game. Kendrick’s first two mixtapes established him as an extremely talented, creative artist focused on more substantial topics than rapping about money and fame. This album expands on that, weaving a dark story of his very personal struggles with adolescence and his hometown. Kendrick’s album shows his J Cole level flow, access to Kanye-quality beats, Odd Future style juvenescence and an intimate transparency only matched by Cudi. good kid, m.A.A.d city, despite being fairly similar in sound, is an extremely comprehensive album from a likeable new rapper.
When producer extraordinaire 9th Wonder came to lecture here two months ago, he was asked to comment on the common assumption that Hip-Hop is dying. He agreed that it is certainly changing, but ensured the audience that Hip-Hop is not dying, nor will never die, so long as there are always new talented artists to keep it alive. He mentioned specifically how Kendrick Lamar is basically shouldering that responsibility by himself at the moment. Kendrick not only matches his creative talents with a worthwhile story, he also has an incredible attitude. On “Backseat Freestyle,†Kendrick articulates his concerns as a 16 year old and then contrasts them with the rest of the record’s lyrics. The hook to “Backseat Freestyle†reads, “All my life I want money and power/Respect my mind or die from lead shower.†Clearly, Kendrick has developed on many different levels in the past nine years. This particular song summarizes his 16 year old mindset- one focused on women and money. He had little practical ambition and was only concerned with material gains.
The subject matter of the rest of the album, however, delves powerfully into Kendrick’s intense struggles with his city, Compton. The title encapsulates his conflicted feelings of isolation; he strays away from the gang violence that all but consumes the city, stopped smoking after a bad experience with laced marijuana and feels as though he would be hated by the majority of his fellow Compton residents. Thus, he is the good kid in this mad city. The acronym m.A.A.d stands for “Me an Angel on Angel Dust,†referring to the laced joint. Almost all of Kendrick’s songs relate to the constant presence of violence, gangs, drugs, alcohol and peer pressure. This is why Kendrick stands out from the Hip-Hop freshmen (Asap Rocky, Meek Mill, etc): his words are undeniably real. Listening to his songs, you cannot help but be impressed by his level of transparency and openness. Kendrick has a message, and its one of a deep struggle. He has spent his life trying to come to terms with the city that raised him, while simultaneously coping with the realization that he does not fit in to the standard role of a Compton teen. The track “good kid†discusses how, despite his inability to enter the gang culture, he is still labeled as a gangbanger and criminal. “Poetic Justice†professes his skills in writing poetry while also acknowledging the commitment necessary to a stable relationship, opposed to just a sexual one he dreamed of at age 16. Each track reveals a new element of Kendrick’s life with which he has been coming to terms in a beautiful and creative way.
The beats on the album do not vary in any largely noticeable ways, but Kendrick does perform some very unique alterations to his voice. There are practically 5 different versions of Kendrick’s voice on the album, which not only validates his prowess as an MC but also enhances the mood of dark insanity prevalent throughout the record. This is supplemented by a strong set of featuring artists, including Dr. Dre (naturally, a fellow Compton rapper), Drake, Mary J Blige, Pharell and Schoolboy Q. Unfortunately, Lady Gaga’s unbelievable chorus to “Bitch, Don’t Kill MY Vibe†was released after the album dropped over a shortened version of the song. Her amazing voice brings the quality of the song to a new dimension, really augmenting the quietly resentful and proud tone of the song. Overall, good kid, m.A.A.d city is a deep, cohesive and strong album that may shock and provoke on the first listen, but will prove to be inspiring and sentimental on the ensuing plays. I highly recommend checking it out.
Favorite songs: Swimming Pools (Drank), m.A.A.d city, Now or Never and Bitch, Don’t Kill My Vibe.
Personally, I’ve never read a Dostoy boy book.
