This is a track that some believe to be Kendrick’s best in his entire career. Moreover, there are others who proclaim this to contain Jay Rock’s greatest verse. However you may feel, you cannot deny the impact the song has. As soon as the opening chords come on, you know you are about to be treated to a classic. We can only hope that K-Dot and Jay Rock link up again sometime for another song.
Let us know just how much you love the track “Money Trees” from Kendrick Lamar, in the comments section down below. What is your favorite song off of good kid, m.A.A.d city? Also, did you watch “The Pop Out” last night? What was your favorite part of the entire show? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
It go Halle Berry or hallelujah Pick your poison, tell me what you doin’ Everybody gon’ respect the shooter But the one in front of the gun lives forever (The one in front of the gun, forever)
Kendrick Lamar is one of the most iconic rappers of all-time. Overall, there are some who believe he should be in the GOAT discussion. Although not everyone is there with him right now, one more iconic album could certainly put him over the edge. After his recent feud with Drake, he has proven himself as a formidable battler. In fact, taking the win against Drake has made his GOAT case that much more legitimate. Furthermore, he is now being recognized by Apple Music through their Top 100 Albums of All Time list.
For those who don’t know, Apple Music has slowly but surely been revealing its Top 100 albums. This list has been garnering a lot of controversy. Only a few artists are being allowed multiple entries, which means some truly incredible albums aren’t making the list. Well, as time went on, it was becoming clear that Kendrick would either be in the Top 10, or get completely snubbed. On Wednesday, it was revealed that the former was true. As you can see, good kid, m.A.A.d city has been dubbed the seventh greatest album of all time.
Albums like Lemonade by Beyonce were ranked 10th. Meanwhile, number one has gone to Lauryn Hill and her solo masterpiece, The Miseducation Of Lauryn Hill. Overall, these are all great picks, although the placements will cause quite a bit of debate. As for Kendrick fans, many thought To Pimp A Butterfly would be on the list instead. However, Apple Music decided to go with the fan favorite as opposed to the critical darling.
Let us know what you think of this placement, in the comments section down below. Do you believe that this was an appropriate placement for the album? Do you believe that Apple Music should have chosen a different Kendrick album for this one? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
Kendrick Lamar is winning 2024. The rapper has been crowned the victor in the highly-publicized battle between him and Drake (rightfully so). He scored his second solo number one with “Not Like Us,” and he also secured number three and six hits with his other Drizzy disses. It gets better. Lamar’s iconic victory has inspired fans to dig back into his catalog and stream his albums at a rate they haven’t been streamed in years. The proof is in the numbers. The rapper’s seminal 2012 debut, Good Kid, M.A.A.D City, is selling like a new album.
DJ Akademiks, the man who championed Drake throughout the battle, ceded Lamar’s dominance. He pointed out the rapper’s debut was on pace to sell 26K copies the week of May 12. To put this staggering number into perspective, the album’s first week of sales (with a hit single) was 242K. This means Lamar has amassed over 10% of his original first week sales without doing any sort of promo or repackaging. It all stems from the quality of the music. The 26K in sales will be enough to push Good Kid, M.A.A.D City into the top 20 of the Billboard 200. Another staggering achivement for an album that’s over a decade old.
Kendrick Lamar ‘GOOD Kid, M.A.A.D City’ on pace to sell 26K this week which will catapult the 12 year old album into the top 20 albums this week on billboard.
The irony of Good Kid, M.A.A.D City doing so well in 2024 is that Drake is featured on one of the album’s biggest songs. “Poetic Justice,” the album’s fourth single, peaked at 26 on the Billboard Hot 100. It also peaked at number eight on the US Hot R&B/Hip-Hop Songs, eventually going 2x Platinum. The rest of Lamar’s catalog has also seen a sharp spike in popularity. Billboard reported that streaming for Lamar’s music went up a staggering 49% from May 3-6. By comparison, Drake’s numbers were down 5%.
Good Kid, M.A.A.D City has also maintained its critical standing. Many cite it as the greatest hip-hop debut of all time, and one of the genre’s greatest albums, period. It’s frequently been compared to the likes of Illmatic and Ready to Die. It currently has a Metacritic score of 91, which is his second-highest behind To Pimp a Butterfly. Drake’s highest Metacritic score, by comparison, is Nothing Was the Same with a 79. K. Dot fans stay winning.
