23 of 24 people found the following review helpful
on 30 October 2012
Well what can I say, If I could give 6 stars, I would. The whole album is a masterpiece and the best thing I've heard in 2012, without a doubt. It's set out to be an ALBUM, not just a bunch of tracks on a disc. Kendrick tells a story all the way through, hence the album is appropriately named, 'a short film by Kendrick Lamar'. It's genius, it's almost like a movie experience on an album. There's some skits at the beginning and end of songs as a tactic to get you into the right mood for the following track, and to lay out the topic/issue that Kendrick wants to talk about.
I can safely say, from amazing heart felt tracks like 'the art of peer pressure', to the incredible Hit-Boy produced track (N****s in Paris, Goldie), 'Backseat Freestyle', Kendrick kills every track, as you would expect from such a talented lyricist.
Best album of 2012, easily.
2 of 2 people found the following review helpful
on 26 September 2014
After a stark sound bite and an ominous eerie sweeping sound, you are greeted with a smooth bassline that is a foretaste for the heavy soul influence sweeping through the whole album
The general theme of the album is one of the power of influence and the power over us that our surroundings have. The ability of what is outside of ourselves to fundamentally change and alter our very being, be those things people or a general environment and its cultural norms, is discussed within this albums songs.
Aside from any philosophical concerns there is of course an album of good quality songs that stand up even if you aren’t inclined to any deep though (or any thought at all) and are generally quite fun and playful. There is no need to skip any tracks as they are all good and there is plenty of variety to keep you going, although I’m not sure you need three versions of ‘...dont kill my vibe’.
1 of 1 people found the following review helpful
on 23 February 2014
For those of you who are true Kendrick fans you'll know what I mean by game changer. I'm talking his recent control verse, but this album was the true start for the masses, except the section 80 veterans out there - another great album if you are considering buying Kendrick's music.
For those who are considering buying this though, there is no question.
The same old tedium of rap gets very boring, to the point where i hear people judging a rap song on the 'beat' rather than the lyrics. What happened to real hip-hop??? Kendrick is bringing it back!!
I'm not saying a beat isn't important but Kendrick's lyrics pack enough power to shut anyone up, without needing a crazy bassline to kick it. I saw this guy live in Leeds, one of the only people i've really wanted to see live, and he was amazing. One of the few real rappers with raw talent; no auto-tune, no over the top references to hoes and money, just real rap about real life.
Sometimes i like the money and hoes rap, but its this guy i'll always return to 90% of the time for the pure raw talent and lyricism. He's gonna make it big, keep an eye out
4 of 5 people found the following review helpful
on 8 November 2012
review from from Sam Jackson @ hilltopviewsonline.com
The young rapper's major label debut "good kid, m.A.A.d city" starts out with a group of men reciting a prayer asking the Lord to come into their hearts. Usually in this business it takes a drug/alcohol induced flameout to get artists on a spiritual kick, but Lamar seems to have skipped some levels.
Not that his ascent has not been quick either. After putting out his first mixtape at 16, he started rising in the hip-hop world, both by himself and as part of the four-man super group Black Hippy, who have two remixes on deluxe editions of "good kid, m.A.A.d city." His first album, the critically acclaimed "Section.80," caught the attention of legendary producer Dr. Dre, who executive produced this album.
So why does someone who has become so successful at 23 need aid from above?
Judging from the lyrical themes of "good kid," Lamar's trying to exorcise the ghosts of his past, mostly eschewing typical hip-hop braggadocio for deeper lyrics about things like girl trouble, the death of close friends, and his Compton upbringing.
The whole album is cloaked in beats from a variety of producers, ranging from big names such as Just Blaze, Pharrell and Hit-Boy, to past affiliates from "Section.80," with sounds ranging from seductive synths and drums ("Sherane a.k.a. Master Splinter's Daughter," "Swimming Pools (Drank)"), and old school West Coast bombast ("Backseat Freestyle," the "California Love" rip-off "Compton"). The songs often end with little skits, snippets of dialogue that range from "Friday"-esque hilarity to disturbing violence.
Lamar seems to prefer rapping on his own most of the time, which is fine since this is his story and he tells it with incredibly deep, meditative lyrics and an expert flow, but he does make room for others to drop verses as well, bringing in Drake, Dr. Dre, and his Black Hippy comrade Jay Rock, along with a few others.
All in all, it is a brilliant album that soars above the standard for rap. Kendrick Lamar was running from his past on this album and not only did he manage to leave it behind, he has left his competition in the dust as well