Kendrick Lamar - Good Kid, M.A.A.D. City [LP] [Bonus Tracks] (Vinyl/LP)

Good product

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

First off, Kendrick Lamar is a phenomenal storyteller and this album is more like an autobiography than a simple body of music. If you listen to every track in order a few times first you will begin to get a feel for the story and how each of the tracks link together, but the joy of it is that even after listening to it for many weeks, I am still hearing new bits I missed the first time round and am understanding more and more about the music as time goes on. My only warning would be that this album is as I've described above; it is quite hard work. The singles Swimming Pools and Compton are great 'stand-alone' tracks but the vast majority of the other songs can only be fully appreciated in context of the rest of the album. You do need to listen to the record 'properly' and give it time in order to get the most enjoyment out of it, and for that reason it's probably not for everyone. But if you are patient with this CD you will not regret the time you invest, I've no doubt this will be regarded a modern classic in years to come.

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.

Don't get me wrong, this, by the standards of mainstream hip-hop in 2012, is a really good album. Maybe even a great album. So why only 4 stars? Largely because it just doesn't sound as good (to me at least) as Section 80 did after a similar number of listens; it isn't as varied in tone or as different from the majority of contemporary hip-hop releases and I think, ultimately, that was always going to be my problem with this album. This is an album that needs to sell in order to recoup its budget, which is why it sounds just that little bit more commercial than Kendrick's earlier stuff. The kids seem to love him though and he isn't compromising his undeniable talent too much...yet...

I didn't know much about Kendrick Lamar before purchasing this album, at first I felt like he sounded like a mix of Kanye and Lil Wayne, though, while listening to the album I soon noticed that he's got his own style... It's always a matter of taste, in my opinion, if you're expecting another "straight outta compton" rapper in the style of N.W.A. or Dre's old days you might get disappointed... though if you're expecting a great rapper of "compton's next generation" with great storytelling and rapping skills you will definitely not be disappointed! I think good kid, m.A.A.d. city is one of the greatest albums of 2012 and we can expect a lot more great albums by kendrick lamar! In conclusion: a must-have for every rap music fan!

2° album dell'anno per MTV, 6° per Rolling Stones. E' già candidato a diventare un classico. Incredibili capacità liriche di KDot, featuring azzeccati e beat ricercati (tra i prod. Pharrell, T-Minus, HitBoy e Just Blaze). Unica pecca della versione deluxe è che le 3 tracce extra sono su un secondo disco rovinando un po' la continuità d'ascolto. In ogni caso un disco consigliatissimo!

