Mr Morale and the Big Steppers (Disc 2 Review)
Embracing humanity and choosing family over everything else
In the second part of Mr Morale and the Big Steppers, Kendrick Lamar decides to go to therapy and lay his problems bare to Eckhart Tolle, a spiritual guide known for his self-help books. We know this because of a soundbite of the therapy session plays in the track “Count Me Out”. He (Eckhart) calls him by his middle name, Duckworth.
Originally, Kenny didn’t entertain the idea of meeting someone for help. He eventually stopped being hard-hearted and decided to repair himself, which in turn could patch up his relationship with his wife. Gun violence, infidelity in marriage, his identity, self-doubt and the heavy burden that is guilt, is addressed and referenced heavily.
He also cusses the media for their hypocrisy when reporting on the COVID-19 pandemic (this was also referenced on the track “N95” which I previously reviewed. For more context, see my review on Disc 1⇗). It was produced by Tim Maxey, J.LBS, Kendrick Lamar, DJ Dahi & Sounwave.
In “Crown”, we see Kendrick Lamar showing us his mind while using a 2016 song named Duval Timothy’s “Through the Night.”
Kendrick laments his inability to please everyone while rapping on being acknowledged and trying his best as a community leader. The song’s melodic refrain references William Shakespeare’s Henry IV.
The song’s metric may be influenced by Shakespeare’s Iambic pentameter, which was used in Romeo and Juliet and by other English authors to emphasize love and affection. Kendrick, a fervent Christian, appears on the album cover sporting the “crown of thorns”.
“Silent Hill” was a bop as soon as I heard it. Hard-hitting percussion and 808 bass, accompanied with the controversial Kodak Black vocals equals a playful track flexing material possessions. The title itself has two meanings; the Silent Hill could refer to the importance of silence and how it contributes to K. Dot’s mental health or the video game franchise of the same name and how the situation of evil is mirrored in his rap career.
“Savior (Interlude)” has Baby Keem take up the mic and describes a typical day in the hood. With the aid of classical instruments, he uses rhymes to explain his journey as an artist overall, struggles and the problems he overcame.
“Savior” shows a rock-solid Kendrick, who sticks with opinions with his head held high. He also talks about the two-faced activists (especially during the Black Lives Matter movement) who try to call out people, when in reality they don’t do what they preach. Baby Keem’s chorus seals the deal, asking a grounded question:
B*tch, are you happy for me?
B*tch, are you happy for me?
Smile in my face, but are you happy for me?
Yeah, I’m out the way, are you happy for me?
B*tch, are you happy for me?
Really, are you happy for me?
Smile in my face, but are you happy for me?
Yeah, I’m out the way, are you happy for me? (High up)
Kenny isn’t sure whether or not to trust others. He discusses the fear of mainstream artists who alter their lyrics due to the fear of mass backlash. He doesn’t believe external factors should restrict their true beliefs.
Taking time to tackle COVID-19 again, this time, he gives an analogy of Christians who were scared of the vaccine who called it the mark of the beast that ended up “praying to Pfizer for relief”. Oh, I was laughed hard.
He still has that comedic touch, I’ll tell ya that.
Making emphasis on his human nature and his willingness to help others, he lets everyone know that he isn’t god-like in any manner whatsoever, and he wants his fans to understand that. He calls out companies that pretend to help during Pride events and BLM. Kendrick wraps up with this: think for yourself, 2Pac is dead. Build on his wisdom.
“Auntie Diaries” is the sixth track on Kendrick Lamar’s fifth and final Top Dawg Entertainment album. Kendrick uses the story of two transgender people to critique himself, society, and the church’s LGBTQ views.
At the end of the song, he references the controversial moment in May 2018 when he invited a white woman to perform “m.A.A.d. city” He asked her to start over and not use the slur, but she was forced to return to the audience.
Kendrick compares the N-word to the F-word his community uses to denigrate queer people. He uses these parallels to teach his listeners and to transition to the next song, “Mr. Morale,” which begins with a quote.
It was one of the worst performances I’ve seen in my life
I couldn’t sleep last night because I felt this sh*t
“Mr. Morale” *interpolates the songs “New Again” by Kanye West and “m.A.A.d City” by Kendrick Lamar. It is the 16th track on the album. The bridge and interlude include vocals from Tanna Leone and Sam Dew. The song covers trauma. Lamar cites R. Kelly and Oprah Winfrey, both abused. Eckhart Tolle’s direct quote from a self- help book wraps it all up. This track is Kendrick Lamar and Tanna Leone’s first collaboration; Leone joined pgLang in 2021.
The next track, “Mother I Sober” shows Lamar open with emotional lyrics where he tackles his experiences head-on. At the song’s start, Lamar describes his childhood tragedy. He describes his mother’s sexual abuse and her worry for Lamar’s safety. Lamar later claims that he was addicted to lust rather than drugs. When he cheats on his then-fiancee, Lamar feels intense sadness and helplessness.
He says this reminds him of his mother’s abuser. He describes his sadness and guilt to this day. Lamar discusses the harmful sex culture in the black community and how it must be addressed. The sexual assault many black children endure can be a root cause of this culture, as our society doesn’t feel safe. Black people bear a “generational curse” because of this. At the end of the song, Kendrick uses honesty, pride, and positivity to break the “generational curse.”
All of this pertains to Kendrick’s theme throughout the project. Kendrick is human and prone to errors. His way of thinking has also changed — from being insensitive, to being sensitive and open.
Kendrick Lamar ends the album with a happy sounding track, “Mirror,” where he talks about fame and self-centeredness despite appearing perfect. He mentions his daughter and responsibilities, says he’s human, and discusses therapy. Personal development requires growth. Kendrick thinks he has grown, and others won’t move if they rely on him. He’s building his life, and he encourages the listeners/fans to design their worlds to. Simply put:
I choose me, I’m sorry
“Mirror” samples Black Panther’s “Pray for Me” and Baby Keem’s “16.”
AFTERWORD
This album was phenomenal. From a personal narrative about an imperfect mortal and his piercing weaknesses, to him maturing and opening up for the better. The storytelling, instrumentation and classical arrangements, K.Dot really solidifies himself as more than artist.
A prophet of hip-hop indeed.
9.9/10.
PRODUCER CREDIT
A lot of people tend to over look the producers of these songs. Here they are.
BGK, TaeBeast, Grandmaster Vic, Blxst, FNZ, Baby Keem, Frano, Emile Haynie, The Alchemist, DJ Khalil, Jahaan Sweet, Rascal, Mario Luciano, Cardo, The Donuts, Tanna Leone, Craig Balmoris, Beach Noise, Jahaan Sweet, Boi-1da, Sam Dew, J.LBS, Kendrick Lamar, Duval Timothy, Pharrell Williams, Tim Maxey, Caloway, Bēkon, DJ Dahi, Craig Balmoris, Rappy & Sounwave.
GLOSSARY
*pgLang is a record label and artist agency created by Kendrick Lamar. He’s currently signing unknown artists and building his business slowly and steadily.
*Interpolating is the process of selecting music of an existing song and using it in a different context to make a song. Related to sampling.
NEXT REVIEW: Alive by Siinamota
Genre: J-POP/VOCALOID
Till then, take care.
