How To Pimp A Butterfly Vinyl

A1		Wesley'southward Theory Bankroll Vocals – Anna Wise, Ash Riser, Dr. Dre, Josef Leimberg, Whitney Alford Featuring – George Clinton, Thundercat Horns, Alto Saxophone – Terrace Martin Producer – Flying Lotus Producer [Additional Production] – @PopWansel, Sounwave, Stephen "Thundercat" Bruner Recorded By – Derek "MixedByAli" Ali, James "The White Blackness Man" Hunt Trumpet – Josef Leimberg Written-By – B. Gardiner, G. Clinton, Thou. Duckworth*
A2		For Free? (Interlude) Alto Saxophone – Terrace Martin Backing Vocals – Anna Wise, Darlene Tibbs Bass – Brandon Owens* Drums – Robert Sput Searight* Guitar – Marlon Williams (3) Organ – Craig Brockman Piano – Robert Glasper Producer – Terrace Martin Recorded By – Derek "MixedByAli" Ali, James "The White Black Human being" Chase Written-Past – K. Duckworth, R. McKinney, T. Martin*
A3		King Kunta Backing Vocals – Whitney Alford Bass – Miles Mosley, Stephen "Thundercat" Bruner* Cello – Adrienne Wood, Ginger White potato Guitar [Additional Guitar] – Marlon Williams (3), Matt Schaeffer Producer – Sounwave Producer [Additional Production] – Terrace Martin Recorded Past – Derek "MixedByAli" Ali, James "The White Black Human being" Chase, Matt Schaeffer Trombone – Ryan Porter Viola – Andrea Whitt, Molly Rogers Violin – Jen Simone, Neel Hammond, Tylana Enomoto Written-Past – A. Lewis, D. Blake, Southward. Gordy, Chiliad. Duckworth, M. Spears, M. Jackson, T. Lane (ii)
A4		Institutionalized Bankroll Vocals – Taz Arnold AKA Ti$a* Cello – Gabriel Noel Clarinet – Pedro Castro (4) Featuring – Anna Wise, Bilal, Snoop Dogg Keyboards – Sam Barsh Producer – Fredrik "Tommy Blackness" Halldin, Rahki Recorded By – Derek "MixedByAli" Ali, James "The White Black Human" Hunt Violin – Paul Cartwright Written-By – C. Smith, F. Halldin, Thousand. Duckworth, S. Barsh
A5		These Walls Alto Saxophone – Terrace Martin Bass [Additional Bass] – Stephen "Thundercat" Bruner* Cello – Adrienne Wood, Ginger Murphy Double Bass [Upright Bass] – Miles Mosley Featuring – Anna Wise, Bilal, Thundercat Guitar – Gregory Moore, Marlon Williams (three) Keyboards – Larrance Dopson, Robert Glasper, Terrace Martin Percussion – Larrance Dopson Producer – Larrance Dopson, Terrace Martin Producer [Additional Product] – Sounwave Recorded By – Derek "MixedByAli" Ali, James "The White Black Man" Chase* Trombone – Ryan Porter Trumpet – Josef Leimberg Viola – Andrea Whitt, Molly Rogers Violin – Jen Simone, Neel Hammond, Tylana Enomoto Written-Past – A. Wise, J. Fauntleroy, Grand. Duckworth, L. Dopson, R. McKinney, T. Martin
B1		U Alto Saxophone, Keyboards – Terrace Martin Backing Vocals – Bilal, Jessica Vielmas, SZA (2), Whoarei Baritone Saxophone – Adam Turchan* Guitar – Marlon Williams (3) Producer – Taz Arnold AKA Ti$a, Whoarei Producer [Additional Product] – Sounwave Recorded By – Derek "MixedByAli" Ali, Matt Schaeffer Tenor Saxophone – Kamasi Washington Written-By – K. Duckworth, M. Brown, T. Arnold*
B2		Alright Alto Saxophone – Terrace Martin Backing Vocals – Candace Wakefield, Pharrell Williams, Stephen "Thundercat" Bruner* Engineer [Boosted Engineering] – Andrew Coleman (3), Hart Gunther, Mike Larson (4) Producer – Pharrell Williams Producer [Additional Production] – Sounwave Recorded By – James "The White Black Man" Hunt* Written-By – K. Duckworth, M. Spears, P. Williams*
B3		For Sale? (Interlude) Alto Saxophone, Keyboards – Terrace Martin Bankroll Vocals – Bilal, Preston Harris, SZA (ii), Taz Arnold AKA Ti$h* Producer – Taz Arnold AKA Ti$h* Producer [Boosted Production] – Sounwave, Terrace Martin Recorded By – Derek "MixedByAli" Ali* Trumpet – Josef Leimberg Written-By – K. Duckworth, M. Spears, T. Arnold*
B4		Momma Alto Saxophone, Keyboards, Vocoder – Terrace Martin Backing Vocals – Bilal, Lalah Hathaway, Taz Arnold AKA Ti$h* Producer – Knxwledge, Taz Arnold AKA Ti$h* Recorded By – Derek "MixedByAli" Ali, James "The White Black Human being" Chase Written-By – K. Duckworth, Fifty. Hathaway, R. Patterson, R. Rideout, S. Stewart, T. Arnold
