John Hayden
RIGAMORTUS (SECTION .80, 2011)
An early dalliance with jazzy inflections, this cut from Kung-Fu Kenny’s major label debut is a breathless burst of braggadocio, as he sagely forewarns us that "Imma be here for a while/ just buckle up before the ride" over a skittering beat that perfectly complements his increasingly urgent delivery.
A.D.H.D. (SECTION .80, 2011)
His is a catalogue not merely built on the principles of a puffed chest, as proven by this melancholy rumination on the "lost" generation. Over an eerie psychedelic soundscape he laments the chemical dependence of those born during the drug epidemic of the ’80s ("got a high tolerance/when your age don’t exist"), offering a sombre, introspective counterpoint to the clashing antlers, resulting in a high-water mark for conscious hip hop.
BACKSTREET FREESTYLE(GOOD KID, M.A.A.D CITY, 2012)
In which the pipsqueak protagonist of Lamar’s autobiographical "short film" finds his voice — a stentorian roar ("respect my mind or die from lead showers") backed by bunker-busting bass and buoyed by the virtuoso logorrhoea, which has become his calling card.
M.A.A.D CITY (GOOD KID, M.A.A.D CITY, 2012)
A staple of his live shows, the unsettling nursery rhyme cadence of the opening line ("If Pirus and Crips all got along/ they’d probably gun me down by the end of this song") sets the scene as sinister synth-driven strings weave in and out of K.Dot’s manic narrative of the horrific uncertainties of being gang-affiliated.
SING ABOUT ME, I’M DYING OF THIRST (GOOD KID, M.A.A.D CITY, 2012)
On an album rife with raw recollections of Compton street life, every second of Sing About Me ...’s epic run-time eschews hackneyed hood stereotypes, dripping instead with an uncommon empathy, marking Lamar as a master storyteller in the mould of his famed West Coast rap forebears.
WESLEY’S THEORY (TO PIMP A BUTTERFLY, 2015)
The opening track of his audacious state-of-the-nation address is a soulful meditation on how the trappings of fame engulf those who "ain’t pass economics in school", set to a sumptuous aural backdrop courtesy of funk icon George Clinton and his avant-garde acolyte Thundercat.
FOR FREE? (INTERLUDE) (TO PIMP A BUTTERFLY, 2015)
Certainly the most off-kilter moment of his magnum opus, this interlude is a scintillating slice of slam poetry where America is cast as a needy lover ("I picked the cotton that made you rich") who appears to wither under the weight of Lamar’s capricious wordplay.
THE BLACKER THE BERRY (TO PIMP A BUTTERFLY, 2015)
The aural equivalent of a roundhouse kick to the head. Its parent album pinballed between narcotic funk, freeform jazz and psychedelic soul; here, this rich musical palette is cast aside for menacing minor chord piano as "the biggest hypocrite of 2015" ferociously unpacks the myths surrounding his race before focusing his laser-sharp lens on a truly devastating final couplet.
FEAR (DAMN., 2017)
The centerpiece of his Pulitzer-prize winning release shows that even cultural behemoths are wracked with anxiety. This breathtaking memoir — comprised of autobiographical snapshots over woozy blues licks and snippets from the Book of Deuteronomy — is the very definition of vulnerability, showcasing a carefully-considered candour, as well as a recurring obsession with decisions and their consequences.
XXX (DAMN., 2017)
That it took a 30-year-old upstart MC from Compton to make U2 sound relevant again is testament to Lamar’s prowess: Bono Inc. letch around the, erm, edges of this shapeshifting prog-rap masterpiece, tethered by Kendrick’s famed flow as he takes aim at gun control, sounding at all turns passionate, perplexed, frenzied, and mournful ... a glorious microcosm of his storied career to date.
Christian Tucker
KING KUNTA (TO PIMP A BUTTERFLY, 2015)
One of the funkiest bass lines to be heard on radio in the past five years with a catchy chorus that always gets the head bopping.
RIGAMORTUS (SECTION .80, 2011)
One of the earlier songs from Kendrick that must have been intended just to show off his lyrical technicality. The assonance that plays throughout the whole track often requires a third and fourth listen to really hear what he’s rapping about. Just try saying "Your hypocritesque reaction a blasphemy, assassin my casualty, it’s casually done, and tell ’em my salary come, A lump sum of hundreds ..." for more than four minutes. Incredible.
U (TO PIMP A BUTTERFLY, 2015)
Maybe not a popular pick for a top-10 Kendrick list but the mix of modern jazz artists (such as Terrace Martin and Kamasi Washington on the saxophone) soloing under a very raw and personal verse about the perils of fame from Kendrick stands out.
THE ART OF PEER PRESSURE (GOOD KID, M.A.A.D CITY, 2012)
Starting with "Everybody sit down and listen to this story by Kendrick Lamar" was the first time anyone was really shown Kendrick’s ability to create a song that could have you sliding along while he also tells a cohesive, impactful story.
DNA.(DAMN., 2017)
The opening song on Kendrick’s new album takes a modern hip hop beat and amplifies it to its absolute maximum. This is one of the songs where I can recall exactly where I was when I first heard it. Also, the beat switch that happens halfway through always leaves a reaction on the face of any listener.
HOW MUCH A DOLLAR COST (TO PIMP A BUTTERFLY, 2015)
The societal awareness and conscious elements of Kendrick’s music are put on show here. With funk legend Ronald Isley singing the bridge and further production from hip hop icon Dr. Dre, Kendrick tells the story of dismissing a homeless man before guilt and conviction hits after a plot twist.
M.A.A.D CITY (GOOD KID, M.A.A.D CITY, 2012)
Again, Kendrick opens his song with "Brace yourself on a trip down memory lane". It’s the song that diverged him from other artists when we realised that his music is autobiographical and true stories of growing up. Of course this could be dismissed by the loud (and almost ignorant) instrumental behind it, but this was a moment when a lot of people knew Kendrick Lamar had something special as an artist.
ALRIGHT (TO PIMP A BUTTERFLY, 2015)
Alright is bound to set the stadium alight come the 17th. Four minutes that put Kendrick’s strengths to great use; jazz instrumentals, verbal dexterity and a chart topping chorus that has everyone singing along.
MONEY TREES (GOOD KID, M.A.A.D CITY, 2012)
The moment I first listened to this song made me a Kendrick fan. It jumps around a ridiculous beat, accompanied by label-mate Jay Rock alongside. It’s a song I’m sure will have everyone rapping along at the concert. Also a great place to start for people wanting to get into Kendrick’s music
SING ABOUT ME, I’M DYING OF THIRST (GOOD KID, M.A.A.D CITY, 2012)
An incredible showcasing of storytelling over 12 flying minutes as Kendrick details the community he grew up in while switching between perspectives and characters. Touching on subjects of corruption, revenge, religion and much more that creates a song deserving of all the attention it calls for.
