good kid, m.a.a.d city is the sophomore studio album release by Compton-based rapper Kendrick Lamar. Between the years 2011 and 2012, Lamar took advantage of his recent signing to music label giant Interscope records by collaborating with other up-and-coming artists at the time such as Drake and A$AP Rocky. The majority of the album was recorded and mixed in proximity to Lamar's hometown, and in preparation for his first major label studio album release, he insisted that good kid, m.a.a.d city would be billed as a "short film by Kendrick Lamar." The concept album embraces California's hip-hop and gangsta rap musical styles through his depiction of a teenager wrapped in the drug-infested and gang controlled streets of Compton. Small skits before, in the middle of, and after each song allow for one of the most cohesive narratives among all rap albums in history.
1. "SHERANE A.K.A MASTER SPLINTER'S DAUGHTER"
The album begins with the introduction of "Sherane," who serves as the romantic motif throughout the story's narrative. Over some relaxing, slow-moving hip-hop drums, Lamar addresses disregarding the dangers of her family's history of gang-banging in order to achieve sexual pleasure. As the introductory track continues, Lamar's dysfunctional parents are introduced via voicemail to his cell phone.
2. "BITCH, DON'T KILL MY VIBE"
Perhaps the most pop-culturally and commercially successful song off of Lamar's second LP, "Bitch, Don't Kill My Vibe" purposefully halts the advancement of the album's narrative. It is one of the only tracks from good kid, m.a.a.d city that is told from the time's present day perspective. Lamar flows effortlessly with well-placed drums and a mesmerizing guitar sample to bring the song together.
3. "BACKSEAT FREESTYLE"
The third track seamlessly transitions from the second, and the hard-hitting beat is complemented by Kendrick Lamar's 16-year-old self rapping boisterously about the culture he has grown up in. This track reflects the attitude and beliefs of young people growing up in a corrupt society.
4. "THE ART OF PEER PRESSURE"
Lamar decides to place the album's narrative in the driver's seat by providing a graphic and vivid description of his experiences with peer pressure. The entirety of the song details a premeditated robbery of someone's house, and how his vulnerable conscience was manipulated into believing this sort of attempt was "necessary" as a teenager in Compton, CA.
5. "MONEY TREES (FEAT. JAY ROCK)"
"Money Trees," the fifth track from Lamar's four-time Grammy-nominated album, summarizes the themes explicitly mentioned in the previous two tracks. He explains that this song is specifically about lust and the struggle with desires for material things. His Top Dawg Entertainment labelmate, Jay Rock, offers an additional perspective about the brutalities of Compton.
6. "POETIC JUSTICE (FEAT. DRAKE)"
Lamar links up with Toronto-based rapper Drake to deliver a track dedicated to Sharane, the narrative's romantic focus. Over a light, airy vocal sample, the two emcee's deliver wooing verses discussing the status of their relationships.
7. "GOOD KID"
good kid, m.a.a.d city's seventh track deepens the story's narrative by describing the immediate aftermath of being jumped by two hooded strangers. In addition, Lamar uses this track to introduce the concept and theme of realization which sparks his character's initial motivation to escape his neighborhood.
8. "M.A.A.D CITY (FEAT. MC EIHT)"
The LP's eighth song fittingly features veteran hip-hop rapper and Compton's Most Wanted member MC Eiht. Lamar further illustrates the several horrors he witnessed growing up in the city, some of which were traumatic events that happened to people he was close to.
9. "SWIMMING POOLS (DRANK) [EXTENDED VERSION]"
Serving as the album's lead single, "Swimming Pools (Drank)" addresses the psychological connection between peer pressure and alcoholism. The club-friendly sonics juxtapose this introspective take on the social pressures and self-defeating attitudes that drive people to drink.
10. "SING ABOUT ME, I'M DYING OF THIRST"
Track ten is highly unique when compared to the rest of this LP. "Sing About Me, I'm Dying of Thirst" takes on the perspective of two people very close to Lamar, one positive and one negative. It becomes clear that this song specifically wasn't intended to not offend people or please others, but was rather to be realistic.
11. "REAL (FEAT. ANNA WISE)"
Anna Wise assists Kendrick Lamar in track eleven with a powerfully delivered and highly catchy chorus. This song denotes the incredibly important realization that Lamar has come to, which is how important it is to love yourself. This the first time listeners are exposed to this theme in the album, which comes as a surprise when it is introduced.
12. COMPTON (FEAT. DR. DRE)
Lamar decides to end his storytelling masterpiece with music mogul and fellow Compton native Dr. Dre in "Compton." This closing track is the only song, aside from "Bitch, Don't Kill My Vibe," that is told from Lamar's present-day perspective. It symbolizes the transformative experience that was Lamar's first studio interaction with Dr. Dre, which Lamar has personally explained to have been the start of his new life.