Good Kid, M.A.A.D City: Difference between revisions

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On August 15, 2012, Lady Gaga announced via [[Twitter]], that she had collaborated with Lamar on a song entitled "Partynauseous", for ''good kid, m.A.A.d city'', and that it would be released on September 6, 2012. However, on August 23, 2012, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay.<ref name=LGDelay>{{cite web|title=Twitter / ladygaga: Im REALLY sorry to the fans...|url=https://twitter.com/ladygaga/status/238656959706976256|publisher=[[Lady Gaga]]|accessdate=19 October 2012}}</ref><ref name=tracklist>{{cite web|title=Kendrick Lamar Delivers &#8216;good kid, m.A.A.d. city&#8217; Album Tracklist|url=http://theversed.com/2012/10/02/kendrick-lamar-delivers-good-kid-m-a-a-d-city-album-tracklist/|work=Andrew Watson|publisher=The Versed|accessdate=19 October 2012}}</ref> Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences.<ref name=MakingOf>{{cite web|title=The Making of Kendrick Lamar's "good kid, m.A.A.d city"|url=http://www.complex.com/music/2012/10/the-making-of-kendrick-lamars-good-kid-maad-city/bitch-dont-kill-my-vibe|work=Insanul Ahmed|publisher=[[Complex (magazine)]]|accessdate=26 October 2012}}</ref> The song was later revealed to be re-titled "Bitch, Don't Kill My Vibe". On November 8, 2012 Gaga released the version she was featured on, which had her singing the [[refrain|chorus]] and a [[verse (popular music)|verse]].<ref name=autogenerated8>{{cite web | last = | first = | title = Kendrick Lamar f. Lady Gaga – Bitch Don't Kill My Vibe | url = http://www.hiphopdx.com/index/singles/id.22638/title.kendrick-lamar-f-lady-gaga-bitch-dont-kill-my-vibe | publisher =Cheri Media Group | work=HipHopDX | date = | accessdate = 15 November 2012 }}</ref> Lamar expressed he was surprised and happy that Gaga released her version of the song, as it showed confidence in their work together.<ref name=autogenerated9>{{cite web | last = | first = | title = Kendrick Lamar Surprised Lady Gaga Released Her Version Of "Bitch Don't Kill My Vibe" | url = http://www.hiphopdx.com/index/news/id.21898/title.kendrick-lamar-surprised-lady-gaga-released-her-version-of-bitch-dont-kill-my-vibe/ | publisher =Cheri Media Group | work=HipHopDX | date = | accessdate = 16 November 2012 }}</ref>
On August 15, 2012, Lady Gaga announced via [[Twitter]], that she had collaborated with Lamar on a song entitled "Partynauseous", for ''good kid, m.A.A.d city'', and that it would be released on September 6, 2012. However, on August 23, 2012, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay.<ref name=LGDelay>{{cite web|title=Twitter / ladygaga: Im REALLY sorry to the fans...|url=https://twitter.com/ladygaga/status/238656959706976256|publisher=[[Lady Gaga]]|accessdate=19 October 2012}}</ref><ref name=tracklist>{{cite web|title=Kendrick Lamar Delivers &#8216;good kid, m.A.A.d. city&#8217; Album Tracklist|url=http://theversed.com/2012/10/02/kendrick-lamar-delivers-good-kid-m-a-a-d-city-album-tracklist/|work=Andrew Watson|publisher=The Versed|accessdate=19 October 2012}}</ref> Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences.<ref name=MakingOf>{{cite web|title=The Making of Kendrick Lamar's "good kid, m.A.A.d city"|url=http://www.complex.com/music/2012/10/the-making-of-kendrick-lamars-good-kid-maad-city/bitch-dont-kill-my-vibe|work=Insanul Ahmed|publisher=[[Complex (magazine)]]|accessdate=26 October 2012}}</ref> The song was later revealed to be re-titled "Bitch, Don't Kill My Vibe". On November 8, 2012 Gaga released the version she was featured on, which had her singing the [[refrain|chorus]] and a [[verse (popular music)|verse]].<ref name=autogenerated8>{{cite web | last = | first = | title = Kendrick Lamar f. Lady Gaga – Bitch Don't Kill My Vibe | url = http://www.hiphopdx.com/index/singles/id.22638/title.kendrick-lamar-f-lady-gaga-bitch-dont-kill-my-vibe | publisher =Cheri Media Group | work=HipHopDX | date = | accessdate = 15 November 2012 }}</ref> Lamar expressed he was surprised and happy that Gaga released her version of the song, as it showed confidence in their work together.<ref name=autogenerated9>{{cite web | last = | first = | title = Kendrick Lamar Surprised Lady Gaga Released Her Version Of "Bitch Don't Kill My Vibe" | url = http://www.hiphopdx.com/index/news/id.21898/title.kendrick-lamar-surprised-lady-gaga-released-her-version-of-bitch-dont-kill-my-vibe/ | publisher =Cheri Media Group | work=HipHopDX | date = | accessdate = 16 November 2012 }}</ref>


