Released July 2, 2011
7 / 10
Favorites
F*ck Your Ethnicity, Rigamortis, Kush & Corinthians, Ab-Soul's Outro, HiiiPower
Least favorites
No Make-Up (Her Vice) (feat. Colin Munroe), Ronald Reagan Era
Kendrick planted the seeds for his future albums in "Section.80", a solid loose concept album rooted in his experience as a child of the Reagan Era of the 80s who has had to live with the aftermath of the crack epidemic. He wrote his first major label album with purpose, acting like a witness to the struggle his generation has had to face in Compton. Through an elusive campfire storyline theme, Kendrick talks mostly from his own experience: he's not one to speculate or imagine grand stories to offer escapism; instead, his fluid rap acknowledges cycles of self-hatred and a form of hopelessness that's been engrained in his community's psyche to pick it apart and not let it hold him back. In "Section.80", two figures are centerfold: Tammy and Keisha, two women that have to combat self-hatred to have a chance at a life free of fear. No Make-Up (Her Vice) addresses the perceived need to hide beneath layers of make-up to tackle a grander theme of altering yourself (appearance or state of mind) temporarily for some form of relief. Its tone is slightly patronizing; the track's approach to its theme hasn't aged well since 2011. The chorus is very soft pop rock, an air-brushed version of a hook that sounds almost teensy - Colin Munroe ends up being the track's weakest link. The verses are incredibly busy, so much so that they trick you into looking forward to the respite provided by the beginning of the chorus only to be disappointed by its execution. Tammy's Song (Her Evils) tells the story of Tammy and Keisha being cheated on and subsequently turning to each other for solace. It's another example of a track that hasn't aged well: it conveys a problematic image of lesbian relationships, propelling an idea that they are born out of frustration with men - even fetishizing them to an extent. The song bubbles with a video game-like sample backed by a somber bassline that grumbles throughout which summons forth an image of relationships analog to games with wins, losses and strategies. Keisha's Song (Her Pain) tries to humanize prostitution and warns of the devastating effects some choices can have on a person - a warning destined to Kendrick's little sister. He raps to a set loop with Ashtro taking over on the chorus to the same loop in a very conventional rapper / singer partnership. The track's second half features a notable contribution from a flute to change things up but nothing much else happens. Ashtro does the most in the final seconds of the song, a take so bizarre it probably shouldn't have made the cut. The story of Keisha is not told with a judgmental undertone as much as it bears witness to the risks of those choices - that are often not seen as choices but more like necessities for those that make them. Kush & Corinthians tickles a tension between righteousness and vices. With life being so short - especially for black men in underprivileged areas in the USA statistically -, Kendrick states how hard it is to evaluate what is worth doing in a lifetime: should one spend time trying to be just of enjoy the little time they have on Earth? He establishes that justice and morals are rarely cut and dried. The melodies have Kendrick pondering with an ideal backdrop full with chimes and chill beat. The musical elements slowly awaken, bringing in some guitar and eventually female vocals join in on the chorus. BJ also brings something refreshing to the table that isn't really heard anywhere else on the record. The other pillar of "Section.80"'s storyline is none other than Kendrick himself. He states his intentions clearly from the get-go with F*ck Your Ethnicity. He wants the listener to know that what Kendrick has to say deserves to be heard by everyone. Although he speaks of his experience and what he's seen around him, there's something in it that should be learned by everyone. His flow on the verses is smoothed by the piano and vibrating synths with adept touches of vocal layering. Kendrick's voice undergoes a series of deformation that has him tapping into different registers and helps constitute an incredibly rich introductory track. He goes into Hol' Up to talk about his journey to success. The music has a celebratory ring to it, mainly owing to horns and the opening muffled clapping. Kendrick manages to switch up his cadence several times to keep the song rolling on the verses. Lyrics are clumsy in places, dampening my interest in the track ("If I can f*ck her in front of all of these passengers / They'll probably think I'm a terrorist, eat my asparagus"...mmkay). Later on the record, in Poe Mans Dreams (His Vice), he speaks about giving in to peer pressure and ancestral generational curses. The drum loop he raps too is simpler but more effective than others on "Section.80". It's a mellow jazz-infused song but not much has been done to elevate it into exciting heights. Rigamortis also brings back Kendrick at the center of his discourse, this time taking the form of a funeral procession for hiphop artists that can't compare to him in a cheeky turn of events. It acts as a triumphant proclamation that Kendrick has arrived, backed up by a truly impressive second verse. The record's final track - also its first single - talks of self enlightenment and manifests his determination, subliming it into power. I can't help but be reminded of Kanye's earlier work through several veins of the track, namely in production style, melodic choices and delivery style - particularly in the second verse. The song goes through dips in its density with pauses in the continuity of the drum loop that pumps energy into the mix. Compliments to the airy bridge and the late Alori's addition to the track. The principal figures of "Section.80" are all members of the same generation from the same community: they're the children of the 80s that have been hit hardest by the failure of Reagan's "trickle-down economics" rhetoric. A.D.H.D can be read as a commentary on the prevalence of drug abuse where Kendrick comes from, and the refuge they provide to distract from life's burdens. The song has an ethereal ominous celestial backdrop reminiscent of a slow blurry high. Kendrick's voice is almost muffled at times, essentially mellowed out to conform to the song's atmosphere - as are the beat and percussions. The effect is a bit too strong to my liking. Ronald Reagan Era is one of the most direct comment on Kendrick's Compton upbringing in the wake of the crack epidemic. There's a lot to hear in it but its sonics do not live up to the lyrics. The track opens with Ashtro's rocky grit only to be deconstructed and stuck on a loop to Ab-Soul's voice before he throws the ball to Kendrick. The following loop takes up too much space, making it hard to focus on anything else. Ideas are tied together and elaborated on on album highlight Ab-Soul's Outro. Kendrick expresses that his work reflects his experience before insisting on the need to become independent-minded and form your own opinions to shape the world with intention. But before any of that, the song opens with titillating cymbals and horns, building anticipation for what's to come. Ab-Soul shines with great energy from the start of his verse, with a snappy delivery that hasn't been smoothed out in a post-processing step. The whole track has an air of jazz improvisation that makes it both exciting and unpredictable - unlike a good number of drum-loop based tracks on "Section.80". It's a wonderful feat that the soulful Ab-Soul's Outro manages to sound like it's taking its time while rushing at the same time. It keeps us on our toes, while combining high educational and entertainment values. And those are precisely the strengths Kendrick has been tapping into all along.
Favorite lyrics
"I climax where you begin and then I end on cloud nine
And that's important when you morph into an angel in the sky
And don't be forging all my signatures, my listeners reply
And tell me that you biting style, you got a hell of an appetite
And I'ma be here for a while, just buckle up before the ride
Or knuckle up if you can fight, we always making 'em duck or die"
Rigamortis
"I'm not on the outside looking in
I'm not on the inside looking out
I'm in the dead fucking center, looking around
You ever seen a newborn baby kill a grown man?"
Ab-Soul's Outro
"I'm not the next pop star, I'm not the next socially-aware rapper
I am a human motherfucking being over dope-ass instrumentation
Kendrick Lamar!"
Ab-Soul's Outro
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