This song's 'bout a young boy that's gone wild inside.What's your's and mine's, the gold, the green My focus hold these thoughts and dreamsĬontrol this pen (look over your shoulder).Is my life coincidental or just God willin'? I analyzed on how a saint can play the villain So today I laid in my bed, stared at the ceilin'Ĭlosed my eyes, then asked myself how I was feelin'.As quoted in " The Gospel According to Kendrick Lamar" in Vanity Fair (2018-06)Īll lyrics written by Kendrick Lamar.And it’s not only mine it’s so many other individuals.’ And I wanted to tell that story. and people shooting each other outside the door. And at 4 P.M., we’d be having a house party ‘til 11 P.M. I would wake up one morning, and it would be cartoons and cereal and walking back from school. What gives me an advantage in my upbringing is the duality of seeing one of the most beautiful moments of me being 6 years old, to the most tragic moment of being 13 or 14, and make that connection so the person can really see the conflict.As quoted in " The Rolling Stone Interview" in Rolling Stone ().What we’re doing in the city of Compton and how the world is just so much bigger than the city of Compton. It just gave me a whole other perspective on where I’m from. You hear about the land and you hear untold truths about it, and now you’re old enough to witness it yourself. just felt like a place where I belonged.It's as vital as anything else its maker has released. While Lamar referred to these tracks as demos, and not one of them has the pop-soul appeal of "These Walls" or the Black Lives Matter protest-anthem potential of "Alright," untitled unmastered. Even while coasting over the latter's breezy and smacking groove, Lamar fills the space with meaning, detailing a confrontation with sharp quips and stinging reprimands. ![]() The stretch involves a rolling, ornamented retro-contemporary production from Adrian Younge and Ali Shaheed Muhammad (with vocal assists from Bilal and Cee Lo Green), a stitched suite that is alternately stern and humorously off the cuff (featuring Egypt, five-year-old son of Alicia Keys and Swizz Beatz, as co-producer and vocalist), and a finale of Thundercat-propelled funk. Remarkably, this hits its stride in the second half. ![]() offers this and other variations on the connected themes of societal ills, faith, and survival that drove the output it follows, with Lamar at his best when countering proudly materialistic boasts with ever-striking acknowledgments of the odds perilously weighted against his people. ![]() He observes terrifying scenes all the while sensing possible relief ("No more running from world wars," "No more discriminating the poor"). After an intimate spoken intro from Bilal, the set segues into an urgent judgment-day scenario with squealing strings and a resounding bassline as Lamar confronts mortality and extinction with urgent exasperation. Track-to-track flow, however, is about the only aspect of this release that can be called smooth. This was assembled with a high level of care that is immediately evident, its components sequenced to foster an easy listen. The dates indicate that the majority of the material was made during the sessions for that album, and the presence of many of its players and vocalists is unmistakable. A postscript, it's (artfully) artless in presentation - not even basic credits appear on the Army green liner card in the compact disc edition - yet it's almost as lyrically and musically rich as To Pimp a Butterfly. Apart from segments previewed at the Grammys and late-night television appearances, there was no formal promotion. consists of eight demos that are simply numbered and dated. Issued without advance notice 17 days after Kendrick Lamar's riveting 2016 Grammy Awards performance, untitled unmastered.
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