Kendrick Lamar is one of the most successful artists of all time. Overall, he is someone who doesn’t try to make commercial records. Instead, he is known for his pen, and his incredible ability to craft stories and make you think deeply about yourself and the world around you. Somehow, Lamar has been able to accrue commercial success with this approach, which is a special ability to have. His most successful album from a commercial standpoint has been Good Kid, M.A.A.D City which released back in 2012. This album was snubbed from a Grammy, but has forever lived in infamy.
In the eyes of many, this album is Lamar’s magnum opus. There are a plethora of hit songs throughout the tracklist. However, they all tell deep stories about Lamar’s life growing up in Compton. It just goes to show that Kendrick is a talented artist who can pretty much do anything he wants with his art. In fact, just yesterday, the album hit a new milestone that is certainly going to stun some of you. As it turns out, the album has been on the Billboard Hot 200 chart for 600 weeks. This adds up to about 11 and a half years.
It’s hard to believe this album is over a decade old at this point. It feels like it came out just yesterday, although this speaks to the timeless nature of the project. This album will likely remain on the charts for years to come, and for good reason. Hopefully, Kendrick gives us something new, very soon. After all, he is in a feud with Drake, and fans want that response, pronto.
Let us know what you think of this achievement from Kendrick Lamar, in the comments section below. Is GKMC your favorite album from Lamar? Or are there other projects of his that you find yourself gravitating towards? Additionally, stay tuned to HNHH for the latest news and updates from around the music world. We will continue to keep you informed on all of your favorite artists and their upcoming projects.
By now, you’ve probably heard — or at least heard ABOUT — J. Cole’s new song “7 Minute Drill,” in which the North Carolina rapper goes in on frequent collaborator-turned-rival Kendrick Lamar. That’s probably why you’re here in the first place. You heard — or at least read about — his line that goes: “Your first sh*t was classic, your last sh*t was tragic / Your second sh*t put n****s to sleep but they gassed it.” And now you’re thinking, “Huh, what WAS Kendrick Lamar’s second album?” I mean, look at the title of this post; you’re only getting this if you searched for it.
And hey, we here at Uproxx understand any possible confusion. After all, Wikipedia has a list of albums that seems to undermine the common consensus about those albums (setting aside, I guess, how you personally feel about any of Kendrick’s output); going by that list, Section.80 was the classic and n****s gassed Good Kid, MAAD City.
However, I’m going to posit that he was starting with Good Kid, and that the gassed album was To Pimp A Butterfly. After all, when Section.80 was first released on Apple Music back in 2011, there was some debate about whether it counted as a “mixtape” or an “album” — a common source of confusion in those days. It was also released independently, without the backing of Aftermath and Interscope that Kendrick’s later output received.
So while Section.80 is technically K. Dot’s first album, many people contend that Good Kid was his actual debut. In any case, it’s the one that best fits the description given in “7 Minute Drill,” despite what some pedantic rap nerds on Twitter are probably carping on about right now. That would also make the description of “Butterfly,” its Grammy-winning 2015 follow-up, the album that fans slept on while gassing it.
And hey, setting aside what the aforementioned rap nerds are talking about… I was there. I remember. People did not like — or just did not get — that album. Even today, it’s got the second-lowest streaming numbers of any album in Kendrick’s discography on Spotify after Mr. Morale & The Big Steppers (or, okay, the independently-released Section.80). Most of those streams appear to be retroactive, by the way. I’ve called it a case of “The Emperor’s New Clothes” in the past, and the numbers appear to bear that out (men lie, women lie, etc….). Internet FOMO drives a lot of the discussion of K. Dot’s catalog, but to use Occam’s Razor here, while he has some truly outspoken fans, it looks like there aren’t all that many of them — or they’re just lying to look cool.
So, TL;DR: even though Good Kid is technically Kendrick Lamar’s second album, most people consider it his first, making To Pimp A Butterfly the second album J. Cole trashes on “7 Minute Drill.”
Pulitzer Prize-winning artist Kendrick Lamar is gearing up for another leg of his impressive The Big Steppers Tour. The tour supports his latest No. 1 album, Mr. Morale & the Big Steppersreleased last year. Lamar was born on June 17, 1987, in Compton, California. Kendrick is mainly known for his progressive musical styles and socially conscious lyrics. Further, he is widely considered one of his generation’s most influential hip-hop artists. Lamar started his mainstream music career after signing with Top Dawg Entertainment (TDE) in 2005.
