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Nathan Howard
Nathan Howard

Kendrick Lamar Good Kid Maad City Cd Download HOT!


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. It was released on October 22, 2012, through Top Dawg Entertainment, Aftermath Entertainment and Interscope Records. The album features guest appearances from Drake, Dr. Dre, Jay Rock, Anna Wise, and MC Eiht. It is Lamar's major label debut, after his independently released first album Section.80 in 2011 and his signing to Aftermath and Interscope the following year.




Kendrick Lamar Good Kid Maad City Cd Download



Kendrick Lamar has always been an artist who moves with absolute intention. Since his debut commercial mixtape Section. 80, the unparalleled Compton wordsmith has made a habit of constructing lyrically and thematically dense concept albums with the intention of telling stories of the Black American experience through his eyes. And his major-label debut, good kid, m.A.A.d city, is just that and so much more.


O.verly D.edicated [DatPiff download, 2010]Despite Young Thug, Nicki Minaj, the incomparable Lil Wayne, etc., my working assumption is that mixtapes are uneven-by-design promotional come-ons doubling as status markers for early adopters. But with the artist formerly known as K-Dot so iconic he's marketing outtakes as a concept album, it was clearly time to check out this easily downloaded 2010 double-dare-ya, the crown jewel of more freebies than I can list. And soon I found it was on a par with official debut Section.80. Only three classics: the besotted "Alien Girl," the merely sexed-up "P&P 1.5," and "Average Joe," a position paper for the gangsta realism to follow. But the many cameos document a party-crashing crew utterly delighted by how good they are at this shit. There's a sense of fun and antic possibility here Lamar abjured on his road to iconicity. In pop music, that's a spiritual resource there's never enough of. A-


good kid, m.A.A.d city [Top Dawg/Aftermath/Interscope, 2012]The rap-versus-real dichotomy Saigon moralizes anthemically Lamar enacts softspokenly in this so-called "short film." (Concept album? In 2012? Nah.) The accuracy of its intimate autobiographical details is irrelevant--what matters is that this album helps you feel the internal struggles of a good kid who may not be good enough as he risks derailing his life by succumbing to the kneejerk loyalty, petty criminality, and gang warfare of the hood he calls home. Nobody is heroic here, including Lamar--from Christian strivers to default sociopaths, all the players are confused, weary, bored, ill-informed, with disconcertingly naturalistic, almost verit? skits dramatizing their limitations. The commitment to drama has musical drawbacks--there are no dancefloor bangers here, and not many fully distinct songs, although more hooks than you'll first believe. But the atmospheric beats Dr. Dre and his hirelings lay under the raps and choruses establish musical continuity, shoring up a nervous flow that's just what Lamar's rhymes need. A-


Damn. [Top Dawg/Aftermath/Interscope, 2017]Thematically, these thoughts of a pushing-30 superstar are almost conventional compared to the rest of his official output--good kid, m.A.A.d city's top-this narrative, To Pimp a Butterfly's political ambition and jazz-hip sweep, even untitled, unmastered's barrel-scraping scatter. Old head Greg Tate is reminded of De La Soul Is Dead--it's the kind of album you make after you've experienced fame's drawbacks from the inside. But this one's much harder to resist. Lamar's pensive self-doubt and modest buying habits are reassuring if you wish him well as a person, as why shouldn't you, and the simple keys-percussion-chorus beats flatter his cushiony timbre. Musically, Damn. is as calm as To Pimp a Butterfly is ebullient; lyrically, its only misstep is a pseudo-scriptural "don't call me black no more" that inspired Tate to quote Franz Fanon. Remaining skeptics should proceed directly to what vinyl fetishists know as side two, with its hit single, its "Lust"-to-"Love," its remembrance of ass-whuppings past, and its autobiographical miracle. He got what he wanted without squandering what he had. A-


If, like me, you've been listening to Kendrick Lamar's good kid, m.A.A.d. city all week, you've probably noticed that in addition to Kendrick's impeccable flow, the whole record is backed by great production too. One of the finer moments beatwise comes on album closer, "Compton," which was helmed by veteran producer Just Blaze. There aren't many rappers who don't sound great over a Just Blaze beat, but this track (which happens to include a killer guest verse by Dr. Dre) is immediately up there as one of those great hip hop joint efforts like Jay-Z and Eminem's "Renegade" or Snoop Dogg, Dr. Dre and D'Angelo's "Imagine."


If, like me, you've been listening to Kendrick Lamar's good kid, m.A.A.d. city all week, you've probably noticed that in addition to Kendrick's impeccable flow, the whole record is backed by great production too...\nRead More


Kendrick Lamar released his novelistic hip-hop instant classic good kid, m.A.A.d. city 10 years ago today. We celebrated by publishing a thoughtful examination of the album by Stephen Kearse. Kendrick himself is marking the occasion by livestreaming his concert in Paris for free.


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