You can't ignore the impact of the Top Dawg brass. Rather than prematurely sign to a major label, Lamar's talent was incubated alongside an in-house team of engineers, producers, management, and other gifted rappers. When Dre finally arrived, it was to teach a postdoctoral course. Lamar was neither the offspring of blog hype nor a gimmicky video. He was unabashedly sincere and post-regional, but obviously rooted in the bloody soil of Compton.
Good kid, m.A.A.d city wears its influences proudly. There are references to E-40, Ice Cube, Uncle Luke, and Houston anthem "25 Lighters." Avatars from the '90s like Dr. Dre and MC Eiht appear. So does Lil Wayne, if only in the spirit of Lamar's wordplay and Silly Putty voice. His introspection and war with his conscience recalls Eminem, and he occasionally flexes a DMX growl. The narrative intricacy channels Jay-Z, Nas, the Notorious B.I.G., and Slick Rick (via Snoop Dogg). Lamar boasts an aesthetic and slant toward spirituality similar to the early Dungeon Family records. Above all, his ability to induce tears and articulate the totality of the struggle reflects what he absorbed from Tupac. Of course, there are the aforementioned movies.
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But good kid, m.A.A.d city supplies its own philosophy of sin and salvation. The script and sound are original—new testament to the immutability of old ideas. It is Compton scared straight.
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