The Compton artist’s career has skyrocketed since then. Lamar has sold over 70 million records in the United States alone. Additionally, all his studio albums have been certified platinum or higher by the RIAA. He topped the Billboard charts for the first time after being featured on the remix of “Bad Blood” by Taylor Swift. Kendrick has also received numerous accolades throughout his career. They include 17 Grammy Awards, a Primetime Emmy Award, and two American Music Awards. Lamar has also bagged six Billboard Music Awards, 11 MTV Video Music Awards, a Brit Award, and a nomination for an Academy Award. These are some of the emcee’s best songs from his discography.
“N95” (2022)
“N95” is the lead single from his fifth studio album, Mr. Morale & the Big Steppers. The album is Kendrick Lamar’s first since parting ways with Top Dawg Entertainment. ‘N95” is a seething cultural critique where Lamar spits bile in multiple directions over a bleakly catchy, bass-driven instrumental. With a visual that opens with Lamar hovering about the ocean with arms stretched wide in a crucifixion-like pose, Lamar certainly turned heads with this one.
“Family Ties” – Baby Keem ft. Kendrick Lamar (2021)
“Family Ties” was released on August 27, 2021, by Columbia Records and pgLang. The song is the fourth single from Keem’s debut album, The Melodic Blue. “Family Ties” is also Lamar’s first musical release under pgLang, a production company he co-founded in March 2020. Lamar signed Baby Keem under the collective. He is also Kendrick’s cousin, hence the song title. “Family Ties” won Best Rap Performance at the 2022 Grammy Awards. It has officially been certified three times Platinum by the RIAA.
“All The Stars” – Kendrick Lamar & SZA (2018)
“All the Stars” was released on January 4, 2018, as the lead single to the soundtrack album of the film Black Panther. It was co-written by Lamar and former label-mate SZA. Sounwave and Al Shux also produced the song. Ryan Coogler, the Black Panther director, hand-picked Lamar to produce the soundtrack.
Moreover, “All The Stars” received numerous accolades and nominations, including Best Original Song at the 76th Golden Globe and 91sAcademy Awards. It additionally received four nominations at the 61st Grammy Awards including Record of the Year and Song of the Year. “All The Stars” won Best Song at the African-American Film Critics Association. The video additionally won Best Visual Effects at the 2018 MTV Video Music Awards. Since its release, the song has sold two million copies in the United States.
“LOVE.” (2017)
“LOVE” is a song from Lamar’s fourth studio album, DAMN. Lamar also co-wrote the song with collaborators Zacari Pacaldo and Teddy Walton. Sounwave and Top Dawg CEO Anthony Tiffith are credited for production. Lamar’s fans have often speculated that the song’s lyrics describe his love and devotion to his fiancée and mother of his children, Whitney Alford. Further, “LOVE” spent 40 weeks on the Billboard Hot 100 and is currently certified four times Platinum in the US by the RIAA.
“HUMBLE.” (2017)
Kendrick Lamar’s “HUMBLE” was released on March 30, 2017. The song was the lead single from Lamar’s Pulitzer Prize-winning album, DAMN. “Humble” also topped the Billboard Singles chart and became Kendrick’s second No. 1 song after “Bad Blood” remix with Taylor Swift. The song won Best Rap Performance, Best Rap Song, and Best Music Video at the 60th Grammy Awards. Mike Will Made-It produced the song. He initially created the beat for Gucci Mane. Additionally, the RIAA has certified ” HUMBLE ” seven times Platinum.
“Alright” (2015)
The song “Alright” is a fan favorite in Lamar’s discography thanks to its messages of hope amid struggle. It was released asTo Pimp a Butterfly’s fourth radio single on June 30, 2015. Pharrell Williams is also credited for the production of the record. The song was primarily associated with the Black Lives Matter movement after several youth-led protests were heard chanting the chorus. It was officially dubbed the Black Lives Matter soundtrack because of this. Additionally, “Alright” received numerous accolades, including four nominations at the 58th Grammy Awards: Song of the Year, Best Music Video, Best Rap Performance, and Best Rap Song. It won the latter two. The song has been certified Platinum by the RIAA.
