We've been quiet for almost five whole days... it's been five whole days since Kendrick Lamar returned with his triumphant album, Mr. Morale & the Big Steppers.
There's been a lot of discussion on whether or not enough time has passed to truly review or critique this album -- we here at channel.WAV believe that, no, there is no way we can fairly discuss this objectively complex album at this time. I suggest you avoid other sites (*cough cough Pitchfork, Stereogum, Rolling Stone cough cough*) that have jumped the metaphorical gun in publishing a review, in lieu of any actual understanding of the album. Like, they literally say "we have not sat with this album long enough" and "I do not understand what or who this therapy is for". It's in those articles.
So, before we begin, what you read below is NOT a review. It is merely a collection of random thoughts and opinions, rapid fire texted while the three of us heard the album together. Many of the words I've written below, I've already changed my stance on, and I expect that to keep happening. This is as close to a track-by-track breakdown as we'll get at this moment.
I'm not sure when you can expect a comprehensive review, but it isn't soon. I've never been so emotionally wrecked by an album like Mr. Morale & the Big Steppers (it's just a fun title to write out each time), and there's a lot of lyrical and thematic depth to explore.
Without further ado, our latest Staff Inspection of Kendrick Lamar's fifth album, Mr. Morale & the Big Steppers.
Disc 1 - Mr. Morale
On album opener, "United In Grief"...
Ritter: To start off a couple questions: 1. Aaron did you do your homework (to watch "The Heart part 5")? 2. How many times has everyone listened to this album since it came out on Friday?
Botts: I did, and I'm going in fresh. I waited for y'all.
Slone: Hi Dane, long time reader, first time caller. In general, this marks my 4th listen I think, but I have yet to give it a real critical listen/close read
R: This is my 12th listen no shame.
B: Was he talking about COVID [when referencing 1855 days]?
R: That's the length since his last album.
B: I liked that one.
On the album's first single, "N95"...
R: I hated this song first time I heard it but it’s really grown on me. The music video is incredible.
B: My Mediterranean heritage relates with Kendrick when he mentioned Anglican Government. I love it.
On "Worldwide Steppers"...
R: This is the first song where he mentions he cheated on his fiancé. Also, wildest beat Kendrick has rapped on yet in my opinion.
B: Love the biblical references. "I objectified so many bitches I killed their confidence" - holy shit.
R: He's got some of the best and coldest bars of his career on this track.
R: Here's the sample in the background, lmao.
On "Die Hard"...
R: This is gonna be a summertime jam for me.
S: I was just getting ready to say this is gonna be the radio song
On "Father Time" and overarching themes of the album...
S: The thread on this album is interesting. It’s no “I remember you was conflicted” but on each listen, I agree with your, [Dane], earlier point that everything is there for a reason. And that everything is gonna be much clearer when NATION drops.
B: “This the part where mental stability meets talent”, damn.
R: I like to think of each track as a separate therapy session focused on a different issue/therapy session. Some people have said the album tracks mirror each other, but I haven’t listened that way yet. Name dropping Kanye and Drake caused a storm…
S: There has to be a purpose to making it a double album. In the steaming era particularly.
R: I agree, and that picture showing “Morale” as one disc, “Steppers” as the second. The interlude tracks are the biggest theory behind the mirror — they are directly opposite on either side of the double album.
S: If you’re looking to analyze through that lens, that probably is the place to start on the reading. We’re early enough that Genius is still the Wild West.
On "Rich - Interlude" and "Rich Spirit"...
S: I now say “Bitch I’m attractive” every morning in the mirror.
On "We Cry Together" and what the fuck moments...
R: Aaron, buckle yourself in.
S: Oh, Jesus.
B: That sounded like Florence + the Machine in the intro.
*Kendrick starts rapping*
B: Oh shit. Hell yeah, lol.
R: This is Taylour Paige, the actor from A24’s recent film “Zola”, rapping alongside Kenny
S: Am I supposed to be listening to this
R: This is overhearing the neighbors-type music
B: "You’re the reason R. Kelly doesn’t realize he’s abusive," lmao. I love the cold attitude of this album.
On "Purple Hearts" and production...
R: Also, huge East Coast influence on some beat choices. Alchemist production on the previous song and this song with Ghostface Killah is a big throwback to Wu Tang/Mobb Deep 90s beats and current Griselda beats.
S: I wish there was a bit more… what’s the word I’m looking for… grime? to these beats. You know what I mean? Those old Mobb Deep and Wu Tang beats just sound dirty. ["We Cry Together"] sounds really smooth and produced.
