Then I’d reach out to somebody that plays the piano or the guitar instead of me sampling it, to make this record sound as big as possible. It made me want to dive deeper into finding other instruments: distorting the drums, trying a different 808, different melodies. Same thing with DJ Dahi, Jim Jonsin, and Terrace Martin. Raphael Saadiq with understanding space in the record and not overproducing. Working with other producers, because I got to be creative as a writer and watch how they produce. What were you experimenting with this time? The production on this album was definitely different. They know I do it for the love, not for credit or fame. It was more word of mouth, and then people learn about the music and support it. ![]() I never had been about a large radio push. Olympus,” A King Remembered in Time, learned and they stuck with it because they realized my music is genuine. But after “Control” and doing Week of KRIT, “Mt. Olympus” and people were like “Oh!” The people that did know me knew what I was capable of. Has the effect of that been positive or negative for you? You were called out by name in Kendrick Lamar’s “Control” verse. Maybe it’s because it took me a year to make it but after getting to the end of it, it just felt that way. The content of the music changes : being young, and then getting older. From the creation of the planet, and then life being found on the planet, and then the whole idea of this planet being the first sound ever heard: the “Big Bang” or the 808. There also seems to be a life-cycle theme.ĭefinitely. I had always worked with the people that were featured on my mixtapes, and when it came time for Cadillactica, it gave me the opportunity to be creative in a different space. After Underground and dealing with some people who did not feel like it lived up to KRIT Wuz Here or Return of 4Eva, for me, it was about staying true to my roots. After being underground for so long and dropping so many projects, I am now signed to a major label, so it was kind of like bringing the sound I’ve been known to do on mixtapes to a mainstream platform. With Underground, the Cadillac crash-landing on Planet Earth was symbolic of me crash-landing in mainstream music. Can you talk about the story behind that? You’ve mentioned that on Cadillactica you’re explaining the significance of the Cadillac from Live from the Underground. over the phone to discuss the album’s ambitious concept (featuring a Cadillac spaceship that functions as sort of a dirty-south version of ZZ Top’s Ford coupe) and on what planet he considers himself to be “King of the South.” But this week, the 28-year-old Mississippi rapper follows it up with Cadillactica, a synth-heavy departure from his usual bluesy style. In 2012, he released his proper debut album, 2012’s Def Jam-sanctioned Live From the Underground, which featured plenty of dusty productions and molasses-voiced rapping. has spent the last decade making his name as a consistently solid mixtape rapper (and producer) with such acclaimed works as 2011’s Return of 4Eva, as well as outside productions for Wiz Khalifa and Smoke DZA. Ĭlick here to view video of Big K.R.I.T.Big K.R.I.T. Perhaps we will all be lucky enough to find that one person who sees that bigger picture we are speaking of or just helps us paint it in its entirety. Listen to the story and the constant request from the rapper. But, if you have some time, stop and check out the song without the video. I’ll let you watch it and form your own opinions of that. I won’t tell the story about the video or what it’s supposed to mean. It may not mean much, but for me that gave me some sense of validation that I wasn’t the only one that thought the song was dope. What made grin from ear to ear when I was browsing the web and came across a post about this song was that K.R.I.T. All of it made me say that I would use this track here at 3GW and maybe even in one of my DJ mixes. The visual that was provided while listening to the delivery from the musician. The delivery that was used to relay the lyrics to the listener. The lyrics that were carefully intertwined with the production. The production that accompanied the sample. I was mesmerized by the sample that was used. When I first heard it I must have played it back 4 or 5 times just to keep hearing all that was encompassed within the song. ![]() I responded that I wasn’t as thrilled about this one as I was about some of his earlier mixtapes, but I did go on to tell him of all the tracks on it my absolute favorite hands down was Bigger Picture. I spoke with him a few days later and he asked me what did I think of the K.R.I.T. I told him that some of the joints that I would be listening to soon were Talib Kweli‘s Prisoner of Conscious and Big K.R.I.T.‘s King Remembered In Time. Talking to my frat brother one day, he asked me had I checked out some albums & mixtapes that had recently dropped.
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