C1		Hood Politics Backing Vocals – Anna Wise, Bilal, Dion Friley, Preston Harris Keyboards – Robert Sput Searight, Terrace Martin Producer – Sounwave, Tae Creature, Thundercat Recorded By – Derek "MixedByAli" Ali, James "The White Black Man" Hunt* Written-By – D. Perkins, K. Duckworth, Chiliad. Spears, S. Bruner, Due south. Stevens*
C2		How Much A Dollar Toll Alto Saxophone, Keyboards – Terrace Martin Cello – Adrienne Woods, Ginger Murphy Double Bass [Upright Bass] – Gabriel Noel, Miles Mosley Featuring – James Fauntleroy, Ronald Isley Flute – Rickey Washington French Horn – Amy Sanchez Guitar – Marlon Williams (three) Percussion – Larrance Dopson Producer – LoveDragon Recorded By – Derek "MixedByAli" Ali, James "The White Blackness Man" Hunt, Matt Schaeffer Recorded By [Ronald Isley Verse] – Thomas Burns (three) Trombone – Ryan Porter Trumpet – Josef Leimberg Viola – Andrea Whitt, Molly Rogers Violin – Jen Simone, Neel Hammond, Paul Cartwright, Tylana Enomoto Written-By – J. Fauntleroy, J. Leimberg, K. Duckworth, R. McKinney, T. Martin
C3		Complexion (A Zulu Honey) Bankroll Vocals – JaVonte, Lalah Hathaway, Pete Stone, Shava'sha Dickerson, Stephen "Thundercat" Bruner, Talkbox Monte Featuring – Rapsody (2) Keyboards – Robert Glasper, Terrace Martin Percussion – Larrance Dopson Producer – Sounwave, Thundercat Producer [Additional Production] – Terrace Martin, Antydote* Recorded Past – Derek "MixedByAli" Ali, Matt Schaeffer Recorded By [Rapsody's Verse] – ninth Wonder Scratches – Pete Stone Trumpet – Josef Leimberg Written-Past – K. Duckworth, Thousand. Spears, Southward. Bruner
C4		The Blacker The Berry Alto Saxophone – Terrace Martin Backing Vocals – Lalah Hathaway, Wyann Vaughn Bass – Stephen "Thundercat" Bruner* Pulsate Programming [Boosted Drum Programming], Engineer [Additional Applied science] – Katalyst (nine) Drums – Ronald Bruner Jr. Featuring – Assassin, Lalah Hathaway Keyboards – Robert Glasper Percussion – Larrance Dopson Producer – Boi-1da, Koz* Producer [Additional Production] – Terrace Martin Recorded By – Derek "MixedByAli" Ali, James "The White Black Man" Hunt, Matt Schaeffer Written-By – A. Izquierdo, B. Kolatalo, J. Campbell, K. Lewis, K. Duckworth, M. Samuels, S. Kozmeniuk, Z. Epstein
D1		Y'all Ain't Gotta Prevarication (Momma Said) Alto Saxophone, Vocoder – Terrace Martin Backing Vocals – JaVonte, Preston Harris, Stephen "Thundercat" Bruner, Wyann Vaughn Guitar – Marlon Williams (3) Keyboards – Sounwave, Terrace Martin Percussion – Larrance Dopson Producer – LoveDragon Recorded Past – Derek "MixedByAli" Ali, James "The White Black Human being" Hunt, Matt Schaeffer Trumpet – Josef Leimberg Written-By – J. Leimberg, K. Duckworth, M. Spears, R. McKinney, T. Martin*
D2		I Backing Vocals – Candace Wakefield, Dave Free, Devon Downing, Dion Friley, Edwin Orellana, Taz Arnold AKA Ti$a, Z Near Bass – Chris Smith (42), Stephen "Thundercat" Bruner Drums – Kendall Lewis Guitar – Keith Askey Keyboards – Sam Barsh Percussion – Rahki Producer – Rahki Recorded By – Derek "MixedByAli" Ali, James "The White Black Man" Hunt, Matt Schaeffer Recorded By [Ronald Isley] – Thomas Burns (3) Vocals [Additional Vocals] – Ronald Isley Written-By – C. Jasper, C. Smith, E. Isley, Thou. Duckworth, One thousand. Isley, O. Isley, R. Isley, R. Isley
D3		Mortal Man Alto Saxophone, Horns – Terrace Martin Backing Vocals – JaVonte, James Fauntleroy, Wyann Vaughn Bass – Brandon Owens, Miles Mosley, Stephen "Thundercat" Bruner Cello – Adrienne Woods, Ginger Spud Drums – Trevor Lawrence* Flute – Rickey Washington French Horn – Amy Sanchez Guitar – Marlon Williams (three) Keyboards – Junius Bervine, Robert Glasper Producer – Sounwave Recorded Past – Derek "MixedByAli" Ali, James "The White Blackness Man" Hunt, Matt Schaeffer Trombone – Ryan Porter Trumpet – Ambrose Akinmusire, Josef Leimberg Viola – Andrea Whitt, Molly Rogers Violin – Jen Simone, Neel Hammond, Paul Cartwright, Tylana Enomoto Written-By – F. Kuti, K. Duckworth, M. Spears, S. Bruner

