Maad City Lyrics
. ' Released: April 3, 2012.
' Released: July 31, 2012. ' Released: January 7, 2013. ' Released: January 15, 2013. ' Released: March 18, 2013 Good Kid, M.A.A.D City (stylized as good kid, m.A.A.d city) is the second studio album by American rapper. It was released on October 22, 2012, by,.
Kendrick Lamar's Kendrick Lamar - m.A.A.d city (Lyrics) music video in high definition. Learn the full song lyrics at MetroLyrics. Kendrick Lamar's Kendrick Lamar - m.A.A.d city (Lyrics) music video in high definition. Learn the full song lyrics at MetroLyrics. Kendrick Lamar's Kendrick Lamar - m.A.A.d city (Lyrics) music video in high definition. Learn the full song lyrics at MetroLyrics.
The album is Lamar's debut, after his independently released first album in 2011 and his signing to Aftermath and Interscope the following year. Good Kid, M.A.A.D City was recorded mostly at several studios in California, with producers such as, and, among others, contributing to the album. Billed as a 'short film by Kendrick Lamar' on the album cover, the follows the story of Lamar's teenage experiences in the drug-infested streets and lifestyle of his native. The album received widespread acclaim from critics, who praised its thematic scope and Lamar's lyrics. It earned Lamar four nominations at the, including.
The album debuted at number two on the US, selling 242,000 copies in its first week – earning the highest first-week hip hop album sales of 2012 from a male artist, along with the best-selling debut from a male artist of the year. It became Lamar's first album to enter the, peaking at number 16, and entering the at number two. The album was also named to many end-of-the-year lists, often topping them. It was later certified by the (RIAA) in June 2018. By April 2018, the album had sold 1.7 million copies domestically. The album's release was supported by five singles – ', ', ', ' and '.
All five singles achieved chart success, of varying degrees. Lamar also went on a world tour between May and August 2013, featuring the other members of the,.
Lamar wanted to discuss life in his native, on the album. After the release and success of his debut studio album (2011), Lamar signed a major label with and 's. He told that he did not want to work with high-profile producers, but with those he had established himself with, mainly producers from 's in-house production team,. In an interview for, Lamar said that the album would not sound like Section.80, but will return to his roots: 'I couldn't tell you what type of sound or where I will be in the next five years as far as music. Back to the neighbourhood and going back in that same space where we used to be, got me inspired.
So this album won't sound like Section.80.' Lamar also said that the album will showcase the influence of his hometown: 'The kid that's trying to escape that influence, trying his best to escape that influence, has always been pulled back in because of circumstances that be'. Before the album's title was officially revealed, fans had already been calling Lamar's major label debut Good Kid, Mad City or Good Kid in a Mad City, as it was a nickname Lamar had given himself. The album's title mainly refers to Lamar's childhood innocence, and how Compton affected his life. After keeping the album title's acronym concealed, Lamar later revealed M.A.A.D is an acronym with two meanings: ' My Angry Adolescence Divided' and ' My Angels on ', with Lamar stating: 'That was me, and it's the reason why I don't smoke.
It was just me getting my hands on the wrong thing at the wrong time and being oblivious to it.' The cover artwork for Good Kid, M.A.A.D City features a baby Lamar, two of his uncles, and his grandfather, with the elders' eyes censored. Though there is no confirmed explanation for why Lamar chose to do this, he explained that the reason why he had not censored his own eyes was that the album's story was told through his eyes, and is based around his experiences. The uncle who is holding Lamar also is displaying the gang sign with his hand, and the poster above the head of the uncle features Lamar and his father. Recording and production.
Founder executive produced the album. Recording sessions for the album took place at PatchWerk Recording Studios in, Encore Studios in, TDE Red Room in, and 'At My Mama's Studio' in Los Angeles.
