Ranking the Best Songs on Kendrick Lamar’s Good Kid, M.A.A.D. City

Ten years ago today, it went Halle Berry, or halleljuah.

Kendrick Lamar had already been turning heads as rap’s next big thing, but it was his sophomore album, Good Kid, M.A.A.D. City that launched him to the top. Little did we know that this was the start of one of the best rap runs of the decade – well, if we’re being honest, one of the best runs in hip-hop period.

There’s a reason why this guy is in my top five of all time.

Today, Ronald Grant joins me to discuss one of the most important albums of the past 10 years. In era where style was celebrated more than substance, Kendrick is a reminder that, sometimes, talent just can’t be denied.

Let’s talk best song.

Ronald: “Swimming Pools (Drank)”

“Swimming Pools” is dark, brooding, moody and pretty epic. Here, Kendrick spins a tale that’s equal parts cautionary warning and family history about his lineage’s struggle with alcoholism that one wouldn’t expect to be chosen as an album single. And that’s the beauty of the song, because while most of us were singing along thinking this was an ode to getting shit-faced, Kendrick once again creates a subversive teachable moment that would become one of his signature tunes.

Edd: “Sing About Me, I’m Dying of Thirst”

Mannnnnn, we’re on opposite ends of the spectrum. I was never a fan of “Swimming Pools” and found it a curious choice for single since it’s so dark and impenetrable. But I understand why it’s so beloved – even if it’s ironic that folks use it as a celebration of alcohol when it’s clearly the opposite. Instead, let me throw my love behind arguably the best rap song of the past decade, “Sing About Me, I’m Dying of Thirst.” It’s a hauntingly brilliant piece, showcasing the stories of two lives taken too soon and their desire to be remembered, only to  completely switch tracks to what eventually becomes a streetside revival and affirmation of faith. My God (literally). I could write an entire novel on that one track and its intricate levels of storytelling. It’s not a club banger, it’s not a tik tok hit, but it’s one of the most moving tracks I’ve ever experienced. This, my friends, is hip-hop.

This album boats top-tier production. Which beat is best?

Ronald: “Money Trees”

“Money Trees” is deceptive in how much it knocks. It’s simultaneously a song that you can smoke out and ride to on a Sunday afternoon, yet the real brilliance of it is how it very subtly bangs. Turn it up just loud enough in a residential area and you might just knock some of Grannie’s porcelain figurines off the counter! I’d have a hard time believing Kendrick didn’t select this beat for those exact reasons.

Edd: “Poetic Justice”

This might feel like a cheat because it’s so sample-heavy but props where it’s due – Scoop DeVille’s flip of Janet Jackson’s “Any Time, Any Place” is so well done, intentionally feeling like Kendrick and Drake are trying to seduce their ladies while Janet’s mood music plays in the background. It’s by far the most memorable beat on the album for me.

What’s the weakest song on the project?

Ronald: “Real”

Hear me out… “Real” isn’t a bad song. But stacked against a handful of stellar singles and even more songs that had the potential to be singles, it comes off sounding generic. It reminds me of a sequel to “Sing About Me…” that doesn’t quite cut the mustard. Again, not a bad song, it just has “cutting room floor” written all over it.

Edd: “Real”

Agree with the homie Ron, “Real” isn’t bad, it just gets dangerously close to crossing the line from empowering to cheesy. It’s likely due to the hook sounding like something kids would sing at the end of a third-grade assembly. I appreciate the intentions, it just feels unnecessary.

Which song should have been a single?

Ronald: “Money Trees”

I feel like both “Money Trees” and “m.A.A.d. City” could have been singles. While “Money Trees” has the dark, melodic moodiness that could have worked well on radio as a late-stage single similarity to what “Loyalty” was on DAMN, “m.A.A.d. City’s” chaotic groove gave us the perfect glimpse into the mid-song beat change into an unadulterated West Coast banger that would become a staple for Kendrick. I’ll give the slight edge to “Money Trees”, but it’s damn close.

Edd: “Money Trees”

See, I was all ready to hit up Ron like “Money Trees WAS a single, playa,” but technically it wasn’t – even though it got a little radio play in my area. So I’ll have to mimic the homie and cast my vote for that track as well. GKMC already had five singles – asking for a sixth might be too much but “Money Trees” was built for car rides and video-show countdowns.

(And for the record, my original pick was also “m.A.A.d. City,” so there’s more proof that great minds think alike. Except about “Swimming Pools,” apparently).

Which deluxe track would you have added to the main album?

