It was the preview of the on-the-run drug-using trials-and-tribulations raps that would eventually make Q a household name. The ninth track on 80, “The Spiteful Chant,” featured Q in rare form, rapping desperately about not seeing his daughter, being saddled with poverty, and only having his Glock on him but still coming up through his hardships.
“Tammy’s Song” takes a story about mischievous men and suggests that women turn to other women when men cheat, something that would be straight out of the books from Steve Harvey.ĭespite the album’s flaws, it created a lane for TDE and the rest of Black Hippy, the group that comprised Kendrick, gangster rapper Jay Rock, conspiracy theorist Ab-Soul, and former military brat-turned-convict ScHoolboy Q. “Keisha’s Song” thrice uses Rosa Parks’ name metaphorically to tell the story of teenage sex abuse. Some of the eccentric thoughts and ideas on Section.80 can be endearing, but when Kendrick raps about a teenage sex worker, it is oafishly telegraphed. The raw writing on the record aspires to be something you’d read on Reddit instead it lands at the Hotep section of the Black Student Union of USC. Its attempts at tinfoil-hat galaxy-brain raps pale compared to Goodie Mob and Prodigy, or even Kendrick’s own post-Obama-administration work. Despite including the excellent “Rigamortus,” Section.80 is an overrated record that tries for half-baked ideas on Society™ like someone who slept through the class on Reaganomics. Kendrick fans that long for his independent days are as delusional as his call to forget about your ethnicity.
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