From the reactions to Kendrick Lamar’s debut-album, it’s easy to see that the rap-community has been longing for a rap-record which is down to earth without being musically boring. Before releasing »good kid, m.A.A.d city«, K.Dot’s career had been promising to deliver what everyone was waiting for – that is how, for the first time in ages, a hype was created around a rap-record which was not based on a narcissistic ego and peculiar charisma (those who feel comfortable with it, might call it »swag«). Kendrick Lamar has fueled those expectations because he has an outstanding talent for rapping and storytelling. The sword of »Conscious-Rap« is hovering above those skills, but thankfully, the record is far away from Kweliesque escapades of pointing fingers. Instead, the album’s hit delivers the wish for his penis to swell up to the seize of the Eiffel-tower. A few »bitches« and patron-driven gang-activities later, no one thinks about that anymore – and still, noticeably, it’s the album of a reflected rapper. And it’s also an album which wants to be considered as such. It’s a record for walking long distances or for taking a train; »a short film«, according to the subheading. The beats are often shy, some even conservative, but still: That’s the way the listener is invited to get lost in puns and stories from C.P.T. With »Backseat Freestyle« or »m.A.A.d City«, two bangers break into the day dreams of Compton-Boulevard – but even though the tracks fire, they seem to be somewhat out of place here. Unfortunately, as playing time goes by, the album starts to drag like waiting for »Detox«. In the end, the west still has not found a successor for »The Documentary«. However, »good kid, m.A.A.d city« is one of the most coherent rap-records of the last years, thanks to its clear musical vision and storytelling-skills. To find that kind of talent, one has to go way back in rap-history.
Carmike
Comin’ At Yo Ass
Now-Again