The first song that Lamar recorded for the album was 'Compton', which featured Dr. The track serves as the twelfth track on the album, and acts as the standard edition's closing track. On August 15, 2012, Lady Gaga announced via Twitter, that she had collaborated with Lamar on a song called 'Partynauseous', for the album, and would be released on September 6. However, on August 23, Gaga announced that the song was no longer being released on that date and apologized to fans for the delay. Eventually, it was confirmed that Lady Gaga would not be featured on the album due to timing issues and creative differences.
The song was later revealed to be re-titled 'Bitch, Don't Kill My Vibe'. On November 8, Gaga released the version she was featured on, which had her singing the and a. Lamar expressed he was surprised and happy that Gaga released her version of the song, as it displayed confidence in their work together. Music and lyrics. 'The accuracy of its intimate autobiographical details is irrelevant—what matters is that this album helps you feel the internal struggles of a good kid who may not be good enough as he risks derailing his life by succumbing to the kneejerk loyalty, petty criminality, and gang warfare of the hood he calls home. Nobody is heroic here, including Lamar—from Christian strivers to default sociopaths, all the players are confused, weary, bored, ill-informed.' — Good Kid, M.A.A.D City has a low-key, downbeat production, with atmospheric beats and subtle, indistinct.
It eschews contemporary tastes and generally features tight bass, subtle background vocals, and light piano. Writers draw comparisons of the music to 's 1998 album. Andrew Nosnitsky of cites the music's 'closest point of reference' as 'the cold spaciousness of -era Outkast, but as the record progresses, that sound sinks slowly into the mud of those sprawling and solemn mid-2000s albums.' Of finds its use of 'smooth' music as a backdrop for 'rough' scenarios to be analogous to 's during the early 1990s, but adds that 'Lamar often sounds like.
Whose various dreamy styles have very little to do with the legacy of the West.' 's Marcus Moore writes that its 'expansive and brooding' instrumentals eschew 'California's glossy West Coast funk' for a ' aesthetic.' Lyrically, the album chronicles Lamar's experiences in his native and its harsh realities, in a. The songs address issues such as economic disenfranchisement, retributive and downtrodden women, while analyzing their residual effects on individuals and families. Lamar introduces various characters and internal conflicts, including the contrast of his homesickness and love for Compton with the city's plagued condition. Cowie of observes a 'transformation' by Lamar's character 'from a boisterous, impressionable, girl-craving teenager to more spiritual, hard-fought adulthood, irrevocably shaped by the neighbourhood and familial bonds of his precarious environment.'
's Mark Collett writes that Lamar executes the character's transition by 'tempering the hedonistic urges of with the self-reflective impulses of the.' David Amidon of views that the album provides a 'sort of semi-autobiographical ', while 's Robert Christgau writes that Lamar 'softspokenly' enacts a 'rap-versus-real '.
The album features, -like that dramatize the characters' limitations. Jon Caramanica of finds them to be a part of the album's 'narrative strategy', with 'prayers and conversations and different voices and recollections and interludes, all in service of one overarching story: Mr. Lamar's tale of ducking Compton's rougher corners to find himself artistically.' 's Jayson Greene feels that they reinforce the album's theme of 'the grounding power of family', interpreting 'family and faith' to be 'the fraying tethers holding Lamar back from the chasm of gang violence that threatens to consume him.'
Lamar exhibits a tempered delivery on the album and raps with dense narratives, and flow and multiple voices for different characters. Music journalist characterizes him as 'a storyteller, not a braggart or punch-line rapper, setting spiritual yearnings and moral dilemmas against a backdrop of gang violence and.'
Singles The album's first single, ', was released on April 3, 2012. The song featured Lamar's mentor, and was produced. It peaked at number 38 on the US.
Lamar and Dr. Dre shot a video for the song at a mansion in Los Angeles in May, although it was never released.
The album's second single ' was released on July 31, 2012, as a digital download, while the music video premiered on August 3, 2012. The song became a hit, peaking at number 17 on the US.
