Hip-hop debuts don't come much more "highly anticipated" than
Kendrick Lamar's. A series of killer mixtapes displayed his talent for thought-provoking street lyrics delivered with an attention-grabbing flow, and then there was his membership in the Black Hippy crew with his brethren
Ab-Soul,
Schoolboy Q, and
Jay Rock all issuing solo releases that pleased the "true hip-hop" set, setting the stage for a massive fourth and final. Top it off with a pre-release XXL Magazine cover that he shared with his label boss and all-around legend
Dr. Dre, and the "biggest debut since
Illmatic" stuff starts to flow, but
Good Kid, M.A.A.D. City would be a milestone even without the back-story, offering cool and compelling lyrics, great guests (
Drake,
Dr. Dre, and
MC Eiht) and attractive production (from
Pharrell,
Just Blaze, Tabu, and others). Here,
Kendrick is living his life like status and cash were extra credit. It is what makes this kid so "good" as he navigates his "mad" city (Compton) with experience and wisdom beyond his years (25). He's shamelessly bold about the allure of the trap, contrasting the sickness of his city with the universal feeling of getting homesick, and carrying a
Springsteen-sized love for the home team. Course, in his gang-ruled city,
N.W.A. was the home team, but as the truly beautiful, steeped-in-soul, biographic key track "The Art of Peer Pressure" finds a reluctant young
Kendrick and his friends feeding off the life-force of
Young Jeezy's debut album, it's something
Clash,
Public Enemy, and all other rebel music fans can relate to. Still, when he realizes that hero
Jeezy must have risen above the game -- because the real playas are damned and never show their faces -- it spawns a kind of elevated gangsta rap that's as pimp-connectable as the most vicious
Eazy-E, and yet poignant enough to blow the dust off any cracked soul. Equally heavy is the cautionary tale of drank dubbed "Swimming Pools," yet that highlight is as hooky and hallucinatory as most Houston drank anthems, and breaks off into one of the chilling, cassette-quality interludes that connect the album, adding to the documentary or eavesdropping quality of it all. Soul children will experience déjà vu when "Poetic Justice" slides by with its
Janet Jackson sample -- sounding like it came off his Aunt's VHS copy of the movie it's named after -- while the closing "Compton" is an anthem sure to make
the Game jealous, featuring
Dre in beast mode, acting pre-Chronic and pre-
Death Row. This journey through the concrete jungle of Compton is worth taking because of the artistic richness within, 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 even without the hype, this one is still potent and smart enough to rise to the top of the pile. ~ David Jeffries