Kendrick Lamar's debut effort Good Kid: M.A.A.D City [Deluxe Edition ] materializes just at the right time to give West Coast rap some renewed notability. Kendrick Lamar is one today's most unique rappers. Left of center, he joins the likes of Drake and KiD CuDi, paving his own pathway. Good Kid m.A.A.d City is not only one of 2012's best rap albums but also one of the year's `crowning achievements.' Conceptually structured around its title - Kendrick is ultimately a good kid trapped in Compton, which is chucked full of vices within the sins/demons of a bad, rough city - Lamar details his early life experience. "Sherane a.k.a. Master Splinter's Daughter" opens with a prayer that ultimately alludes to the title of the album. Featuring soulful, old-school production by Tha Bizness, "Sherane a.k.a. Master Splinter's Daughter" finds Kendrick narratively lusting for a 'no-good' girl. Lamar's rhymes are agile and well conceived, eliminating need for a hook (there is none). As customary throughout the effort, an interlude (skit) foreshadows successive tracks, much like a novel. On "B*tch, Don't Kill My Vibe," producer Sounwave's production incorporates a Boom Clap Bachelors sample ("Tiden Flyver"). Over a lush, west coast characteristic sound, Lamar is on autopilot, admitting his improprieties while also admonishing anyone to attempt to block his individuality as a person and artist. Lamar's vocal inflections and athletic flow help to make this cut another brilliant contribution. "Backseat Freestyle" sports some of Hit-Boy's best production work. The Intro/outro is particularly notable by Lamar: "Martin had a dream, Martin had a dream, Kendrick have a dream..." Lamar's hook is equally confident, where he desires 'money,' 'power' and 'respect,' with more colorful terminology of course. Lamar remains relevant and uncompromising, managing themes of childish fodder (desiring material things like money) yet also lofty self-esteem and aspiration ('I can be the greatest'). "The Art of Peer Pressure" begins with production yielding a 'stoner' vibe. It changes upon the first verse, accelerating the tempo and opting for a less lush/lazy sound. Playing like the `tone poem' it is, unpredictability here parallels `unpredictability' of peer pressure. The outgoing interlude, confirms this notion, referencing drug-use. "Money Trees," produced by DJ Dahi, samples indie-pop band Beach House ("Silver Soul"). The cut continues to possess a characteristic west coast vibe. Jay Rock guests on verse three ("Dreams of me getting shaded under a money tree...") while Kendrick holds it down with numerous clever lines ("I f___ Sherane then went to tell my bros/then Usher Raymond "Let it Burn" came on...") "Poetic Justice" eclipses the former two cuts, featuring Drake in top-notch form. Lushly shaped by Janet Jackson's "Any Time Any Place," Scoop's production is terrific. Anchored by a simple, though effective hook ("You can get it...and I know just, know just...what you want/poetic justice, put it in a song"), "Poetic Justice" is one of the album's strongest moments. "good Kid" is produced by Pharrell Williams and features Chad Hugo (The Neptunes) on the hook. Soulful yet mysterious, as always, Kendrick continues to compel and lure in the audience. Companion track "m.A.A.d City" contrasts "good kid's" soulfulness in favor of harder production. Kendrick's rhymes are incredibly emotional while fellow Compton rapper MC Eiht delivers a compelling verse. Both "good Kid" and "m.A.A.d City" are `A' cuts, like the majority of good Kid m.A.A.d. City. Breakthrough single "Swimming Pools (Drank)" finally appears, featuring exceptional production work from standout T-Minus. Kendrick Lamar manages to tie swimming pools and alcohol together incredibly, most notably on one of 2012's most memorable rap hooks: "...why you babysittin' only two or three shots? I'mma show you how to turn it up a notch/first you get a swimming pool full of liquor, then you dive in it/pool full of liquor, then you dive in it..." Despite its reprised greatness on the album, "Swimming Pools" may not even be the album's best song! "Sing About Me, I'm Dying of Thirst" clocks in at an incredible twelve-plus minutes. The first portion ("Sing About Me") samples jazz guitarist Grant Green. "When the lights shut off/and it's my turn to settle down/my main concern, promise that you will sing about me..." Lamar sings on the hook, matching the mysterious, somber vibe of the cut. The next portion, "I'm Dying of Thirst," contrasts the production and opts for quicker tempo. Quite mysterious though captivating, "I'm Dying of Thirst" loses no momentum A notable skit closes the cut, in which Kendrick's grandmother urges Kendrick and friends they are `dying of thirst' in relation to their `faith.' Cleverly, the opening prayer from "Sherane" is placed in context. "Real" proceeds, featuring lush and soulful production. Not the cream of the crop, "Real" is above average. Closing cut (standard edition) is third single "Compton," featuring Dr. Dre. Produced by Just Blaze, "Compton" samples Formula IV ("What's This World Coming To"). Kendrick and Dre cleverly split verses, ultimately summing up the sentiment of "Compton" via its hook: "Compton, Compton, ain't no city quite like mine..." The Deluxe Version includes additional cuts, most notably single "The Recipe," also featuring Dr. Dre. As previously stated, Good Kid: M.A.A.D City [Deluxe Edition ] as it is one of the year's very best albums, easily. Lamar ultimately conceives the next great concept album, which is no easy task. With no misses of note, good Kid m.A.A.d City is even better than advertised.

Una de mis principales preocupaciones comprando un disco de vinilo por correo era que llegara maltratado. Sin embargo, llego en perfectas condiciones y tal cual lo esperaba.

