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Good Kid, M.A.A.D City (stylized as good kid, m.A.A.d city) is the second studio album by American hip hop recording artist Kendrick Lamar, released on October 22, 2012, by Top Dawg, Aftermath Entertainment, and Interscope Records. The album serves as Lamar's major label debut after Lamar's signing to Aftermath and Interscope. It was preceded by the release of Kendrick's first official studio album Section.80 (2011), released exclusively through iTunes independently.

Good Kid, M.A.A.D City was recorded by Lamar at his "Mama's Studio" in Los Angeles, Encore Studios in Burbank, PatchWerk Recording Studios in Atlanta, and TDE Red Room in Carson. The album's production was handled by a variety of producers; Just Blaze, Pharrell Williams, Hit-Boy, Scoop DeVille, T-Minus and more. Good Kid, M.A.A.D City features guest appearances from Jay Rock, Drake, MC Eiht and Anna Wise as well as Lamar's mentor and one of the album's executive producers, Dr. Dre.

The concept album follows the story of a young Lamar growing up in Compton, California, while including skits at the end of several tracks that relate to the story of the album. It is referred to as a "short film by Kendrick Lamar" on the album cover. The album's concept narrates a teenage Kendrick borrowing his mother's van to visit a girl named Sherane and experiencing the Compton gang lifestyle with his friends, then entering reality after the death of a friend during a shoot-out. The album produced two singles before the release, "The Recipe" featuring Dr. Dre and the lead single "Swimming Pools (Drank)", the latter of which gained moderate chart success. "Compton" was released for promotional purchase prior to the album release. Several other tracks entered various Billboard charts.

The album debuted at number 2 on the US Billboard 200 chart, selling over 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. The album generated 2.8 million streams through Spotify, becoming the second highest first week stream total of the year. It became Lamar's first album to enter the UK Albums Chart, peaking at number 16, and entering the UK R&B Albums Chart at number 2. Upon its release, Good Kid, M.A.A.D City received rave reviews from music critics, praising Lamar's storytelling, concepts and structure. Good Kid, M.A.A.D City has sold 428,000 copies in the United States as of November 25, 2012.

Background

After the release and success of his 2011 studio album Section.80, Lamar signed a major label record deal with Interscope and Dr. Dre's Aftermath. He told HipHopDX he didn't want to work with high-profile producers saying he still had a lot to prove. He went on to say he wanted to continue working with the producers with whom he has established himself with, mainly TDE in-house producers from Digi-Phonics. Lamar expresses that the highly anticipated studio debut album will discuss his life in the infamous city of Compton. "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,” he said.

On October 16, 2012, "snippets" of the album were leaked onto the internet via torrent websites such as The Pirate Bay.

The album's title mainly refers to Lamar's innocence and how the notorious city of Compton, California affected it. 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 more importantly "My Angel's on Angel Dust", with Lamar stating: "That was me. I got laced. The reason why I don't smoke, and it's in the album. It's in the story. It was just me getting my hands on the wrong thing at the wrong time, being oblivious to it."

Recording and production

Recording sessions for the album took place at PatchWerk Recording Studios in Atlanta, Encore Studios in Burbank, TDE Red Room in Carson, and "At My Mama's Studio" in Los Angeles. Lamar stated Good Kid, M.A.A.D City will sound “nothing” like Section.80. “I couldn’t tell you what type of sound or where I’ma be in the next five years as far as music,” he said. “It’s a big difference from the next project compared to the last. And that’s what happened with this album. Going back to the neighborhood and going to different spots, chilling with my homeboys, put me back in that same space where we used to be, bringing back them thoughts, reminiscing how I was feeling. I got myself right back in that mode and I got inspired by that. So this album won’t sound like Section.80. Completely nothing like it,” he told to XXL. The first track Kendrick and Dr. Dre ever worked on together was the song "Compton".

On August 15, 2012, Lady Gaga announced via Twitter that she had collaborated with Kendrick on a song titled "Partynauseous" for his upcoming album, and that it would be released on September 6, 2012. However, on August 23, 2012, 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. Another collaboration she did included a verse and the hook on "Bitch Don't Kill My Vibe" which on the album just features Kendrick. Kendrick later expressed surprise and happiness that Gaga released her version of the song as it showed confidence in her and his 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 atmostpheric beats and subtle, indistinct hooks. It eschews contemporary hip hop tastes, and generally features tight bass measures, subtle background vocals, and light piano. Writers draw comparisons of the music to OutKast's 1998 album Aquemini. Andrew Nosnitsky of Spin cites the music's "closest point of reference" as "the cold spaciousness of ATLiens-era OutKast, but as the record progresses, that sound sinks slowly into the fusionist mud of those sprawling and solemn mid-2000s Roots albums." Sasha Frere-Jones of The New Yorker finds its use of "smooth" music as a backdrop for "rough" scenarios to be analogous to Dr. Dre's G-funk during the early 1990s, but adds that "Lamar often sounds like Drake ... whose various dreamy styles have very little to do with the legacy of the West." Okayplayer's Marcus Moore writes that its "expansive and brooding" instrumentals eschew "California's glossy West Coast funk" for a "Dungeon Family aesthetic."