A&R [A&R Administration - Interscope Records] – Alicia N. Graham
A&R [Interscope Records] – Manny Smith (2)
A&R [Tiptop Dawg] – Kendrick Lamar, Sounwave
Arranged By [Cord Arrangements] – Kamasi Washington, Sounwave, Terrace Martin
Art Direction – Dave Free, Kendrick Lamar, Vlad Sepetov
Coordinator [A&R Coordinator - Interscope Records] – Chelsea Blythe
Executive-Producer – Anthony "Top Dawg" Tiffith*, Dr. Dre
Legal [Interscope Records] – Jason Kawejsza, Todd Douglas
Legal [Peak Dawg] – Joshua P. Binder, Esq.
Management [Top Dawg] – Dave Free, Moosa, Punch (16), Ret One
Mastered By – Mike Bozzi
Mixed By – Derek "MixedByAli" Ali*
Mixed Past [Mix Assistant] – James "The White Black Man" Hunt*, Matt Schaeffer
Other [General Manager - Backwash Entertainment] – Ashley Palmer
Other [Marketing - Interscope Records] – Archie Davis
Other [Marketing - Acme Dawg] – TDE Marketing
Other [Publicity - Interscope Records] – Ray Alba
Other [Sales - Interscope Records] – Gary Kelly
Other [Height's Homies - Interscope Records] – John Janick , Steve Berman (3)
Photography By [Cover Photography] – Denis Rouvre, Roberto "retOne" Reyes*
Photography By [Whitehouse Photography] – Diego Cambiaso
Producer [Associate Producer] – Dave "miyatola" Free*
Recorded By [String Recordings] – David Kim (6), Thomas Cullison

Packaged in a gatefold sleeve.
The inner gatefold incorrectly swaps the titles for Momma and Hood Politics.