“King Kunta” (2015)
“King Kunta” is a single from Kendrick Lamar’s third album, To Pimp a Butterfly. It was released as the album’s third single on March 24, 2015. Lamar also co-wrote the song with producer Thundercat. Terrace Martin, Michael Kuhle, and Sounwave served as producers. The song’s title references the rebellious enslaved man Kunta Kinte from the novel Roots: The Saga of an American Family. “King Kunta” has been certified Platinum by the RIAA in the United States.
“Control” is a song by Detroit emcee Big Sean. It features guest vocals from Kendrick Lamar and Jay Electronica. Lamar’s verse was labeled as a “wake-up call” for hip-hop, both for his skill as a rapper and for calling out multiple fellow rappers by name. The song was initially intended to be included in Big Sean’s second studio album Hall of Fame. However, this was ultimately hindered by sample clearances.
“Bitch, Don’t Kill My Vibe” (2012)
“Bitch, Don’t Kill My Vibe” is one of the lead singles from Lamar’s Good Kid, M.A.A.D City album. Sounwave is once again credited for production. Lamar was also reportedly initially meant to collaborate with pop star Lady Gaga on the song. However, delays in submission eventually led to her part being left out. The song’s version with Lady Gaga vocals was added to later editions of Good Kid, M.A.A.D City. Jay-Z is also featured on the official remix of the song.
“Bitch, Don’t Kill My Vibe” is generally considered the song that thrust Kendrick into the limelight. The record peaked at No. 32 on the United States Billboard Hot 100 chart. It also reached the Top 10 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. The RIAA has certified “Don’t Kill My Vibe” four times Platinum.
Kendrick Lamar’s status as one of the greatest MCs of our time is undisputed. Growing up listening to West-Coast icons such as Snoop Dogg or 2Pac, he has solidified himself as an icon of our generation. The mastermind is more than just a musician. He architected the explosion of Top Dog Entertainment (TDE) as a minority owner, and has collaborated with a variety of film or clothing brands over the past five years.
Growing up in Compton, Lamar never subscribed to the traditional lifestyle of those around him. Achieving straight A’s in high school, his friends described him as a recluse that often spent time in alone. The creative icon clearly had a vision, one that began with a series of mixtapes which he began releasing at the age of 16. Signing with TDE at 17 years old, he was soon collaborating with fellow California MCs such as Jay Rock. Co-signed by Lil Wayne, he released debut ‘Kendrick Lamar EP’ in 2009. Lamar would jump leaps and bounds between every project, unwavering in his psychedelic blends of R&B and rap.
The Compton-born rapper would go on to release a number of Grammy-nominated classics, from the banger-heavy ‘Good Kid M.A.A.D City” to the socially conscious ‘Mr. Morale and the Big Steppers.’ So, how do you organize his records into ranked list? It certainly wasn’t easy, and there isn’t one right answer. Similar to the likes of Tyler, the Creator or Kanye West, everyone is going to have a different opinion. However, we did our best to rank Kendrick Lamar’s albums from worst to best.
8. ‘The Kendrick Lamar EP’
Kendrick Lamar’s first official release, the self-titled EP is an engaging listen for fans who want to hear how his sound and lyricism has progressed over the years. Featuring fellow West-Coast MCs like Schoolboy Q and BJ The Chicago Kid, the timid personality is boastful on the mixtape. Referencing the Grammy’s multiple times, there was a clear path to fame that the 21-year old was pursuing.
However, it’s far more than a traditionally boastful or trap-inherent record. Surprisingly mature for his age, he has intricate takes on being raised in the violent streets of Compton. Talking about his Uncle Tony or his tumultuous home life, many of the topics referenced would be discussed in more detail on ‘Good Kidd Maad City.’ In addition, he doesn’t shy away from more melodic tracks that would be more fully-fledged out on ‘Section 80.’
Lamar isn’t commanding beats and switching up his flows like he would on future projects. However, his ambition is apparent and attractive as a listener. Straining for start to finish, it’s an admirable project that would set the groundwork for the remainder of his career. The record’s final track concludes with external voices saying “Who are you? What are you trying to say? What are you trying to accomplish?” These are all questions he’s still navigating, which explains the half-baked nature of the mixtape’s sound and lyricism.