Lyrically, the album chronicles Lamar's experiences in his native Compton, California and its harsh realities, in a nonlinear narrative. The songs address issues such as economic disenfranchisement, retributive gang violence, 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. Del F. Cowie of Exclaim! 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." David Amidon of PopMatters views that the album provides a "sort of semi-autobiographical character arc", while MSN Music's Robert Christgau writes that Lamar "softspokenly" enacts a "rap-versus-real dichotomy".

The album features naturalistic, vérité-like skits that dramatize the characters' limitations. Jon Caramanica of The New York Times 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." Pitchfork Media'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, internal rhyme, double and triple time flow, and multiple voices for different characters. Music journalist Jody Rosen 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 police brutality."

Controversy

On October 23, 2012 after receiving much acclaim from the hip hop community outspoken rapper Shyne took to twitter to run down on the album calling it trash and the beats horrible. Schoolboy Q and rapper Game quickly took offense to this with the latter calling Kendrick non-confrontational in that he wouldn't respond to Shyne. Kendrick responded to Shynes comments on October 26th saying he wasn't a sensitive person and was unfazed. Also saying his album wasn't necessarily a "classic" as some have called it but "classic worthy" if enough time passed. Kendrick also referred to it in his song "The Jig Is Up" saying "I pray to God this beat good enough for Shyne". After Shyne stood by his comments and called Game his "little son", the rapper responded with a freestyle dissing Shyne titled "Cough Up a Lung". Shyne then responded with his own diss towards Game in "Psalms 68 (Guns & Moses)." Kendrick has yet to speak to Shyne since his comments.

Singles

The album's first single, "The Recipe", was released on April 3, 2012. The song features his mentor, record producer and fellow rapper Dr. Dre and was produced by Scoop DeVille. It peaked at #38 on Hot R&B/Hip-Hop Songs and at #3 on Bubbling Under Hot 100 Singles. Kendrick shot a video for it featuring Dr. Dre at a mansion in Los Angeles in May 2012. He also claimed the video will have a feel of 2Pac's California Love clip.

The album's second and lead single was "Swimming Pools (Drank)", produced by T-Minus and mixed by Dr. Dre and TDE's Ali. The single was released on July 31, 2012, as a digital download, while the music video premiered on August 3, 2012 on 106 & Park. The album version of the single is present on track 9, while the single version is available as track 17 when purchasing the Deluxe Edition on iTunes.

"Poetic Justice" will be the album's third single, featuring Drake and production from Scoop DeVille. Before released as single, the song debuted at number 76 on Billboard Hot 100. It does not have a defined release date yet.

Other songs

Following the album's release, one song entered the Billboard Hot 100; "m.A.A.d City" featuring MC Eiht at number 94. "Backseat Freestyle" and "Bitch, Don't Kill My Vibe" debuted on the Bubbling Under Hot 100 Singles at number 106 and number 110 respectively. All four songs entered the top 40 of the Hot R&B/Hip-Hop Songs and Hot Rap Songs. "Money Trees" featuring Jay Rock, "The Art of Peer Pressure", "Sherane a.k.a Master Splinter’s Daughter" and "good kid" all entered within the top 50 of the Hot R&B/Hip-Hop Songs. The promotional single "Compton" peaked in the same chart at number 52.

Reception

Critical response

Professional ratings

Aggregate scores
Source	Rating
Metacritic	91/100
Review scores
Source	Rating
Allmusic
Robert Christgau	A–
Entertainment Weekly	A–
The Guardian
The Irish Times
Los Angeles Times
Pitchfork Media	9.5/10
Rolling Stone
Spin	8/10
Sputnikmusic	5/5