#overhyped
== Music and lyrics ==
#pitchforkhascrushonkendrick
{{Quote box
#sodoeseverysinglemusicsitein2012
|quote = 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.
#didisayoverhypedimeantoverhyped
|source = — [[Robert Christgau]]<ref name="Christgau"/>
|quoted = true
|bgcolor = #FFFFF0
|salign = center
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|width = 28%
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''Good Kid, M.A.A.D City'' has a low-key,<ref name="Kot"/> downbeat production,<ref name="Cowie">{{cite journal|last=Cowie|first=Del F.|date=October 24, 2012|url=http://exclaim.ca/Reviews/HipHop/kendrick_lamar-good_kid_md_city|title=Kendrick Lamar - good kid, m.A.A.d. city|journal=[[Exclaim!]]|location=Toronto|accessdate=November 23, 2012}}</ref> with atmospheric beats and subtle, indistinct [[hook (music)|hooks]].<ref name="Christgau"/> It eschews contemporary [[hip hop music|hip hop]] tastes,<ref name="Caramanica"/> and generally features tight bass [[bar (music)|measures]], subtle background vocals, and light piano.<ref name="Madden">{{cite web|last=Madden|first=Mike|date=October 24, 2012|url=http://consequenceofsound.net/2012/10/album-review-kendrick-lamar-good-kid-m-a-a-d-city/|title=Album Review: Kendrick Lamar – good kid, m.A.A.d city|publisher=[[Consequence of Sound]]|accessdate=November 23, 2012}}</ref> Writers draw comparisons of the music to [[Outkast|OutKast]]'s 1998 album ''[[Aquemini]]''.<ref>{{cite web|last=Moore|first=Marcus J.|date=October 22, 2012|url=http://www.bbc.co.uk/music/reviews/b4nv|title=Review of Kendrick Lamar - good kid, m.A.A.d. city|publisher=[[BBC Music]]. [[BBC]]|accessdate=November 25, 2012}}</ref><ref>{{cite journal|last=Jackson|first=Dan|date=October 31, 2012|url=http://www.cmj.com/reviews/kendrick-lamar-good-kid-m-a-a-d-city/|title=Review: Kendrick Lamar - good kid, m.A.A.d city (Interscope)|journal=[[CMJ]]|accessdate=November 25, 2012}}</ref><ref>{{cite web|last=Fennessey|first=Sean|date=October 22, 2012|url=http://www.grantland.com/blog/hollywood-prospectus/post/_/id/60251/bright-lights-mad-city-kendrick-lamar-is-about-to-release-the-best-rap-album-of-the-year|title=Bright Lights, Mad City: Kendrick Lamar Just Released the Best Rap Album of the Year|publisher=[[Grantland.com]]|accessdate=November 25, 2012}}</ref> Andrew Nosnitsky of ''[[Spin (magazine)|Spin]]'' cites the music's "closest point of reference" as "the cold spaciousness of ''[[ATLiens]]''-era OutKast, but as the record progresses, that sound sinks slowly into the [[fusion (music)|fusionist]] mud of those sprawling and solemn mid-2000s [[The Roots|Roots]] albums."<ref name="Nosnitsky"/> [[Sasha Frere-Jones]] of ''[[The New Yorker]]'' finds its use of "smooth" music as a backdrop for "rough" scenarios to be analogous to [[Dr. Dre]]'s [[G-funk]] during the early 1990s, but adds that "Lamar often sounds like [[Drake (entertainer)|Drake]] ... whose various dreamy styles have very little to do with the legacy of the West."<ref name="Frere-Jones">{{cite journal|last=Frere-Jones|first=Sasha|authorlink=Sasha Frere-Jones|date=October 29, 2012|url=http://www.newyorker.com/arts/critics/musical/2012/10/29/121029crmu_music_frerejones|title=California King|journal=[[The New Yorker]]|accessdate=November 25, 2012}}</ref> [[Okayplayer]]'s Marcus Moore writes that its "expansive and brooding" instrumentals eschew "California's glossy West Coast funk" for a "[[Dungeon Family]] aesthetic."<ref>{{cite web|last=Moore|first=Marcus|url=http://www.okayplayer.com/reviews/kendrick-lamar.html|title=Kendrick Lamar|publisher=[[Okayplayer]]|accessdate=November 25, 2012}}</ref>

