Kendrick Lamar: good kid, m.A.A.d. city

As a Hip-Hop fan born in ’87, along with others fan born in the late eighties, we all grew up listening to music from the likes of Nas, Jay-Z, Wu-Tang Clan, Scarface, 2Pac, Biggie Smalls, etc.  These were the figures in music that older peers told us would teach us the groundwork of this art form.  This was “real Hip-Hop”. 

Unfortunately for us, while these artists did create epic pieces, it was only when we were older that we could truly understand exactly what type of impact they had made.  Along with this, we could only reflect on the past, but didn't have champion MCs of our own that could speak through our lenses and tell stories we could

relate to as we grew up.  We had yet to find an artist of our own time that had created that musical centerpiece.

In 2011, with the release of Section 80, it became evident that West Coast MC Kendrick Lamar could relate.  He understood this generation because he was part of the generation, from our brilliance to our ignorance, and his sound resonated, fans rewarding the album with critical acclaim. 

With 2012 here the Compton native, delivering the story of his generation prior, now aimed to share his own personal story, both the triumph and tragedy, with good kid, m.A.A.d. city.  Within the first few moments of “Sherane A.K.A. Master Splinter’s Daughter”, it’s clear that listeners are in for quite the ride.

From there the album transitions into the smoothed out spacey “B*tch, Don’t Kill My Vibe”, which is sure to be a favorite for many.

Unlike albums of his peers, it feels as though Lamar was very meticulous with his debut album as it plays out as a story from beginning to end.  Each track/scene flows seamlessly into the next wisely using interludes to put the pieces together.  While some may grow tired of “skits” in between the music, it allows you to appreciate what’s next and understand exactly what the rapper is trying to tell.

It must also be applauded that at only twelve songs, quite slim for a Hip-Hop album these days, the rapper wants to make each track count and it is apparent. 

Never one to be put in a box, Lamar is able to provide multiple layers of himself, whether it be speaking on alcohol abuse, “Swimming Pools”, having a wild night with the homies, “The Art of Peer Pressure” or realizing the consequences of living astray “Sing About me, I’m Dying of Thirst”.  While many artists can be packaged, Lamar cannot.  He is not a backpacker/conscious rapper, not a gangster rapper; not a party rapper; he is simply himself and isn’t afraid to speak on the peaks and valleys of his life.

Revisiting his freestyle over “So Appalled”, Lamar realized his contradictory ways, but embraced them.

Production wise, there is mixed bag of producers lending a hand, and while in many other cases it would create a varied sound, it works very well for this project.  As an Aftermath artist, one might expect to have heard Dr. Dre sprinkled throughout, but his skills are used mainly in the mixing process.  It’s also good to know that even with access to the good old Doctor, Lamar preferred to keep it done his way.

From tragedy to glimpses of triumph, all in a simple “15 minute trip”, Lamar has laid his life story on a plate for his audience to feast upon.  It’s a dish that speaks volumes of his talent and the unimaginable potential that the 25 year old has.  In regards to impact, many have compared this album to Illmatic and while it might create doubters and naysayers, the truth of the matter is that while these two debuts stand on their own, the impression that Nas’ debut for the past generation is the same type that Lamar’ is leaving for this generation.