コンプトン出身の25歳、西海岸のラップシーンを引率する次世代のリーダーとして、現カリスマのドクター・ドレやスヌープ・ドッ グから既にお墨付きをもらった注目株、ケンドリック・ラマーのインディ・レーベルからの処女作「Section 80」に続く2枚目。メジャ ー・レーベルからのリリースは初となる。 本国では発売初週にして20万枚の売上を挙げ、ビルボード・チャートでは第２位の位置づけが確実視される等、本年リリースさ れたブラック・ポップ作品としてはフランク・オーシャンに並ぶ注目作。本国ヒップホップ誌「XXL」のレビューでは、97年の創刊以 降15枚しか与えられていないという最高ランクの評価「XXL」を付与され話題となっている（ちなみに今までこの格付けを与えら れた作品は、ローリン・ヒルの「The Miseducation of Lauryn Hill」から近年ではカニエ・ウエストの「My Beautiful Dark Twisted Fantasy 」まで、何れもクラシック級の名盤揃いだ）。 本作は治安の悪いコンプトンの都市に生を受け、元は純真だった一人の少年が周りの悪環境に抗えずその色に染まりゆく様を、 スキットを曲間に挟み映画風の構成に仕立てた作品。少年とは他でもないラマー自身であり、自叙伝的な色合いの濃い作品だ。 作題が示す意味も興味深い。「Good Kid」は少年期のラマー、「m.A.A.d City」はコンプトンを指すことは上述したコンセプトの通 りだが、「m.A.A.d」はさらに「My Angry Adolescence Divided」「My Angel's on Angel Dust」に含まれる頭文字を指し、思春期 に於ける屈折した感情や、薬物への誘惑等都市に渦巻く陰の部分を二重・三重に包む造語であるという。 彼自身「前作と共通点は何も無い」と明言する通り、本作は従来通り西海岸チームの気心知れた身内で製作されながらも、サウ ンド面で前作とはかなり感触の異なるものとなっている。生楽器やサンプリングを駆使し何処か音に温かみのあった前作とは対 照的に無機質な電子音とビートが多くを占め、全体から受ける感触は不穏かつダークだ。ここが評価の分かれ目だと思う。 淡々とライムを刻むラマーの声の背後に赤子の声かと思われるSE音が不.気味に谺する「Sherane…」、ビートと角材を叩いた様 な金属音、ラマーのユーモラスなライムの３者で構成され異様な空気を感じさせる「Backseat Freestyle」、2トラックの組曲構成を とるタイトル曲等聴き処は多いが、最も惹かれたのが終盤に置かれた12分に及ぶラップ・バラード「Sing About Me, I’m Dying of Thirst」の存在だ。クインシー・ジョーンズ「Maybe Tomorrow」の甘美なサンプルが繰り返される中、他曲より内省的なラマーのラ イムが告白調に続く様は、尖ったトラックの連続に若干乾き気味のリスナーの耳と心に一気に潤いを与えるだろう。 カニエの作品の様にラップ領域以外のリスナーを自ら引き込むアピールは控えめだが、細部迄練られたサウンドはコアなラップ好 きだけの嗜好物にとどめるには惜しいクロスオーバーな魅力があると思う。 ※デラックス盤はドレやメアリーJブライジといったラマー自身のアイドルをFeatした3曲を収録のスペシャルCD付。本編とは毛色が 異なりポップで聴きやすく、こちらの方が本編より好きという方もいるだろう。入手できる内に。

Es ist einfach Wahnsinn, was Kendrick hier auf seinem "ersten" Studio-Album abliefert.. habe die CD schon lange und mit großer Vorfreude vorbestellt und wurde alles andere als enttäuscht. Mr. Lamar bietet auf diesem Album Hip-Hop vom allerfeinsten und stellt den Hip-Hop auf ein ganz neues Level, bin seit Jahren großer Eminem-Fan und bin somit generell offen für alles aus dem Hause Aftermath, Interscope, Shady Records und co. Aber das Album übertrifft jegliche Messlatte, die seine vorherigen Mixtapes OverlyDedicated und Section 80 absolut in den Schatten stellt (beide fand ich sehr gut) Kurz gesagt : Kendrick kann mehr als man ihm eventuell zutraut, unterstützt diesen Artist das Album ist absolut sein Geld wert. Hoffe auf einen Song von Kendrick mit Eminem .. das würde alles zerstören :D