Lyrically, the album chronicles Lamar's experiences in his native [[Compton, California]] and its harsh realities,<ref name="Hoby">{{cite news|last=Hoby|first=Hermione|date=October 20, 2012|url=http://www.guardian.co.uk/music/2012/oct/21/kendrick-lamar-good-kid-review?newsfeed=true|title=Kendrick Lamar: good kid, m.A.A.d city – review|newspaper=[[The Observer]]|location=London|at=The New Review section, p. 32|accessdate=October 29, 2012}}</ref> in a [[nonlinear narrative]].<ref name="Morpurgo"/> The songs address issues such as economic disenfranchisement, retributive [[gang violence]],<ref name="Wood"/> and downtrodden women,<ref name="Macpherson"/> while analyzing their residual effects on individuals and families.<ref name="Wood"/> Lamar introduces various characters and internal conflicts,<ref name="Macpherson"/> including the contrast of his homesickness and love for Compton with the city's plagued condition.<ref name="Jeffries"/> Del F. Cowie of ''[[Exclaim!]]'' observes a "transformation" by Lamar's character "from a boisterous, impressionable, girl-craving teenager to more spiritual, hard-fought adulthood, irrevocably shaped by the neighbourhood and familial bonds of his precarious environment."<ref name="Cowie"/> [[Slant Magazine]]'s Mark Collett writes that Lamar executes the character's transition by "tempering the hedonistic urges of [[West Coast hip hop|West Coast hip-hop]] with the self-reflective impulses of the [[East Coast hip hop|East Coast]]."<ref name="Collett"/> David Amidon of [[PopMatters]] views that the album provides a "sort of semi-autobiographical [[character arc]]",<ref name="Amidon"/> while [[MSN Music]]'s Robert Christgau writes that Lamar "softspokenly" enacts a "rap-versus-real [[dichotomy]]".<ref name="Christgau"/>

The album features [[naturalism (arts)|naturalistic]], [[Cinéma vérité|vérité]]-like [[hip hop skit|skits]] that dramatize the characters' limitations.<ref name="Christgau"/> Jon Caramanica of ''[[The New York Times]]'' finds them to be a part of the album's "narrative strategy", with "prayers and conversations and different voices and recollections and interludes, all in service of one overarching story: Mr. Lamar's tale of ducking Compton's rougher corners to find himself artistically."<ref name="Caramanica">{{cite news|last=Caramanica|first=Jon|date=October 29, 2012|url=http://www.nytimes.com/2012/10/29/arts/music/kendrick-lamar-and-meek-mill-rappers-with-debut-albums.html?adxnnl=1&pagewanted=all&adxnnlx=1353690918-7E2jie3vlz5/l0x7XzzxfQ&_r=0|title=Storytelling Rappers, Cool and Hot|newspaper=[[The New York Times]]|page=C1|accessdate=November 23, 2012}}</ref> [[Pitchfork Media]]'s Jayson Greene feels that they reinforce the album's theme of "the grounding power of family", interpreting "family and faith" to be "the fraying tethers holding Lamar back from the chasm of gang violence that threatens to consume him."<ref name="Greene"/>

Lamar exhibits a tempered delivery on the album,<ref name="Caramanica"/> and raps with dense narratives, [[internal rhyme]],<ref name="Rosen"/> [[double time|double]] and [[triple time]] [[flow (music)|flow]],<ref name="Cho"/> and multiple voices for different characters.<ref name="Morpurgo"/> Music journalist [[Jody Rosen]] characterizes him as "a storyteller, not a braggart or punch-line rapper, setting spiritual yearnings and moral dilemmas against a backdrop of gang violence and [[police brutality]]."<ref name="Rosen"/>


