To Pimp A Butterfly

THIS DICK AINT FREEEE

"Shit don't change until you get up and wash yo' ass"... I just... c'mon man

🐐

Where to begin? The night of March 15, 2015. At about 10PM this album is accidentally leaked on iTunes. It disappears for a bit, and then I guess the label decides to just go with it and the album officially releases an hour later. I stay up late listening to it, just wading. The next day, we're flying to Georgia for a spring break/birthday trip, and I burn this onto a CD to take it with me, drawing a kaleidoscopic butterfly instead of even writing the title. The whole week we're driving around, this didn't leave the Ford Taurus. No skips, no replays, just an unending loop. For me, the album first became associated with that trip, and because it wasn't home for me, TPAB became an escape. No matter where I am, I listen to this and I'm transported elsewhere. Not necessarily to where I was that first week (mind you, I've listened to it in a million places by now), but somewhere beautiful. Somewhere that isn't home, but feels home. There's a song on here, "Momma," about Kendrick going "home" to (Mother) Africa. Throughout the song, he raps about a feeling. "This feeling is unmatched; this feeling is brought to you by adrenaline and good rap." By the time this came out, I was well into my journey into becoming a real fan of music and of hip hop, and this album gave me a new, unmatched feeling. It still does. I don't always rank this the highest when I think through my favorite albums, in this genre or all genres, but when I listen to it, I get that feeling. "I've been looking for you my whole life, an appetite for the feeling I can barely describe. Where you reside?" In his search for that feeling, Kendrick created it for me, and surely for countless others. Kendrick is an artist of undeniable acclaim and ability. He made at least one masterpiece before this (GKMC), and I'd argue he's made at least one more since (MM&TBS). But this album is on some other plane of existence to me. It has some of the densest and most thematic writing he (or most, if not all, rappers) has ever done, and it's couched in music that is varied, exploratory, and extremely listenable. Entire songs devoted to self-love, self-hatred, vices, temptations, the devil. Even the song about sex is presented in a metaphor about walls, tying together the girl he's with and her man in prison. The album is so strong that its b-sides are released the next year as a second, also great album. I could go on and on about this, talking about the production or the features or individual songs, because it's just so densely packed with artistry. I posed the question: will we get another album on this level in our lifetime, hip hop or otherwise? Some say we already have, and some never connected with this to begin with. But for me, I'm doubtful. I don't doubt the ability of artists working today or tomorrow, but I simply can't imagine the force of an album that could hit me harder and stick with me longer than this. I cautiously await the day that it may happen, but until then, I'll keep running this back. Favorite tracks: Not a single song on the album that I don't love. The most special to me are probably Momma, Complexion, and The Blacker the Berry, and during today's listen Institutionalized hit me harder than usual. Album art: Black and white, grey border, Kendrick appears in the center holding a baby amid a group of Black men taking over the White House. Lyrically, it's represented in both "Wesley's Theory" and "Institutionalized." By now, it's undeniably iconic. I hope it scares the right people. 5/5

What a combination of influences.He brings so much together here. Nothing else sounds like this. This is one of the most original/experimental hip hop albums ever. All over the place in a great way. Love his different voices throughout. Very theatrical and atmospheric all at once. Got some great people on this too - particularly Thundercat. King Kunta is my favorite track and the one that immediately drew me in to him.

I greatly enjoyed Mr. Lamar's treatise on the current problems facing people in urban population centres

I'm always complaining about how basic most hip hop and rap is, but you can't easily level that criticism at To Pimp A Butterfly. The opening track is dizzingly detailed. Thankfully, the lame and childish attempt to parody early seventies soul only lasts a few seconds before a knotty swaggering rhythm kicks in. A sinuous synth bass is interwoven with a chorus that cuts against the primary rhythm (I'm hearing the influence of George Clinton here), the main rap, seemingly arrhythmic Fender Rhodes tinkling, horn hits, and so on. It's a pity the lyric content isn't more interesting, but you can't have everything. You could listen to this track a dozen times and not catch everything. More to the point, it's tastefully arranged and its interesting. Again uncharacteristically, the music that underscores the interlude that follows isn't tossed off. It's legit modern jazz with hip hop influenced drums. The rap is the usual bitches and money whinging. Boring, but musically it's interesting.Oh, okay, I thought I was losing my mind. The next cut King Kunta takes several steps back in terms of complexity and interest. This tune has a driving rhythm and bass line, but it's pretty darned straightforward musically. Can't fault the production--lots of bells and whistles, but it isn't enough to sustain interest.The album recovers nicely with Institutionalized. Broken rhythms, choral elements which cut against the rhythms, production tricks, subtractive strategies straight out of Stockhausen, evocative use of jazz samples, and for once Kendrick Lamar has an interesting subject, although he doesn't approach it with much insight or grace or wit. A missed opportunity.And so it goes. In terms of quality, To Pimp A Butterfly is all over the map. The production is consistently first rate. Kendrick Lamar is a poor lyricist and barely an okay rapper. Sometimes, the tunes are basic and boring--at other times, they point at the complexity and interest that's possible in hip hop. Every time I started to get drawn in by a creative arrangement or an original musical idea, I'd get pulled out by Kendrick's tedious raps or by a track which tried to get by solely on production tricks.It's frustrating, but at least there's some ambition here.

