Blog Favorite Love Songs Of 2014 – Big K.R.I.T. “Do You Love Me” ft. Mara Hruby

krit-maraSome say romance is dead in the age of Tinder, and they aren’t wrong. My generation will be remembered more for sending nudes via Snapchat and not eternal romance, but that doesn’t mean we are without music that embodies the sacred concept of love.

I’m not afraid to say that I love being in love, so I started to search for songs from 2014 that gave me the feeling of a Jagged Edge “Let’s Get Married,” Pharrell’s “That Girl” and all the sappy songs that at one time left us with thoughts of a special someone with every listen. My search was a tough one. I found songs about lust, songs about thots, songs about heartbreak, and songs that can only be described as sophisticated gibberish. But after a long, strenuous search, I did find a few that kinda met the criteria; I believe they are songs inspired by that indescribable feeling of passion and affection. So here they are my fellow romantics, my five favorite love songs of 2014.

Big K.R.I.T – “Do You Love Me”
They say you never forget your first love, but that’s usually due to a traumatic chain of events that will haunt you until the discovery of alcohol and/or Zumba. The same can be said about your vehicle, it might not be your first, but every man will eventually purchase a car that is extremely dear to their heart. Big K.R.I.T is well-known for being an old-school Cadillac aficionado, but the Mississippi lyricist expresses a deeper level of endearment on “Do You Love Me.” Vocalist Mara Hruby is soulful and tender, and the production has the elegance of a Porsche. DMX never displayed this kind of love and affection for Brenda, LaTisha, Linda, Felicia, Dawn, LeShaun, Ines, Alicia, Teresa, Monica, Sharron and Nicki.

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Read more → Big K.R.I.T.’s Top 11 Productions For Other Artists


HipHopDX visits 11 tracks you may not have known Big K.R.I.T. produced.

Most Hip Hop lovers are aware of what the King Remembered In Time can do on the mic. But many don’t know that the Mississippi emcee has produced tracks for some of rap’s biggest artists like Ludacris, Bun B, 8Ball, and more. Check our list of songs you may not have known Big K.R.I.T. produced.

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Big K.R.I.T. – “Soul Food” Featuring Raphael Saadiq (Music Video) [Directed By: Alex Nazari]

Big K.R.I.T. Releases the visual for his single “Soul Food” featuring Raphael Saadiq. It’s the 3rd video from his major label sophomore album “Cadillactica” and it’s directed by Alex Nazari. It paints a picture of family and good times that seem to be long forgotten in todays society. What Happened To The Soul Food?

Read more → Big K.R.I.T. “Cadillactica” (Review)

albumEven when he was just emerging in the blog-rap golden era of 2009-10, Big K.R.I.T. felt like a remnant from another time. The Mississippi rapper/producer was as Southern as it’s possible to be, with a deep drawl that could suddenly accelerate like a souped-up caddie. His topics of choice were car culture, faith, and music-making, and he created rousing anthems celebrating those subjects. He played the role of local boy made good at a time when the Internet was thought to be dissolving the idea of what “local” meant.
“I apologize if I’m oh-so-old fashioned” he raps during “Third Eye” from his new album, Cadillactica, and at this point, the remark can be taken in multiple ways. In the context of the song, K.R.I.T. is calling himself old school, but he’s also the kind of self-producing Southern rapper who was put on by his catalogue, as opposed to a single infectious single—no “Versace” or “No Flex Zone” for him. Instead, blogs vaunted his debut mixtape K.R.I.T. Wuz Here and he remains an album rapper at a time when albums are less important than ever.
Throughout Cadillactica, K.R.I.T. acknowledges that the music he makes is no longer quite as relevant as it was just a couple of years ago. The title track includes a less-than subtle Migos reference, and on “King of the South”, the rapper specifies that he works for the OG’s rather than the “blogspot comment box.” The most noteworthy testament to K.R.I.T.’s attitude about developments in hip-hop comes in the furious “Mt. Olympus”, the best response to Kendrick’s “Control” verse that you may not have heard yet, perhaps because it wasn’t recorded over the same beat. The song is almost worth quoting in its entirety, because no track more perfectly sets up the problem for an old-fashioned “lyrical” Southern rapper at a time when Southern rap is best known for catchphrases, singles, and forward-thinking production. K.R.I.T.’s anger on the track is stirring and his flow about eight times more impressive than you probably remember. But the fact that his ire is directed at “swagger-jackers” who popularized Southern sounds and slang is disconcerting, evidence of an artistic conservatism that may be what’s kept the rapper on a plateau for his last few projects.

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Big K.R.I.T. Produced “Bonnoroo” & “Now” For ASAP Ferg’s “Ferg Forever” Mixtape


ASAP Ferg links up with Big K.R.I.T. again, but this time he recruited K.R.I.T. to produce two songs on his new mixtape “Ferg Forever.” He produced “Bonnoroo” ft. Wynter Gordon and “Now” ft. MZ 007 & Crystal Caines. Download the album today on DatPiff!

Read more → Big K.R.I.T. – “Cadillactica” (Review)

albumIt’s easy to criticize Big K.R.I.T: he’s too Southern, he sounds like Pimp C, he can’t translate his mixtapes into strong albums. Stew on that last point for a second because K.R.I.T.’s debut album, Live From The Underground, seemed to prove all the criticism. But if his Def Jam debut empowered K.R.I.T.’s detractors, Cadillactica offers the rebuttal fans have been waiting for.

Cadillactica, simply put, tells the story of the car from the cover of LFTU. That underlying theme guides the entire album from start to finish. Cohesion in that manner is rare, especially in the post-Internet era of singles-dominant projects. But that is where Cadillactica excels. Even though it’s filled with a diverse set of sounds, ranging from the thumping bass of “King Of The South” to the smooth, mellow “Saturdays = Celebration,” it all fits together, like different dials on a car’s dashboard–each knob serves its own purpose, but all are equally important.

Which shows he’s learned from LFTU‘s shortcomings and applied his newfound knowledge to crafting an album that stays true to the sound that made him famous, but in a way that does not alienate his casual fans. Where he first attempted to bend his music to the mainstream, this time he opts to bring the masses to him. Songs like “Mo Better Cool” and “Soul Food” serve as the body of the car, retaining his unique brand of Southern flavor that makes the album’s sound stand out from the rest of the Hip-Hop landscape.

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