Good Kid, M.A.A.D City received rave reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 91, which indicates "universal acclaim", based on 29 reviews. Pitchfork Media's Jayson Greene felt that "the miracle of this album is how it ties straightforward rap thrills" to its "weighty material" and narrative. David Amidon of PopMatters felt that the album appeals to both "mainstream and underground hip-hop heads" and stated, "Lamar concentrates the ideas of hip-hop narrative and nonfiction into such a form that’s shocking for how simultaneously accessible yet full of depth it is." Joseph Morpurgo of Fact viewed the album as an autobiographical "triumph of breadth" and a "wide-ranging, far-reaching success", writing that it "impresses with its diversity and scope ... there's an embarrassment of killer material here." Sputnikmusic found it "just as ambitious" as Kanye West's 2010 album My Beautiful Dark Twisted Fantasy, "but with much subtler shades". Jaeki Cho of XXL cited it as "one of the most cohesive bodies of work in recent rap memory" and wrote that each song is "both complexly arranged and sonically fitting, foregrounding Kendrick’s vivid lyricism and amazing control of cadence." Allmusic editor David Jeffries characterized the album as "some kind of elevated gangsta rap" and 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.

In a mixed review, Hazel Sheffield of NME asserted that the album "might lack the raw appeal of" Section.80, "but it's a big-budget reminder that hasn't forgotten his roots." Alex Macpherson of The Guardian criticized "Lamar's depiction of downtrodden women" as "unnecessarily prurient and unconvincing", but praised his "ability to pull the listener inside the action while retaining an alienated detachment". Although he observed "some degree of self-indulgence", Andrew Nosnitsky of Spin found the album's production "surprisingly cohesive" and commented that Lamar "manages to hold everything together in the midst of such chaos through sheer craftsmanship." Jody Rosen of Rolling Stone felt that the album "warrants a place in that storied lineage" of "Seventies blaxploitation soundtracks and Nineties gangsta-rap blaxploitation revivals". Greg Kot of the Chicago Tribune commended Lamar for giving "gangsta tropes ... a twist, or sometimes upend them completely", and wrote that the album "brims with comedy, complexity and the many voices in Kendrick Lamar's head." Robert Christgau of MSN Music 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."

Commercial performance

The album entered at number 2 on the US Billboard 200 chart on October 28, 2012 with first-week sales of 242,000, succeeded by Red by Taylor Swift. However, Good Kid, M.A.A.D City debuted at number 1 on the Top R&B/Hip-Hop Albums and Rap Albums. In terms of online streaming the album generated 2.8 million streams through Swedish music streaming service Spotify, becoming the second highest first week stream total of the year behind Babel by Mumford & Sons. The album entered the UK Albums Chart at number 16 on October 28, 2012, as well as entering at number 2 on the UK R&B Albums Chart. In its second week it sold 63,000 copies. In its third week it sold 41,000 copies. In its fourth week it sold 33,000 copies. In its fifth week it sold 49,000 copies bringing its total to 428,000 copies.

Track listing

 • (add.) Additional production
 • (co.) Co-producer

Notes

• "Bitch, Don’t Kill My Vibe" features uncredited vocals from Anna Wise and JMSN.
• "The Art of Peer Pressure" features uncredited vocals from JMSN.
• "Money Trees" features uncredited vocals from Anna Wise and Jhene Aiko.
• "good kid" features uncredited vocals from Pharrell Williams and Chad Hugo.
• "m.A.A.d city" features uncredited vocals from Schoolboy Q.
• "Sing About Me" features uncredited vocals from JMSN.
• "Real" features uncredited vocals from JMSN.
• Track list confirmed on October 2, 2012. Production credits were announced on October 14, 2012.

Sample credits

• "Bitch, Don't Kill My Vibe" contains a sample of "Tiden Flyver" as performed by Boom Clap Bachelors.
• "Backseat Freestyle" contains a sample of "Yo Soy Cubano" as performed by The Chakachas.
• "The Art of Peer Pressure" contains a sample of "Helt Alene" as performed by Suspekt.
• "Money Trees" contains a sample of "Silver Soul" as performed by Beach House.
• "Poetic Justice" contains a sample of "Any Time, Any Place" as performed by Janet Jackson.
• "good kid" contains a sample of "We Live In Brooklyn, Baby" as performed by Roy Ayers.
• "m.A.A.d city" contains a sample of "Don't Change Your Love" as performed by The Five Stairsteps and "Funky Worm" by Ohio Players.
• "Sing About Me, I'm Dying of Thirst" contains a sample of "Maybe Tomorrow" as performed by Grant Green and "I'm Glad You're Mine" by Al Green.
• "Compton" contains a sample of "What’s This World Coming To” as performed by Formula IV.
• "The Recipe" contains a sample of "Meet the Frownies" as performed by Twin Sister.

Personnel

Credits for Good Kid, M.A.A.D City adapted from Allmusic.

Charts

Release history

References

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External links

• good kid, m.A.A.d city at Discogs
• good kid, m.A.A.d city at AnyDecentMusic?

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