(ane) Variant i = Sticker: Fabricated in Czech Democracy.
(two) Variant 2 = NO STICKER showing place of industry

Publishers & track info:

Wesley's Theory - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Pinnacle Dawg Music (ASCAP), Westbury Music Ltd. (ASCAP)/Roynet Music (ASCAP), Pooch Music (SESAC).
Contains elements of "Every Nigger is a Star" written past B. Gardiner and published past Westbury Music Ltd. (ASCAP)/Roynet Music (ASCAP), every bit performed past Boris Gardiner. Used courtesy of Jazzman Records Ltd.

For Free? (Interlude) - WB Music Corp. (ASCAP), Hard Working Blackness Folks Inc. (ASCAP), Rosemac Music (ASCAP), Blessed Seeds Of God (ASCAP)

King Kunta - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Pinnacle Dawg Music (ASCAP), Sony/ATV Allegro/Beat Cracking Productions, Laneway Publishing, Q Babe Music (ASCAP), Mijac Music/Sony/ATV Songs LLC, Universal Music Corp./Ahmad Music, Kendal'south Soul Music
Contains interpolations of "Get Nekkid" written by J. Burns & D. Blake, published by Laneway Publishing (ASCAP) and Q Baby Music (ASCAP).
Contains resung lyrics from "Smooth Criminal" written by 1000. Jackson, and published by Mijac Music/Sony/ATV Songs LLC (BMI).
Contains elements of "The Payback" (J. Brown/F.Wesley/J.Starks) Dynatone Publishing Visitor (BMI). All rights administered by Unichappell Music, Inc. (BMI).
"King Kunta" contains samples from "We Want The Funk" written by A. Lewis, published by Ahmad Music/Universal Music Corp. (ASCAP), EMI Full Keel Music (BMI), Music Of WIndswept/BMG Music (BMI).

Institutionalized - WB Music Corp. (ASCAP), Difficult Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), Rondor Music International Inc d/b/a Almo Music Corp. (ASCAP)/Producer Pizza (ASCAP), Barsh Music/HHMusic Wordlwide (BMI), Tommy Black (STIM)

These Walls - WB Music Corp. (ASCAP), Hard Working Blackness Folks Inc. (ASCAP), Height Dawg Music (ASCAP), Rosemac Music (ASCAP), Blue Nike Publishing (BMG), Fauntleroy Music/Almo Music (ASCAP), Blessed Seeds Of God (ASCAP), Anna Smiles Music (ASCAP)

u - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Tiptop Dawg Music (ASCAP), Large Yacht Music (ASCAP)

Alright - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Meridian Dawg Music (ASCAP), EMI April Music, Inc. o/b/o itself & Even More Water From Nazareth (GMR), Sony/ATV Allegro/Beat out Bully Productions

For Sale? (Interlude) - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), Big Yacht Music (ASCAP), Sony/ATV Allegro/Vanquish Bully Productions

Momma - WB Music Corp. (ASCAP), Difficult Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), Big Yacht Music (ASCAP), Mijac Music/Sony ATV Music Publishing (BMI), Queen Of The Planet Productions (ASCAP), Cisum Naashar Publishing (ASCAP), Uncle Buddies Music Inc./Notting Hill c/o Music Of Windswept/BMG Rights Mgmt. (ASCAP)
Contains elements of "Wishful Thinkin" written by Southward. Stewart and published by Mijac Music/Sony ATV Music Publishing (BMI), every bit performed by Sly & the Family Stone. Used courtesy of Sony Music Entertainment.
Contains elements of "On Your Own" written past 50. Hathaway, R. Patterson, R. Rideout, and published by Queen Of The Planet Productions (ASCAP), Cisum Naashar Publishing (ASCAP), Uncle Buddies Music Inc. c/o Music Of Windswept/BMG Rights Mgmt. (ASCAP).
"Momma" contains samples from "On Your Own" performed by Lalah Hathaway from the anthology "Self Portrait" (STXCD-30308). Courtesy of Concord Music Grouping, Inc.

