KENDRICK LAMAR - GOOD KID, M.A.A.D CITY (2012)

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.

KANYE WEST - MY BEAUTIFUL DARK TWISTED FANTASY (2010)

My Beautiful Dark Twisted Fantasy is the fifth studio album released by Chicago's one and only Kanye West.  Following the explosion of positive attention received by 2008's 808's and Heartbreak, West released My Beautiful Dark Twisted Fantasy in November of 2010.  As an established hip-hop artist and media personality, West dared to radically change the way he went about creating his next album.  He retreated to a "self-imposed exile" in Hawaii the year prior to the album's release, with hopes to create a more communal recording environment.  The Chicago native's fifth LP incorporated many aspects from his previous pieces, such as the unique implementation of symphonic, soul, baroque, and electro music.  All thirteen tracks progressively bring listeners on an expansive musical journey which explores themes such as celebrity, race, consumer culture, and the idealism of the American Dream.  Kanye West has birthed several classic pieces of music since his career began in the early 2000s, and My Beautiful Dark Twisted Fantasy is undoubtedly one of the highest quality hip-hop albums ever released.

1. "DARK FANTASY"

The album opens with an epic sounding, multi-layered vocal oriented before being brutally interrupted by a hard-hitting beat and West's opening verse shortly following.  Strong production starts from the opening seconds of this LP, which is accompanied perfectly by West's lyrical wit and cleverness.  An effortless vocal transition around halfway through "Dark Fantasy" also prepares listeners for the implementation of multiple unique, personality-filled voices.  Among all studio albums, My Beautiful Dark Twisted Fantasy provides the widest range of emotional presence, which is represented through the drastic use of vocal effects.  

2. "GORGEOUS (FEAT. KID CUDI & RAEKWON)

My Beautiful Dark Twisted Fantasy is informally referred to as one of the greatest modern rap albums because of not only the performance West offers, but also because of his ability to weaponize other artists.  In other words, this LP was groundbreaking for the reason that so many other artists were involved in its creation and each used their contributions effectively.  "Gorgeous" allows Kid Cudi, one of West's newest signees and among the time period's most promising hip-hop artists, to shine fully through a infectiously-catchy chorus.  West and New-York based Wu-Tang Clan member, Raekwon, pridefully boast their sense of style with unforgettable verses.

3. "POWER"

Arguably one of West's most well known songs, which is saying a lot, "Power" turns My Beautiful Dark Twisted Fantasy up to eleven.  It was released in July of 2010, and immediately seemed to have merged West's fanbase and America into one.  Quick hitting claps ride a prominent vocal sample while West attacks social issues he believes people are too afraid to confront in music.

4. "ALL OF THE LIGHTS (INTERLUDE)"

The intensity of "Power" drops off abruptly as the prelude to another highly popular West track, "All of the Lights."  Lasting just over a minute in length, West establishes the melodies through crisp, authentic instrumentation.  His use of strings and piano harmonize and transition perfectly into the vocal sample which marks the beginning of the song.

5. "ALL OF THE LIGHTS"

Despite no features listed on this track, which would be made into a music video and see itself as a single some months after MBDTF's release, "All of the Lights" is a star-studded vocal performance riddled with graphic rhyming and an underlying orchestral presence.  Among the supporting vocalists is Rihanna, who would be later credited as a featured artist when the song eventually was marketed as a single.

6. "MONSTER (FEAT. JAY-Z, RICK ROSS, NICKI MINAJ & BON IVER)

The sixth song officially marks the transition of West's beautiful fantasy into a dark and twisted one.  "Monster" avoids the acknowledgement of any politically correctness in the music industry, and has a beat filled bass and tom drums to darken the mood even more.  Respectively accomplished emcees such as Jay-Z and Rick Ross show their scary side with offensive illustrations of backstabbing and double-crossing.  Queens-based rapper Nicki Minaj had an explosive year with the newfound success of Lil Wayne's Young Money imprint, and West has later stated himself that Minaj's verse on "Monster" was among the most impressive of all time.  Her uneasy, shaky vocals and unexpected changes of tone match perfectly to the instrumental.  Additionally, American indie-fold band Bon Iver provides a notable, fitting outro to the song.  

