Kendrick Lamar is renowned for being one of the most fluid lyricists and compelling storytellers in music today. Inherent consistency, exceptional production, and socially relevant bars culminate to produce the Compton native’s hip-hop persona. During a time when hip-hop is dominated by violence-promoting lyrics entrenched within trap-inspired beats, Lamar is an outcast, containing a unique sense of musical innovation.
In March of 2015, Top Dawg Entertainment’s golden boy released his third studio album, To Pimp A Butterfly (TPAB). Listeners were originally apprehensive, as they were incapable of fathoming how Lamar’s new project could possibly surpass his other two acclaimed albums, good kid, m.A.A.d city, and Section.80.
Ironically, TPAB not only lived up to its hype, but it has been classified by multiple critics, including myself, as the greatest hip hop album of all time. On TPAB, Lamar weaves storytelling with vivid allusions referencing the disengagement of African-Americans in modern society, surrounded by complex rhyme schemes that generate an innovative yet melodic sounding tune.
Due to its cultural, artistic, social, and political impact, along with staying loyal to the ethics of the genre, To Pimp a Butterfly can confidently be proclaimed as the most monumental hip-hop project ever to have been recorded.
Regardless of how individuals, specifically the younger generation, view Lamar’s style of innovative hip-hop, I fully support To Pimp a Butterfly and believe the concepts present within the record illustrate the lyrical genius that Lamar has grown into over the years.
Opening up as the number one album on the Billboard Chart during its first week, casual hip-hop heads were offended by the uniqueness that Lamar had incorporated into his music. Similar to right-wing politicians avoiding change, these fanatics were put off by the newness and collaborative taste that Kendrick had generated, and instead continued listening to popular modern artists such as Drake and Future.
Contrary to the initial viewpoints expressed by listeners, professional music critics praised Lamar’s ability to “pimp” inner city African-Americans for their talents and beauty, attributes that are often overshadowed by news media.
A thorough dissection of modern America on TPAB spurred rave reviews, including a perfect 10/10 from Spin Magazine, a 9.3 rating from Pitchfork Magazine, and being the only hip hop album ever to receive a perfect score from the YouTube music personality The Needle Drop. According to multiple publications burdened with the responsibility of supplying accurate reviews, To Pimp a Butterfly is a revelation and more than deserving of worldwide critical acclaim.
Obviously, other hip-hop artists have produced groundbreaking albums in the past. Jay-Z's debut commercial release Reasonable Doubt, released in 1996, is a heartfelt monologue that intrigues listeners through its vivid descriptions of adolescence in the ghetto, while a 19-year-old Nas introduced traditional gangster rap on his first project Illmatic.
Despite overwhelming praise, flaws are present in both of the aforementioned albums. The verses conducted by Jay Z on Reasonable Doubt sometimes lack substance and are often portrayed as meaningless rambling. Although Illmatic is a strong candidate due to its distinct classic sound, the record contains multiple tracks that are too minimalistic, revolving around a simple bass loop consisting of only three notes. TPAB, however, is thoroughly developed in every facet of what hip-hop is supposed to represent.
Starting with the opening track titled Wesley’s Theory, Lamar reintroduces the Compton-inspired beat that accompanies west coast rap, something that hip-hop zealots are accustomed too. As the album progresses, Lamar transforms his musical outlook from a Snoop Dogg-inspired collection of 90s rap to a more progressive and unique viewpoint.
Surrounded by jazzy backing vocals and silky beats, tracks including Institutionalized, Hood Politics, and Momma are accessible to a variety of listeners. Politically correct music connoisseurs view these specific tracks as analogies for problems confronted by ordinary people, especially African-Americans. Kendrick’s impeccable flow allows for each track to transition smoothly into the next without interruption, and the sixteen track LP concludes with one of my favorite hip hop tracks of all time, Mortal Man.
Not only is Mr. Lamar just another rapper, but he is an individual capable of expressing opinions and emotions without portraying himself as too subjective.
Following the release of TPAB, fellow legendary artists took to social media to express their gratitude for Kendrick Lamar and his musical erudition. Chicago rap legend Common tweeted, “Kendrick Lamar is so valuable to the culture!” while one of Kendrick’s role models Kanye West stated that “Kendrick is an inspiration. Thank you for the vibrations and the spirit. Your meaning, message, and execution are gifts to the world.”
TPAB is not only a provincial success for native Compton, but its messages are acknowledged throughout impoverished regions in America, pleading for peace and serenity among all classes and colors.
I once viewed a video posted on Twitter sometime in July of 2015. The video consisted of Black Lives Matter activists in Cleveland repeatedly shouting the phrase “We Gon’ Be Alright!” Derived from a single off of Kendrick Lamar’s TPAB, this phrase is a brief yet straightforward statement regarding the perseverance of the black community.
Despite recent struggles and supposed alienation, African-Americans remain intact as a defiant coalition, spurred by Lamar’s assurance that everything will be alright in the end. Social and political relevance combined with diversity and immaculate lyricism formulate the genius work that is TPAB.
Ultimately, Lamar’s ability to successfully fuse art and protest has created a compact union of tracks unlike listeners have ever heard before…
The greatest hip-hop album of all time.