Hood Politics - WB Music Corp. (ASCAP), Hard Working Blackness Folks Inc. (ASCAP), Acme Dawg Music (ASCAP), Donte Lamar Perkins (BMI), Sony/ATV Allegro/Crush Smashing Productions, Merely Isn't Music Ltd (ASCAP), New Jerusalem Music (ASCAP), Black Balderdash Music Inc. (ASCAP)/Jobete Music Co. Inc. (ASCAP)/Sony ATV Music Publishing (ASCAP)
Verses recorded at Downtown Studios in New York, New York.
Includes sample of "All For Myself" © 2010 Sufjan Stevens, admin. New Jerusalem Music, courtesy of Sufjan Stevens and Asthmatic kitty Records. © 2010 Asthmatic Kitty Records

How Much A Dollar Cost - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), Rosemac Music (ASCAP), Josef Leimberg Music (ASCAP), Blest Seeds Of God (ASCAP), Fauntleroy Music/Almo Music (ASCAP)
Ronald Isley verse recorded at Notifi Studios in St. Louis, Missouri.

Complexion (A Zulu Love) - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), Only Isn't Music Ltd (ASCAP), Sony/ATV Allegro/Beat Neat Productions
Rapsody'southward poesy recorded at House Studios in Washington, D.C.

The Blacker The Berry - Produced for 1da Boi Productions
WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Top Dawg Music (ASCAP), 1damentional Publishing LLC/Sony ATV Tunes LLC (ASCAP), Stephen 1daniable Publishing (ASCAP), Kenobi Songs Publishing/BMG Rights Management (BMI), Whiskey Valentine Publishing/BMG Rights Direction (BMI), Tenyor Music (BMI), Alexander Izquierdo BMG Gold Songs/AIX Publishing (ASCAP) all rights administered by BMG Rights Management (US) LLC, Zale Epstein (SOCAN)

You Own't Gotta Lie (Momma Said) - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Tiptop Dawg Music (ASCAP), Rosemac Music (ASCAP), Blest Seeds Of God (ASCAP), Josef Leimberg Music (ASCAP), Sony/ATV Allegro/Beat Peachy Productions

i - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Height Dawg Music (ASCAP), Rondor Music International Inc d/b/a Almo Music Corp. (ASCAP)/Producer Pizza (ASCAP), EMI April Music Inc. obo itself and Bovina Music Inc. (ASCAP)
Ronald Isley recorded at Notifi Studios in St. Louis, Missouri.
Contains portions of "That Lady" by Ronald Isley, Christopher Jasper, O'Kelly Isley, Ernie Isley, Marvin Isley, and Rudolph Isley, published by EMI April Music Inc. OBO itself and Bovina Music Inc. (ASCAP)

Mortal Man - WB Music Corp. (ASCAP), Hard Working Black Folks Inc. (ASCAP), Summit Dawg Music (ASCAP), Sony/ATV Allegro/Vanquish Neat Productions, Just Isn't Music Ltd (ASCAP), EMI Apr Music Inc. (ASCAP), BMG Golden Songs (ASCAP), BMG Ruby Songs (ASCAP)
Contains elements of "I No Go Eye For Back" written by F. Kuti, and published by EMI Apr Music, Inc. (ASCAP), BMG Gold Songs (ASCAP), BMG Ruby Songs (ASCAP).
"Mortal Human" contains excerpts from "I No Become Eye For Back" equally performed by Houston Person, used courtesy of Ume.
Featuring parts from the music journalist Mats Nileskar'south Tupac Shakur interview in New York, November 1984 for P3 Soul, Swedish Broadcasting Corporation.

***

String recordings (at) Chalice Recording Studios in Hollywood, CA.
Mixed and recorded (at) No Excuses Studio, Santa Monica, CA.
Mastered (at) Bernie Grundman Mastering, Hollywood, CA.

Barcode : 602547311009
Matrix / Runout (Variant one) : 4731100-A 135561E1/C
Matrix / Runout (Variant 1) : 4731100-B 135561E2/C
Matrix / Runout (Variant 1) : 4731100-C 135561E3/A
Matrix / Runout (Variant 1) : 4731100-D 135561E4/C
Matrix / Runout (Variant two) : 4731100-A 135561E1/B
Matrix / Runout (Variant ii) : 4731100-B 135561E2/B
Matrix / Runout (Variant 2) : 4731100-C 135561E3/A
Matrix / Runout (Variant 2) : 4731100-D 135561E4/A
Rights Society : ASCAP
Rights Guild : BMI
Rights Society : GMR
Rights Lodge : SESAC
Rights Gild : SOCAN
Rights Social club : STIM

