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 24, 2015

Narsh & BigCountry's Official "To p---- A Butterfly" Track By Track Review

@BigCountry had the privilege of conveying the site's initial thoughts on the album here, and wrote even more words about the project for our official review, a week after.

And I've personally probably written 10x that amount in the forum in this same time -- a mix of initial thoughts, gut reactions, and WPG shade.

However, even a week (which is like thirty lifetimes in the digital age) isn't really enough to properly process this album, and accurately convey thoughts that hold any weight.

I haven't rated a single track, let alone the album, yet. And, although BigCountry has given the album a 9.4, an album isn't always just a sum of his parts -- meaning, his individual track ratings are still 100% worth diving into.

Even I don't know what he thinks about each track....and I don't even know what I fully think about it each track. And maybe I wont until the minute I write that specific write-up.

Regardless, I think the next step is a track by track review.

BC and I will post a review or two per day, and encourage everyone to join in with their own reviews/ratings. Don't bother posting if you don't feel like breaking down the track at hand even a little bit...just attaching a number to something isn't worth much.

Let me know if you want a mention. We'll start this up soon.

me and BC really out here cuz

lets get it poppin



EDIT:

Reviews:
1. Wesley's Theory
2. For Free (Interlude)
3. King Kunta

My Ratings:
1. Wesley's Theory - 10/10
2. For Free (Interlude) - 8/10
3. King Kunta - 9.5/10

BigCountry's Ratings:
1. Wesley's Theory - 10/10
2. For Free (Interlude) - 7/10
3. King Kunta - 9/10​

 

Mar 27, 2015

3. "King Kunta"

Narsh:
"Imma get my Uncle Sam to f--- you up -- you aint no king" is a perfect transition into the swing of "King Kunta." The beat bubbles onto the scene with a cartoonish twinge, and the, deep, reverberating, bass, stutters along relentlessly for the entirety of the track. As it's been noted numerous times, the production builds on it self, in a way a Late Registration-era Kanye West beat might have, but one wouldn't be wrong to associate the whimsical air of defiance to The Eminem Show-era Eminem. Serving as the last song before the poem/actual narrative of the album kicks in ("I remember you was conflicted, misusing your influence"), "King Kunta" continues to build on the portrait of a naive, restless, and combative young Kendrick first brought to life by "Wesley's Theory."

With a namesake like "King Kunta," I, along with many others, expected something akin to the magnitude and energy of "m.A.A.d city." Despite having a completely different vibe, Kendrick manages to channel the same essence of self-empowerment that ex-tourmate Kanye has been advocating through tracks like "All Day," or his partnership with Adidas. Although "everybody wanna cut the legs off him," these two want to make a single point clear -- "black man takin' no losses (oh yeah!)."

By the time the next "pop" comes around, not only is the funk within me, I'm usually breaking it down like:

Yes, I reused this gif. But, "btich where was you when I was walkin'??"

This is an undeniable anthem -- not the "bastardization of g-funk," or "rhythmless," or whatever nonsense I've heard from ,well, only like one person. Everyone else I know, real people and my internet pals alike, can't help but get swept up in the steadfast charge, and infectious groove, of a militant Kendrick Lamar.

The only complaint I can muster up is that writing seems a bit aimless at times -- why is calling out ghost writers a priority on this? Is it something super deep, like a young Kendrick critiquing a practice he ends up picking up himself later on in his life, or something? Lol. I mean, anyone associated with Dre has probably ghost written at some point (see: "Compton"), so is that the only reason he brings it up? To showcase another time he's been hypocritical?

Regardless, he then goes and repurpose James Brown, and MJ lyrics, walks out of "the court buildin'" with $20 million ("woo woo!"), and gives us "whats the YAMS?!?!"

In short, the song rarely misses a step -- even when taking Kendrick's weird new dance moves into account.

I can't wait to see how the music video turned out -- Kendrick seems to be in a clearheaded, serene, state of mind. He's focused, I think. Even if you're someone that doesn't see TPAB as a complete hit, Kendrick's focus right now is hard to deny.

