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18 Songs, 1 Hour 35 Minutes
EDITORS’ NOTES
West Coast hip-hop elders like Snoop and Dre have virtually anointed Kendrick Lamar to carry on the legacy of gangsta rap. His second studio album good kid, M.A.A.d city, conceptual enough to be a rock opera, certainly uplifts the genre with its near-biblical themes: religion vs. violence and monogamy vs. lust. Verbally nimble, Lamar experiments with a variety of different lyrical styles, from the Bone Thugz-type of delivery on “Swimming Pools (Drank)” to the more straightforward orthodox G-funk flow on “m.A.A.d. City feat. MC Eiht.” Like prog rock, Lamar’s tracks have songs within songs—sudden tempo changes with alter egos and embedded interludes, such as unscripted recordings of his parents asking for their car back and neighborhood homies planning their latest conquest. These snippets pepper the album providing an anthropological glimpse into his life in Compton. The deluxe version of good kid, m.A.A.d. city features five bonus tracks.
EDITORS’ NOTES
West Coast hip-hop elders like Snoop and Dre have virtually anointed Kendrick Lamar to carry on the legacy of gangsta rap. His second studio album good kid, M.A.A.d city, conceptual enough to be a rock opera, certainly uplifts the genre with its near-biblical themes: religion vs. violence and monogamy vs. lust. Verbally nimble, Lamar experiments with a variety of different lyrical styles, from the Bone Thugz-type of delivery on “Swimming Pools (Drank)” to the more straightforward orthodox G-funk flow on “m.A.A.d. City feat. MC Eiht.” Like prog rock, Lamar’s tracks have songs within songs—sudden tempo changes with alter egos and embedded interludes, such as unscripted recordings of his parents asking for their car back and neighborhood homies planning their latest conquest. These snippets pepper the album providing an anthropological glimpse into his life in Compton. The deluxe version of good kid, m.A.A.d. city features five bonus tracks.
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- 18 Songs, 1 Hour 35 Minutes
- Released: Oct 22, 2012
- ℗ 2013 Aftermath/Interscope Records
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Indisputably the most acclaimed rap artist of his generation, Kendrick Lamar is one of the rare MCs who has achieved critical and commercial success while earning the respect and support of those who inspired him. After several years of development -- he made his recorded debut as a teenager -- Lamar hit an unparalleled stride in the 2010s. Good Kid, M.A.A.D City (2012), the Grammy-winning To Pimp a Butterfly (2015), and the Grammy- and- Pulitzer-winning DAMN. (2017), his three proper major-label albums, have displayed an unmatched mix of inventive wordplay, compelling conceptual narratives, and deft hooks. The screenplay-level detail of Lamar's writing has been enriched by the combined efforts of his many collaborators, including a diverse selection of producers and instrumentalists, as well as singers and fellow rappers. He has been equally effective as a singles artist, exemplified by DAMN. highlight 'HUMBLE,' a number one pop hit.
Compton, California native Kendrick Lamar Duckworth grew up immersed in hip-hop culture and surrounded by gang activity. As a youngster, he gradually discovered an aptitude for writing stories, poems, and lyrics, which naturally led to rapping. He made a name for himself as K. Dot. At the age of 16 in 2003, he issued his debut mixtape, The Hub City Threat: Minor of the Year. While it merely hinted at the potential of the then teenager, it was impressive enough to catch the attention of Top Dawg Entertainment and led to a long-term association with the label that steadily propelled his career. Training Day, the Jay Rock collaboration No Sleep 'Til NYC, and C4, issued from 2005 through 2009, likewise preceded Lamar's decision to go by his first and middle names. The last of the three was issued the same year he became part of Black Hippy with fellow TDE artists Ab-Soul, Jay Rock, and ScHoolboy Q, a group whose members frequently appeared on one another's mixtapes and albums.