7. "SO APPALLED (FEAT. JAY-Z, PUSHA T, CYHI THE PRYNCE, SWIZZ BEATZ & RZA)

Each consecutive song in My Beautiful Dark Twisted Fantasy introduces more of some of the most influential artists in hip-hop.  Orchestral strings are brought back in to lighten the mood created by "Monster," however the coexistence of rapid-hitting kick and snare never left.  West recruits his G.O.O.D. Music label signees Pusha T & CyHi The Prynce to trade off impressive rapping skill with veteran New York hip-hop trailblazers such as Jay-Z, RZA, and Swizz Beatz.  For over six-and-a-half minutes, "So Appalled" puts listeners in a trance filled with microphone passing and a constant barrage of lyricism.  

8. "DEVIL IN A NEW DRESS (FEAT. RICK ROSS)

The constant rapping and rapid instrumentals take a well-timed tempo drop, and West's vocal performance adapts perfectly.  Yet another beat with chopped vocal sampling creates such a unique listening environment.  Although making a brief appearance on "Monster," Rick Ross finds a comforting, homestyle flow to pick up the nearly two-minute instrumental break that followed West's verse.  

9. "RUNAWAY (FEAT. PUSHA T)

"Runaway" is a nine-minute song disguised as a lifetime of romantic disappointment, regret, and lust.  Although West pours his emotions out onto the song's chorus Pusha T comes back to deliver another bulletproof set of raps, it is the vocal-less instrumental that creates a nearly unreachable level of immersion.  An overly-simple piano loop, which consists of only one key being played across just four different pitches, floats above an ocean filled with drum-oriented and orchestral instrumentation. After West lays down the chorus for a final time, he uses the remaining four minutes to loosely hum along through a distorted jungle of vocal effects.  "Runaway" is by far the most effective in forcing listeners to lose track of their sense of time and instead focus on appreciating the present moment.  

10. "HELL OF A LIFE"

The tenth track of MBDTF uses a dissonant synthesizer progression to wake listeners up from the transformative experience given by "Runaway." Feeding into one of the central themes of the album, West's opening line explains his newfound infatuation with a porn actress.  Heavily controversial depictions of race and immoral ways of living allow West to finally let go of his virtues and embrace his vices.  

11. "BLAME GAME (FEAT. JOHN LEGEND)"

West depressingly finds himself facing the repercussions after his drug-induced, party-filled experiences of "Hell of a Life."  Emotional strings are dragged out to provide support for the complex piano loop.  His depiction of a toxic relationship filled with lies, cheating, and make-up sex is reinforced through various levels of vocal adjustments.  It is clear to listeners that West's consciousness is frantically searching for solutions to his problems, with different pitches of his distorted voice talking to one another.  

12. "LOST IN THE WORLD (FEAT. BON IVER)"

The tempo changes once again, this time picking back up.  Bon Iver continues their effective contribution to MBDTF by harmonizing with West's cruel and introverted take on society.  The Chicagoan is still struggling to find purpose, and takes advantage of the song's chorus to communicate this.  The multiple layers interconnect to provide an energy-filled showcase of musical expression.  

13. "WHO WILL SURVIVE IN AMERICA" 

The song's title is chanted as track twelve fades seamlessly into the preaching of Justin Vernon, the lead singer of Bon Iver, atop a familiar drum pattern.  Track thirteen serves as less of a song and more as a verbal summary of the previous hour of music.  The analogy of comparing oneself to being lost in a forest to West's lack of sense of belonging is articulated very well by Vernon.  

DRAKE - TAKE CARE (2011)

Take Care is the sophomore studio album released by Canadian rapper/singer Drake.  Released in late 2011, this album transcended the invisible boundaries between rap music and rhythm and blues.  Drake was looking to capitalize off of the success he saw through the release of his first studio album, Thank Me Later (2010), which launched his career from what was initially an internet sensation into the limelight of American popular music.  Drake, who was thriving as a solo artist by the help of veteran emcee Lil Wayne's recently established and highly successful "Young Money Entertainment" record label, was finding growth among his fanbase in less commercial and less traditional ways.  Drake continued to release his work through his "October's Very Own" blog, which had existed since 2006, and had proven to be highly successful in cultivating his fanbase.  In total, Take Care churned out eight promotional singles, three of which came out prior to Take Care's release in November.  The album's balance of cohesiveness with substantiality is what makes it an instant classic, providing hip-hop culture with an unprecedented sense of emotional vulnerability and sonic genius.  Any of the twenty songs have equal potential to be individually digested yet maintain a sense of place and meaning within the LP.