== Cover art ==
== Cover art ==

Revision as of 16:02, 28 June 2013

Untitled

Good Kid, M.A.A.D City (stylized as good kid, m.A.A.d city) is the second studio album by American hip hop recording artist Kendrick Lamar. The album was released on October 22, 2012, by Top Dawg Entertainment, Aftermath Entertainment, and distributed by Interscope Records.[3] The album serves as Lamar's major label debut, after his signing to Aftermath and Interscope in early 2012. It was preceded by the release of Kendrick's first studio album Section.80 (2011), released exclusively through iTunes independently.

The album was recorded mostly at several studios in California with producers such as, Dr. Dre, Just Blaze, Pharrell Williams, Hit-Boy, Scoop DeVille, Jack Splash and T-Minus, among others. Billed as a "short film by Kendrick Lamar" on the album cover, the concept album follows the story of a Lamar's teenage experiences in the drug infested streets and gang lifestyle of his native Compton, California. Upon its release, Good Kid, M.A.A.D City received rave reviews from music critics, who praised its thematic scope and Lamar's lyrics.

The album debuted at number two on the Billboard 200 chart, selling 242,000 copies in its first week – earning the highest first-week hip hop album sales of 2012 from a male artist, along with the best-selling debut from a male artist of the year. The album generated 2.8 million streams through Spotify, becoming the second highest first week stream total of the year.[4] It became Lamar's first album to enter the UK Albums Chart, peaking at number 16, and entering the UK R&B Albums Chart at number two. It was certified gold by the Recording Industry Association of America (RIAA) and, by June 2013, had sold 938,000 copies, according to Nielsen SoundScan.

Background

Lamar wanted to discuss life in his native Compton, California on the album.

After the release and success of his 2011 studio album Section.80, Lamar signed a major label record deal with Interscope and Dr. Dre's Aftermath. He told HipHopDX he did not want to work with high-profile producers, but with those he had established himself with, mainly producers from Top Dawg's in-house production team Digi+Phonics.[5]

In an interview for XXL, Lamar said that the album would not sound like Section.80, but will return to his Compton, California roots: "I couldn’t tell you what type of sound or where I’ma be in the next five years as far as music ... Going back to the neighborhood and going to different spots, chilling with my homeboys, put me back in that same space where we used to be, bringing back them thoughts, reminiscing how I was feeling. I got myself right back in that mode and I got inspired by that. So this album won’t sound like Section.80. Completely nothing like it.”[6]

Lamar also said that the album will showcase the influence of his hometown: "The kid that’s trying to escape that influence, trying his best to escape that influence, has always been pulled back in because of circumstances that be".[5] Before the album title's was officially revealed, fans had already been calling Lamar's major label debut Good Kid, Mad City or Good Kid in a Mad City, as it was a nickname of some sort that Lamar had given himself. The album's title mainly refers to Lamar's childhood innocence and how the notorious city of Compton, California affected that and his life. After keeping the album title's acronym concealed, Lamar later revealed M.A.A.D is an acronym with two meanings: "My Angry Adolescence Divided" and more importantly "My Angel's on Angel Dust", with Lamar stating: "That was me. I got laced. The reason why I don't smoke, and it's in the album. It's in the story. It was just me getting my hands on the wrong thing at the wrong time, being oblivious to it."[7]

Recording and production

Recording sessions for the album took place at PatchWerk Recording Studios in Atlanta, Encore Studios in Burbank, TDE Red Room in Carson, and "At My Mama's Studio" in Los Angeles.[8] Lamar stated Good Kid, M.A.A.D City would sound “nothing” like Section.80, his previous album: “I couldn't tell you what type of sound or where I’ma be in the next five years as far as music,” he said. “It’s a big difference from the next project compared to the last. And that’s what happened with this album. Going back to the neighborhood and going to different spots, chilling with my homeboys, put me back in that same space where we used to be, bringing back them thoughts, reminiscing how I was feeling. I got myself right back in that mode and I got inspired by that. So this album won’t sound like Section.80. Completely nothing like it,” he told XXL magaizne.[6] The first song Lamar and Dr. Dre ever worked on together was "Compton", the twelfth track on the album, which serves as the standard edition's outro.[9]