The first tape credited to Kendrick Lamar was Overly Dedicated, released in 2010. Also the rapper's first commercial release, it reached enough listeners to enter Billboard's R&B/Hip-Hop Albums chart. His first official album, Section.80, arrived the following year, after XXL magazine selected him for the 2011 Freshman Class feature, and entered the Billboard 200 at number 113. With deeper conceptual narratives and sharpened melodic hooks, as well as comparative multi-dimensional development from primary producer Sounwave, the set acted as a kind of warning flare for Lamar's mainstream rap dominance. Additionally, by that point, Lamar's reputation had been strengthened through guest appearances on dozens of tracks, and he had the support of veteran West Coast stars as well. During a 2011 concert, Dr. Dre, Snoop Dogg, and Game dubbed him 'The New King of the West Coast,' a notion Dre endorsed more significantly by subsequently signing Lamar to the Aftermath label.
Good Kid, M.A.A.D City, Lamar's major-label debut, was released in October 2012 and entered the Billboard 200 at number two. Three of its singles -- 'Swimming Pools (Drank),' 'Poetic Justice,' and 'Bitch Don't Kill My Vibe' -- reached the Top Ten of Billboard's Hot R&B/Hip-Hop chart, with each one enjoying lengthy stays on playlists of urban U.S. radio stations. More significantly, the album showcased Lamar as an exceptional storyteller capable of making compelling concept albums. It led to Grammy nominations in five categories, including Best New Artist, Album of the Year, and Best Rap Album. Miguel's 'How Many Drinks?' and A$AP Rocky's 'Fuckin' Problems,' two tracks on which Lamar was featured, were nominated as well.
Rather than rest, Lamar remained active during 2013-2014, with touring as well as appearances on tracks by the likes of Tame Impala, YG, and fellow Top Dawg affiliate SZA. The proud single 'i' was released in September of the latter year and led to Lamar's first two Grammy wins (Best Rap Performance, Best Rap Song). Early in 2015, he announced that his third album, To Pimp a Butterfly, was due that March, with tracks featuring Snoop Dogg, Bilal, Thundercat, and George Clinton. A technical accident caused the digital album to be released eight days early, but it immediately earned rave reviews and topped the Billboard 200 with sales of 325,000 copies within its first week. It made numerous best-of lists at the end of the year, and in early 2016 earned five Grammy Awards, including Best Rap Album. In March, Lamar released untitled unmastered., an eight-track set consisting of demos recorded around the time of To Pimp a Butterfly. Like the previous release, it debuted at number one, and seamlessly synthesized beatmaking and traditional musicianship from the likes of Sounwave, Terrace Martin, and Thundercat.
Led by 'Humble,' his first number one pop hit, DAMN. followed in April 2017 and likewise entered the Billboard 200 at the top. Remarkably, all 14 of its songs entered the Hot 100. The album featured contributions from the likes of Rihanna and U2, but at this point, the supporting roles were beneficial more for the guest artists than they were for Lamar, whose artistic complexity and versatility were unrivaled. Certified double-platinum within three months of release, the album was released in a deluxe edition near the end of the year, and led to another five Grammy wins, including a second Best Rap Album nod. Lamar was involved with every track contained on yet another number one hit, Black Panther: The Album, released in early 2018. That April, DAMN. won the Pulitzer Prize for Music, the first time the judges recognized a work outside the genres of classical and jazz. ~ Andy Kellman
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When good kid, m.A.A.d city first dropped, Kendrick Lamar was careful not to feed into the talk around the album being a classic, not yet. 'It's classic worthy, you know?' he said. 'But it has to stand with the time and have the years behind.”
It was a wise thing to say in an age where albums are either hailed as classics or trash minutes after they leak. The world may now have the attention span of a Vine video, but truly great art still demands sustained attention. In fact, a classic album only deepens its hold on you over time, offers additional layers to peel back years after you thought you'd already uncovered even its most hidden secrets. A classic album not only remains an immovable landmark of that moment in history, but it also ages with you, moves with you into the future.
