These voicemails appear through the record, reinforcing that good kid, m.A.A.d city is partly a love letter to the grounding power of family. The song is interrupted by the first of several voice mail recordings that delineate the album's structure: Kendrick's mother, rambling into his phone and pleading for him to return her car. As his voice darts and halts in a rhythm that mimics his over-eager commute, Lamar explores the furtiveness of young lust: "It's deep-rooted, the music of being young and dumb," he raps. It opens on a 17-year-old Kendrick "with nothing but pussy stuck on my mental," driving his mother's van to see a girl named Sherane. Lamar has subtitled the record "A Short Film by Kendrick Lamar", and the comparison rings true: You could take the album's outline and build a set for a three-act play. Listening to it feels like walking directly into Lamar's childhood home and, for the next hour, growing up alongside him. This autobiographical intensity is the album's calling card. The snapshot is such an unvarnished peek into the rapper's inner life that staring at it for too long feels almost invasive. The album's cover art, a grubby Polaroid, provides a visual prompt for the scene: Baby Kendrick dangles off an uncle's knee in front of a squat kitchen table displaying a 40-ounce and Lamar's baby bottle. city is a prayer: "Thank you, Lord Jesus, for saving us with your precious blood," voices murmur, evoking a family dinner gathering. The first sound we hear on good kid, m.A.A.d.
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