Dec 4, 2014

15) Heaven & h---

Just as Rigamorits is a technical exercise, pushing Kendrick's breath-control and delivery to their limits, Heaven & h--- is an exercise made to strengthen his writing. Using the parallel of God and Stan's respective homes, Kendrick weaves together a venn diagram of sorts. In the first verse he goes into graphic detail while outlining a grocery list of horrors:​

"Genocism, criticism, unemployment, racism
Burning buildings, AIDS victims, cancer killin' no cure
Oil spillin', turmoil, poverty stricken,police brutality
Kickin' a--- of us Africans,hostages in Afghanistan
Not to mention another prison,child molesting
Cow intestines,botox injections,earthquakes that's government tested"

It's completely morose and cynical in it's bluntness, but the stream of consciousness approach Kendrick utilizes actually makes it relatable. All at once, every tragedy to manifest on Earth takes center stage for a minute. What makes it impressive, and not just a mundane list, is the precision with which Kendrick carves out the phrases. Just at look at how he ends the first verse:

"Just a Tec for the soo-woop swerving, izuzu then blap blap blap
Adolescents go coocoo,mothers are boohoo crying
The governor keeps us starvin',these commercials keep us buyin'
These cigarettes supermarkets fill up our liver with triumph
Distincted livin' with science,no place to live in, no Zion
See that's forbidden, we frying'"

He doesn't stop there though. To drive the point home, the first verse, which already felt heavy due to the amount of worse he managed to cram in there, ends up further overshadowing the rest of the song. In order to signify the extent to which he feels the darkness drives out the light, the bad the good, and so forth, he has the first verse last the normal amount of time, while cutting the first verse off after a few meager bars.

"Malcolm laughing, Martin laughing, Biggie spittin'
Pac is rapping, Gregory tappin, people singing, bells is ringing
Children playing, angels praying, 14 karat golden streets, collard greens
Red wine, potato yams, turkey legs, calling every human being…"

That's all Kendrick manages to get out before fading away under the the burden of the first verse. But the song doesn't sound foreboding. It sounds hopeful, as if acknowledging and addressing the existing problems is form of therapy. Which it probably is. Unfortunately for us, we only get a few lines of a second verse that essentially turns into an outro. The hook and production, as mentioned, suit the solemn topic at hand in a surprising yet completely fitting manner.

"my n----- what it look like?"

someone should have k dot sit down with Cohle

​

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Dec 2, 2014

So I had a pretty successful top 10 kendrick verses thread back on SL but there's no trace of that left now…I did't even save the order of the list/can't remember lol. But I'm willing to do another write up, this time for the top 15.

If anyone is interested, let me know and Ill drop you a mention.


I'll prolly start on this tonight or tomorrow.

 

Dec 14, 2014

10. Look Out For Detox

Ironically hilarious title aside, Look Out For Detox is an unflinching statement from a younger K Dot. Around the time he was handed the torch from Uncle Snoop and Dre, and placed on the path we seem him continue to blaze down to this day, Kendrick still felt as if he had a lot to prove. The same kid who said he would break the wrist of Dre or anyone else that tried to give him a handout, was now being placed on a pedestal and chauffeured into the mainstream rap game as nothing short of being the new king/savior/messiah.

But, as we know, none of this got to Kendrick's head. He went on to drop the phenomenal Section .80 and followed that up with one of the best studio debuts in recent history. All this to say that the fire and drive exhibited by the artist since his breakthrough, has been accumulating since the days of Sherane - fueled by everything from his teenage angst, to his disillusionment as an adult. From his vows to never succumb to the city that stole his friends, to his vows to his friends to never turn his back on the city that raised them, Kendrick has been perpetually in a state of seeking a platform for his narrative. And then Dre lets him create a promotional track for Detox.