I admire the scope and ambition of this work. I like the diverse range of musicianship and the attempts to integrate jazz into the hip hop lexicon. Some of the word play is impressive. However, it all adds up to something akin to a complex plumbing system; a technically adroit feat that I couldn't begin to try to replicate myself, but ultimately quite boring to behold.

The guest list. The beats. Kendrick. The message.. Everything about this album is absolutely unreal and it's so hard to pick favorites. Favorite tracks: "For Free?", "Alright", "King Kunta", "The Blacker the Berry", "Wesley's Theory"

Genre: Conscious Hip Hop 5/5 Hip Hop has come quite a ways since its inception. The artists involved over the years have pushed the genre to its breaking point, changing the definition of hip hop year to year, and sometimes month to month. Seismic eruptions in the game, from The Chronic to Illmatic to Aquemini, are all vital pieces of art that will be respected for years to come. To Pimp a Butterfly sets itself apart from all of those. The sheer magnitude of what this album is doing throughout its playtime is some of the most marvelous music making we as humans have put to wax. This album does it all. From its unbelievable jazz-influenced production, its seamless use of nearly every theme hip hop has come to know and love (which, lyrically, Kendrick took to the umpteenth), all the way to its narrative flow, including a poem that grows throughout the album to eventually culminate in a facsimile conversation he’s having with TUPAC SHAKUR. It’s a true artist at work. This album is a perfect 5/5, 10/10, 100/100. Whichever way you slice it, there isn’t a single bump in the road here, nothing to take your mind away from the overwhelming musical explosion that’s happening in front of you. Kendrick made the perfect album. Every song is a treat and every moment is executed flawlessly. Shoutout to everyone involved in this project. They did a spectacular job.

The instrumental hook is instant in Wesley's Theory, and the rest of the album just goes. On a relisten, I notice the jazziness of the interludes for the first time: I think they were placing jazz and speech juxtaposed, as in a venue, deep in my brain and long before I was interested in jazz. "This convinced me that rap is good, actually." It's cliche and not a little embarrassing, but far more true than shameful.

The most important hip hop album of the decade, with hard-hitting lyricism, flow beyond compare, and incredible jazz and funk-influenced beats