'Swimming Pools (Drank)' was also certified in the United States by the. The music video for the song, ', was released on January 2, 2013, which included Lamar's father in a cameo appearance. It was later revealed to be released as the third single in the United Kingdom on January 7. The song peaked at number 29 on the US Hot R&B/Hip-Hop Songs. ' was released third single in North America, featuring. The song was serviced to American radio on January 15, 2013, and peaked at number 26 on the US Billboard Hot 100. It was also soon certified Gold in the United States by the RIAA.
On March 9, 2013, Kendrick told that his next single off the album would be '. On March 13, premiered a snippet of the song's official remix, which featured. Lamar would later describe the remix as an 'accomplishment to have worked with Jay-Z'. Shortly after the remix premiered, Lamar confirmed 'Bitch, Don't Kill My Vibe' would be the next single from the album. The full version of the remix was premiered by on March 17. The remix was released as the album's fourth single to rhythmic contemporary radio on April 9.
The song has since peaked at number 32 on the US Billboard Hot 100. The music video for the original version of the single was released on May 13, with comedian making a cameo appearance. The same day, an extended version of the music video was released.
It featured a cameo from, and a bonus clip of a new song by from his own respective major label debut album, (2014). On March 10, 2015, Lamar unexpectedly released the song 'County Building Blues' to as a promotional single. The song also featured on the Target exclusive edition of the album. Release and promotion Before and after the album's October 2013 release, Lamar toured as a supporting act alongside Drake. On May 5, 2013, he begun his first headlining tour with the Good Kid, M.A.A.D City World Tour, in West Palm Beach, Florida. The tour consisted of 23 headlining shows, 22 international music festivals, and 15 United States music festivals. The tour ran through August 24, and featured other members of on all US dates.
After subtitling the album 'a short film by Kendrick Lamar', Lamar would state in an interview with that 'he plans on doing a short film to bring his story to life.' He also expressed interest in directing the short film, as well as suggesting that, and as potential names he'd want to cast in the film. On December 23, 2013, the music video for 'Sing About Me', was released, and was directed by Darren Romanelli. In the album's first week of release, it debuted at number two on the and sold 242,000 copies in the United States. The album also entered the at number 16 on October 28, as well as entering at number two on the. The album also peaked in the top ten of the album sales charts in Canada, New Zealand, and the Netherlands.
In its second week, it sold 63,000 copies in the US, and 176,000 more copies over the next four weeks, bringing its total sales to 481,000 by November 25. On November 24, the album peaked at number three on the US. By April 2018, the album had sold 1,720,000 copies. It was certified by the (RIAA) in June; for combined sales, streaming and track-sale equivalents of three million units in the US. Critical reception Professional ratings Aggregate scores Source Rating 8.6/10 91/100 Review scores Source Rating A− A− 9.5/10 8/10 Good Kid, M.A.A.D City was met with widespread critical acclaim. At, which assigns a rating out of 100 to reviews from mainstream publications, the album received an score of 91, based on 36 reviews.
It was widely praised by reviewers for Lamar's lyrical ability and narratives. Reviewing the album for, said it 'warrants a place in that storied lineage' of 'Seventies soundtracks and Nineties blaxploitation revivals'.
In the, applauded Lamar for giving 'gangsta tropes. A twist, or sometimes upending them completely' on a record that 'brims with comedy, complexity and the many voices in Kendrick Lamar's head.' 's Jayson Greene wrote that 'the miracle of this album is how it ties straightforward rap thrills' to its 'weighty material' and narrative, while David Amidon from believed the album was simultaneously accessible and substantial, capable of appealing to both underground and mainstream hip hop listeners. Journalist Joseph Morpurgo called it an autobiographical 'triumph of breadth' and a 'wide-ranging, far-reaching success'. Jaeki Cho of hailed Good Kid, M.A.A.D City as 'one of the most cohesive bodies of work in recent rap memory' and wrote that each song sounded 'both complexly arranged and sonically fitting, foregrounding Kendrick's vivid lyricism and amazing control of cadence'. In, viewed it as an entertaining and forward-thinking that nonetheless echoed the past era of West Coast hip hop. In the opinion of editor David Jeffries, the album was 'some kind of elevated gangsta rap'; he wrote of its subject matter: Besides all the great ideas and life, this journey through the concrete jungle of Compton is worth taking because of the artistic richness, plus the attraction of a whip-smart rapper flying high during his rookie season.
