Listen here: 98: The Rolling Stones: Beggars Banquet (design by Barry Feinstein)īeggars Banquet is a rare case where an album’s two famous covers really complement each other. The red velvet cover, with gold embossed lettering, served notice that Odessa was going to be unique and beautiful, which it was. If The Beatles could do a double “ White Album,” the Bee Gees could do a fuzzy red one. On their 1969 debut, the cavorting characters were there to remind you how much fun rock’n’roll was supposed to be. Dre, Snoop Dogg, Mary J.Bandleader Cyril Jordan’s terrific comic art has turned up on numerous The Flamin’ Groovies covers and posters over the decades. “We gon’ be alright” became the slogan for a new civil rights movement and the music video that accompanies it only further illuminates why Kendrick Lamar deserves to be at the front lines. Everything about this music video-from the cinematography to its addressing of social issues-seems to reflect the song itself, depicting the joys and horrors experienced by Black America. Onlookers gaze in awe, their jaws to the floor, witnessing what could eventually go down as one of the most iconic video of this generation. Kendrick floats throughout the whole song, literally and figuratively, held up at times by his friends or by a string on top of a lamppost in Downtown L.A. “Alright” begins with his “Luci” speech that dots the entirety of To Pimp a Butterfly, later giving way to Kendrick and his friends rocking out in a car held up by police officers. Like so many of his earlier videos, “Alright” is filmed entirely in black and white, but this time, the stark colors greatly benefit the end result. But just three years later, was still behind the camera, directing both “Backseat Freestyle” and “Poetic Justice,” two videos that will be featured much later in this piece.ĭirectors: by Colin Tilley &The Little Homies The video quality isn’t much more than that of an iPhone 3 or earlier. The video is exactly what you’d expect – a collection of Kendrick rapping at different places around his hometown, including high schools, city squares, parks and strip malls. “Compton State of Mind” is another entry in a sea of YouTube covers of “Empire State of Mind” from 2009, though that being said, Kendrick’s flow here is better than almost anyone else’s. It’s amazing that only three years separate “Compton State of Mind,” an outrageously corny Jay-Z and Alica Keys remix, and good kid, m.A.A.d City, known as one of the better albums of the decade. Consistently thought provoking, political and fun, Lamar’s 29 music videos are valuable tools to help fully understand his artistic vision. While his early videos show more promise than quality, the Compton native eventually found a balance yielding visual accompaniments as iconic as the songs themselves. caps off one of the best three album streaks in recent memory.īut while he’s already cemented his musical legacy before age 30, it’s time to turn to an arena where K-Dot doesn’t get enough love-his music videos.
With his flows more varied than ever, his beats more innovative and his subject matter simultaneously ultra-personal and wide-reaching, DAMN. “1, 2, 3, 4, 5 / I am the great-est rap-per a-live,” proclaims Kendrick Lamar on “The Heart Part 4.” The surprise comeback track dropped in March, preceding DAMN., which will surely be considered among the best records of 2017.
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