Am I biased against hip-hop? - You bet I am. But this album isn't helping. 1/5

Where to start with Kendrick Lamar's "To Pimp A Butterfly", one of the most celebrated and significant albums of the 21st century so far? First of all, give it the attention it deserves. This is not for a one-off casual listen during a commute, cooking a meal or scrolling through social media. More than most of the other albums I've heard on the list so far, this one really demands repeated listens, multiple readings of the lyrics, an uncovering of Lamar's intentions, a deep dive into the analysis and interpretations of the themes. "To Pimp A Butterfly" is denser and darker than its predecessor "good kid, m.A.A.d city", even if it revisits many of the same ideas. While I initially liked "good kid" more for its musical content, this one is much more ambitious in its storytelling and scope. The storyline is told in a sequence of bookmarks conveniently repeated throughout the album, which eventually emerge as a poem read to Tupac in the album's conclusion, "Mortal Man". The basic progression: Lamar begins as a "caterpillar" in the music industry, consuming all around him and hustling to survive. He becomes trapped within society's "cocoon" as well as a cocoon in his own mind, struggling against self-doubt, institutional racism and material temptation. Eventually, he finds his "butterfly" and the means within his platform to empower others, surviving and thriving as a Black man in America. It's hip-hop's "Lamb Lies Down on Broadway", delving into some very weighty themes and concepts in a nuanced, thoughtful way. If that might sound like absolutely no fun and a chore to get through, go ahead and just bop along to "King Kunta"… but you'd be missing out on the richly intense world Lamar created here. For example, listening to opener "Wesley's Theory" might be a fun experience for Thundercat's bubbling synth-bass, the rich array of hooks and Lamar's rapid-fire bars, but understanding its place in the album's storyline elevates it to more than just a song on an album. It's a pivotal stage of Kendrick Lamar's life journey, a stanza in a poem, a scene in a play, a chapter in the latest Great American Novel. Of course, textual and thematic analysis is one thing, but as this is first and foremost a listening experience, we turn towards the songs. Many of them might seem impenetrable at first: strong jazz influences, lots of downtempo passages, low on the anthemic choruses or hard grooves, but they all start to gel together in line with the underlying narrative. “The Blacker the Berry” is a powerful politically-charged stand-out, featuring aggressive boom-bap beat and a fantastic chorus from guest Assassin. "For Free" boasts a surprising live jazz arrangement, alongside one of the most free-wheeling and frantic of Kendrick's verses at the climax. "For Sale" and "You Ain't Gotta Lie" are lovely, laid-back jams, very easy on the ear even if one of them is literally personifying the Devil. Keeping the album even more accessible and fun - no easy task given the weight of the concept - are "King Kunta" with its addictive bassline, the smooth, sensual funk of "These Walls", and the all-out party in the first half of "i". Lamar's vocal performance is astonishing: dramatic, theatrical, chameleonic. In "Wesley's Theory", he introduces a sleazy Uncle Sam voice to represent the state. In Obama’s favourite song of 2015, "How Much a Dollar Cost", Lamar transforms into God in the guise of a homeless man. In "u", he commits to tape some of the most brutal self-laceration I've ever heard, all with stunning vocal range and dexterity. "To Pimp A Butterfly" is a fantastic, rich and masterful piece of work, but I'd stop a little short of loving every minute of its 78 minute runtime. If I’m being completely honest with myself, musically it does start to lose me in the middle. "Hood Politics" and "Complexion" are solid but a little more repetitive and not as dynamic as some of the other tracks, and the musical half of "Mortal Man" feels a bit unnecessary after the cathartic conclusion of "i": it could have perhaps worked better cut to the appended conversation/poem. I’m ultimately marking this a (high) 4 because my respect and admiration for this record outweighs my personal enjoyment of it, but you shouldn’t need to read these words any more to understand this album is an incredible piece of art. Just go ahead and immerse yourself.

I remember the first time I heard Wesley's Theory. I was absolutely wowed by the message and the production; I had never heard anything like it. Now that I've heard this entire album, I feel even stronger: there is nothing else quite like this album. Kendrick Lamar has a lot to say about the state of politics, inequality, and being Black in America and worldwide, and he doesn't waste a single second on these tracks talking about these topics. Even the album art makes a confronting statement, communicating a very charged, thought-provoking, detailed message, a message that makes many statements in one image. It all comes full circle with a mostly spoken world closing track explaining meaning behind the album title "To Pimp A Butterfly". As if that's not enough, Kendrick uses several Black-defined and influenced genres (funk, soul, jazz, to name just a few) and modern, fresh, audibly intriguing production across this album to create a progressive and elevated hip-hop experience. I won't say that I love every song, but damn if the production, lyrics, and style just don't keep me intrigued and curious all throughout. I wanted to keep listening, and I want to listen again. In my opinion, this is easily one of, if not THE most important hip hop albums in the past decade or more (disclaimer: I'm so incredibly white so please don't take my word for it). It's art, it's protest, it's love, it's hate, it's poetry, it's politics; it's black struggle and black power.

Some of the tracks I enjoyed to background music. But the vocal style just isn't my thing.

How to follow up on a great album like Good Kid, M.A.A.D City? How about... like this? This album is absolutely perfect. It's everything I want from a project; a true "start-to-finish" album that is cohesively and thematically tied together with outstanding lyrics and music, all delivered with stunning skill and excellent storytelling. Yep, thats a 5 right there.

Beautiful Storytelling. Also a sleeper album as opposed to GKMC, but it is a mainstay of excellent hip-hop.

I think this has been too hyped for me. Big fan of the genre but everyone always saying Kendrick is at the top of the game has let me down every time I try to do the deep dive into his work.

Couldn’t make it through another rap album about dicks, bitches, hoes, and N words.

Overlong, self-indulgent bullshit with no redeeming features.

Didn’t make it very far in before I realised that life is short and I didn’t want to spend 80 minutes of it listening to this kind of shite

Its a legendary album no doubt. And I know it ranks very highly for many People. But did not see the appeal Im not a fan of rap and hip hop post 2005 and this album is not an exeption

Worst music ever.