Ronald: “Black Boy Fly”

The obvious answer is “The Recipe” with Dr. Dre, but my vote goes to “Black Boy Fly.” Of the bonus tracks it really seems to fit best with the rest of the albums’ running narrative of a West Coast kid who’s in danger of becoming a statistic, save for his artistic dreams, while also touching on themes of jealousy, envy and fear of the future.

Edd: “Black Boy Fly”

“Black Boy Fly” indeed. As Ron said, it’s a perfect fit for the album’s narrative, a coming of age tale that would have been a great closing track. Swap out “Real,” tack on “Black Boy Fly” and maybe I would have given this album that 5 star review after all. Some of y’all still mad about that 4.5 score a decade later.

What’s the most underrated song?

Ronald: “good kid”

There’s a certain eeriness and sense of unease to “good kid” that makes it brilliantly understated on an album with so many songs that are potential singles. To the point where it’s a song that’s easy to overlook. But much like the TV show The Wire, all the pieces matter. “good kid” is a deceptive yet important piece that helps move the story smoothly along.

Edd: “m.A.A.d. City”

Gotta show love to “m.A.A.d. City” here. “Backseat Freestyle” is usually the track that Kendrick die-hards embrace as his lyrical showcase, and I can’t fault that. But it’s the outright aggression and intensity he shows here that opened my eyes – it proved that Kenny could hit a second gear when motivated. With 10 years of hindsight, we all know now what he’s capable of, but back then it was impressive for Kendrick to shed his introspective persona and wild out a bit.  “m.A.A.d. City” needs to be in more convos.

This album is filled with amazing moments but which verse stood out most to you?

Ronald: “m.A.A.d. City,” verse three

Gotta be K Dot’s closing verse on “m.A.A.d. City”. Between the voice distortion, the overall bleakness in its outlook, the slam poetry-esque structure and the effortless way he seems to sum up the entire album, the placement of this verse seems very intentional as you move towards the end of the album. It feels like he wants us to know that he has no real answers and highly doubts that anyone else, be they casual listener or professional music critic, does either.

Edd: “Sing About Me, I’m Dying of Thirst,” verse two

I’ve listened to “Sing About Me, I’m Dying of Thirst” countless times, and every single time I hear that second verse I instantly get chills. Every time. Serving as a follow up to “Keisha’s Song” on his previous album, Kendrick plays the role of a woman who is infuriated that he made a song exploiting her siblings’ troubles. She gives more insight on their broken family, her own dark past and her eventual death to an unnamed disease, defiantly screaming “I’ll never fade away, I’ll never fade away” – as her vocals literally fade out. CHILLS. EVERY. TIME.

Is this Kendrick’s best album?

Ronald: Of the five he’s released, no, this is NOT Kendrick’s best album. Between the middle three of GKMC, TPAB and DAMN, it’s close. My vote goes to DAMN. But the importance of GKMC is that it gave us a hungry, on-the-come-up Kendrick, which eventually led to the Black America Renaissance man of TPAB, then the angry, arrogant yet spiritually complex Kendrick of DAMN, and more recently the introspective, deeply fractured yet maturing Kendrick of Mr. Morale.

Edd: GKMC is Kendrick’s breakout album, and since it was the entry point for a large portion of his fanbase, it’s often sited as their favorite album. But best? It’s close, but no. As amazing as he is here, he was still evolving as an artist and wouldn’t yet hit his peak. I’d put To Pimp A Butterfly over this release and, yes, even his controversial new joint Mr. Morale and the Big Steppers beats it. In fact, his latest MIGHT be his best to date – but I’ll save that argument for another day.

Is Good Kid, M.A.A.D. City a classic?

Ronald: It’s so funny because I remember so much debate around people already crowning GKMC a classic a week after it came out. But 10 years on, it’s safe to say this is a classic because it’s a timeless coming-of-age story. Kendrick took the life of a Cali kid raised on any and every L.A.-centered album, movie, TV show or any other piece of media since the 90s, blended it with parts of his own biography and created something that’s still listenable and relatable a decade later. Not many of his contemporaries can say the same.

Edd: Yep, I remember those “instant classic” conversations too and y’all know me – I quickly dismissed them. But now that time has passed, I have no problem saying that yes, Good Kid, M.a.a.d City is indeed a hip-hop classic. It was a turning point in Kendrick Lamar’s career, setting him on a path to superstardom; it was a turning point for hip-hop itself, giving a new generation of fans an artist of their own with the insight and storytelling chops of some of the genre’s greats; and it’s just an incredibly dope album in its own right. Those are the ingredients of a classic. Kendrick has the recipe.

But not the song “Recipe,” unless you have the bonus edition.

Who are you siding with, Ron or Edd? Share your GKMC memories below.