On August 15, 2012, Lady Gaga announced via Twitter, that she had collaborated with Lamar on a song entitled "Partynauseous", for good kid, m.A.A.d city, and that it would be released on September 6, 2012. However, on August 23, 2012, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay.[10][11] Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences.[12] The song was later revealed to be re-titled "Bitch, Don't Kill My Vibe". On November 8, 2012 Gaga released the version she was featured on, which had her singing the chorus and a verse.[13] Lamar expressed he was surprised and happy that Gaga released her version of the song, as it showed confidence in their work together.[14]

  1. overhyped
  2. pitchforkhascrushonkendrick
  3. sodoeseverysinglemusicsitein2012
  4. didisayoverhypedimeantoverhyped

Cover art

The cover art for Good Kid, M.A.A.D City somewhat fits to the concept of the album. The album cover features two of Kendrick's uncles and his grandfather with their eyes censored, there is no confirmed explanation why Kendrick had done this on the cover but he had explained the reason why he hadn't censored little Kendrick Lamar's eyes was because the story was told through his eyes and the story is based around his experiences. The uncle who is holding Kendrick also appears to be displaying the Crips gang sign with his hand which also fits with the story of the album and how Kendrick is stuck in a lifestyle of gangs and drugs. The poster above the heads of Kendrick features himself and his father.[15]

Promotion

Singles

The album's first single, "The Recipe", was released on April 3, 2012. The song features his mentor, record producer and fellow rapper Dr. Dre and was produced by Scoop DeVille. It peaked at number 38 on Hot R&B/Hip-Hop Songs and at number 3 on Bubbling Under Hot 100 Singles. Kendrick shot a video for it featuring Dr. Dre at a mansion in Los Angeles in May 2012. He also claimed the video will have a feel of 2Pac's California Love clip.[16] The album's second single "Swimming Pools (Drank)" was released on July 31, 2012, as a digital download, while the music video premiered on August 3, 2012 on 106 & Park. The album version of the single is present on track 9, while the single version is available as track 17 when purchasing the Deluxe Edition on iTunes.[17]

In the week of the album's release, "Backseat Freestyle" debuted on the Billboard Bubbling Under Hot 100 Singles chart at number 106.[18] It was later announced to be released as the third single in the United Kingdom on January 7, 2013.[19] The music video was released on January 2, 2013.[20] Lamar's father appears in the video.[21] "Poetic Justice" was released third single in North America, featuring Drake and production from Scoop DeVille. Before released as single, the song debuted at number 76 on Billboard Hot 100 the week of the albums release.[22] The song begun to impact American rhythmic contemporary radio on January 15, 2013.[23] The song has since peaked at #26 on the Billboard Hot 100.

The week of the albums release the song "Bitch, Don't Kill My Vibe" debuted at #93 on the Billboard Hot 100. On March 9, 2013 Kendrick told Rap-Up that his next single off the album would probably be "Bitch, Don't Kill My Vibe".[24] On March 13, 2013 Jay-Z's engineer Young Guru premiered a snippet of the official remix of "Bitch Don't Kill My Vibe" which features Jay-Z.[25] He called it an accomplishment to have a song with Jay-Z featured on it.[26] Shortly after the remix premiered he would confirm that, "Bitch, Don't Kill My Vibe" would be the next single.[27] The full version of the remix was premiered by Funkmaster Flex on March 17, 2013.[28] The remix was added onto the iTunes Bonus tracklist on March 19, 2013. The remix was released as the albums fourth single to Rhythmic contemporary radio on April 9, 2013.[29] The song has since peaked at #32 on the Billboard Hot 100. The music video for the original version was released on May 13, 2013. Comedian Mike Epps makes a cameo appearance in the video.[30] The same day an extended version of the music video was released featuring a cameo from Juicy J and a bonus clip of a new song by Schoolboy Q from his own respective major label debut album, Oxymoron (2013).[31]

Short film

After titling the album "a short film" by Kendrick Lamar, in an interview with GQ he said "he plans on doing a short film to bring his story to life." He also expressed interest in directing this short film too. Lamar also threw out names like Tristan Wilds to portray him, Taraji P. Henson (as his mother) and Rihanna (as Sherane) as potential names he'd want to have if he could choose anybody to work with.[32]