Front to back, what an incredible accomplishment. Almost every single track hits. The whole record flows perfectly, it’s stacked top to bottom with great features and guest musicians building out the deep textured arrangements. Bits of Jazz, Funk, Soul, everything gets thrown in here to make a truly unique record. Still sounds fresh 8 years later, lives up to every bit of hype there has been about it. Side note: Certainly an album that I feel really defines what this project is all about. Anybody should give this a shot no matter how far out of their comfort zone or cultural experience this is. It truly feels like a privilege to experience such a complete artistic statement. Top tracks: King Kunta, These Walls, u, Alright, The Blacker The Berry, i

Bitch where you when I was walkin'? Now I run the game got the whole world talkin', King Kunta With To Pimp a Butterfly, Kendrick Lamar has created a modern day masterpiece that transcends the boundaries of hip-hop. The album is a musical and lyrical tour de force, exploring the complex realities of African American life and culture in the 21st century. He combines diverse influences, from jazz and funk to spoken word and soul, to craft a rich and innovative sound that showcases his poetic prowess and social consciousness. The album tackles themes such as racism, oppression, self-love, depression, and redemption, with honesty, courage, and creativity. In addition, the album features some stunning singles, such as “King Kunta”, “Alright”, “u”, and “The Blacker the Berry”, which are up there with Kendrick’s best. For instance, “King Kunta” is a powerful homage to his roots and influences, while “u” is a heartbreaking confession of his inner struggles and guilt. To Pimp a Butterfly is not just an album, it is a cultural phenomenon that will resonate with generations to come. It is a work of art that deserves to be studied and celebrated for its artistic excellence and its profound message. This album is a masterpiece that earns 5 stars. Thank God for Rap.

Top 5 rap album all time. Incredible instrumentation and well communicated story that links back to the poem at the end of the album. I find something new every time I put this on

Another masterpiece from Kendrick. I personally prefer GKMC as an album but this one is perhaps more culturally significant. It contains "Alright", which was then used in the black lives matter movement which started after the killing of Trayvon Martin and others, which is also referenced on this album. The album is densly packed with ideas that will take hundreds of listens to fully un pack. There's so much to discover in here. 5/5

I think I just listened to art. Only album in this list so far I’ve listened to twice in a row

One of the greatest albums ever. Jazzy, inspirational, prophetic, genius

I tried to listen objectively, but about halfway through I couldn't stomach any more. Far too self-referential, far too self-indulgent, far too much profanity - I'm not against profanity, but only if it holds value and if it's gonna be overused to the verge of losing all value, then what is the fucking point?

Wash your ass because this is fucking dog shit

How Kendrik Lamar and my kids expanded my worldview I've heard so many good things from the young kids about Kendrick Lamar. I started this album and was like, "it's gotta be me. I'm not hearing 'it.'" Adler heard me listening to this album and was like, "no way. that's my favorite album." Then Sylvia walked in the kitchen and said something about how To Pimp a Butterfly is one of the greatest of all times. So..tell me why. And off they went. I was so enthralled with what they were saying and the intelligence and thought behind it I started to lose focus. Adler spoke about Kendrick Lamar's quadruple entendres, Sylvia spoke to systemic racism in American culture and encourage me to think about history from outside my white woman perspective.(Like mom, don't be so freaked out by the N word. there is so much more going on) They both said to pull up the lyrics and really spend some time with the album. I went back and restarted the album and followed their suggestions. The layers of sound and meaning started coming through. There is so so much going on here. I need to spend more time with Kendrick. I really enjoyed this lesson, the beats, the story behind Kenrick's fame and his successful transformation. It's dense and complex and I want to know this story more.

Good but too dense to take in over 1/2 listens. Will come back to it

I once pimped a butterfly to my mate Angry Pete. He tore the fuck out of that butterfly's little bum. Talk about red admiral.

