If you are someone who likes contemplative and introspective lyrics, then “Section.80” is right up your alley. There were even a few instances where I was almost depressed after hearing one of Lamar’s tales of woe, and this is simply not the vibe I aim for when listening to hip-hop. That being said, though, “Section.80” is not for everybody, and despite my appreciation for Kendrick Lamar’s gifted lyricism, there were times when I felt the album was too dark and too somber to be fully enjoyable. And for many listeners, “Section.80” will probably be one of the top albums of 2011. Simply put, Kendrick Lamar recognizes his niche and doesn’t stray too far from the recipe that works best for him.Īt this point, it seems like the album has it all - meaningful lyrics, quality beats, and one of the sharpest up-and-coming emcees in the game today. Cole-produced “HiiPower,” the album’s lead single. Other highlights include “Hol’ Up,” one of the smoothest tracks on the CD, with its jazzy trumpet sample that blends seamlessly with the background vocals on the chorus, and the J. The percussion generally takes a backseat to the electronic synths, spacy piano chords, crooning trumpets, and variety of other sounds that lace the tracks the drums don’t even drop until almost a minute into “A.D.H.D.,” as Lamar spit’s the first part of the opening verse over a set of shimmering synths. While there are a few exceptions, most of the songs aren’t your typical hip-hop cuts. What really allows the lyrics to shine through, though, is the unique production style of “Section.80,” which complements Lamar’s laid-back delivery and well-articulated rhymes. My intuition has said I was suited for family tiesĮvery minute, hour and second, ministers tried
Dealing with everything from his upbringing in Compton to his growth as an emcee, Lamar spits an unforgettable first verse, beginning with:
Perhaps his best lyrical performance, though, comes on “Poe Man’s Dreams (His Vice),” which features a mellow jazz piano that glides across the track and a simple but effective drum loop. “Keisha’s Song (Her Pain),” has a similar feel, as he details the life of a young girl who is forced to sell her body to make a living, ending the song with the chilling final lines: “Nothing really matters, so she hit the back seat/ And caught a knife inside the bladder, left her dead, raped in the street.” On the other hand, Lamar takes an existential look at the world on “Kush and Corinthians,” over sparse drums and an ominous blend of pianos and synths, as he raps “To the meaning of life, what’s my purpose?/ Maybe this Earth is ain’t a good place to be/ How far is heaven? Let’s see.” On “No Make-Up (Her Vice),” over heavy drums and a somber grand piano, Lamar spins a story of a girl using cosmetics to cover up not only her physical “imperfections,” but also her bruises from a domestic violence incident. Growing up on the dangerous Compton streets allowed Lamar to witness and experience it all, and he isn’t afraid to hold anything back on the mic, often delving deep into his inner thoughts.
Right off the bat, it’s apparent that Kendrick Lamar is wise beyond his years, and his lyrics have the maturity and depth of those of a veteran emcee. Like many, I find myself disgusted with the current state of hip-hop, and I was anxious to give “Section.80” a listen and see what the 24-year-old lyricist had in store. Lamar was being touted by many as the next big emcee, someone who understands and embodies the idea of real hip-hop. At first I was slightly embarrassed, given that Lamar is quickly becoming a hot name in hip-hop and was named to XXL’s 2011 Freshman Class, but my embarrassment quickly turned to excitement as I scrolled through the user reviews of the album. I pride myself on generally being up to date with the latest hip-hop news and album releases, both mainstream and underground, but I’ll admit I had never heard of Kendrick Lamar until I stumbled across “Section.80” while browsing iTunes last week.
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