7. ‘Overly Dedicated’
At 23 years old, ‘Overly Dedicated’ comes from a rapper who’s still trying to figure out his sound. Often impersonating the likes of Lil Wayne or Eminem, Lamar is still “in the dungeon” in terms of drilling his own voice. However, he’s taken noticeable leaps from his debut mixtape. Lamar doesn’t constantly sound out of breath or lagging on a beat. In addition, the record sees him dramatically grow from a songwriting perspective, which is especially noticeable on tracks such as “The Heart Pt. 2.”
More abstract than ever on the production end, the attempt, similar to his self-titled EP, is hit or miss. Jhene Aiko makes an appearance on the lead track, delivering fleeting background vocals amidst a lofi R&B beat. Again, Lamar recruits his fellow So-Cal MCs such as Schoolboy Q and Ab-Soul. All of it sounds more in control and calculated. Lamar doesn’t know where he’s going to end up, but he finally knows where he’s going. Darting from smooth melodies to aggressive verses, ‘Overly Dedicated’ represents a steadfast improvement from his messy mixtape.
6. ‘Untitled, Unmastered’
It’s not uncommon for hallmark artists to release mixtapes or projects that exclusively feature lost tracks. Of course, these projects are almost always met with lowered expectations. After all, these are songs that weren’t quality enough to make an official release. However, ‘Untitled, Unmastered’ is shockingly great. Is it messy and sloppy? Sure, but the ideas here make it a worthwhile listen for any Kendrick Lamar fan.
‘Untitled, Unmastered’ is just as much an intricate piece of commentary as it is a piece of music. Songs randomly depart into spoken-word sections, or off-kilter audio recordings. For example, ‘Untitled 07’ starts off as a grimy banger, featuring wonky synths as Lamar yells out “levitate!” The track then diverts into a recording session amongst Kendrick and his friends. What does it mean from a conceptual perspective? There’s plenty of loose-ends left up to the interpretation of the listener, which is a consistent theme throughout the record.
A collection of leftovers from the ‘To Pimp a Butterfly’ recording sessions, the 34-minute record still demonstrates far more power and originality than his most early works. Lines such as “See I’m living with anxiety, duck at the sobriety” prove that ‘Untitled, Unmastered’ is still an engaging record from a storytelling perspective, even if it’s jaded.
5. ‘Section 80’
In many people’s eyes, ‘Section 80’ is when the career of Kendrick Lamar really kicked off. The debut studio album from Kendrick Lamar, ‘Section 80’ is a fully realized version of ‘Overly Dedicated.’ Sampling the likes of Gil-Scott Heron and the Wu Tang Clan, he implements his childhood influences throughout the record. Kendrick essentials such as “A.D.H.D” and “HiiiPower” appear on an album that’s proven to be timeless.
Kendrick expresses his love through multi-faceted verses and soul-induced beats on ‘Section 80.’ His most somber listen yet, it’s a stark contrast to the bangers than would populate his next album. It’s his most summertime album yet, as he pitches down his voice and lays down catchy melodies on an album that isn’t as a feature heavy compared to his previous records. However, he still finds the space to include the likes of Ab-Soul and BJ the Chicago Kid.
Relentless and conceptual, the project attacks themes such as the 80s crack epidemic, racism, and complex love interests. ‘Section 80’ proved that the name Kendrick Lamar would be here to stay. While not quite as tight-knit or consistent as his later projects, it’s a generational album that propelled him onto the main stage of hip-hop.
4. ‘DAMN‘
Kendrick Lamar’s favorite album (up until Mr. Morale and the Big Steppers), ‘DAMN’ is the fourth studio album from Kung Fu Kenny. He was on-fire going into ‘DAMN,’ piggybacking off of the hype of his previous two records. Featuring a big-budget sound and a celebratory feature list, it’s undoubtedly his most mainstream record yet. However, this doesn’t mean that the record is wallpaper or repetitive. Kendrick attacks plenty of fresh territory on ‘DAMN,’ such as on the drop-dead gorgeous “LOVE.”
Touching on topics such as race relations in a post-Obama America and a deteriorating personal faith, Kendrick seems as unsure of himself as ever on ‘DAMN.’ It’s surprising considering his aforementioned success, but it’s presented in an eye-opening and engaging manner. His most successful commercial release to date, hit lead single “HUMBLE” is nearing 2 billion streams on Spotify. In addition, “DNA” is approaching 1 billion streams.