I also just want to see him dance...that "i" music video is still >>>>>>>>

9.5/10

BigCountry:
Apologies for this one being so brief, but I had to type it from my phone:

The initial mixed reviews regarding this song baffled me more than any other on the album. Granted, I was lucky enough to hear the song in context the first time I heard it, but I'm still kind of in awe that anyone could hate the production. Quik knockoff or not, I found myself bobbing my head before the beat even fully dropped (I believe my first reaction to @Koolo on Skype was "Holy s--- King kunta" as soon as I heard "I GOT A BONE TO PICK!").

Like I said previously (and Narsh brought up above), the transition between the For Free and Kunta is great, which I belive contributed to a lot of people coming around to it after hearing it in context. Even if (again, as Narsh already said), it's a tiny bit aimless, I don't think there's anything wrong with having one track where kendrick is blasting out the gates with confidence, especially because it works so well sequencing-wise (it also worked for backseat freestyle, which, coincidentally, is also the third track on its respective album).

Verdict: I like it slightly less than I did when I first heard it, but it's still a fantastic song that I don't know if I'll ever get tired of. 9/10

9/10

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 @Koolo @K3nSter @JCinator @Michael Myers @Olorin @Enigma @asvdawg @ThirdEyeVizion @Sahara

 

Mar 26, 2015

Every poster is a star

 

Mar 26, 2015

@Narsh gonna need a mention for this.

Wesley's Theory is the 2nd best track on the album to me. Boris Gardiner opening up the track with every n---- is a star and then immediately transitioning into the jazzy/soulful instrumental is so great. Also, I see a lot of people pointing out Kendrick's 2nd verse but it's his 1st verse that I really love.

When I get signed homie imma buy a strap, straight from the CIA, set it on my lap, take a few M-16's to the hood, pass em' all out on the block, what's good? Imma put the Compton swap meet by the White House, Republicans, run up, get socked out, hit the Pres. with a cuban link on my neck, uneducated but I got a million-dollar check, like that


Him rapping about all these materialistic things he wants to buy once he gets signed and how he wants to essentially share all these things with his friends back in Compton, sets up the 2nd verse beautifully when he comes to the realization that this is what "Uncle Sam" wants. Not just in order to take advantage or "p----" Kendrick so to speak but to also restrain the African-American community hence the line about Kendrick passing out assault rifles that he bought from the CIA around his neighborhood.

Overall I just love how this song is structured, it's well written, well executed, has a really great groovy atmosphere to it, chorus is extremely catchy. Surely a 10/10 for me as well.

 

Mar 25, 2015

You deserve it kendrick

 

Mar 24, 2015

You pulled out quicker than a 14 year old virgin bruh.

 

Mar 27, 2015

I loved this one the moment it first blared through my headphones my God the beat is an absolute menace, reminded me of DJ Quik's heavily slept-on work of arts. I thought it was brilliant hearing the various references throughout the song of black cultural figures since it manages to fit into the context of the album. I give this a 10/10

 

Mar 26, 2015

King kunta is coming

 

Mar 24, 2015

kinda easy when they are the only two reviewers we have atm

 

Mar 27, 2015

One of the low points lol? What the f---? Maybe I'm thinking of a different song. "All I see in this room/20 Xanies and these 'shrooms/Grown-up candy for pain". That song? To be fair though I don't see how it's really calm, either. I think that song has a sense of urgency to it that nothing else on the album does. That s--- pumps me up. I guess I don't "get" Kendrick like everybody else.

 

Mar 27, 2015

I got a bone to pick!
Should be 10/10!

 

Mar 26, 2015

dem multis huh

 

Mar 25, 2015

i will rate it

10/10...boner song

 

Mar 27, 2015

Yeah I had to read the King Kunta reviews. By far the best song imo but what do I know? I just discovered Good Kid and think that is one of the best rap songs of this decade let alone the best from Kendrick. I don't know what surprised me more the fact that I missed that song or that f---ing Pharrell produced it. I'm about 3 years late but what a grossly underrated song.

 

Mar 26, 2015

I hope it never ends

 

Mar 25, 2015

I rate this 12/10 10/10 one of the best intros in recent times

 

Mar 25, 2015

sigh

mention me

 

Mar 24, 2015

The two greatest reviewers in S80 history about to collab!