Who is Kendrick Lamar?
Up until a few weeks ago, I had no idea. While Lamar was generating buzz as being the "next big thing" from one of the former meccas of hip-hop in Compton, CA, I was oblivious. The only MC from Compton that I knew, and I think I'm in the same boat with 90% of Americans here, was Game (sadly).
The harsh reality though, is that this statement is a summation of what Compton has become since the days of N.W.A. and 'Pac. An argument can be made that it was Compton, not the Big Apple, that was the central driving force of hip-hop's golden era in the 1990's. After all, this is the place that produced legends such as Dr. Dre, DJ Quik, and Eazy-E (who gained that title because of the group he was affiliated with, not because he was a tremendous rapper). While 'Pac was from L.A. at heart, it's the music out of Compton that probably had the greatest influence on his music. West Coast hip-hop, which for a brief period was stronger than the east-coast's, thrived and died with Compton.
Yet, the city that was so influential on much of hip-hop that came from the '90s, has fell in the abyss in the past decade. Game brought promise with his release of
The Documentary in '04, but has since stumbled and still can't figure out when the hell he wants to release his next album. The next most prominent rapper out of Compton? Tyga. Yes, things have got so bad in the hip-hop west coast capital that an artist like Tyga is recognized as the city's main attraction.
And then came K.Dot. That's what Lamar went by when he first entered the rap game at the young age of just 16. Lamar released a mixtape titled
Youngest Head Nigga in Charge in 2003 under his alias of K.Dot. I have yet to listen to this tape, or even find it, but Top Dawg Entertainment must have seen something, signing Lamar shortly after the tape was released. K.Dot would go on to release two more mixtapes, Training Day and C4, before deciding to change his alias to his actual name (and thank God, considering K.Dot was a pretty whack name to begin with). But by 2009, six years after his first release, Lamar was still largely unheard of unless you were from Compton to begin with. Lamar needed something to bring himself more attention, something that made him stand out from any other rapper hailing from his city.
So Lamar dropped his first actual "album" (it's free, so I still consider it as somewhat of a mixtape) with the simply titled "Kendrick Lamar EP" in December of '09. With songs like "P&P" (Pussy & Patron) and "She Needs Me", as well as some other decent cuts, Lamar got the catalyst he needed to propel himself into the national hip-hop scene. If you ever listen to the EP though (and you really should to be honest), Lamar still sounded like a rapper that had tremendous potential, but there were areas he needed work on.
After touring on the Independent Grind Tour with artists like Jay Rock and Tech N9ne, Lamar released his second "album" with
O(verly) D(edicated) in September of last year. The "album" was met with much acclaim around the hip-hop world and had it been released as an actual mixtape, it had a strong case for being the best collaborative effort for a 'tape for all of 2010. Lamar made sure that he still rapped about things that actually matter, such as tracks like "Ignorance is Bliss" and "H.O.C.", and was helped by better beats this time around. Yet, there were still red flags about the potential of Lamar. For instance, his track "Michael Jordan" sounded something like that guy who pretends to be "the best rapper alive" would release. Lamar needed to make a choice. Should he stick true to his independent roots and try and break through by word of mouth? Or should he sell out and try and go the mainstream route to make it big, giving up the promise of conscious raps in the process?
So 10 months after
O(verly) D(edicated), Lamar is back with his latest work,
Section.80. Debuting at #3 on the iTunes music charts (which blew my mind), it even outsold Lady GaGa's latest in it's opening week. Is the hype well deserved? Here's my take.
1. Fuck Your Ethnicity
Lamar starts off his album with a skit (which recurs at later points in the album) which leads straight into the track at about the :32 mark. Lamar opens up with "this is the music that saved my life" (pretty sure we've heard that line before) but I believe that Lamar's actually honest by saying this. Lamar's verses on this are rock solid and its clear from the get go that this kid is really intelligent. Still, Lamar needs to send a big thank you card to his producer, THC, who was behind this one. The beat for this is really well put together and the sample (if it is a sample he uses, still not sure about this one) for the hook is brilliant. Combine the lyrics, beat, and hook (all of which are great), and yes, you have reason to keep listening to this album after one track.
