For Whatever Reason: Kendrick’s “All Day” Remix

To be quite honest, I hope Kendrick gets lit this weekend.
By    April 17, 2015

Catch Max Bell  at Coachella hitting baseball spliffs.

Kendrick isn’t fun, but he has his moments. If you’ve been listening all along, you already know. “Rigamortis” swung. “Blow My High” bounced. Kendrick wasn’t elated, but at least he chuckled. “Backseat Freestyle” was aggressive, but it was Kendrick at his most calculatedly carefree, as close as he’ll probably ever get to “Loose as a Goose.” Even “Swimming Pools” is fun if you ignore the fact that it’s the anti “Gin and Juice” (or, if you prefer all hyperlinks dedicated to Boosie, the anti-“Gin In My Cup”).  The “All Day” remix is not Kendrick’s moment (you can read about To Pimp a Butterfly here). He killed the vibe.

It’s partially the voice, partially the possible reference to the Walter Scott shooting in a club song. Kendrick’s point about the honesty and accountability of police officers is more than justified, but it takes more dexterity to move from French desserts and Derek Jeter to a soapbox on a flatbed truck in thirty seconds. He also heavily borrows from Kanye and whoever Kanye paid in Theophilus London hats for the “two MJs” line. Whether or not the remix was intended for release, it’s poor writing and poorly timed.

We’ll never know the exact amount of time it takes Kendrick to smile, but I’m sure it’s agonizing for him and the photographer. Look at this picture. Then look at this one. How long until they got the second shot?


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