Why is good kid m.A.A.d city so much better? Like, I love that album but I just can't enjoy this...

Why is good kid m.A.A.d city so much better? Like, I love that album but I just can't enjoy this. Avoid meme answers of possible, thank you.

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gkmc has a more concrete concept and story arc

Because it's not

Subjectivity

GKMC is more personal. The contemporary beats feel genuine. All the jazz and funk wankery on TPAB feels contrived.

can't speak for your own tastes but most of the songs off TPAB don't stand up on their own imo
I could listen to pretty much any of the songs from GKMC and enjoy them without listening to the rest of the album

tpab has no bangers and it verges dangerously close to holier than thou preaching. GKMC was able to thematically express kendrick's background and beliefs through storytelling, this was more how he deals with fame and the guilt of his social positioning.

they're both very very good, but in different ways. i think the instrumentals on TPAB are almost unrivaled in modern pop

they're both amazing, gkmc is just more pop-oriented. also white ppl are made uncomfortable by race talk on tpab

>it verges dangerously close to holier than thou preaching

Just listen to mortal man. Can't get any more holier than thou.

GKMC is an instant classic. Lots of bangers and a very palatable straightforward story and message. If you like hip hop it's hard not to like it at first listen, and even if you don't like hip hop it is a converter album.

To Pimp A Butterfly is a grower. At first listen you get a sense of "wait, this isn't what I was expecting after GKMC at all" and you aren't sure if it works. It's somewhat accessible but not nearly as accessible as the last. For me, the live instrumentation really grew on me and the concepts started to become a lot more clear. Also the lyrical punches are insane on almost every track.

I still like GKMC more too but TPAB has been creeping it's way up to that level since I first heard it.

Here's a comparison for Radiohead fans:

>Section.80 = The Bends
>good kid, m.A.A.d city = OK Computer
>To Pimp A Butterfly = Kid A

Really hoping this next one will be his Amnesiac, although maybe untitled unmastered is more like that so it'll be his Hail To The Thief.

i bet those sorts of stripped down, bassy, woozy songs from untitled unmastered are a recurring theme in his new shit. seeing james blake will be doing some production on it affirms that belief as well

Damn good summarization man.

But yeah, agree with you, same here. At first I couldn't really get into TPAB as a whole. I liked, Blacker the Berry, Alright and King Kunta instantly but the other more jazzier songs only started to click after multiple listens and thorough analysis of the lyrics. But now I think I actually prefer TPAB, even tho GKMC is really close behind.

These guys got it. There are only a few songs on TPAB enjoyable outside the album context and some songs are overproduced as fuck and have way too much going on at once (Alright comes to mind). It seems like Kendrick was more concerned about the message than the actual music. The instrumentals are all FlyLo/Thundercat-lite and feel like they just improv'd them in the studio. There are too many moments that sacrifice overall listenability for the "message" (see: the poem that ends each song and notably the phone call in Wesley's Theory, which is funny at first but I ended up skipping it every other time after that because it kills the pacing of the song).

The word "hype" wasn't enough to describe the media assault on the sprawling 80-minute To Pimp a Butterfly (2015), another meticulously crafted album that employed legions of writers, producers and musicians (including jazz pianist Robert Glasper and jazz saxophonist Kamasi Washington). Six people wrote Wesley's Theory, including George Clinton, and four produced it, including Flying Lotus. Nine people are credited as writers for the funk-fest King Kunta, making it de facto a collage. The producers threw in more live instruments, resulting in a sound that is more revivalist than innovative, but also a sound that helps the general theatrical atmosphere. For better and for worse, The Blacker the Berry is the epitome of this emphatically pointless but fashionable avant-jazz-rap music. I begins as an olf-fashioned synth-pop hit of the 1980s before it begins to sound like a James Brown parody (with the lyrics "the number one rapper in the world" and "i love myself") accented by a jovial piano figure. The best psychodrama is possibly one of the simplest songs, the melodic funk-soul These Walls, and the best political sermon the equally straightforward funk ditty Hood Politics. But the music is secondary to the histrionics and it doesn't matter that the catchy and danceable Alright stands in opposition of the industrial beat that derails Momma, a fact that could account for at least eclecticism. This is a superficial and, ultimately, middle-of-the-road album from an artist who lacks the visceral energy of Public Enemy and Tackhead while also lacking the poetic depth of Kanye West and the musical genius of El-P. He tries to be all of them at once, but maybe he would be most credible if he were just himself: a brilliant script-writer of fictionalized real-life stories: the Christian parable How Much a Dollar Cost presents God disguised as a homeless man, and Mortal Man interviews the ghost of dead rapper 2Pac.