And this happens:
"Water in the pot, flow crack rocklike Bam Bam n-----
Have two grams n----- pay up or blam blam n-----
Had a black Camry,bumpin' Dipset, Killa Cam n-----
I had been around n----s, killas, pimps
You ain’t been around s--- but your momma and your b----
Shoved off the porch when I was like six
Uncle Bobby got the house raided back in 9-6
Kick in the door
K9's all in the kitchen way before I even heard of Mike Vick"

Then this:
"I fear no opponent
A demon come near and I might throw a spear at the omen
You looking at the 2010 Romans
Empire,Hiiipower HP,in ya face like HD
And I spit like a HK
I’mma shot like a H3, H-U-B-C-I-T-Y, A-B and Y-G
Problem and Hootie n-----
Tell the government come s---t me, n-----
Cause I’m going out with a fist raised
And a fist full of money give it to a fifth grade
Drink a fifth of Hennessy and then take another fade
With a democratic politician from CA
They don’t wanna see a B-L-A-C-K
Making some scratch like a hall of fame DJ
Give us some free J’s put us in PJ’s
Now we in the county jail calling for a three-way"

And then, because those two sections weren't batshit crazy enough, he becomes possessed, spits this, and then ends up rambling/freestyling (continuing to call Q an ugly f---er :cry: ) before cutting the track off:
"And you rap n----s looking funny tryna talk back and s---
Like he back that s---
Acting like you real or something
n----- ain't popped no steel, ain't popped no Calico
Go pop some pills or something
You trying real hard to appeal to someone
I’m being myself, my BFF is a BM-dub
With your BM in it and your stash box glove"

Riding the Childish Gambino produced beat ("You Know Me" off Culdesac) with the intensity of, well, someone recently entitled the king of the west coast, Kendrick puts on a f---ing clinic. From wordplay ("BFF is a BM-dub, with your BM in it" or "With a democratic politician from CA/They don’t wanna see a B-L-A-C-K/Making some scratch like a hall of fame DJ/Give us some free J’s put us in PJ’s" or "With the prototype with a godly protocol/You an amateur, they wanna pro to call" etc etc), to flow (not only does it get better as the track builds up, there are many moments throughout, such as "and a medicine a doctor gave a n----- won't help/I’m at the limit where I be amazing myself," that simply roll off the tongue way too easily for Kendrick). Content ("go pop some pills or something," house raids, "Uncle Bobby,") to delivery (he's in a f---ing trance, man), everything about this track is extraordinary.

I r---d the replay button when I first heard of this, and couldn't believe how long ago it was made.

But anyways, enough of my rambling, enjoy the track .


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Dec 30, 2014

8. Nosetalgia

The most recent addition to this list. A show-stopping guest spot on one of the best tracks of 2013 - which already contained a "showstopper" in the form of Pusha T's first verse.

The production, headed by Kanye West, creates a dark, yet understated, swing - simultaneously upbeat and uptempo, but with a blatantly menacing underbelly. It almost gleefully carries the track, daring you to actually enjoy the forthcoming content…to dismiss Pusha's declaration of being "crack in the school zone" as anything but the absolute truth. And Pusha plays into that duality. He's playful, almost teasing and taunting, inciting the wrath of "Ivan Drago," and "Doctor Zhivago."

You want to shrug it off as candor, but repeated listens teach you that it's anything but innocent - it's the blunt truth. A truth that Pusha's long since come to terms with. And only one half of the coin.

There are the dealers, then there are the abusers.

And that's where Kendrick comes into play. With one of the best guest verses, or verses in general, of last year (lol @ "Control"), Lamar comes on full force, armed to forge, and hammer home, a narrative he's been letting fester for god knows how long.

His voice fluctuates between deep sorrow and gleeful bravado, from earnest confusion to clean cut clarity. For the J Cole fam over in his subsection claiming that Cole always seems to "talk to them" more than Kendrick (@Kold @KLD3816 @Lockness etc), I ask you, how familiar are with material like this? How many other rappers have you heard manipulate their voices in such visceral ways - in such a powerful, instantly affecting, manner?

I say this verse is instantly affecting because not one person can listen to it without being drawn in by Kendrick's zen-like trance. The way he seems to channeling visions of his childhood, from Boyz In Da Hood to instrumentals from his "momma's Christmas party."

He wants to mimic Pusha's aggression, he wants to fit the mold - but he claims "troubles on my mind."