That's why now, more than two years after its debut, I won't hesitate to call Kendrick's GKMC a classic. I remember driving to my man's house that October, listening to the album in the whip for the first time with the windows down, the L.A. weather completely ignoring the Earth's insistence that it was fall, and by the time even 'Bitch Don't Kill My Vibe' ended my heart already felt the album would become a classic. And when I got to my man's house, and he opened the door, eyes wide, the first sentence out of his mouth, 'Yo, have you heard this fucking Kendrick album?!?!?!?!' I felt like a moment, a classic moment. If Vegas took bets on this kind of thing, I would have bet my daughter's college fund on GKMC standing the test of time.
Still, though, while my soul was already picturing still listening to 'Money Trees' in the retirement home, my head was pumping the brakes. I had a literal professional obligation to wait before making any grand proclamations. So I played the album..and played it..and played it. I listened to it to get hyped at the gym, I listened to it washing the dishes, I listened to it after my father-in-law died. I'm listening to it right now. And somewhere in between the 200th and 4,000th listen even the most logical, rational, Spockian-emotionless part of my brain accepted GKMC as a classic. I should have written this article then, but it just never felt like the right time—I had more pressing, very important things to write about - until now when J. Cole's 2014Forest Hills Drive re-ignited the conversation around GKMC.
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In many ways, the fact that we're still debating/talking about GKMC years later, in comparison to a new album, is proof of its longevity. Kendrick really did set the bar every other emcee of his generation would be measured against. But while I could spend this space talking about lyricism and production, or even commercial and cultural impact, those are really just more surface level qualifiers. As I've revisited the album I've realized something deeper, I've realized that GKMC is one of those extraordinarily rare albums that has become even more relevant now than when it dropped.
I've heard even some intelligent people claim that GKMC isn't really a concept album, which is perplexing. The concept is right there in the title: What does it mean to be a good kid in a city engulfed in poverty, violence, and pain, pain that stretches back generations? How do you stay clean while crawling through a world soaked knee-high in blood? It's a question nearly every image, note, and lyric on the album are aimed at addressing, and as the death toll in Chicago reaches horrific levels and simply looking like the 'wrong' person in the 'wrong' place could mean a death sentence, it's THE question currently facing America. The young black man Kendrick embodies on this album, the people he sings about so powerfully, are the people America has failed. They're the people taking to the streets in Ferguson, they're the people no longer alive to protest their own death.
For many, the solution to gang violence and the onslaught of death by police is simple; be good. Never do anything wrong and nothing wrong will ever happen to you. I can only assume those people live in a good city. Being 'good' isn't so easy when you're sitting on the lap of your gang-banging uncle at 3-years-old, when nearly all of your friends, the people you grew up with, are staging break-ins, when your mom needs food stamps to feed your family, when a lunch run to Louie's for a burger could mean watching someone's brains splatter across the sidewalk, when even if you don't join a gang the police still treat you like a gang-banger; what hope is there really, even for the good kid?
'Dope on the corner, look at the coroner / Daughter is dead, mother is mournin' her / Strayed bullets, AK bullets / Resuscitation was waiting patiently but they couldn't / Bring her back, who got the footage? / Channel 9, cameras is looking.'
To live in a maad city is to be an 11-year-old, as innocent and good as anyone could possibly be, who winds up on the Channel 9 news after a stray bullet steals their life. It's really happening.
'No better picture to paint than me walking from Bible study / And called his homies because he had said he noticed my face / From a function that tooken place, they was wondering if I bang.'
To live in a maad city is to get jumped on your way home from Bible study, or football practice because something thinks they might recognize you. It's really happening.
'Every time you clock in the morning, I feel you just want to kill / All my innocence while ignoring my purpose to persevere as a better person / I know you heard this and probably in fear / But what am I supposed to do with the blinking of red and blue / Flash from the top of your roof and your dog has to say woof / And you ask, 'Lift up your shirt' cause you wonder if a tattoo / Of affiliation can make it a pleasure to put me through / Gang files, but that don't matter because the matter is racial profile / I heard them chatter: 'He's probably young but I know that he's down' / Step on his neck as hard as your bullet proof vest.'