Reviewing this album poses some quandaries, quandaries that are par for albums of similar themes and aspirations. What is the boundary between ambition and self-indulgence? How can one depict politically and ethnically charged disunity without falling into either morbidity, exploitation or platitude? When does nuance collapse into contradiction? How does one make an entertaining album about serious concerns wthout getting out of one's depth? Tragically, I don't think Lamar resolves those questions, and though the album is theoretically fascinating, it does not overcome its quite significant flaws. Take the scope and the eclecticism. Prima facie, its survey of jazz, soul, funk, pop and hip-hop should impress both intellectually and artistically, and occasionally it does, but it also quite often just becomes a demonstration of guile rather than inspiration, or cleverness rather than craft. I don't doubt that sampling Fela Kuti was meant as a sincere homage, but the impression is also that of a box being ticked. This aspect, that of the bet being hedged, reveals itself more obviously in the lyrics. Lamar refers to dark personal issues, such as depression, survivor's guilt and thought of suicide, but this is undercut by the comedic number For Free?, which admittedly features highly deft wordplay, but still revolves around a rather unpleasant female stereotype, which also undercuts the album's tirades against negative stereotypes. The result isn't so much variegated and kaleidoscopic as confused, leaving the listener desiring a bit more discernment. The end track of the album, Mortal Man, offers a microcosm of the album, showing both its peaks and nadirs. It shows the album's yearning for an overarching take on one man's hope and fears regarding racial harmony, but it's overlong, pretentious and rather schmaltzy in its triteness. It's based on Lamar's visit to Nelson Mandela's prison cell, yet it concludes with a constructed interview between Lamar and Tupac, where he brags about his wealth and explains the butterfly metaphor in painfully pompous and unnecessary depth. Again, I believe the intentions were honest, but it ends up cluttered and self-inconsistent. There is great stuff to be found on here, but one never loses the sense that the fantastic 40-minute album carvable from this 80-minute one would be much more satisfying and potent. (Actually, while I'm here, I'd like to take a star off my review of Ceelo Green... is the Soul Machine. It has similar faults to To Pimp a Butterfly, but To Pimp a Butterfly is a more interesting album.)

Nah

I don't see what all the hype is about this guy

This wasn't written for me and that's okay

Some genius. Foul-mouthed whinging little sook. Manages to get that balance between irritating and boring.

Zero. Total Crap. Can't believe people like this.

Fuck, man. What a record. I remember this coming out, loving “Alright” and “Blacker the Berry” and kinda enjoying the rest of the record but never picking it back up. A lot has happened since then. Namely that my whole worldview has shifted and perspective changed. And now, listening to this again, Kendrick is attacking on so many levels, on so many fronts, that it’s amazing that this album stays together and doesn’t explode under its own intensity. There’s bangers aplenty, including “King Kunta”, “i” and the aforementioned hits. There’s more freeform explorations like “Wesley’s Theory” and “For Free?” There’s the haunting, arresting vulnerability of “u” that adds so much more exuberance to “Alright”. And there’s the absolute brilliance of “Mortal Men” and Kendrick digging through the archives to spend one brief moment with Pac. Even if I wasn’t in love with a song, it felt part of a whole, a story that needed to unfold in its own way on its own time. And at 80 minutes this could be a slog. It’s not - it’s a masterpiece. Hail Kendrick.

A masterclass in storytelling, groove, flow, and lyricism. This album is as close as you can be to perfect. As someone who doesn’t necessarily listen to lyrics, I still enjoy this album a whole lot. After paying attention to the lyrics and meaning, this album reaches a new level. It’s absolutely amazing.

If I could give this album a 6 I would. Kendrick is an absolute poet and takes the music on this album to another level. The mix of various styles paired with his lyrics and flow creates a true rap masterpiece. Every song on this album is unique and tells a story that relates to kendrick personally. This is one of my favorite albums of all time so I was glad we got to listen to it.

Like a fever dream but pretty much close to perfect. 10 out of 10.

Fantastic! Why haven’t i heard it before?

A stone cold achievement.

You already know. Absolutely stunning album about identity and purpose. U is one of the greatest songs of all time. There hasn’t been an album that sounds the same since.

Everyone has to hear this album at least once

Such a good record. So many great tracks. Great listen from start to finish.

Kendrick is one of my favorite artists and I haven’t listened to this full album in awhile. Alright and King Kunta are probably my favorite songs. I forgot about i what a great song

So good. Kendrick is a genius

Every time I think "there's no way it's as good as I remember," and then it's even better.

Top tier production with amazing guest artist and the wonderful strong Kendrick lyrics and voice

Best rap album of 2010s

An opening into Kendrick Lamar and therefore decent

absolute banger of rap soul and funk, fave track is King Kunta

I really liked this !!!

I know it's not the popular opinion, but I do like Good Kid Maad city a tad more than Butterfly. While the song writing and lyrical genius is on full display in butterfly I just find some of the songs not as catchy or exciting as some of Kendricks other stuff. With that being said, this album is SO good and one of my favorite rap albums for sure. Gotta give it a 4 since Good Kid is still my top though

Part virtuosic, part annoying, this confounds me every time I hear it. Love me some Kamasi Washington, and the tunes in general outweigh some pretty dumb lyrics throughout. Tupac worship baffles me, such a tedious poser. Scrapes a 4* despite all the bullshit

really liked this! always wanted to listen and wasn't disappointed.

A trip from start to end - the concept album is musically really interesting and has some deep themes.

