‘good
kid, m.A.A.d city’ has been trumpeted in many end of year lists and for good
reason – this is Kendrick Lamar’s major label debut following years of mixtapes
(both solo and with hip-hop crew Black Hippy) and is one of the top hip-hop albums
of the year.
A
concept album, the extended narrative depicts a semi-autobiographical take on gang
life in Lamar’s hometown of Compton, California. In a time of single releases and bland
filler, this is an album that demands to be listened to in full.
“Lord
God, I come to you a sinner and I humbly repent for my sins”, the album
begins. The non-linear narrative is
cleverly structured, delivering a story-arc that sees Lamar develop from an
impressionable teen to a faith-driven adult.
This opening to the album foreshadows what’s to come, before delving
into a vivid depiction of gang life filled with money, sex, drugs and
crime.
The Art of Peer Pressure marks the start of Lamar’s downfall, “I’ve never been violent until I’m with the homies…we tryna conquer the city with disobedience”. From there, events spiral out of control. Money Trees sees Lamar dreaming of “living life like rappers do”, sleeping with women and robbing homes, the song’s chorus repeating “Everybody gon’ respect the shooter, but the one in front of the gun lives forever”. Swimming Pools (Drank) centres on the glamorous and cultural importance of alcohol in raising status (“first you get a swimming pool full of liquor then you dive in”), the second verse of which has Lamar’s conscience “hopin’ to lead [him] to victory”, the lyrics gradually becoming more fragmented as Lamar’s drunken state blurs his thoughts. m.A.A.d city gives us the album’s narrative in miniscule, beginning with an overall impression of the world Lamar has been swept into, a world where innocents are killed, grudges are held and “all hell broke loose…bodies on top of bodies”. Half way through we’re told “I’mma teach you some lessons about the street, it ain’t nothin’ but a Compton thing” as we hear first-hand of the city’s violence. At the centre of it all is “Kendrick a.k.a Compton’s sacrifice”.
The Art of Peer Pressure marks the start of Lamar’s downfall, “I’ve never been violent until I’m with the homies…we tryna conquer the city with disobedience”. From there, events spiral out of control. Money Trees sees Lamar dreaming of “living life like rappers do”, sleeping with women and robbing homes, the song’s chorus repeating “Everybody gon’ respect the shooter, but the one in front of the gun lives forever”. Swimming Pools (Drank) centres on the glamorous and cultural importance of alcohol in raising status (“first you get a swimming pool full of liquor then you dive in”), the second verse of which has Lamar’s conscience “hopin’ to lead [him] to victory”, the lyrics gradually becoming more fragmented as Lamar’s drunken state blurs his thoughts. m.A.A.d city gives us the album’s narrative in miniscule, beginning with an overall impression of the world Lamar has been swept into, a world where innocents are killed, grudges are held and “all hell broke loose…bodies on top of bodies”. Half way through we’re told “I’mma teach you some lessons about the street, it ain’t nothin’ but a Compton thing” as we hear first-hand of the city’s violence. At the centre of it all is “Kendrick a.k.a Compton’s sacrifice”.
The
lyrics are accompanied by slick production – the glossy sheen a foil to the
rough scenarios Lamar illustrates. Glamorous,
downbeat and atmospheric, the changing music parallels Lamar’s growth in
character and allows the listener to brood on each situation. Sound effects and guest appearances only add
to the complex layers of musical textures.
Integrated
into the tracks are a number of spoken interludes adding a sense of verisimilitude
to the proceedings. As such, the album
portrays a cross-section of gang life – multi-faceted and shockingly real. Listening to the album, it becomes clear why
Lamar labelled it a “short film” on the front cover. These skits provide dramatic context to the
lyrics, driving the narrative and contrasting varying viewpoints. The opening track ends with an intrusive voicemail from
Lamar’s mother and father (“I hope you ain't out there messin' with them damn hoodrats...where my mother fuckin’ Dominos at?”). When juxtaposed
with subsequent track Bitch Don’t Kill My
Vibe, the meaning is clear. Yet that track is also a statement of intent:
‘good kid, m.A.A.d city’ is Lamar’s opus and nothing will stand in his way.
Swimming Pool (Drank) ends with a violent shootout, leading us into the
twelve minute long Sing About Me, I’m
Dying of Thirst - the turning point of the album. The gentle first half laments the deaths of
various characters, their verses fading away into nothing. This causes Lamar to renounce his gang
lifestyle: “Tired of running… How many sins? I lost count”. It’s followed by a skit where Lamar is told
he’s dying of thirst (“that means you need holy water”) and he prays and repents
for his sins. Finally, Lamar has become
the good kid in a mad city, a nickname he gave himself. This is followed by Real, Lamar’s statement of being true to himself, and Compton, a love letter to his home-town in
which he asks everyone to “serenade the new faith of Kendrick Lamar” and shows
his love for the city – “ain’t no city quite like mine”.
And
there ain’t no album quite like this either.
Less a rapper and more a storyteller, Lemar’s dense lyrics and internal
rhymes are richly provocative. Listening
to ‘good kid, m.A.A.d city’ is a cinematic experience and a powerfully detailed
and visceral depiction. “One day you
respect the good kid, m.A.A.d city”, he says on good kid– it appears that day has come.
4/5
Gizzle’s
Choice:
* Bitch,
Don’t Kill My Vibe
* Swimming
Pool (Drank)
* Compton
Listen: ‘good kid, m.A.A.d city’ is available now.