To live in a maad city is to have the breath squeezed from your lungs by a police force who see you as the enemy, no matter how 'good' you are. It's..really..happening.
All of the conversations I've been having over these last few tragic months, about white privilege and police brutality and personal responsibility and how devastatingly the American system has failed so many, in particular, young black men, all of those conversations can be routed through good kid, m.A.A.d. city. Years after he first wrote them, the stories that Kendrick tells on GKMC have become the stories dominating headlines, minds, and hearts across the country, which makes me want to say that the album has proven to be prophetic. But Kendrick was prophesying, of course. He was merely revealing a reality that so many already knew, and so much of America is just now starting to see. Do we really need CNN when, as Chuck D said, rap has been CNN for black lives all along?
There are, of course, people who will claim that this album isn't a classic, that it's over-hyped, that all of those connections I laid out above aren't really there. Most of the time those people are right—you can bet that if ten people run towards something, the 90 people who follow them are merely mindlessly following—but in this case they're wrong. It's exceedingly rare, but every so often, once in a generation, maybe less, an album really does come along that deserves all the praise heaped on it. This is that album.
That doesn't mean you have to personally love this album. Last time I checked this is America; you're free to like or dislike, connect or not connect, with whatever art you want. Frankly, I love this album so much I'll be a little mystified by your dislike, but I don't really mind because Kendrick's masterpiece isn't going anywhere.
It may not be today, it may not be next year, but one day you'll respect, the good kid, m.A.A.d. city.
Good Kid, M.A.A.D City (stylized as good kid, m.A.A.d city) is the second studio album by American rapper Kendrick Lamar. The album was released on October 22, 2012, by Top Dawg Entertainment, Aftermath Entertainment, and was distributed by Interscope Records. The album serves as Lamar's major label debut, after his signing to Aftermath and Interscope in early 2012. It was preceded by the release of Kendrick's first studio album Section.80 (2011), released exclusively through the iTunes Store independently.
- Genre
- Hip-Hop
Contains tracks
Kendrick Lamar - Backseat Freestyle (Prod. By Hit-Boy) [MixedByAli] by TopDawgEnt
published onKendrick Lamar is next up to bat, as he now stands with the most anticipated album’s in recent memory. The T.D.E./Interscope/Aftermath artist will be releasing his major label debut, g.o.o.d. kid m.A.A.d. city, on October 30th. Shortly before dropping the new record, “Compton” featuring Dr. Dre and produced by Just Blaze, K.Dot let loose the full tracklist for his major label debut album and the follow up to his critically-revered independent effort, Section .80.
The debut album features artists like Drake, Lady Gaga, Jay Rock, MC Eiht, Dr. Dre and more. The retail album will feature 12 tracks with the deluxe coming with five bonus efforts.
After the deluxe artwork, check out the full tracklist and make sure to pre-order, g.o.o.d. kid m.A.A.d. city on iTunes.
01 Sherane a.k.a Master Splinter’s Daughter
02 B**ch, Don’t Kill My Vibe f. Lady Gaga
03 Backseat Freestyle
04 The Art Of Peer Pressure
05 Money Trees f. Jay Rock
06 Poetic Justice f. Drake
07 good kid
08 m.A.A.d city f. MC Eiht
09 Swimming Pools (Drank) (Extended Version)
10 Sing About Me, I’m Dying Of Thirst
11 Real f. Anna Wise
12 Compton f. Dr. Dre (prod. Just Blaze)
13 The Recipe f. Dr. Dre [Bonus]
14 Black Boy Fly [Bonus]
15 Now Or Never f. Mary J. Blige [Bonus]
16 Collect Calls [Bonus]
17 Swimming Pools (Drank) [Bonus]
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Good Kid Maad City Itunes Zip
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