2. Hol' Up
Trumpets?! Shit, I can't remember the last time I heard a beat this fresh. Lamar calls on Sounwave to provide the production here, and man, he hits an absolute home run. It sounds familiar to something I'd here someone like K-Os use, but Lamar makes sure to make this song his own by two extremely smooth verses. This is one of those tracks that is just pure hip hop with no extra preservatives. It's also Lamar's way of letting his fans know that this album is going to be a major change in style from his previous one,
O(verly) D(edicated). Two tracks in, and Lamar already has two of the best songs for a hip hop album this year. Damn, that's really telling on how bad a year it's been (as far as albums, mixtape wise this has been a tremendous year for the genre).
3. A.D.H.D.
I can't decide if Lamar's voice annoys me or if it's just so different that I haven't adjusted to it yet. I also can't figure out which rapper he relates to the most (he's like a fusion of K'Naan, K-Os, Lupe, and Quasimoto). Anyways, "A.D.H.D." takes a major transition from the previous track in the production and lyrical ends. Gone are the trumpet horns and light tone, replaced by a more ambient beat with a much darker background. Usually, it's tough to switch tone's like that, but Sounwave's beat is absolutely mesmerizing, making it virtually a song you can't avoid. As the case with the first two tracks, their is a tremendous combination of lyrics that go along with the stellar beat Sounwave provides. Lamar touches on a lot of different issues here (ranging from TV propaganda to drug abuse) and his delivery on the mic is pretty fast, so it's hard to keep up with everything he wants us to hear. Listen to this track as soon as you finish it the first time, though, and you'll find that it's hard not to be moved by what Lamar is trying to say. Another beautiful thing about this song is Lamar's storytelling abilities. Just look at the second verse:
And then she started
And then she started
Feeling herself like no on else in this apartment
Beg you pardon
Oh I rap baby, how old are you?
She say 22, I say 23
Ok then we all crack babies
Damn, why you say that?
She said where my drink at?
I’mma tell you later, just tell your neighbors
Have the police relax
I stood up, shut the blinds
Closed the screen, jumbotron
Made it to the back, where she reside
Then she said, read between the lines
Yep, hope that I get close enough
When the lights turn down
And the fact that she just might open up
I was blown away by "Hol' Up" the first time I listened to this album, and I made the mistake of not giving this enough attention (with a title like "A.D.H.D.", that makes sense I guess), but I didn't make sure to make that same error on a second listen. A track that is just pure brilliance.
4. No Make-Up (Her Vice) ft. Colin Munroe
Lamar brings in his first guest appearance of the album with Munroe to perform the hook. Again, proof that this kid knows what mesh's with his music, as Munroe sounds great for this track (but probably not for others on this, and I think Lamar recognized that). Again, it's a transition in tone and theme, with this one being about insecurity in women. The messages here aren't nearly as complex as "A.D.H.D." or "Fuck Your Ethnicity" and their is just lest lyrics from Lamar here in general. Still, he makes his point clearly with what is here and I thought the section of dialogue between him and his lover (who isn't listed as a guest for some weird reason) is well done. Sounwave nearly ruins the track in the final hook, though.
5. Tammy's Song (Her Evils)
I hate the roller coaster analogy, but this album really feels like one with how different each track sounds from each other. THC returns to the studio for production duties on this, providing a pretty abstract beat with a more spacey feel. While it's not nearly on the level of his earlier work on the album, it's not terrible to listen to and it at least doesn't take anything away from Lamar's raps. Speaking of Lamar rapping, he goes with a different approach on this than any of his previous tracks, using a repeat method on each verse that make it sound identical to the last. Except that each verse does have a different event/story to it and the ending is a surprise. My only real complaint with this song is the hook, which is pretty awful. Otherwise, it's a decent track, just not as impressive as the first four on
Section.80.
6. Chapter Six
An interlude disguised as a song (which is really, really fucking annoying) but the beat here is worth noting (courtesy of Tommy Black). It's just a shame Lamar doesn't take advantage of it and decide to make it into an actual track.