1 "OVER MY DEAD BODY"

The album opens up with a piano-heavy, celebration of success Drake has seen in has career thus far. His vices are boastfully expressed, future intentions are established, and immediately puts readers in a perspective of introversion and musical immersion.

2 "SHOT FOR ME"

Transitioning seamlessly from opening statements made in "Over My Dead Body," "Shot For Me" drags listeners deeper into his emotions.  He shows listeners that he has perfected his ability to distinguish his talent singing for both and rapping, while effortlessly combining the two.  This track serves as an ode to his exes, and further sets the mood for the remainder of the album.  

3 "HEADLINES"

Among the several singles from Take Care which each saw a massive amount of standalone success, this track is undoubtedly the most effective within the context of the album.  Its upbeat nature catches first-time listeners off-guard following the slow and underwater-like sounds of first two songs.  "Headlines" places Drake ahead of all of his peers in the race for success and respect among the rap game.  

4. "CREW LOVE (FEAT. THE WEEKND)"

Along with continuing to flex his lyrical ability, Drake shows the world an artist who he had been collaborating with for the past year or so.  The Weeknd, a fellow Canadian singer with a strikingly similar musical approach, had writing credits and vocal presence on several songs from Take Care and received an official feature on this track.  The album has now slowed down from the pace of "Headlines," and the production quality has not shown a single sign of decreasing. 

5. "TAKE CARE (FEAT. RIHANNA)"

Serving as the LP's title track, "Take Care" features megastar Rihanna, one of Drake's many celebrity romantic interests.  As an obvious sequel to the two's previous collaboration, "What's My Name?," this track brings love and lust into the forefront of the album's theme.  An upbeat, dance-friendly track brings listeners a sense of romantic energy to the album.

6. "MARVINS ROOM"

Continuing on the subject matter of love, this song embodies the style of music that Drake has innovated and since redefined the way people look at hip-hop.  The genre's cemented stereotype of containing strictly unemotional, gangster lyricism was contested with the success of "Marvins Room" and other consciously-centric songs.  The echoey, slow-motion-esque instrumentation fits perfectly with Drake's drunken, regretful phone conversations with lost love.  

7. "BURIED ALIVE INTERLUDE (FEAT. KENDRICK LAMAR)"

Take Care's production and seamless transitioning allows for listeners to easily lose track of which song is which, and instead calls for a more wholesome consumption experience.  Upcoming Californian rapper Kendrick Lamar channels his guilt-filled lyricism to fit perfectly in the musical and thematic context of Drake's album.  Without any assistance, Lamar is able to transition listeners into (arguably) the second half of the LP.  

8. "UNDER GROUND KINGS"

Take Care is now in full effect.  Drake raps swiftly and articulately, through rhymes which describe his lifestyle, attitude and experiences as an upcoming rapper.  Simultaneously, he recognizes southern America as one of his many influences for music by paying homage to UGK, a Houston-based rap group who saw major prominence in hip-hop during the 1990s.  

9. "WE'LL BE FINE (FEAT. BIRDMAN)"

Drake continues his showcase of professional rapping flow and clever lyricism by following up with an equally upbeat and bass-heavy club anthem.  He continues to easily switch from a melodic chorus to bulletproof verses, creating the phenomenon he would later self-proclaim as being, "Drake featuring Drake."  To continue Take Care's theme of celebration of success, one of Drake's early musical mentors ensures to the public that Drake's potential is among the highest of all artists, and that his success has only begun.

10. "MAKE ME PROUD (FEAT. NICKI MINAJ)"

For the third consecutive time, Drake and his team have formulated yet another club-friendly hit; this time featuring Nicki Minaj, Drake's label-mate and (one of many) romantic interests.  This track strengthens the already established themes that Take Care has, while complementing on the separate musical narrative the two have created through previous collaborations (such as "Moment 4 Life").

