This present moment serves as the moment of truth. Kendrick Lamar has his official Aftermath/Interscope release out for mass consumption. Many worried that Kendrick would waver too far left for his fan base. Others, putting it plainly, felt that he would sell out. With Good Kid, m.A.A.d. City, Kendrick Lamar tells a highly compelling story of a kid caught up in the wrong situation.

 

 

I must attest to the quality of this album: it is a high quality album. I would say that it has the potential of being a classic if it is well received enough.

 

 

The most captivating part of this album is the story being told. From the informatively hilarious “Sherane (Master Splinter’s Daughter)” to the many different aspects of the day (spitting rhymes in the car on “Backstreet Freestyle” and the following propaganda pushing “Art of Peer Pressure”), the storyline develops. What happens is this: each song gives explanation or enhancement to a moment in the story. There is even a moment of lust (“Poetic Justice”) that is done aesthetically accurate. So, this album’s focus on the central tome makes every song worth listening to.

 

 

The production, albeit different, gives Kendrick the proper asphalt to run rap circles on his album. “Swimming Pools” is obviously the ominous choice for carrying ideas of alcoholic struggle. “Poetic Justice” pushes for irony in the Janet Jackson sample and screwed choruses and bridges. “Sing About Me/I’m Dying of Thirst” keeps it honest and mortal with the approach towards production. In all honesty, there were no productions that didn’t enhance the lyrics.

 

 

Kendrick Lamar has done it again. Good Kid, m.A.A.d. City is just as good as it needs to be. No beats, or rhymes and words, were wasted in the construction of this album. However, many of the people out there will probably disagree. What they don’t understand (fully) is that this piece tells a complete story. Regardless, I am thrilled to see the completion of such an enthralling and descriptively impressive piece of music.

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