It’s not every day that we, as consumers of music, get the opportunity to experience the first impression of a modern day classic.
However, once in a great while, an album of such magnitude will come along. It will push the boundaries of its genre. It will make us look at music differently. It will question the current system. And, most importantly, it will come at a time when listeners need it most.
The most recent example of this album is Compton rapper Kendrick Lamar’s brilliant third LP “To Pimp a Butterfly” – the first monumentally great record of 2015.
To begin, one has to wonder: How does one even begin to dissect a record lyrically dense, stylistically diverse, and musically complex as “To Pimp a Butterfly” while still providing a reasonable analysis? By analyzing these three parts individually, as separate entities.
From a lyrical standpoint, this is the artist’s most expansive work to date, exploring a wide array of concepts and ideas, even more than his previous efforts “Section.80” and “good kid, m.A.A.d city.”
Where the two former records – “good kid” in particular – confronted a more localized perspective of gang violence, racism and financial imprisonment in his hometown of Compton, “To Pimp a Butterfly” takes these themes and expands them to a national evaluation.
Throughout the record, Lamar explores the themes and subjects of overcoming fame’s evils (“…”), sex (“These Walls”), self-criticism (“u”), relationships with religion (“How Much a Dollar Cost”), internalized racism (“The Blacker The Berry”) and truly loving oneself (“i”). And that’s just scratching the surface.
More than that, the overall theme of black empowerment is present throughout, and effectively demonstrated when necessary on “To Pimp a Butterfly.”
From opening the album with a sample of a black pride inspiring anthem by Boris Gardiner, to the discussion about blackness at the end of “Mortal Man,” it helps to create a rich, present canvas for a conversation to take place.
All of these are wrapped up extremely well throughout the album with the inclusion of a poem that the artist recites at the end of nearly every track, revealing a little more as each track progresses.
What’s more impressive is how the poem comes together at the end, all culminating into an interview that Kendrick conducts with a post-mortem Tupac Shakur, tying together all of the aforementioned themes into a beautiful package.
If all of this seems confusing, it isn’t. It’s complex. What Lamar creates with “To Pimp a Butterfly” is the opportunity to peel back the many layers of a multifaceted piece of art, simultaneously growing a deeper understanding of and appreciation for black culture in the process.
While the narrative heft of Kendrick’s thoughtful message stands tall, how does the record work from a musical perspective?
Well, I’m happy to report that, not only does the production live up the already high standards of Kendrick’s former release, but it also improves on them in most cases. Many of the beats aren’t just competent; often times, they’re inventive.
“To Pimp a Butterfly’s” stylistic direction is difficult to pinpoint, but the best way to describe it is a comprehensive tour guide through the development of African-American music.
There are elements of jazz, funk, R&B, gospel, spoken word and hip-hop – with previews of its development between the 70s through present day. Many of the elements are combined to create a truly eclectic sound and listening experience.
Credit is also due to the abundance of co-producers, writers and guest vocalists on this record. Like the record’s stylistic direction, Kendrick taps talents both old and new for “To Pimp a Butterfly.”
Most notable contributions go to funk legend George Clinton (“Wesley’s Theory”), bassist Thundercat (“Hood Politics,” “Complextion”), and in-house up-and-comer LoveDragon (“How Much a Dollar Cost”).
What more can I say about “To Pimp a Butterfly” that won’t be said decades after 2015 has passed? It’s truly a stunning masterpiece for the genre that takes major risks – both musically and lyrically – that push hip-hop in the direction that it’s needed for quite some time.
My advice? Sit down, open the lyric booklet and spend an hour of your day with what will, undoubtedly, be one of the best hip-hop records of the decade. If not the best.
Trust me, it’s that good.
