Overall, it seems Kendrick managed to get everyone to believe in his dream, allowing them to all completely focus on a common goal. He also brings fellow Black Hippy member Jay Rock on "Money Trees" whose ferocious verse is the most dominant of any of the other featured artists. On "Poetic Justice" Kendrick smartly puts Drake in his area of expertise: talking about women with a verse that would fit in fluently with anything on Take Care. Just like how Kanye brought out the best of everyone involved with MBDTF, all the featured artists bring their A-game on m.A.A.d city. Whether it be the growling, alpha-dog snarls of his voice on the third verse of "Backstreet Freestyle," the paranoia derived delivery of "m.A.A.d city" or the Drake-esque talking of "Singing About Me, I'm Dying of Thirst" it is clear that he is on the same level as early Eminem from a technical viewpoint. Going along with these beats is Kendrick Lamar's voice showcasing the variety of different deliveries that he has up his sleeve. From Hit-Boys stark, bass-pounding beat of "Backstreet Freestyle," to T-Minus's moody and sorrowful background for "Swimming Pool(Drank)" every production style here is an astounding representation of the overall concept. There is much praise due to the various producers such as Hit-Boy, Pharrel, and T-Minus, for instead of using their prototypical styles they step outside of the box and adapt to what is Kendrick's vision. The production is top-tier, creating an atmosphere that coincides perfectly with the lyrics. While the lyrics are nothing to write home about, they do piece together the story beautifully.
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Demons that needed to be exorcised and this was the only way I knew how to do that." Indeed Kendrick, this is an album that fans of Hip-Hop need to hear, and possibly an album that could change the modern perception of Hip-Hop. Lamar was quoted saying, "This is an album I needed to make. This narrative structures an album that is focused, and the brutal honesty is a tough pill to swallow. From the start, its apparent his parents don't rightfully care for him per se, rather his mom needs him to be home so she can use the family vehicle, and his dad's only want is to know where the dominoes are at. Gang violence is accepted as a way of life, and drug use is the only means of escape from reality. To dissect further into what this album it trying to convey, this is the tale of "Once upon a time in Compton." Beginning to end the album unfolds into the story of Kendrick being forced into a society where the mindset is "in order to live, you have to kill". The story here isn't of the hard gangster life, it isn't about money and hoes, it portrays a kid who attempted to turn his cheek the other way. This is what makes Good Kid, m.A.A.d City a modern classic. But no one escapes a mad city fully unscathed. This is the story of a kid in Compton, one who tried not to let the city corrupt him. But don't get me wrong, this isn't a well done carbon copy this is different. This helps create a more personal story ala Marshall Mathers. With the production that screams West Coast, and 2 Pac especially, to the subject matter that parallels the dark, grittiness that Nas created on Illmatic, as well as the meager amount of guests and, besides Dre, no well known outside influence. M.A.A.d city echoes what made 90's hip-hop classics great. Who are we to look to for hope? Compton's human sacrifice: Kendrick Lamar. Besides Kanye's masterpiece, mainstream rap hasn't seen a bright spot in ages, and with Kanye's recent string of releases post-MBDTF, hope is diminishing that his next solo album will prove to be different. In fact, the bright spots are hidden in the underground of the industry. As far as the rap industry is concerned, the past few years haven't looked too bright. That was the question the final song on My Beautiful Dark Twisted Fantasy proposed. Review Summary: This isn't Martin's dream, its Kendrick's the dream the Hip-Hop industry needs.
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