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The closest thing would be the Pharrell Williams- co-produced “Alright,” which showcases what passes for optimism during this dense and involved 80-minute listen: “My knees getting’ weak and my gun might blow / But we gon’ be alright.” Aside from Drake collaborator Boi-1da, Williams is the lone brand-name producer on To Pimp a Butterfly. There’s hardly a concession to radio sensibilities to be found anywhere. The result is all over the place and in one place, at the same time. Because of that, he’s also less readily digestible, mixing hood braggadocio, Black dysfunction, personal demons, spiritual yearning, mediations on fame with James Brown’s stomp, Sly Stone’s riot, a layered and stripped version of George Clinton’s mothership funk, loose free-form jazz and muscular, languid soul. Lamar is no longer primarily concerned with his own narrative, as he was on good kid, m.A.A.d city. To Pimp a Butterfly is as dark, intense, complicated, and violent as Picasso's Guernica, and should hold the same importance for its genre and the same beauty for its intended audience.It’s definitely more timely, speaking to the continued discussion of race and racism in America - the matter of Black lives mattering - that has dominated the national discourse over the past half year.
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Free your mind, and your ass will follow, and at the end of this beautiful black berry, there's a miraculous "talk" between Kendrick and the legendary 2Pac, as the brutalist trailblazer mentors this profound populist.
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Survivor's guilt, realizing one's destiny, and a Snoop Dogg performance of Doggystyle caliber are woven among it all plus, highlights offer that Parliament- Funkadelic-styled subversion, as "The Blacker the Berry" ("The sweeter the juice") offers revolutionary slogans and dips for the hip. "u" sounds like an MP3 collection deteriorating, while the broken beat of the brilliant "Momma" will challenge the listener's balance, and yet, Lamar is such a prodigiously talented and seductive artist, his wit, wisdom, and wordplay knock all these stray molecules into place.
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These G-funky moments are incredibly seductive, which helps usher the listener through the album's 80-minute run time, plus its constant mutating ( Pharrell productions, spoken word, soul power anthems, and sound collages all fly by, with few tracks ending as they began), much of it influenced, and sometimes assisted by, producer Flying Lotus and his frequent collaborator Thundercat. Dre (who literally phones his appearance in) put the listener in Lamar's era of Compton, just as well as Lou Reed took us to New York and Brecht took us to Weimar Republic Berlin. The sentiment is universal, but the viewpoint on his second LP is inner-city and African-American, as radio regulars like the Isley Brothers (sampled to perfection during the key track "I"), George Clinton (who helps make "Wesley's Theory" a cross between " Atomic Dog" and Dante's Inferno), and Dr.
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He's aware, as Bilal sings here, that "Shit don't change till you get up and wash your ass," and don't it feel good? Anguish and despair rightfully earn more Grammys, Emmys, Tonys, and Pulitzer Prizes than sweetness and light ever do, but West Coast rapper Kendrick Lamar is already on elevated masterwork number two, so expect his version of the sobering truth to sound like a party at points. Becoming an adult ultimately means accepting one's imperfections, unimportance, and mortality, but that doesn't mean we stop striving for the ideal, a search that's so at the center of our very being that our greatest works of art celebrate it, and often amplify it.