7. Ronald Reagan Era
Don't let the opener (which is great) or the beat fool you here, this is a serious track. Lamar talks more about the feeling of living in Compton and some of his experiences, which, if you can listen close enough, are all pretty interesting. Not only does Lamar do a good job with adding depth through his lyrics, but he ensures that Tae Beast's beat doesn't go to waste. While Beast certainly didn't put in his entire body and soul into producing this, he still gives Lamar a perfect complement to Lamar's verses. He also pays tribute to RZA with a "California dungeons" sample, which earns him some bonus points.
8. Poe Man's Dream (His Vice) ft. GLC
Willie B helps bring the album back to that jazzy feel that you heard with "Hol' Up" and "Chapter Six", which is a really, really good thing. In fact, this is by far one of the beats on the album (and nearly every track is well done) and it resembles something like "Umi Says" that I've heard from Mos Def. Lamar, again, owns the mic on this and I just loved the overall theme of this song (which is paying tribute to his father). GLC's hook is also great, as he sounds like a west coast version of Big Boi, and while his rant at the end might be a few seconds too long, it doesn't take away from the song. Without a doubt, this is another gem on
Section.80.
9. The Spiteful Chant
WTF. I'm going to ignore this, being that it's fucking terrible and I almost feel someone put this on the final version of the album without Kendrick knowing. That's what I hope. Otherwise, Lamar's decision to include this is just stupid. You're better than that Kendrick.
10. Chapter Ten
Interlude.
11. Keisha's Song (Her Pain) ft. Ashtro Bot
Usually, this is where the average albums begin to fall apart. A misfire with "Spiteful Chant" and then another interlude made me believe that Lamar wouldn't be able to gain back the incredible momentum Lamar had earlier in the album. I came to grips that this was going to be just another "solid, but not great" type of effort, which seemingly has been the only thing I've said about any hip hop album released this year. I was relieved, however, after hearing just the first verse of this. Lamar gives a great (well, not really great for Keisha) tale of prostitution and how it affects one particular woman. The song's lyrics are outstanding and Lamar does as good a job as you can do on delivering them. The hook, provided by Ashtro Bot, fits well with this track and is one of the best ones you'll hear on Section.80. Tae Beast also does a great job as he did with "Ronald Reagan Era" on the production end, providing a dark beat that is accompanied by a set of piano keys in the background. Another powerful and extremely well done track by Lamar.
12. Rigamortus
Another significant transition, this time back to the horns that helped make "Hol' Up" a success. While the beat is decent, this track is simply for Lamar to show off his skills. Lamar gives three fast-paced verses that he is somehow able to make flow together, another testament to how talented this guy is. A nice change of pace from the hard-hitting "Keisha's Song" and it gives you time to catch your breath from the serious tone of the album.
13. Kush & Corinthians ft. BJ the Chicago Kid
This one took a few listens to grow on me. The beat isn't as impressive as previous tracks, but it works extremely well with Lamar's delivery on this particular track (which I'm sure Lamar realized as well). If the previous track, or really any that came before this, didn't convince you how good Lamar can be with making his lyrics flow together seamlessly, then here is a great example. The second verse is absolutely one of the best on here:
As I open this book and then burn up some of this reefer
My plan is to figure out the world and escape all my demons
I'm dying inside, I wonder if zion inside the heavens
A condom, a rollie, pain, a fat blunt and a mack 11
That's all I see in my life and they tell me to make it right
But I"m right on the edge of everest and I might jump tonight
Have you ever had known a saint that was taking sinner's advice?
Well it's probably you, am I right? if I'm wrong, you a f-cking lie
When I lie on back and look at the ceiling, it's so appealing to pray
I wonder if I'm just a villain, dealing my morals away
Some people look at my face then tell me don't worry about it
I give em back they deposit, no money, just total silence
I'm running, they say I'm wildin' a youngun with lack of guidance
That's hundreds of us with problems: more money, more drugs and violence
The hook sounds a little forced or out of place (and BJ the Chicago Kid isn't anything great), but as the case has been throughout
Section.80, the rest of the song is so good that this complaint can be forgotten pretty easily.