11. "LORD KNOWS (FEAT. RICK ROSS)"

To add to the star-studded list of features, Drake recruits Floridian-rapper and hip-hop veteran Rick Ross for a head-to-head lyrical onslaught.  The two each deliver impressive, bodacious verses (each minutes in length) over a masterfully sampled beat.  

12. "CAMERAS/GOOD ONES GO INTERLUDE"

The album suddenly halts into a slow-moving, carefree musical space which allows Drake to express his rapping versatility.  He compensates for the lower tempo while still delivering impressive raps before the interlude (once again, almost unnoticeably) transitions into a ballad to a girl he hasn't talked to in a while.  The Weeknd offers luscious back-up vocals in both parts of the track to solidify the lo-fi, underwater feeling established in "Over My Dead Body," "Shot For Me" and "Marvins Room."

13. "DOING IT WRONG"

Without doubt, this is the most immersive and reflective piece of work ever released by Drake.  It is impossible to escape the feelings of guilt, regret and heartbreak he expresses throughout the track.  "Doing It Wrong" allows for Drake to open up about a relationship that will inevitably end, which, in the context of a hip-hop album, was seemingly impossible to successfully implement.  The massive presence of low-end in the song triggers memories and emotions from every listener that would otherwise be buried deep within them.  

14. "THE REAL HER (FEAT. LIL WAYNE & ANDRÉ 3000)

As the emotionally charged "Doing It Wrong" fades out, Drake is now seeking a new lover to replace the one that got away.  Young Money Entertainment boss and highly decorated rap veteran, Lil Wayne, makes his first appearance on Take Care alongside the legendary rap group Outkast's very own André 3000.  The slow-moving mood remains consistent, with Drake continuing to flex his singing range and vocal ability.

15. "LOOK WHAT YOU'VE DONE"

Regarded as one of the most effective pieces of storytelling in modern hip-hop, this 5-minute piece is uniquely structured and effectively performed.  Drake fires off yet another piano-heavy beat, where this time he recollects his experiences of transitioning his life interest from acting to music.  He progressively rhymes about his life in his early twenties, as Lil Wayne aided in launching Drake's career into the limelight of the music industry.

16. "HYFR (HELL YA F****** RIGHT) [FEAT. LIL WAYNE]"

Besides creating a highly influential and infectious acronym to be soon used by many of America's youth, "HYFR" offers itself to be yet another catchy, club hit.  Drake and Lil Wayne continue their hot streak of chart-climbing collaborations with this one.  Drake contextually shows listeners that despite Take Care having been playing for over an hour in length, he still has rap flows and subject matters to parade.  

17. "PRACTICE"

This song takes an intimate, sexual approach to a highly successful 1998 rap song by Cash Money artist Juvenile.  Specifically, this song highlights Drake's unusual ability to connect to a young, modern audience through paying homage to those who influenced him.  Production still hasn't left the ceiling, which puts Drake in a perfect pocket to express his lust for another potential lover.  

18. "THE RIDE"

While not featured, credited writer and frequent collaborator The Weeknd provides layered singing vocals which make up the majority of this songs beat.  Drake smoothly raps in the 3rd person perspective for the majority of the song, admitting to the bad decisions that derived from purely good intentions.  It serves as a moment of "coming full-circle" for both Drake and his listeners, and is where the standard edition of the album finishes. 

19. "THE MOTTO (FEAT. LIL WAYNE) [BONUS TRACK]"

As if "HYFR" by itself wasn't influential enough, "The Motto" has to this day proven to be one of Drake's most culturally impactful and timeless hits.  It features an incredibly addictive drum-line backed by trunk-shaking 808 bass, which is prominent throughout the entirety of the track.  Drake and his mentor team up once again to debut to the country with an expression that would soon join the youth's vernacular: "You only live once" (or YOLO, for short).  

20. "HATE SLEEPING ALONE (BONUS TRACK)" 

To close out the album in appropriate fashion, Drake raps over another immersive beat riddled with slow-moving synthesizer pads.  With seemingly nothing more to say, Drake still manages to pull out substantial and graphic verses to allow for "Hate Sleeping Alone" to be a quality standalone track.