He plants one foot firmly in the cartoonish realm in which most of his flows/voices often reside. But in this case, it seems to be to prevent any real emotion from seeping through, rather than as a haphazard way of making a verse more enjoyable. He's trying not to breakdown.

There's deliberation, a calculated madness from within.

This is a track for grown men - Pusha is hailing himself King of his trap. Kendrick is trying to respect the culture of the society that raised him, while nostalgia overwhelms him and forces his thoughts to wander to the days his dad "broke his nails misusing his pinky to treat his nose."

All this to finally bring the verse back to a full circle at the end.

From the moment he saw his dad's "shirt button open, taco meat laying on his gold," he knew the lane he had to push. He knew what version of crack he had to peddle.

And finally, he's able to let him know: "your son dope, n-----. Now reap what you sow, n-----."

Kendrick essentially saved his father - imagine where he would be or what circumstances would've befallen the man often times tweaking in front of his son (about anything from his dominos to his drugs), if what he "sowed" wasn't as unbelievably fruitful as King Kendrick.

"I was born in '87, my grand daddy a legend
Now the same s--- that y'all was smoking is my profession,
Let's get it"



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Dec 9, 2014

12. Temptation

How the f--- is this verse so low!?! I know I made the list but…god d---, this is in my top 5 for any Kendrick features.

I actually don't know if it even counts as a feature, now that I think about it. It's supposedly from that, now lost, J Cole x Kendrick collab tape. If only that were to ever happen - I think Kendrick's realized partnering up with J Cole wasn't really the next power move. But, to be fair, Cole kills this track as well, and the collab probably would've brought out the best of the dude.

Aside from all that, what we're left with a low-quality phone recording of a track that has all the right aspects of myth-making covered. From the tape that never came out, to the low quality recording, to the black b---- scream in the background every 3 seconds (I pretend she's part of the beat now), and to the store that Kendrick premiered it in, only for a few fans, everything about the track adds to K Dot's legendary verse.

He's even got Q turning up as his hype man.

Always a showstopper, Lamar let's Cole get his entertaining enough verse out of the way, before casually flipping the essence of rap on it's head for the billionth time.

The verse builds on itself, gaining momentum at a breakneck pace.
Beginning by flipping Cole's flow, Kendrick then takes it to a whole different plateau:

"Often I'm caught up in confusion
And tryna find solutions
To try and p---- the system that's a form of prostitution I'm ready
The city probably see me as a nuisance daily
Singing the Devil's song in a repetitive medley, I know"

Instead of continuing to be all "woe is me" and complain about the temptations that reside in his city, on the one song that he should complain, he instead embraces his vices and kicks the bravado into overdrive.

You're reeling from the whirlwind of flows and mindfuckery by the time he asks you to "beg his pardon," and drops this bit to end his verse:

"Don't blow job she no jobs like, Tommy from Martin
The blow job's she blow hard like a nintendo cartridge
That blow job had genius like Mozart
Got blow job then put it in her trunk like Goyard
I'm starting, off with that Cuevo
Shop on Rodeo
House in the Dagos
We like to f--- and watch the day go, by
Hasta luego,drop the potato
She's hot, what can I say yo?"

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Dec 7, 2014

14. Ignorance is Bliss (verse 2)

Amongst Kendrick's best work, Ignorance is Bliss seems to function as a form of therapy, similar to Heaven & h---, but seeps out from a more toxic niche in his mind. He's eccentric in his delivery and presents a maze of conflicting emotions, influences, and choices, rather than paint a clear story.

The first verse is, for all intents and purposes, as good as the second, but the latter has grown to be my favorite over the years. The former comes out of the gate swinging, with the trademark Kendrick angst readily apparent. There are a flurry of punchlines and crystal clear images, but a sense of detached observation (as some people like to note, he's more akin to Nas, peering out from the project windows, rather than someone who's actually been amidst the violence and degradation himself). Regardless, the first verse still filled with the graphic detail, lost amongst his relentless need to move forward, and not let anything sink in for more than a second:

"I'mma back 'em down like Shaq with this black 2-2-3 in my hand
Better pray that this chopper jam like a radio single, man
Police radio signals saying that a 187 land
On your corner,coroners comfort your momma
"Momma he's dead" the next morning, I toasted up with my homies
We drink and smoke marijuana,want us to change our ways? Uh-huh"

The third verse outlines the most relatable and, well, clear, narrative, as Kendrick reminisces on how he wanted to be signed by 17. All this to say that the track had multiple verses suited for this position. However, as I mentioned, the 2nd has grown to by favorite for multiple reasons.