6/10

TPAB took over a year to click with me. I think it's a lot better than GKMC now though

Because it's not better?
GKMC has a great concept but quite a few filler tracks that throw it off, compton and real have no purpose being their and should have remained off, or bonuses.

>i forced myself to like an album over an entire span of a year

GKMC is a pop album. Its meant to appeal to more people that aren't that into music.

you simply dont like the direction this took

I listened to GKMC and TPAB for the first time today. GKMC sounds like a lot of other hip hop. It's good but I don't know how some see it as god tier. Really like the production on TPAB and also found the lyrics to be better.

I think TPAB is better but I rarely listen to it because its really one of those albums you have to listen all the way through to fully appreciate, and sometimes I just wanna hear specific songs. GKMC is good in both the full album experience (although not as much as TPAB) and also when you just want to hear a specific track.

While I really really enjoyed TPAB I hope the new album is more similar to GKMC

>Lots of bangers
Lol
>I pray my dick get big as the Eiffel tower, so i can fuck the world for 72 hours
>Hold up, drank, pour up, drank
>Im real, im real, im really really real
Haha no. Bitch dont kill my vibe could've been a banger but he raps like a pussy. The remix he goes harder but by then it was too late

because you're super white and don't know anything about funk/jazz/soul

>i listened to x for the first time today
>don't know how some see it as god tier
ya don't say

I think it's really interesting how on this board the take that seems to be more popular is that GKMC is the better album of the two, despite TPAB being much more experimental, which you would think would make people on her like it more.

I loved GKMC when it dropped and it's still one of my favourites ever. But personally, TPAB resonates with me on every level, and even just on a technical level every aspect of the album is better than GKMC.

I disagree, I think every track on the album could stand on its own, and has high listenability (especially These Walls). I kinda get you when you say it feels overproduced though, despite the fact that I like that sound. Even a 10/10 can have flaws, I guess.

>Even a 10/10 can have flaws, I guess.
no!

Almost all the songs are perfect for playing loud in the car with friends.

I'm tried of the white guilt trips. My white friends were like "then new Kendrick song is dope bro". I was like nah I voted for trump.

>tpab has no bangers
Alright and King Kuta are real bangers desu

yeah but not on the same level as swimming pools or backstreet freestyle

im not tho

Because TPAB was nothing but a cash run on the Muh Trayvon Son meme.

ah, yes, I agree with you then

>white ppl are made uncomfortable by race talk on tpab

It's like that music from White nationalists. It's shit propaganda.

TPAB was literally youtube.com/watch?v=wViubDpJojw

you're right, they're better

It feels contrived because it is. Kendrick had never even heard a Miles Davis album before Thundercat got in the studio with him. All the studio wankery was shoehorned in to what was originally a standard hip hop album. Now with Humble he's gone back to his comfort zone which is derivative contemporary hip hop.

At the expense of sounding like an asshole, I wasn't uncomfortable about the race talk as so much as I was annoyed. It was pertinent at the time of its release, but it ages like milk and dates the album. I also feel like it's something every hip hop artist ever has talked about at some point, but TPAB treats it like it's novel or unexplored. I get it, for the millionth time I get it. And never does he offer any solution to the issue he keeps bringing up, it all boils down to "shit sucks, it has to change", a position which everyone has come to without the help of this over-hyped album.

racism is always relevant

it had no songs like Art of Peer Pressure (that second part, come on), Sing About Me, Money Trees, Bitch Dont Kill my Vibe, or Good Kid+MAAD city

instead it was lukewarm, contemporary, safely experimental beats (thundercat etc, the kind of musicians whose tracks youd hear in the party scenes of a PBS high school drama) and the most unrevolutionary "message" ever passed off by a popular semi backpack rapper