Dre (who literally phones his appearance in) put the listener in Lamar's era of Compton, just as well as Lou Reed took us to New York and Brecht took us to Weimar Republic Berlin. The sentiment is universal, but the viewpoint on his second LP is inner-city and African-American, as radio regulars like the Isley Brothers (sampled to perfection during the key track "I"), George Clinton (who helps make "Wesley's Theory" a cross between " Atomic Dog" and Dante's Inferno), and Dr. He's aware, as Bilal sings here, that "Shit don't change till you get up and wash your ass," and don't it feel good? Anguish and despair rightfully earn more Grammys, Emmys, Tonys, and Pulitzer Prizes than sweetness and light ever do, but West Coast rapper Kendrick Lamar is already on elevated masterwork number two, so expect his version of the sobering truth to sound like a party at points.
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Becoming an adult ultimately means accepting one's imperfections, unimportance, and mortality, but that doesn't mean we stop striving for the ideal, a search that's so at the center of our very being that our greatest works of art celebrate it, and often amplify it.