The subtle switch ups in the beat compliment the 2nd verse, as he beings by claiming:

"This the hardest s--- you've heard from LA this far
And I'm this far, from a discharge but never will I dish off
We all tryna ball and when I got the rock I'll dish off"

The resilience only builds as he forces in syllables and words that just don't need to be there, but due to his aggression and conviction, they rarely seem out of place. In fact, this s--- right here, might be my favorite part of the verse:

"Come back and make these n----s wanna s---t me
And they b------s wanna salute me or seduce me
Indubitably I'm too street, indubitably Imma do me
Better than your b---- would"

This n----- used the word indubitably twice in a row for no f---ing reason lol - and it's awesome.

And this point, I might as well quote the rest of the verse, seeing as how it's an endless stream of greatness:

"I'll make an album that'll put a smile on Malcolm
Make Martin Luther tell God I'm the future for Heaven's talent
No tarot card reading; I'm foreseeing you n----s vanish
Not only from the rap game, I'm including the planet
Cats so watered down clowns can sink Titanic
Tie titanium around their neck and watch 'em panic
Give me respect, dammit, or get damaged
Die young, corpse identified by your parents
Apparently you're a parrot, mocking me and my blueprint
But I won't share it just make you cop it then call you a sheriff
Stop it, I'm hearin' the comments
The critics are calling me conscious
But truthfully, every shooter be callin' me Compton
So truthfully, only calling me Kweli and Common?
Proves that ignorance is bliss"

From the wordplay in the middle, with "sink the titanic, tie titanium around their neck and watch them panic" to the self-awareness exhibited by the closing lines, "so truthfully, only calling me Kweli and Common?/proves that ignorance is bliss," this verse is fierce and defiant. Although it could be argued that tracks like this or The Heart Pt. 2, amongst others, show glimpses of Kendrick trying too hard, it's also the the control over his voice and zen-master like expertise he displays on these very same tracks, that gets him the praise and recognition he deserves.


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Dec 17, 2014

9. The Heart Pt. 2

The Dash Snow sample that preludes this song, and also kicks off the entire project that this track is from, couldn't be more fitting. Snow's enigmatic career as an artist, and eventual overdose, provides a backdrop for O(verly) D(edicated), and his answer to the question "so what keeps you alive," provides insight into Kendrick's own heart.

"Music keeps me here," he claims, "by far, the main thing."

"Thank You," Lamar offers the fellow artist, before the instrumental (an extended version of "A Piece of Light" by The Roots, which couldn't be more perfect) kicks in.

The track itself is a steady stream of consciousness, similar to the first track in this series, but with surprisingly even less structure. We all know at this point how well made and Pt. 3 is, and how energetic and charismatic the Pt. 1 is, but Pt. 2 is the silent killer - a brooding track, just under 5 minutes, that's very much as resolute as it is uncertain in it's purpose.

" I ain't perfect, and I ain't seen too many churches
Or know them testament verses"

Kendrick gets that out of the way right out the door, begging you to take his woes with a grain of salt, and not just dismiss them as angst. It's something more than that - there's insight in these verses he writes, wisdom beyond his years, and most definitely beyond that of his peers.

He wants to be the type of man that lets "bygones be bygones," but he knows "where I'm from we buy guns and more guns, to give to the young."

"n----s dying, motherfuck a double entendre" might one of the realest things ever declared on wax. His music is more important than "rap beefs." He's here to serve as the bridge between making it, and "living the life of a n----- trapped n-----."

There's much more to this track, but it's strength comes from the aforementioned structure - or lack there of.

It allows the song to build up in a ferocious manner, before we reach the part that single-handedly solidified me as a fan of the young man.