14. Blow My High (Members Only)
Lamar pays tribute to the late Pimp C, using C's hook from the ever popular "Big Pimpin'". The mood shifts back to a lighter feel and Lamar avoids touching any more serious matter. To be honest, this is a beat that sounds more suitable for a guy like Big K.R.I.T., but Lamar does a pretty good job with it. It also is a great track to put on the stereo when you're cruising through town (well, depending on what town you're cruising through, use common sense). I like this track; my only problem is that it just doesn't fit with the rest of
Section.80. It interrupts the momentum Lamar builds after "Rigamortus" and the following two tracks don't sound anything like this, so it's not a trendsetter either.
15. Ab-Souls Outro (Feat. Ab-Soul)
One of Kendrick's favorite collaborators comes to join Section.80 and drops a solid verse. Lamar's verse is also good, but the thing that plagues this song is the beat. Don't get me wrong; I love hearing jazz as supplement and the saxophone in the back brings memories of Digable Planets. Still, the beat, provided by Terrace Martin, is just all over the place. If this were the final track of the album, I'd give Martin a pass, being that a lot of hip-hop albums end with a beat that's certainly not up to par with the rest of the work (like The Roots "Web 20/20" off of
How I Got Over). But this isn't the last track. If there's any reason to sit through the beat (other than hearing Ab-Soul and Lamar's lines) is the final :20 which set the stage for...
16. HiiPoWeR
The best track of Section.80 (and that's saying something). Lamar brings in J.Cole (who are set to collaborate on a mixtape sometime soon) and Cole does his job
really fucking well. I had remembered that Cole produced nearly all of his acclaimed Friday Night Lights mixtape last fall, but I forgot how talented he could be when behind the boards. If you do listen to Cole's music, you'll notice that this beat would complement himself extremely well and I wouldn't be surprised if Cole just decides to jump on a remix of this in the near future. Yet, Lamar does as good a job as you could probably do with Cole's beat, giving three powerful verses. Had to love the lines:
Dear Lord, come and save me, the Devils working hard
He probably clocking double shifts on all of his jobs
Frightening, so f-cking frightening
Enough to drive a man insane
I need a license to kill
Im standing on a feild full of Landmines
Doing the moonwalk hoping I blow up in time
Cause 2012 might not be a f-cking legend
Try and be a f-cking legend
The man of mankind
Who said a black man in the illuminati?
Last time I checked, that was the biggest racist party
Finally, someone sane enough to put this Illuminati bullshit to rest (Jay-Z in the Illuminati? Right...). I'm still deciding whether or not this is the best track I've heard Lamar record to date, but regardless, it's one worth putting on repeat. What a way to close an album.
Closing Statement: And there you have it.
Section.80 is without a doubt a huge improvement over Lamar's previous two "albums" and should be considered Lamar's best work to date. One thing I notice about much of the new hip-hop albums that I hear today is that there's usually about 2-3 GREAT tracks, maybe 3-5 solid/good cuts, and the rest is mostly garbage or interludes. That isn't the case with Section.80. Lamar puts together not two or three GREAT songs, but nine of them (and you could argue "Rigamortus" belongs in that category as well). It's hard to find an album that rich anymore, with the last I remember being K.R.I.T.'s
Returnof4Eva. There are songs that don't stand out as much, most notably "Tammy's Song" and "Blow My High", but that doesn't necessarily mean they're garbage; they just don't fit with the rest of the material on here. Only one track, "The Spiteful Chant", is an absolute skip every time and it remains the only major black mark on an otherwise powerful and well put together album. I had to wait until July last year for the first truly great album of 2010, with Big Boi's release of
Sir Lucious Left Foot. The same goes for 2011, except this time, it's Lamar's
Section.80.
The Verdict: I'd buy this as soon as you get your next paycheck. We get about 2-3 great albums every year, and this is certainly one of them. So unless you want to continue to torture your ears with Weezy's new mixtape or whatever crap is out there, then I suggest you pick this up and also go get Lamar's previous two "albums" if you already don't have them. The hype is well deserved. Now we wait to see whether Lamar cements himself as another one of the Compton legends.