Any hesitation about the horror of it all is quickly wiped away by Kendrick's mix of true talk, open heart, open mind, and extended hand. Add it all up and subtract the hype, and this one is still potent enough to rise to the top of the pile. Some reviewers were less enthusiastic. Hazel Sheffield of believed the album 'might lack the raw appeal of' Section.80, while Alex Macpherson of found 'Lamar's depiction of downtrodden women' to be 'unnecessarily prurient and unconvincing'. From felt that its 'commitment to drama has musical drawbacks', but stated, 'the atmospheric beats Dr. Dre and his hirelings lay under the raps and choruses establish a musical continuity that shores up a nervous flow that's just what Lamar's rhymes need.'
Accolades Good Kid, M.A.A.D City appeared on several year-end top albums lists by music critics. It was named the best album of 2012 by,. The album was also ranked number two by, the, and, number four by, of and of, number five by, number six by and number eight. In December 2012, Complex also named Good Kid, M.A.A.D City one of the 25 classic hip hop albums of the previous 10 years. Complex also ranked its album cover as the best of 2012, while Pitchfork included it on its list of the 20 best album covers of the year.
In April 2013, placed the album at number 19 on its 'The Greatest 50 Albums Since '93' list. The album was also included in the book.
In October 2013, Complex named it the second best hip hop album of the last five years. Also in 2013, Rolling Stone placed the album at 86 on its 'The 100 Best Debut Albums of All Time' list. The album was ranked number two of 'The 100 Best Albums of the Decade So Far (2010-2014)', a list published by Pitchfork in August 2014 and number five of 'The 20 Best Albums of the 2010s (so far)', a list published by Billboard in January 2015. According to, a site which aggregates hundreds of critics' lists from around the world into all-time rankings, the album is the most acclaimed of 2012, the third-most acclaimed of the 2010s, and the 141st most acclaimed album of all time. The album was nominated for Top Rap Album at the 2013 and the 2013, and won the award for Album of the Year at the 2013. Good Kid M.A.A.D City earned Lamar five nominations at the, for, for 'Now or Never' with, and for 'Swimming Pools (Drank)'.
Response from Shyne On October 23, 2012, after receiving much critical acclaim from the hip hop community, rapper took to Twitter to disparage the album, calling it 'trash' and the production horrible. Rappers, and quickly took offense to this, with The Game defending Lamar due to his 'non-confrontational nature'. Lamar would later respond to Shyne's comments on October 26, saying that he is not a sensitive person and was unfazed by his comments.
In addition he said Good Kid, M.A.A.D City was not necessarily a 'classic' as some have called it, but 'classic worthy' if enough time would pass. He would later reference Shyne on the song 'The Jig Is Up', stating: 'I pray to God this beat good enough for Shyne'. After Shyne stood by his comments, The Game responded with a freestyle calling out Shyne, entitled 'Cough Up a Lung'. Shyne would later respond with his own in retaliation, titled 'Psalms 68 (Guns & Moses)'. Academic reception In 2014, it was reported that Good Kid, M.A.A.D City was being studied as a text in the freshman composition class of professor Adam Diehl, alongside other works such as the novel, ' Selected Poems, 's short story, and the film. The theme of the class was meant to 'inspire students to find an outlet to bring some sanity to our own mad city–Augusta', Diehl told. 'Lamar is the James Joyce of hip-hop', he said, 'in the complexity of his storytelling, in his knowledge of the canon, and in his continuing focus on the city of his upbringing - Compton.'
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Maad City Lyrics Az
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Maad City Lyrics
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Maad City Lyrics Kendrick Lamar
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