There’s no denying that Kendrick Lamar is an ambitious artist, but To Pimp a Butterfly is a prime example of an album drowning in its own self-importance. It wants to be profound at every turn, stuffing itself with jazz-fusion instrumentals, spoken word interludes, and long-winded monologues that seem more interested in proving their depth than actually connecting with the listener. While it aims to be a powerful commentary on race, struggle, and the weight of fame, it ultimately feels like an exhausting lecture that goes nowhere. The album is so caught up in presenting itself as high art that it forgets to be engaging, making for a bloated and self-indulgent listening experience. Beyond the message, the biggest issue is the hypocrisy baked into the industry that produces this kind of music. To Pimp a Butterfly critiques the system, but it’s still a product of that same system, repackaging pain, struggle, and rebellion into something that record labels and streaming services can profit from. The cycle of “f**k the police” has been going on since the late ‘80s, and instead of finding a new way to break through, this album just repaints the same old message in abstract, overwrought colours. Worse still, it’s weighed down by the contradiction of hip-hop’s commercial machine—artists who claim to be against the system while thriving within it, benefiting from the very thing they condemn. Even if the message was delivered better, the music itself just isn’t that good. The production leans too heavily into chaotic, messy jazz and awkward funk grooves that feel more like an art school experiment than an album meant to be listened to. The beats lack cohesion, the hooks are weak, and even Kendrick’s rapping, is often buried under clunky arrangements or forced theatricality. Instead of being a timeless classic, To Pimp a Butterfly is an overcooked, self-indulgent, and ultimately forgettable album that collapses under the weight of its own ambition.

There was a comedy sketch that spoofs American Bandstand in which one of the "audience/dancers" is asked about a song, and they responded "It's got a good beat Dick, but I'm to white to dance to it." It might have on In Living Color. Anyway, that's kind of how I felt about this album. Musically it sounded great for the most part. Lyrically I can't relate to it. Nor would I listen to it again.

This impressed me, but didn't move me. It puts a striking variety of sounds into a coherent package, and has a strong wobble, but I caught neither earworms nor rockers It’s clearly intelligent and sounds like it wants to be behind a glass case in an art gallery rather than on the radio. I admire this modernity, yet I want more. As a friend put it, To Pimp A Butterfly feels machine-tooled.

Meh. Listen, I usually love experimental hiphop. It's generally smarter, more musical, and more pointed than your standard, run-of-the-mill gangsta rap. Every time I was like "oh, that was clever," the lyric came from a guest artist. Even the social commentary on this album was softer and less pointed than I was led to believe. I came with high expectations and I left disappointed.

I want to like this album... there's clearly a lot of meaningfuly perspective and involved lyrics, but the only song that i actually wanted to listen to over again was King Kunta. Give props due to complexity, though Kendrick's voice isn't my thing... give me Chuck D or Nas.

This is twice now that I have given this album a shot. The first time was in 2015 when everyone was saying how great it was. I couldn’t do it then and didn’t do any better this time. I love old school funk and typically am up for an artist trying to be experimental, so it seems like this would be right up my alley, but it just doesn’t work for me. While the lyrics, thankfully, seem to try to say more than hip hop’s usual themes of “I have money and deal drugs and am good at sex and prone to acts of violence”, they didn’t do so in a nuanced or intelligent way. The only thing worse than stupid people are stupid people who think they’re smart. “Ooh the homeless person was really God 😱 So deep!” Don’t get me wrong, every genre’s lyrics are stupid on the whole but have the rare exception with intelligent lyrics. But grading hip hop on a curve and acting like a rapper is a “street poet” because his lyrics aren’t quite as dumb as “she blow my dick like a cello” strikes me as racist pandering. In addition to the lyrical content being r/I’m14andthisisdeep-worthy, Lamar’s whiny voice is insufferable. The song where he calls everything “boo boo” twenty times is like nails on a chalkboard to me. A combination of a grating voice and too much experimentation and dissonance just doesn’t work for me. See Radiohead. I appreciate the fact that this album tries to be different, but it falls flat for me.

Fuck off you cunts

крэп

This kind of music continues to sound like pure filth to me. Vulgar, obnoxious, thug life garbage. Complete and utter shite. Yes, I acknowledge that within the genre this album is considered one of the all-time greats. I'm certain it possesses rich cultural heritage. I also recognized the quality of the jazz-influenced instrumentation. But altogether this culture is so alien to me, and I've heard enough of it through this project, to affirm to myself that nothing can ever be done to allow my ears to appreciate such sonic abhorrence.