You all know what I'm talking about, and at this point in his career, we've seen him reach this level of passion multiple times.

However, at the point in my life when I heard this, I was taken aback to the point where I swore I felt his anger, his sadness, his frustration, all threatening to blow out my speakers just to grab me by the throat and slap some sense into me.

"I swear to God most y'all cats just don’t know Kendrick," he declares for the second time. At this point, I don't think anyone was sure that they really did. And if they did, well, there was this last segment to leave them as baffled and in awe as the rest of us:

"You barely know yourself, so I guess most of y'all should be offended
Ain’t doing this for my health I’m tryna' purchase my momma dem' Benzes
Occupying my time with riches, justifying my time and ambitions
Just to coincide, just to go inside, plus we idolize why we living
Look the mastermind, took the masters mind
Just the perfect time, just to master mine
Just to match the grind with precision
Look the mastermind, took - (cough)"

Jesus Christ.

Kendrick's been known to call this one of his favorite tracks, not only off the tape, but in general. He's claimed that the experience of recording this was overwhelming to the point that the verse cuts off because he couldn't physically keep spitting - it wasn't just for dramatic effect, even though it sure does add to that.

And I believe him.


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Dec 10, 2014

11. Cartoons & Cereal (2nd verse)

Just like Sing About Me…'s 2nd verse (and probably a bunch of others I've either overlooked, or, simply, wasn't feeling the day I wrote this particular list), this verse, at one point, was in my top 10.

It's arguably better than the first verse, on one of, if not, the, greatest piece of music ever produced by Kendrick Lamar (Duckworth (lol) ).

Coming equipped with a powerful Gunplay verse (I could do a whole write up on that itself), an incessantly menacing beat interlaced with haunting vocal samples, and the strength of these two artists, made it pretty easy for this song to sneak into my top five. I just had to find it first, since it isn't, and probably never will be, on a project. Which is a shame.

But on to the point - the 2nd verse. Coming off the tail a phenomenal first verse, an earth-shattering hook, the intensity is off - but only barely. I never even really noticed or cared about it till I had to do this write up. If anything, the drop in aggression is to create room for the storytelling:

"House lick went down perfect
Two shots to the head he deserved it
I overheard it hit my bed with a bowl and remote control
Dark Wing Duck lost service
Mama said I'd better duck, she's nervous
Drama all up in the cut, hit the curtains"

Not only is the imagery vivid, and made doubly menacing by the stark atmosphere, it's unflinchingly clever. Even while lost in that traumatizing memory, reliving it for the sake of this track, his writing is lucid.

"Dark Wing Duck lost service/Mama said I'd better duck, she's nervous" >>>>>>>>

After that he gets into an undeniably groove:

"I mean don't intervene with no gun machine
This block stay jerking, the feds stay lurkin'"

The looped vocal samples in the background, along with the more prevalent ad-libs towards the end, add a surreal atmosphere for this incredible verse on this flawless track.

​

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Dec 8, 2014

13. B Boyz

Being amongst my favorite Kendrick features ever, B Boyz should be easy enough to talk about.

2012 was a spectacular year for Kendrick. As the world neared it's supposed doom, the fervor for the good kid's studio debut also reached a cataclysmic high. I, along with millions of other, witnessed K Dot k--- what seemed to be over a trillion guest verses in the span of a year, and then top it all off with an engaging, and transformative album. The edification of Kendrick's legacy didn't stop at the album leaking - there were numerous bonus tracks, well-timed guest verses & remixes, and music videos to continue the tale chronicled on GKMC.

One of these features prior to that fateful day in October, was B Boyz. A track off DJ Khaled's Kiss the Ring, featuring Ace Hood, Mack Maine and Birdman. Now, the rest of these dudes might have killed the song as well, but aside from hearing Ace Hood on the intro, I haven't heard a single word of the rest of these verses.

Kendrick absolutely demolishes the track.

That, along with the fact that @Hasmn or @KRITIC or someone made a mixtape with only kendrick's features/verses from the year, made it possible for me to never actually listen to the entire song (and I don't plan on starting now).

I'm surprised this isn't higher up on the list, lol.