R: That’s a real good point, ["Purple Hearts"] is a bit more polished, but I think the "We Cry Together" beat is something that Mobb Deep or early Nas would be caught on, mostly because Mobb worked with Alchemist so frequently.
S: This beat reminds me more of maybe like, Graduation era [REDACTED] and that may be intentional since there was a quote from that specific album earlier on.
B: It’s true that "it ain’t love if you ain’t eat ass", tho.
Disc 2 - the Big Steppers
On "Count Me Out"...
R: Who would have thought that both Eckhart Tolle and Kodak Black would handle the skits/interludes on this? This might be my least favorite song, but even still it’s not by a big margin or a bad song.
Slone & Botts: *silence*
On "Crown"...
R: This song is the turning point of the album for me when we hit the deep shit.
S: Inclined to agree with you there, yeah. Given that "Count Me Out" starts with “session 10, breakthrough” that would seem to be a pretty clear indication to the stupidest among us (me) that the back half of this album is to be focused on his overcoming his demons. So I guess it could be that the first disk is laying out his problems and the second is putting them to rest.
R: Great point. I wanna know if the first disc is “Morale” or the second, and does that correlate to the emotional content as well.
S: Also a whole track spent saying “I can’t please everybody” is a good indication.
On "Silent Hill" and our rap names...
S: Silent Hill of course is the therapy session where he comes to terms with how Konami treats its IP.
R: I am obsessed with this song. The silenced pistol sounding snare. Kendrick is literally laughing during his verse because the chorus is so ridiculous and awesome. It’s such a goddamn masterpiece even Kodak sounds good on it.
S: We need a better spelling for that sound [Kendrick makes on the chorus] than “huh”. It’s not a simple huh. There’s more letters. At least one G. Maybe like "hngugh".
R: Lol HNGUGH, I like that one.
S: My rap name is "Hngugh Newton".
R: Aaron, what would your rap name be?
B: AK Botts, or my favorite guitar chord, "Gsus".
R: Yo Gsus is kinda fire, not gonna lie.
On "Savior - Interlude", "Savior", and 2Pac...
B: 2 pac ain’t dead tho! That's part of the conspiracy.
R: We know Kendrick knows where Tupac is.
On "Auntie Diaries"...
Editor's note -- this is a song you have to experience yourself. Stop what you're doing. Listen while reading. Look, I've added it in below for your convenience!
B: Did this song just support LGBTQ- and Trans-rights?
R: Yes it is, the first mainstream rapper to do so. The magnificent moment of Kendrick admitting that a trans-man inspired him to write and rap in 2022 is under appreciated. This song is beautiful.
B: Honestly, this song has so much power.
R: That’s the first time I noticed he said “I knew you was conflicted”.
B: Holy shit, that ending though...
R: Yeah not sold on the ending yet, lol.
S: I'll stand up for it.
On "Mr. Morale"...
R: Pharrell demonstrating that he is still a go-to producer between this beat and his most recent songs with Jack Harlow and half of that Pusha T album.
On "Mother l Sober"...
R: This song is emotionally devastating. “You never felt guilt till you felt it sober,” Jesus Christ, man. And here is the big discussion of his infidelity.
B: So much vulnerability. Do you think he intentionally committed the infidelity for the art?
R: Nah he said [over the course of the album] he’s been cheating since his first world tour and that it’s a real addiction. It led to him giving up his phone and was the source of this album.
Obligatory, "Kendrick's daughter's voice melts me into a puddle."
On "Mirror" and some final thoughts:
R: I have a theory about this final song that still needs fleshing out: as it is his last song with his first label, TDE, I believe this chorus is not only wrapping up all the themes of the album (infidelity, refusing the title of savior) but also explains to TDE he has to go indie for his own personal health.
S: I think that is definitely correct.
R: The bravery for him to say in the face of a generation that is looking for answers “sorry I didn’t save the world, I had to save myself” is incredible. Aaron, what'd you think after your first listen?
B: Honestly, loved it. It’s vulnerable, progressive, and redemptive at the same time.
R: It’s by far my favorite album of the 2020s (which isn't saying much). I think it’s an incredible work of art. In a moment where he had the most hype and anticipation following his long absence, he made an album no one expected and didn’t need to be as personal as he did. It’s a great testament to the healing he’s done in the off time I think.
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There you have it, we'll be back with our usual Friday Roundup in just a few days. In the meantime, what are your first impressions of the new album? What is your favorite track? Sound off below!
- The channel.WAV staff
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