I don't know if I've ever heard so much hype for an album. Listening was a stressful task, and I often felt as if I must be missing some crucial context. The samples draw influence from jazz/funk/soul music, as many other pieces of music have. Other albums have tackled themes of racism and black urban poverty. Other albums have been introspective, have been introspective regarding fame and the music industry. Maybe I'm jealous of how he can mask his insecurities with machismo. Jealous of how he can use depression to deflect from the angry young man persona. I've never felt like a white person, nor comfortably non-white, and maybe I'm envious of the confidence with which he wields his background and his identity. This album is not for me. (They not like me.) I probably would have given this a 2 or a 3 but the importance attached to this album makes me feel like garbage. If art is subjective, I hated the experience of listening to this. If art is objective, I still hated the experience of listening to this. Even the cover art makes me feel miserable. I'm sorry I don't get it and I'm sorry if I'm too dumb to explain why.

Ugh what's worse than stereotypical, misogynistic, repetitive hip hop? Stereotypical, misogynistic, repetitive hip hop that's absolutely laden with Auto-Tune. And poorly done Auto-Tune at that. I honestly don't get the appeal of this at all. Call it genius all you want, I politely disagree. This is bad music. 1/5

Ronnie O'Sullivan is one of the most naturally gifted snooker players of all time. Watching him play still bores the tits off me. I am not built for rap and hippity-hop; rap and hippity-hop isn't built for me.

If the intention was to tap over a chill compilation from the 90s then it's a success. Boring.

This is utterly awful, is this what passes for hip hop these days????

Listened to this when it came out. Didn't get it then, don't get it now. Just some dude talking about his dick over discordant jazz. Nah thanks

A big fan of hip hop and R&B pre-2000's. Not sure anything good from these genre has been created since. I'll keep the rant short and say this was absolute shit and learn how to wipe your ass. The stench from this album was bad and left me in a very bad mood. This is a nothing. 0

Stupid lyrics that try to impose importance or gravitas. Boring, one dimensional music that anyone with a mac and FL studio can make. No thanks.

*I’ve heard this once before and I just can’t bring myself to go through it again, going to listen to his latest album as a substitution* Enjoy it: No, I just don’t get it at all and I hate that you have to be an intellectual to ‘get it’ Favourite song: None

Just not for me.

No thanks. Couldn't listen through a single track.

Excellent swearing. Not one to play with the kids in the back of the car - unless you have Adam Buxton skills. Otherwise, not really my jam.

Lol no

I don't like HIP HOP

pile of crap

mehhh

Average rapping with average R&B. Instantly forgettable.

No

Not for me

Zero Fucking Stars. Does that offend you? Here are some lyrics from this "album" that offended me. "Every nigga is a star, ayy, every nigga is a star" "Fuck you, motherfucker, you a ho-ass nigga" "I don't want you monkey-mouth motherfuckers" "Zoom, zoom, zoom, shit" "What can I blame you for? Nigga, I can name several" "Nigga, we gon' be alright" "I don't give a fuck about no politics in rap, my nigga" "Moonshine and gin, nigga you're babblin', your words ain't flatterin'" "You're fuckin' evil. I want you to recognize that I'm a proud monkey" "Askin' "where the hoes at?" to impress me" "So I promise this, nigga" "When shit hit the fan, is you still a fan?"

IVE LISTENED TO THIS BEFORE AND IT FILLS ME WITH UNLIMITED PRIDE FOR MYSELF AND WHERE I COME FROM

INCREIBLEEE

First Listen: Jan 02 2023 good kid maad city always stuck with me more but still pretty goated