Tour

Before and after the albums release Kendrick toured as a supporting act with other various artists such as Drake and Steve Aoki. On May 5, 2013 he will begin his first headlining tour with the, good kid, m.A.A.d city World Tour in West Palm Beach, Florida. The tour will consist of 23 headlining shows, 22 international music festivals, and 15 United States music festivals. The tour will run through August 24 and he will be accompanied by the other members of Black Hippy for all the US dates.[33]

Critical reception

Professional ratings
Review scores
SourceRating
Allmusic[2]
Robert ChristgauA–[34]
Entertainment WeeklyA–[35]
The Guardian[36]
The Irish Times[37]
Los Angeles Times[38]
Pitchfork Media9.5/10[39]
Rolling Stone[40]
Slant Magazine[41]
Spin8/10[42]

Good Kid, M.A.A.D City received rave reviews from contemporary music critics.[43] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 91, which indicates "universal acclaim", based on 36 reviews.[44] Pitchfork Media's Jayson Greene felt that "the miracle of this album is how it ties straightforward rap thrills" to its "weighty material" and narrative.[39] David Amidon of PopMatters felt that the album appeals to both "mainstream and underground hip-hop heads" and stated, "Lamar concentrates the ideas of hip-hop narrative and nonfiction into such a form that’s shocking for how simultaneously accessible yet full of depth it is."[45] Joseph Morpurgo of Fact viewed the album as an autobiographical "triumph of breadth" and a "wide-ranging, far-reaching success", writing that it "impresses with its diversity and scope ... there's an embarrassment of killer material here."[46] Sputnikmusic found it "just as ambitious" as Kanye West's 2010 album My Beautiful Dark Twisted Fantasy, "but with much subtler shades".[47] Jaeki Cho of XXL cited it as "one of the most cohesive bodies of work in recent rap memory" and wrote that each song is "both complexly arranged and sonically fitting, foregrounding Kendrick’s vivid lyricism and amazing control of cadence."[48] Allmusic editor David Jeffries characterized the album as "some kind of elevated gangsta rap" and wrote of its subject matter:

Besides all the great ideas and life, this journey through the concrete jungle of Compton is worth taking because of the artistic richness, plus the attraction of a whip-smart rapper flying high during his rookie season. Any hesitation about the horror of it all is quickly wiped away by Kendrick's mix of true talk, open heart, open mind, and extended hand. Add it all up and subtract the hype, and this one is still potent enough to rise to the top of the pile.[2]

In a mixed review, Hazel Sheffield of NME asserted that the album "might lack the raw appeal of" Section.80, "but it's a big-budget reminder that [Lamar] hasn't forgotten his roots."[49] Alex Macpherson of The Guardian criticized "Lamar's depiction of downtrodden women" as "unnecessarily prurient and unconvincing", but praised his "ability to pull the listener inside the action while retaining an alienated detachment".[36] Although he observed "some degree of self-indulgence", Andrew Nosnitsky of Spin found the album's production "surprisingly cohesive" and commented that Lamar "manages to hold everything together in the midst of such chaos through sheer craftsmanship."[42] Jody Rosen of Rolling Stone felt that the album "warrants a place in that storied lineage" of "Seventies blaxploitation soundtracks and Nineties gangsta-rap blaxploitation revivals".[40] Greg Kot of the Chicago Tribune commended Lamar for giving "gangsta tropes ... a twist, or sometimes upend[ing] them completely", and wrote that the album "brims with comedy, complexity and the many voices in Kendrick Lamar's head."[50] Robert Christgau of MSN Music felt that its "commitment to drama has musical drawbacks", but stated, "the atmospheric beats Dr. Dre and his hirelings lay under the raps and choruses establish a musical continuity that shores up a nervous flow that's just what Lamar's rhymes need."[34]

Accolades

Good Kid, M.A.A.D City appeared on several year-end top albums lists by music critics. It was named the best album of 2012 by BBC, Complex, Fact, New York, and Pitchfork Media. The album was also ranked number two by Billboard, the Chicago Tribune, MTV, Spin, and Time, number four by Filter, Jon Pareles of The New York Times, and Ann Powers of NPR, number five by The Guardian, number six by Rolling Stone, and number eight by Entertainment Weekly.[51] In December 2012, Complex also named good kid, m.A.A.d city one of the 25 classic albums of the last 10 years.[52] The magazine and Pitchfork Media also ranked its album cover as the best of 2012.[53][54] In April 2013 VIBE placed the album at number 19 on its "The Greatest 50 Albums Since '93" list.[55] The album is nominated for Top Rap Album at the 2013 Billboard Music Awards.

