Lamar has referred to this album as “classic worthy,” which generally would smack of hip-hop hubris, but at this point, three months after the album’s release, 7 of the 12 tracks have charted and become underground hits. While there are many well written think-pieces that analyze the album’s arc sonically, socially, lyrically, and any other way imaginable, all the casual listener needs to know is that Kendrick Lamar shocked everyone by coming out with a sophomore album that is comprised of perfect songs that seamlessly blend, leaving the listener with an album that can be played on repeat for days, each listen providing both the comfort of familiarity and the surprise of newfound complexities. Good kid, m.A.A.d city, however, is one of the few that stands up to, and if anything, rises above its hype. city, would undoubtedly make it possible, at this very moment, to write a thesis titled “The Critical Response to Kendrick Lamar.” For the skeptical new listener, however, this kind of massive press that seems to stem from nowhere can certainly strain credulity. The intensely huge amount of bandwidth that has already been used by internet commentators on Kendrick Lamar’s debut album good kid, m.A.A.d.
“Martin had a dream / Kendrick has a dream / All my life I want money and power / Respect my mind or die by lead showers”-from “Backseat Freestyle”
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