Somehow, Kendrick finds a way to re-invent himself on the 2017 release. His most scattered album yet, each song employs a completely left-field sound. Whether it be the oddball sample on “FEEL” or the explosive “DNA,” it’s certainly a mind-boggling first listen. In many ways, ‘DAMN’ blends the softer elements of ‘Section 80’ with the rap anthem aspects of ‘GKMC.’ While the album is missing the replay value of our top three records, Kendrick’s frankness about his flaws makes ‘DAMN’ a hell of a ride.
3. ‘Mr. Morale and the Big Steppers’
Kendrick Lamar’s most recent release, ‘Mr. Morale and the Big Steppers’ was his most introspective record to date. His sixth and last release for Top Dog Entertainment, the album symbolizes a new era for the elusive rapper. Purposefully taking himself out of the limelight over a two to three year span, he returned with a newfound perspective after having his second daughter with fiancé Whitney Alford. Featuring the likes of Sampha, Kodak Black, and Summer Walker, it was arguably his strongest feature album yet.
The record sees Kendrick fully tackle many of the personal demos that he hinted at on ‘DAMN.’ Finally at peace with the reality that he (just like all of us) is inherently flawed, he sheathes his ego in favor of a therapeutic 78-minute expression of sound. The two disks symbolize two sides of Kendrick. On the first disk, he’s at a darker place, coming from a place of anger rather than understanding. The second disk sees Kendrick overcome his trauma through therapy and reflection on difficult experiences. Menacing piano chords and dark commentary populate much of the record, generating a unique sound that aids to the narrative of the album.
Even though ‘Mr. Morale and the Big Steppers’ is full of tearful ballads, that’s not to say that he doesn’t have any sort of fun. Teaming up with Baby Keem for electronic banger “N95,” rapid and wistful synths blend in with Kendrick’s menacing voice. “Die Hard” is a feel-good song through and through, as Kendrick takes a backseat to allow Blxst and Amanda Reifer to deliver gleeful vocal falsettos. “Rich Spirit” makes the listener feel as if they’re underwater, as the far-away vocals and snappy 808s aid to the relaxing, cerebral feel of the track.
‘Mr. Morale and the Big Steppers’ feels like the tight-knit, narratively conceptual project that ‘DAMN’ was meant to be. An emotional rollercoaster, Kendrick tackles his demons through transparent lyricism and experimental piano loops or synths. While Kendrick doesn’t quite match the vocal performances or consistency of our top 2 records, the Grammy-winning project was his “return of the king” moment.
2. ‘good Kid, m.A.A.d. city’
The quintessential coming of age rap album, ‘GKMC’ was Kendrick’s most banger-heavy record yet. Full of timeless rap anthems, it’s a conceptual callback to his Compton roots. Kendrick’s “we made it” record, the listener feels like he’s driving through Southern California in a Mercedes Benz with Kenny and his friends. Kendrick addresses many of the ills of growing up in Compton, from racial profiling to constant pressures to conform to the toxicity around him.
Releasing a mere year after ‘Section 80,’ ‘GKMC’ continued to solidify Kendrick as a socially aware lyricist, whose verses proved to be just as effective under a variety of genre-bending styles. However, this was undeniably his most hardcore hip-hop album to date. From “Money Trees” to “Swimming Pools,” he’s drowning in money, alcohol, and fame amidst trap beats. Many of the bangers act as smokescreens for his deep-rooted issues. “Swimming Pools” sounds like a simple banger that endorses alcohol on first listen. However, more listens make the nuance of Kendrick’s message about alcohol or drugs apparent.
Kendrick assumes a variety of alter-egos to symbolize his varying states of consciousness on the record. On “Backseat Freestyle,” he states “I pray my d**k get big as the Eiffel Tower” amidst a wind-chime sampled beat and a booming base. However, tracks such as “Real” reveal this ego to be un-founded, as it represents Kendrick behind drawn into the toxic life around him. “Sing About Me, Dying of Thirst” is commonly believed to be one of his best songs. A deeply religious track, Kendrick comes crashing down from the highs of fame and drug-use.
One of the greatest rap albums of the 2010s, the record was infamously snubbed for a Grammy by Macklemore’s ‘The Heist.’ However, it’s sound is un-paralleled. Kendrick is just a teenager trying to withhold the temptation to fall into the status quo of his surroundings, and the creative expression of that time in his life is beautiful.
