>Kendrick on their level I'm saying he is as well, but he has
>been doing that consistently for 5 projects now

I honestly don't hold that opinion. Section 80 was cool but I never went back to it outside of maybe 4 joints.

I didn't even like GKMC. I don't like the in your face "this is a story/film" approach. And that's what I mean when I say he is at the perfect intelligence level for people to LOVE him. People see that and say "oh shit, this guy is writing films!" Thats a bullshit gimmick to me.

And it's one thing if it is quality music but I didn't even like the songs on that joint.

Sherane is whatever
Bitch Don't Kill My Vibe is cool
Backstreet Freestyle was annoying as fuck
Art of Peer Pressure was worthless outside of the "film"
Money Tree was cool
Poetic Justice is *shrugs*
Good Kid and Maad City are dope
Swimming Pools was wack to me
Sing About Me and Dying of Thirst were cool
Real was ok
Compton was just tacked on for the Dre feature.

See, to me, that is a good album but not the bulletproof classic people claim it is.

TPAB is a great album and with that said, not many songs stand on their own.

and I've already explained DAMN.

so when you say that he has 5 great albums...I just don't see it.

I'll take Labor Days, None Shall Pass, Skelethon, and The Impossible Kid easily over those Kendrick albums. Aesop is on some mind-blowing shit imo.

And it's cool if Kendrick is to y'all because I do like him, but I just think his popularity is playing into the exaggerated love. I refuse to believe that it's not. That shit has something to do with it and y'all can't even say it doesn't because in this post multiple people said who gets the right to be in the GOAT conversation and it ALL ultimately revolves around their popularity.

That's some Grammy's shit. Like you have to hit a certain level of success before you can make a claim and as I stated that success doesn't factor in to me.