Commercial performance

The album debuted at number two on the US Billboard 200 chart, with first-week sales of 242,000 copies. In terms of online streaming the album generated 2.8 million streams through the popular music streaming service Spotify, becoming the second highest first week stream total of the year behind Babel by Mumford & Sons.[4] The album entered the UK Albums Chart at number 16 on October 28, 2012,[56] as well as entering at number 2 on the UK R&B Albums Chart.[57] In its second week it sold 63,000 copies. In its third week it sold 41,000 copies. In its fourth week it sold 33,000 copies. In its fifth week it sold 49,000 copies. In its sixth week it sold 29,000 copies. In its seventh week it sold 25,000 copies bringing its total to 481,000 copies.[58][59][60][61] On December 14, 2012, the album was certified gold by the Recording Industry Association of America (RIAA), for shipments of 500,000 copies in the United States.[3] By June 26, 2013, it had sold 938,000 copies, according to Nielsen SoundScan.[62]

Controversy

On October 23, 2012, after receiving much acclaim from the hip hop community, outspoken rapper Shyne took to twitter to run down on the album calling it "trash" and "the beats horrible."[63] West coast rappers Nipsey Hussle, Schoolboy Q and Game quickly took offense to this with the latter calling Kendrick non-confrontational in that he wouldn't respond to Shyne.[64][65][66] Kendrick had responded to Shyne's comments on October 26, saying that he wasn't a sensitive person and was unfazed. In addition, his album wasn't necessarily a "classic" as some have called it but "classic worthy" if enough time passed.[67] Kendrick also referred to it in his song "The Jig Is Up" saying "I pray to God this beat good enough for Shyne".[68] After Shyne stood by his comments and called Game his "little son", the latter responded with a freestyle dissing Shyne titled "Cough Up a Lung".[69][70] Shyne then responded with his own diss towards Game in "Psalms 68 (Guns & Moses)."[71]

