| ITS COMPTON IN THE HOUSE |
arguably Comptons finest son (what up Jayceon). I have been a fan since I heard the title track from his sophomore album, Good Kid m.A.A.d city.
I could lie and say I knew him from the jump, wax lyrical about his mixtapes and his first album, Section 8.0, but in truth I came to all that after listening to Good Kid m.A.A.d city, it was everywhere in 2012, it was named the best album of 2012 by BBC, Complex, New York and Pitchfork
It reminded me of illMatic, in so far as I thought it was an instant classic, and it took you right into the belly of the beast of the hood, the Compton streets where Lamar was raised.
Punctuated with dialogue laden samples, “Where yo Grama stay at?” “These kids ready to eat, bring back them food stamps” it was a tour de force, a combination of intelligent reflection of life of the disenfranchised and switched up with the chilled joints like “The Recipe” & “Bitch Don’t Kill my Vibe”, and the sultry Drake collaboration, “Poetic Justice” as soon as the subject matter got too heavy. An all-rounder if ever I heard it.
When I found the wealth of material that preceded this release, it was like finding a can of Coke in the fridge after a night out. Joyous stuff indeed.
His next release, to pimp a Butterfly was an anomaly, artistic progression at its finest.
Political consciousness, the complicated factors of black identity (not that I’d know) teased out over jazz (what?) in a multi layered musical continuity.
It is not immediately enjoyable, nor is it a ‘grower’ but it is important. Kendrick expands his sound and examines themes of straddling the thug life with the artistic life, which is seriously minimising it, that seems far more genuine (dare I say it) than Pac could ever do it. [1]
It engages the listener and has them scratching their heads.
Which is what art is all about. And haters of it will be silenced as it was just announced that to Pimp a Butterfly will be admitted to the Harvard ‘these are the breaks’ hip hop archive, joining Nas Illmatic, (see I called it) Lauryn Hills the Miseducation of Lauryn Hill and ATCQ The Low End Theory. I actually think it might be a little premature considering there is only two hundred spots in total. But shur look.. this is it.
I could be here all day but this is all well traversed territory. What I want to talk about is his appearances.
The first that hit me hard was F**kin Problems with New York’s new wave g.o.a.t.s ASAP Rocky. Mmm mm, Daddy like.
Loathe as I am to be bumpin’ some superficial stuff like that I cannot deny its catchy AF, its pop rap and it is undeniably good.
It was until last year I reconsidered how often he contributed verses and a lot of it was non hip hop music, Sia, Taylor Swift Maroon Five to name but a few.
Parlaying his presence to a wider consciousness without diluting his integrity. It is a far cry from pops rent a rapper scene (reference any verse that Tyga, vomit face emoji, has appeared on) that we have been thus far subjected to.
The following are some of his lesser known collaborations that I think are worth a lend of your ear.
In an album laden with contributors, indicative of The Weeknds newly liberated flow that still contains some of his old secretive egotistical style, albeit somewhat watered down.
Kendrick combines a simple yet effective hook Say/Say/Say with a speedy flow that comes full circle referencing the cosmos to weave in Starboy. You mad clever son!
God is Fair, Sexy Nasty: Mac Miller
This is actually a deadly album, well worth checking out in its entirety. I am not a huge fan of Mac Miller, he is a little too poppy for me and I find his verses bland (although I said the same about Asher Roth and look how he turned that all around). This album is tightly produced with a psychedelic vibe, hip hop meets Stone Roses not a million miles from A.S.A.P. Rockys second album or Frank Oceans for that matter so I am definitely feeling it AND some decent appearances by Ty Dolla Sign and my new fave Anderson .Paak. This is dreamy Kendrick at his best, it reminds me of Poetic Justice, big fan.
Collard Greens: Schoolboy Q
This beat goes off, no bother to Kendrick he picks up the pace, throwing a little Espanol to make it interesting upping the arrogance to fit into Schoolboy Q’s self centred/ drug centred narrative and somehow it does not seem disingenuous.
The New Cupid: BJ The Chicago Kid
Chi town stand up! I only found this whilst researching this article. Crumbling soul over some old school horns, a little harp and tender ass drums all carefully and delicately put together over the sounds of “Cupids too busy in the club” using Raphael Saadiqs classic Oh Girl. Lamar is used subtly throughout the song repeating hook just audible enough to be certain it is Kendrick. He riffs on modern love As I play out the Commodores/my faith destroyed/My heart don't work, I'm unemployed/The feeling is void/don't know what I need/Some pussy, some paper/some counseling/Maybe some Henny, some weed.
This song has many elements that make it great but Kendrick plays a big role.
You’re welcome,,you all welcome! (KanYe voice)
Author : Fenagh O’Mahoney Instagram: @feengurrl_/