	Title ( Format )	Label	Cat#	Land	Year
Recently Edited	To Pimp A Butterfly ( 16 × File , AAC, Album , 256 kbps )	Top Dawg Entertainment, Backwash Entertainment, Interscope Records	none	U.s.	2015
Recently Edited	To Pimp A Butterfly ( CD , Anthology )	Top Dawg Amusement, Backwash Entertainment, Interscope Records	AFTMB002295802CD	US	2015
	To Pimp A Butterfly ( CD , Album )	Top Dawg Entertainment, Aftermath Amusement, Interscope Records	0602547270917	Europe	2015
New Submission	To Pimp A Butterfly ( CD , Album )	Top Dawg Entertainment, Aftermath Amusement, Interscope Records	B0022958-02	Canada	2015
New Submission	To Pimp A Butterfly ( CD , Album )	Universal Music Korea, Pinnacle Dawg Entertainment, Aftermath Amusement, Interscope Records	DS31203	South Korea	2015

My brother gave this to me as a altogether souvenir. I had the well-nigh profound experience of my life spinning this in my chevy trailblazer one early on morn. This was my favorite album from 2017 up until I listened to ITCOTCK in 2018. Cracking memories and some lessons along the way.
This is one of my favorite albums ever, and information technology was a little fleck disappointing to see the 2d disc didn't have the best quality possible. The edges felt pretty rought and the hole in the middle didn't fit in my turntable. I had to option sandpaper and carefully fix the problem.

The sounds is good tho! If you lot want to give it a shot, do so. Mayhap you'll take better luck than me.
The pressing of this is and so nifty, everything well-nigh this is peachy. i totally recommend getting this if you lot wanna classic in your collection
Edited eleven months ago

I don't know what it is about this album. Didn't care too much for it at first. Then ane day I gave information technology some other chance, years later on, saw the luminescence and warranted that it was worth getting on vinyl. Information technology's a strangely addictive album that has repeat value. Sound wise, information technology'southward bully but didn't blow my socks off. A bit muddied and lacks the clarity and sheen of a loftier quality digital file, maybe? You lot know the production value of this anthology was through the roof, so it has to exist the vinyl mastering. It's a more nuanced sound, and wasn't mastered loud and clear like how the Compton soundtrack was. They should accept included a download code besides. That's what I'grand taking the star off for.
Was a little disappointed that my 2d record's spindle hole was trimmer too pocket-sized, it fits tightly which is obnoxious but it only means I'll have to take a little more care of it. The pressing itself is definitely worth the cost I paid though, I recommend it.
This album sold really well on vinyl, wow. I suppose I shouldn't exist surprised but they pressed a lot of copies, more than than I thought were usually pressed for records nowadays.
One of the all-fourth dimension great albums! Great to accept on vinyl with the jazzy, rich instrumentals. The experience across all 4 sides are distinct and gives another layer to an incredible project. Definitely one of the better pressings in the collection.
I was worried when I saw that this was GZ pressing. When I opened it and there was scuff marks from the paper sleeve, I thought here we become. I cleaned it, hitting it with zero stat and played it. Only surface noise was from the samples. Vocals are a little thin simply the bass is not dingy like others reported. I might get the Great britain pressing to compare.
Extremely upset with this pressing! It sounds fantastic; however, both records won't fit on the turntable spindle without some serious TLC, and record two has a pretty substantial warp going on. The warp doesn't seem to change the sound of the actual tape but I can hear the needle struggle every time it passes over the warp. I'm able to handle a small spindle pigsty on a tape but warps really grind my gears. I'm almost 85% certain this is only a case of bad luck as I haven't heard many horror stories in relation to this record, but have it from me it can happen so exist as careful as yous tin be (granted there isn't much y'all can do with an unopened record until you open up it).
Feel bad for the lad who thinks this is muddy, you must take gotten a bad copy, mine sounds crisp, textured. This is a genius at work in the sampling, arrangements, themes and transitions. Arguably 1 of the best and nigh unique albums of the by decade. I dearest this album and on vinyl I can clearly hear all its singled-out components with clarity and texture. Much respect and love for Kendrick, a must own for any jazz/ hip-hop audiophile