Track listing

No.TitleWriter(s)Producer(s)Length
1."Sherane a.k.a. Master Splinter’s Daughter"Kendrick Duckworth, Christopher Whitacre, Justin HendersonTha Bizness4:33
2."Bitch, Don't Kill My Vibe"Duckworth, Mark Spears, Braun, Vindahl Friis, Lykke SchmidtSounwave5:10
3."Backseat Freestyle"Duckworth, Chauncey HollisHit-Boy3:32
4."The Art of Peer Pressure"Duckworth, Rune Rask, Jonas VestergaardTabu5:24
5."Money Trees" (featuring Jay Rock)Duckworth, Dacoury Natche, Johnny McKinzie, Victoria Garance Alixe Legrand, Alex ScallyDJ Dahi6:26
6."Poetic Justice" (featuring Drake)Duckworth, Elijah Molina, Aubrey Graham, James Harris, Janet Jackson, Terry LewisScoop DeVille5:00
7."good kid"Duckworth, Pharrell WilliamsPharrell3:34
8."m.A.A.d city" (featuring MC Eiht)Duckworth, Spears, Ricci Riera, Axel Morgan, Aaron TylerSounwave, THC, Terrace Martin (add.)5:50
9."Swimming Pools (Drank)" (Extended Version)Duckworth, Tyler WilliamsT-Minus5:13
10."Sing About Me, I’m Dying of Thirst"Duckworth, Gabe Stevenson, D. Hutchins, Q. Jones, Alan Bergman, Marilyn Bergman, Spears'Sing About Me' produced by Like of Pac Div
'I’m Dying of Thirst' produced by Skhye Hutch, Sounwave (add.)
12:03
11."Real" (featuring Anna Wise)Duckworth, Terrace MartinTerrace Martin7:23
12."Compton" (featuring Dr. Dre)Duckworth, Justin Smith, Charles Richard Cason, Sly JordanJust Blaze4:08
Total length:68:23
Deluxe edition bonus tracks
No.TitleWriter(s)Producer(s)Length
13."The Recipe" (featuring Dr. Dre)Duckworth, Molina, Eric Cardona, Gabe D'Amico, Dev Gupta, Andrea Estella, Bryan Ujueta, Andre YoungScoop DeVille5:52
14."Black Boy Fly"Duckworth, Columbus Smith, Dawaun ParkerRahki, Dawaun Parker (co.)4:38
15."Now or Never" (featuring Mary J. Blige)Duckworth, Jazmine Sullivan, Jack SplashJack Splash4:17
Total length:87:41
iTunes Deluxe edition bonus tracks
No.TitleWriter(s)Producer(s)Length
16."Collect Calls" (featuring Kent Jamz)Duckworth, Khalil Muhammad, Riera, MorganTHC3:57
17."Swimming Pools (Drank)" (Single version)Duckworth, WilliamsT-Minus4:07
Total length:95:45
Target Deluxe edition bonus tracks
No.TitleWriter(s)Producer(s)Length
16."County Building Blues"Duckworth, Khalil-Abdul Rahman, D. WinslowDJ Khalil4:18
17."Swimming Pools (Black Hippy Remix)" (featuring Black Hippy)Duckworth, Herbert Stevens IV, McKinzie, Hanley, WilliamsT-Minus5:14
Spotify Deluxe edition bonus track
No.TitleWriter(s)Producer(s)Length
16."The Recipe (Black Hippy Remix)" (featuring Black Hippy)Duckworth, Molina, Cardona, D'Amico, Gupta, Estella, Ujueta, Stevens IV, McKinzie, HanleyScoop DeVille4:23
UK Deluxe edition bonus disc
No.TitleWriter(s)Producer(s)Length
13."The Recipe" (featuring Dr. Dre)Duckworth, Molina, Cardona, D'Amico, Gupta, Estella, Ujueta, YoungScoop DeVille5:52
14."Black Boy Fly"Duckworth, Smith, ParkerRahki, Dawaun Parker (co.)4:38
15."Now or Never" (featuring Mary J. Blige)Duckworth, Sullivan, SplashJack Splash4:17
16."County Building Blues"Duckworth, Rahman, WinslowDJ Khalil4:18
17."Swimming Pools (Black Hippy Remix)" (featuring Black Hippy)Duckworth, Stevens IV, McKinzie, Hanley, WilliamsT-Minus5:14
2013 re-issue bonus tracks
No.TitleWriter(s)Producer(s)Length
13."Bitch, Don't Kill My Vibe (Remix)" (featuring Jay-Z)Duckworth, Mark Spears, Braun, Vindahl Friis, Lykke Schmidt, Shawn CarterSounwave4:39

 • (add.) Additional production
 • (co.) Co-producer

Notes
Sample credits
  • "Bitch, Don't Kill My Vibe" contains a sample of "Tiden Flyver" as performed by Boom Clap Bachelors.
  • "Backseat Freestyle" contains a sample of "Yo Soy Cubano" as performed by The Chakachas.
  • "The Art of Peer Pressure" contains a sample of "Helt Alene" as performed by Suspekt.[74][75]
  • "Money Trees" contains a sample of "Silver Soul" as performed by Beach House.[76]
  • "Poetic Justice" contains a sample of "Any Time, Any Place" as performed by Janet Jackson.[77]
  • "good kid" contains a sample of "We Live In Brooklyn, Baby" as performed by Roy Ayers.
  • "m.A.A.d city" contains a sample of "Don't Change Your Love" as performed by The Five Stairsteps, "Funky Worm" by Ohio Players, and "A Bird In The Hand" by Ice Cube
  • "Sing About Me, I'm Dying of Thirst" contains a sample of "Maybe Tomorrow" as performed by Grant Green and "I'm Glad You're Mine" by Al Green.
  • "Compton" contains a sample of "What’s This World Coming To” as performed by Formula IV.
  • "The Recipe" contains a sample of "Meet the Frownies" as performed by Twin Sister.

Personnel

Credits for Good Kid, M.A.A.D City adapted from Allmusic.[78]

Charts

Release history

Date Region Format(s) Label Edition(s)
October 22, 2012 Canada CD, digital download, vinyl LP[citation needed] Aftermath, Interscope Standard[94]
Deluxe[95]
United Kingdom Standard[96]
United States Standard[97]
Deluxe[98]
December 3, 2012 United Kingdom Deluxe[99]

See also

References

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Further reading

External links

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