classic

I can't believe it's been 10 years since this album came out. In my mind this is still considered "fresh" and "new" which may stem from how much it has dominated music discussion, at least in online spheres since it came out. At this point it's been discussed so much that I almost don't even want to review it. What there is to say about this has already been said. Kendrick Lamar is one of the greatest songwriters of the modern era, and this remains his opus. Wesley's Theory Starting off strong with what might be my favourite rap song of all time. The groove is immaculate, the lyrics are clever, the rapping is sylistic and fresh. Fucking George Clinton is on this thing whooping ass straight from the can. There's nothing here that isn't perfect. An unforgettable opening track. The attention to detail here is insane, everything here just feels so intentional. Also Thundercat could be on almost anything and it would work. Amazing. 5/5 For Free? I just love the way the jazz instrumental compliments the rant at the start. Also it's just such a fun idea to hear this instrumental and decide to rap over it, it's really clever. Love his inflections on this thing, really makes the bars pop even harder. Full of personality with some really solid subtextual commentary which sorts itself into a really concise point at the end. Fantastic. 5/5 King Kunta Such a fun bassline. Very catchy hook. Feels like a bit of a victory lap. This song has so many memorable lines. Also that funk sections slaps. Fantastic. 5/5 Institutionalized Love the more laid back vibe for this specific theme. The switchup after the intro is a really clever way to grab the audience's attention. Really memorable hook. Honestly kind of a challenging track. It has many layers to it both lyrically and instrumentally. This song discusses the concept of institutionalism in such a nuanced and thought out way. There's never just one angle to it, talking about several ways institutions ruin people's lives. Fantastic. 5/5 These Walls The intro is haunting and ominous. Contrasts heavily to the poppy chorus. Love the subtle nods to classic hip hop production. The jazzier parts of the song have a lot going for them, feels really large and powerful, especially with the added vocal effect. Makes the concept hit much harder by slowing things down and making it darker, realer and more personal. Great. 4.5/5 u Feels dark, chaotic and kinda scary. Love the resentful aggressive performance. It's really dark and depressing. It's dramatic and theatrical and keeps you on your toes. Sure some may find the inflections and delivery to be annoying, but I think this added character sort of sells the concept. Without it perhaps one would overlook how difficult the themes of self hatred and regret are. The added drama puts an extra spotlight on the lyrical contents. Great. 4.5/5 Alright This has become sort of an anthem. I definitely appreciate the more upbeat track after the last one. There's a lot of empowerment in this track. The throwback hits really hard. Iconic hook. Fantastic. 5/5 For Sale? A strange, trippy experience through a watery psychedelic landscape. The rambling almost conversational style of the verses has a really chaotic feel to it. It's admitably a bit hard to follow, due to the busy nature of the track. Love the alluring devil figure hiding amongst the chaos. Great. 4.5/5 Momma That bass is crazy good. Awesome instrumental in general really. That last verse is something else really. Inspired track. Fantastic. 5/5 Hood Politics Feels really dense thematically. I find it a bit hard to follow sometimes. Really love some bars, others I don't fully get. Instrumentally though this song hits like a truck. Especially the start of the song. Good. 4/5 How Much A Dollar Cost That's thick. Feels a bit more on the nose than a few of the other songs on here. There's still plenty of great storytelling here. There's something angelic about those effect heavy vocals. Really like the intensity of the final verse. Good. 4/5 Complexion (A Zulu Love) It's really catchy. The feature really adds an entirely different vibe which is really appreciated after such a dense section of tracks. It's really nice to hear something that's much more positively coded. Great. 4.5/5 The Blacker The Berry The buildup to the first verse is very intense which really gives a great fealing of release when it first comes in. The first line just goes so hard. The aggression and resentment is very effective. Love the hook. It's so direct and hard hitting. Makes me feel a bit sad. Love the serenity of the climax. Fantastic. 5/5 You Ain't Gotta Lie (Momma Said) There's an incredible smoothness to this track. Love the occasional g-funk vibe. The dismissive commentary makes it feel oddly personal, despite the almost aloof attitude. Great. 4.5/5 i A very fitting counterpart to "u". The perfect anthisesis to that depressing affair. Awesome guitar. Incredible vibe. Uplifting and empowering. Fantastic. 5/5 Mortal Man Feels like a prayer at times. Extremely serious and conflicted. This almost stream of conciousness like structure feels very dramatic and satisfying. Love how it contrasts to the very structured nature of the poem which finally gets its conclusion. It's hard to comment on the 2pac "interview" at the end, it's a very artistic way of summarizing the themes of the album, but it also sort of stretches out the album's climax, messing with the pacing a bit. Really like the caterpillar allegory though, it's a great way of explaining the thesis the album is trying to convey. Good. 4/5 I'll keep this brief: To Pimp A Butterfly does everything it's supposed to do, portraying the struggles and complexities that come with being black in America in a concise and effective way. Instrumentally it honors decades of black tradition through both sublte and unsubtle homages to different eras. Lyrically it stands out as being densly filled with precise and measured commentary while still being clever, emotionally mature and even funny at times. It has hooks, it has dancability, it has memorable lines, and plenty of drama. This makes it remain entertaining while dishing out strong commentary on difficult and messy societal issues as well as harsh realities when it comes to identity. A gripping and complex tale that builds its own character through a unique and unreplicable sound which makes it strangely timeless. A modern classic. 5/5

One of my all time favorite albums.

Instant classic

WE WANT THE FUNK (Loving you is complicated…)

this album is considered an all-timer for a reason. kendrick's flow is unmatched and the production here is so great. it's got influence from all over the place, from jazz to boom bap to funk. there is not a dull moment on here. from the jump, it's firing on all cylinders. so creative, so fascinating, just really, truly great.