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Lamar’s album, was primarily a document of observation rather than participation, it didn’t reject the tastes of the day and wasn’t a coherent narrative concept album. city” to “Illmatic,” the debut album by the revered Queens rapper Nas, but the comparison holds truer for “Dreams and Nightmares.” While “Illmatic,” like Mr. On “Traumatized” he lashes out against the man who killed his father: “I was only a toddler, you left me traumatized/You made me man of the house and it was grinding time.”Įarly critical response likened “good kid, m.A.A.d. 2” continues a tale of underworld mistrust begun on his “Dreamchasers” mixtape. “Who You’re Around” is a scathing indictment of a friend turned adversary - “I woulda rolled for you, even in the same hearse/Same cemetery, bury me in the same dirt/We had a plan but I guess it ain’t work” - and “Tony Story Pt. But he also has a surprising number of stand-alone short-story songs. On “Dreams and Nightmares” he tries to have it both ways, sneaking moments of heartbreak into otherwise straightforward boast sessions. What Meek Mill wants to do is tell stories, unfashionable though that may be.
#Kendrick lamar albums and mixtapes tracklist series
On his earliest mixtapes Meek Mill was more of an obvious technician than he is now, and his recent “Dreamchasers” series of mixtapes have in places been sober complements to hits like “House Party” and “Ima Boss.” Ross’s underlings, Meek Mill is the cleverest and the one most capable of breaking the template the big man has mapped out. His songs sound about 50 percent louder than anything else on the radio.īut of all Mr. When he raps, Meek Mill sounds as if he’s calling home-run highlights on “SportsCenter.” His flow is all jabs, nothing smooth about it. In the abstract, Meek Mill - a Rick Ross protégé, preserver of big-money triumphalism - is exactly the sort of artist Mr. In this he’s like an indie-rock breakthrough act of the mid-’90s, tapping in to a reserve of commercial, anticentrist sentiment and proving that the market is flexible enough to accommodate dissent. It’s on course to sell more than 200,000 copies in its first week, an outlandish number for an artist with no significant radio presence but not for one with a committed online fan base. (A notable exception is the springy “Backseat Freestyle,” a robust accomplishment in any era.) The songs on this album are, almost without fail, dense and quiet, highlighting the changes over the past two decades in hip-hop’s scale and gloss by rejecting them outright. Would you say my intelligence now is great reliefĪnd it’s safe to say that our next generation maybe could sleep Take this segment from “ good kid, m.A.A.d. He’s halfway toward bending words in the same manner as they did and likely for the same reason: to escape.
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Lamar has also probably listened to some Freestyle Fellowship, the Los Angeles underground heroes who counterbalanced that gangster rap in the early ’90s with inventive wordplay. It has the blushing charm of the Pharcyde and the grounded funk of early Outkast, as well as songs that carry an evident sonic torch for his city’s gangster-rap past. city” recalls the intricacy of early albums by De La Soul, but without the humor. Lamar’s tale of ducking Compton’s rougher corners to find himself artistically. Lamar’s tremendous verses, prayers and conversations and different voices and recollections and interludes, all in service of one overarching story: Mr.
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That’s part of this album’s narrative strategy, which includes, on top of Mr. They albums also effectively demonstrate how two artists who value the same fundamentals can choose wildly different paths to express them. city” (TDE/Aftermath/Interscope) and Meek Mill’s “Dreams and Nightmares” (Maybach Music Group/Warner Brothers) are two very different accomplishments but accomplishments all the same. But each has a strong new major-label debut album and something in common: they’re storytelling purists. Lamar is an anointed-by-acclamation savior and a reluctant hit maker while Meek Mill is an excitable star with a firm grasp on what makes people move. Superficially they are at opposite poles: Mr. In the other corner is Meek Mill, from Philadelphia, a bully of a rapper who, while not as innovative as, say, Drake, has been the most exciting young conventional hip-hop star of the last couple of years since he signed with Maybach Music Group, the label with Rick Ross at the helm. In one corner is Kendrick Lamar, from Compton, Calif., one of the most daring and sometimes vexing rappers of the day and one who is inverting the gang-rap legacy of his hometown while working under the auspices of one of its founding fathers, Dr.