Thematically, these thoughts of a pushing-30 superstar are almost conventional compared to the rest of his official output—good kid, m.A.A.d city's top-this narrative, To Pimp a Butterfly's political ambition and jazz-hip sweep, even untitled, unmastered's barrel-scraping scatter. Old head Greg Tate is reminded of De La Soul Is Dead—it's the kind of album you make after you've experienced fame's drawbacks from the inside. But this one's much harder to resist. Lamar's pensive self-doubt and modest buying habits are reassuring if you wish him well as a person, as why shouldn't you, and the simple keys-percussion-chorus beats flatter his cushiony timbre. Musically, Damn. is as calm as To Pimp a Butterfly is ebullient; lyrically, its only misstep is a pseudo-scriptural "don't call me black no more" that inspired Tate to quote Franz Fanon. Remaining skeptics should proceed directly to what vinyl fetishists know as side two, with its hit single, its "Lust"-to-"Love," its remembrance of ass-whuppings past, and its autobiographical miracle. He got what he wanted without squandering what he had.
主题上，这位年过三十的超级巨星的想法很正常地被拿来与《Good kid, m.A.A.d city》的顶级叙事、《To pimp a Butterfly》的政治态度和爵士影响甚至《Untilted, unmastered》的音效作比较，和《De La Soul is Dead》一样这是一类经历了名利缺点而诞生的作品，且难以抗拒。喇嘛的自省态度和谦虚习惯使人安心，打击乐鼓点与他软垫般的声音很相衬。音乐上，《Damn.》如此平静放松就像《To Pimp a Butterfly》如此热情沸腾。歌词上，他唯一的失误则是冒充圣经般的“don't call me black no more”。仅剩的怀疑者则就会进入到“DNA.”、hit单曲、“Lust”到“Love”的部分、他对辉煌过去的回顾、他自传体般的奇迹生涯。【喇嘛得到了他想要的并且没有浪费他所已有的。】
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