I'm content with just Kendrick's verse, but feel free to do as you wish.
Kendrick rides the beat like no other rapper alive, remixing and reversing his own verses and lines for added effect, and efficiently broadening my definition of "technical" rapping to include the prowess Lamar exemplifies here with the use of his voice and accompanying rhythm.

"Talk about it, make em talk about it"

He begins, and then, for the next 16 or so bars, he continues to flip each line of it's head - requiring multiple listens just to fully understand the extent of this single guest verse.
Short of breaking down every line, I can touch on my favorite part, which is:

"Next to me is definitely no one,
I'm one of one
And I musta won that from anybody who had it or better yet forgot it
Mack in the back of a 'Lac with a mac in the back of a 'Lac
With a latch on the back of the trunk
Hit a punk in the back with a pump in the back, till he's off balance"

But, of course, that small segment of his verse is surrounded by great lines and moments as well.

f--- it, just listen and follow along:

"Talk about it, make em talk about it
Life to me is currency, prosperity I got it
And your life to me is lifeless like its livin' on life support
I license everything in my wallet,lightest boy with the biggest heart
n----- play your part or parallel park your ego next to me and violence
Next to me is definitely no one, I'm one of one
And I musta won that from anybody who had it or better yet forgot it
Mack in the back of a 'Lac with a mac in the back of a 'Lac
With a latch on the back of the trunk
Hit a punk in the back with a pump in the back, till he's off balance
And I'm back in the front of the front of the future
When you are mentioning talent
And I'm back in the back of the block
With a cop wanna cop anybody's allowance
Iraq on the block G watch for the block or whatever
And cut no cut more guns more guts f--- boy you f----- up twiceyou f----- considerin' you drownin'
Die in a lake with a date with a catfish back flip head first smilin'
C-cry in the face of Jesus we just pray we keep on stylin'
On you b------s TDE YMCMB business b----"

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Jan 2, 2015

7. The City

The verse so good, Game made Kendrick split it up.

This track was one of the my first introductions to how insanely high Kendrick could raise the bar for a guest. Not only does he come armed for war, a whole arsenal of flows, aggression, and wordplay in his belt, he literally doesn't quite until the entire song becomes his to tote. And the first step in doing so refer back to the intro - after my initial excitement had worn off from listening to this track, I read somewhere that Lamar's original verse was so long, and so d--- good, that Game asked him to remove the first 10 or so bars as the hook.

The first thing I thought of then was that an even greater, more mind-boggling verse, was compromised for the sake of a better song - but that wasn't really true. The way the song's set up, Kendrick's great hook leads seamlessly into his fantastic guest verse. So that was only a momentary concern. As long as people knew about the story behind the hook, they could appreciate the verse in it's entirety, Kendrick could rightfully be crowned King of the new generation, and all could be right with the world once again.

This verse is still one of the most deliberate guest spots I've ever heard from Kendrick - to the extent that he literally forces Game, and the rest of the instrumentation, piece by pice, off of the track - leaving room only for him and his reverberating vocals.

Kendrick dubs himself as a "little n----- Mayweather size," but claims that he "rides like Pac in his prime." "Living in a city where the skinny n----s die, and the semi bullets fly," turned him into a lion - and he was primed to rip some heads off the day he recorded this joint.

In some ways, I love the hook more than the verse, but I consider it all one and the same.

Just pure passion.

The change in tempos, raid ours/radars/Raiders, basically everything Kendrick decided to do for this verse felt purposeful and powerful.

On the same song that has the Game claiming to be "the black slim shady," Kendrick comes with the same genuine aggression we haven't seen from Marshall since he last felt he had something to prove.

"look at my heart n----- f--- yo feelings"

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Dec 3, 2014

Bonus rd. 2 (no order):
Rigamortis 3rd Verse:

Swimming Pools 2nd Verse:

We Ball:

Fragile:

Sing About Me, I'm Dying of Thirst 2nd Verse:


I promise I'll start the actual top 15 write up soon. :0

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Mar 15, 2016

waited a year to reply to the em stan. The disrespect is real

 

Dec 12, 2014

601 snort