Mar 24, 2015 it's okay. im also super amped up on coffee rn and just wrote like 5 billion words on the first track, so I cant wait for you to reply with an "ugh" when I post it
Mar 24, 2015 is a 1000+ word review not justification? @WPG I would never do a track by track review for something that's actually getting published.
Mar 24, 2015 Yeah I hope you hate it at first like you did Yeezus so I can be right again I'm really optimistic about this album man, I'm expecting it to be one of his best releases to date (inb4 you say that's how I always think lol)
Mar 24, 2015 I remeber I published a TBT piece on gambinos BTI project. But that was to supplement my official review. And I published it in that case because the album had a lot going on with how it worked a s soundtrack for his script etc TBT reviews get shade for no reason. Defending and describing your opinions is what I value the most from anyone (professional critic or otherwise)
Mar 24, 2015 I never said I hated track-by-track reviews (I wouldn't be doing this if I did), just that I would never submit one to a publication unless it was specifically asked for in addition to an all-encompassing review. I don't think they're a good way to look at an album by themselves, but they can add some interesting perspective as a supplement.
Mar 24, 2015 Please mention me. I'm looking forward to your thoughts guys I'll probably post a few thoughts as well as soon as the ratings aren't influenced by the release hype anymore. This s--- is still kinda unreal
Mar 25, 2015 1. "Wesley's Theory" Narsh: One of the most overlooked aspects of Kendrick Lamar is his authenticity -- he's often cynically cast aside by his critic as a discount Nas, whom, himself, has always dealt with criticisms regarding how "real" he keeps it. Everyone seems to agree that Kendrick and Nas were mere bystanders, peaking out project windows, scribbling furiously in their book of rhymes, rather than the ones causing the commotion outside. But none of this ever matters when it comes to making quality music. Sure, Biggie derived a lot of his acclaim from actually living the life he wrote about, but even he began by penning fantasies. And, maybe even moreso than Nas, Kendrick's "plot points" (the crucial, and subtle, moments alike that are sprinkled throughout GKMC and TPAB,) can often times be traced back to even his earliest work. The death of his Uncle, or his childhood friend, or another family member being raided, or that dreaded county building home to food stamps, or tax evasion schemes -- they're all snapshots of his turbulent upbringing that come together in a beautiful juxtaposition each time he gets on wax. The last one, specifically, seems to be the theme behind this album opener. Seemingly dedicated to the once-tax evading star, Wesley Snipes. The song laments on the scrutiny faced by black stars in general, relative to their white counterparts. It's about character assassination the same way "Mortal Man" is. This makes Dre's impromptu voicemail all that more fitting -- in white America, it's about a black man maintaining his position of power, or wealth -- not merely getting it. It's easy for Uncle Sam to p---- a butterfly. Just as the concept of a "good kid" in a "mAAd city" was probably in incubation since the moment Kendrick first touched the mic, so were the ideas littered throughout this follow up project. Whether through his Lauryn Hill shoutout in "HiiiPower," or the "credit card scam schemes," mentioned on "Barded Wires," or descriptions of his own family's way of "ballin out" every now and then, Kendrick has had these thoughts culturing in his conflicted conscious since he first saw his loved ones pull it off to varying degrees of success. The Flying Lotus and Thundercat assisted production refreshingly lush and vibrant, not to dissimilar to the aesthetic found on the Kendrick assisted track on FlyLo's new album. The bass line is otherworldly, the rhythm is infectious, George Clinton's contributions are among the highlights of this very busy opener (especially chaotic when compared to "Sherane"). The "every n---- is a star" fade in is beyond powerful -- encapsulating the message of self-empowerment that the album tries to convey, right out the gate, even though, throughout the song, Kendrick isn't too sure of own views just yet. The Kendrick at the end of this album, the one being accused in the public eye already of possibly playing "respectability politics," would probably have a few strong words to say against this type of behavior -- that the cycle of being trapped in illegal activities, poverty, and self-hatred, may very well be self-imposed to some degree. But on "Wesley's Theory," Kendrick is less understanding. He's more defiant. Every single n----- is a star. Every single one develops into a butterfly, and every single one is pimped out by Uncle Sam, and white society. Kendrick doesn't try to take any of the responsibility just yet -- but be aware, the tax man is comin'. The Beatles-influenced outro is effective in conveying that the blissful state of this song isn't everlasting. Black stars always seem to be in a constant state of rude awakenings -- and the next track, "For Free" is a direct retaliation to this cycle. "We should never gave n----s money, go back home" shoutout to dave chappelle Spoiler 10/10 BigCountry: When I first heard Wesley's Theory, I felt the same way I did the first time I heard f--- Your Ethnicity: I knew I was in for something special. It's a rare, almost indescribable feeling that only a handful of albums gave me, where I instantly knew it was going to be one of my favorite albums of all time (Yeezus, Cilvia Demo, Lord Willin', The Cool, American Gangster, and MBDTF also gave me that feeling). Parliament-Funkadelic is also one of my favorite groups outside of the rap world, so hearing George Clinton open up the album was amazing for me (who knew FlyLo could produce P-Funk? But seriously, the weirdness of this track is perfect for Clinton). Considering half of The Chronic is basically just Dre & Snoop rapping over Mothership Connection, it's really fitting to have Dre on there in addition to George Clinton. Anyway, both the funkiness of the production and the content of the song are pretty good indicators of what's in store for the rest of the album (even if there's no way anyone could have guessed what's to come). I touched on the theme of duality in my full review, and I think the contrast between the first and second verses (pre vs. post fame) are a good example of that. I just realized this when listening to the song again just now, but I think these lyrics from the second verse encapsulate a lot of the themes of the album very well: "Your horoscope is a gemini, two sides So you better cop everything two times Two coupes, two chains, two c-notes Too much ain't enough both we know" Verdict: I think I slightly prefer f--- Your Ethnicity to this, but the margin is thin. It's one of my favorite album intros in recent memory. 10/10 Spoiler @DCG @Fire Squad @Meero @Skippy @Bot @Mike Tyson @Mikey1990 @Clive @Vos @Guerrilla unit @eddie @ODB @swr @Ye the Goat @FreeAgent @Perry The Platypus @PRHYME @Young Sinatra @icecube @zoidberg @able
Mar 25, 2015 Completely agree, and Wesley's Theory is my favorite on the album. I love how it sounds so apocalyptic
Mar 25, 2015 And when you hit the White House, do you But remember, you ain't pass economics in school And everything you buy, taxes will deny I'll Wesley Snipe your a--- before thirty-five >>>>
