The hard part is keeping it, motherfucker”. Dre in which he states “Remember the first time you came out to the house? You said you wanted a spot like mine.
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This explosive opening track features production by Flying Lotus, a funky as shit bass line provided by frequent Flying Lotus collaborator Thundercat, a musician who’s distinctive and warm sound can be found everywhere on this record, some floating G-Funk reminiscent synths in the background, and a short spoken caveat by Dr. George Clinton adds some vocals and has a heavy songwriting influence on the opening track, “Wesley’s Theory”, a song that deals with fame and its consequences, a theme that runs through much of the album and is the concept behind the metaphor that is its title. Lamar pulls in a truly impressive list of collaborators to build the unique sound of To Pimp A Butterfly. The song is accompanied by an almost creepy sounding, chilling, bassy, thumping, and overwhelmingly Funkadelic influenced beat.Ī still from Kendrick Lamar’s music video for “i”, the first single from his new album He raps “I can dig rapping/but a rapper with a ghostwriter, what the fuck happen?/I swore I wouldn’t tell, but most of ‘yall sharing bars like you got the bottom bunk in a two man cell”. This influence was made apparent on the two singles “i”, an upbeat song which features an interpretation of the Isley Brothers composition “That Lady”, and “King Kunta”, a track fueled black pride, determination and excellent rap shit talk, the closest Kendrick gets on the record to the boastful punch lines of GKMC cuts like “Backseat Freestyle”. In interviews leading up to the release of the album Kendrick himself stated that he was very influenced by Parliament and other classic 70’s and 80’s funk and soul acts for this record. He traded the sleek, modern, more commercial production found on a majority of GKMC tracks for a warm, soulful, funky, and more timeless sound. The pressure for Lamar to follow up an album like that couldn’t have been greater, with the Compton MC setting the expectations higher and higher for himself with a slew of incredible guest features following the album from his infamous “Control” verse to his BET Awards cypher to stellar appearances on many of his peer’s records, such as Pusha T’s “Nosetalgia”, Flying Lotus’ “Never Catch Me”, and Schoolboy Q’s “Collard Greens”.īut amazingly enough, it seems that Kendrick has managed to not only meet the expectations set for him by his already incredible body of work, but also to shatter those expectations and carve out a new frontier for himself as an MC and an artist.īe warned, if you go into this album wanting more bangers like the ones you got on good kid, m.A.A.d city, you will be sorely disappointed. The album tackled complex and dark issues like alcoholism, addiction, crime, death, greed, poverty, violence, and love in a mature and artful way while simultaneously being catchy and infectious enough to capture the attention and love of the entire mainstream rap audience and rocket Lamar into superstardom. The critically lauded major label debut was a concept album based around a non-linear narrative, depicting the trials and tribulations of Lamar’s adolescence in his native Compton, California.
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To Pimp A Butterfly was one of the most anticipated albums of 2015, as it has now been three years since Lamar’s sophomore effort good kid, m.A.A.d city dropped. It’s going to be years before we really know if this album will truly be a bonafide classic but what we know right now is that it’s pretty fuckin incredible.
#Kendrick lamar pimp a butterfly homeless man god full
On Monday night, at around one in the morning, Kendrick Lamar’s third studio album To Pimp A Butterfly hit the world like a meteor, a full week before its scheduled release date, and one of those rare moments occurred. But sometimes, on some very rare occasions, an album hits the world like a meteor, and the next day everything is different. Usually it takes the aid of several years following the releases of these albums to be able to see the full scope of their influence on music as a whole.
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In Jazz there exists a world before Kind of Blue, A Love Supreme, Ah Um, and a world after. In Hip-Hop, there exists a world before releases like Enter the 36 Chambers, or The Chronic, or The Low End Theory, and a world after. For an album to be a true “classic”, it must create a rift in the history of music. Good or even great releases are often lauded with the term, which in reality should be used sparingly, only for albums that significantly change and impact their genre as a whole. In the music world the word “classic” is thrown around very liberally when giving albums praise, especially in Hip-Hop. Every so often in music, there comes a rare moment when you can see, or rather hear, history being made right before your very eyes.