1. ‘To Pimp a Butterfly’
At our number one spot, we have ‘To Pimp a Butterfly.’ Kendrick’s third studio album under TDE, he incorporates jazz, funk, and soul into a once-in-a-lifetime experience. The theatricality is the record is all-encompassing, as Kendrick embraces all that comes with his roots. His most textured and in-depth studio album, he negates the claims of a utopic black future that many associated with President Obama. ‘To Pimp a Butterfly’ is theatrical, crushing, and electric all at once.
‘To Pimp a Butterfly’ spans the history of African-American music, as proven by the hints of jazz and funk throughout the album. A tribute to those who struggled before him, his message is unsurprisingly layered and meaningful. With the cover art featuring his friends and brothers from Compton, the group stands over a white judge with his eyes crossed out. Seemingly an expression of solidarity and African-American expression, it’s one of the more powerful album covers of all time.
Kendrick covers topics such as race, sex, and poverty through funky grooves. As personal as ever, he discusses not being there enough for his relatives, or for the death of his friend. Take “Wesley’s Theory,” where he raps as various alter-egos amongst wailing g-funk synthesizers. Portraying that success come with debts, we also get our bangers such as “King Kunta” and “Alright.” Alcohol is a common theme throughout the album. In fact, you can literally how the swishing of liquor amongst the background of numerous tracks, symbolizing how fame has equated with him feeling more out of touch.
‘To Pimp a Butterfly’ is Kendrick Lamar’s best album, both on the sonic and conceptual front. From Thundercat’s basslines to the somber horns on “How Much a Dollar Cost?,” it’s a polarizing record in the best way possible. His most daring and ambitious project, the record signified a definite end to the bling era of rap. Balancing the grim reality of tragedy with the hope for a better future, it’s one of the most lyrically dense records of all time.
In a year in which vinyl again outsold CDs by a sizable margin — this first happened in 2020, but the trend has continued since as the age-old format surges in retro interest and the more recent one declines in popularity — some surprising albums made up the best-selling vinyl of the year in hip-hop (pop star Taylor Swift blew everybody out of the water, though). According to Billboard, while Tyler The Creator’s recent records Igor and Call Me If You Get Lost did brisk business, selling 172,000 and 211,000 copies, respectively, the best-selling hip-hop record of the year went to Kendrick Lamar.
However, it wasn’t his new album, Mr. Morale & The Big Steppers, that racked up all the sales. Instead, it was the 10th-anniversary reissue of his 2012 debut album Good Kid, MAAD City that propelled him to being one of the best vinyl-selling artists of the year with 254,000 copies sold. According to Billboard’s data collection service Luminate, Good Kid, MAAD City was the fourth best-selling vinyl record of 2022, while Tyler’s Call Me If You Get Lost and Igor in the 6 and 8 spots, respectively. Billboard also notes Kendrick had the second-most titles among the year’s top 40-selling vinyl LPs, tied with Harry Styles at three each. In January, Good Kid, MAAD City became the first hip-hop album to spend 10 years on the Billboard 200 albums chart.
Good Kid, M.A.A.D City, Kendrick Lamar’s second album, is one of the biggest LPs ever. By at least one metric, it’s actually the biggest hip-hop album of all time: As of this week, it’s the first hip-hop studio album to spend 500 weeks on the Billboard 200 chart. It’s the second hip-hop release overall to do so, following Eminem’s 2005 compilation Curtain Call: The Hits.
.@kendricklamar‘s ‘good kid, m.A.A.d city’ has now spent 500 total weeks on the #Billboard200 (No. 17 this week).
It’s just the second rap album in history to reach the milestone, after @Eminem‘s ‘Curtain Call: The Hits.’
— billboard charts (@billboardcharts) May 31, 2022
As far as all non-compilation albums, Good Kid, M.A.A.D City is eighth on the all-time list (as of last week, via Wikipedia). It comes after Pink Floyd’s Dark Side Of The Moon (962 weeks), Metallica’s Metallica (660), Nirvana’s Nevermind (576), Bruno Mars’ Doo-Wops & Hooligans (572), Adele’s 21 (541), Michael Jackson’s Thriller (522), and AC/DC’s Back In Black (516).
Of those, only the albums from Mars, Adele, and Lamar were released this millennium. When counting compilations, Good Kid, M.A.A.D City is 14th all-time. Meanwhile, Drake’s Take Care is closing in on the 500-week mark, as it’s currently at 481 weeks and is still on the chart.
