Blog Big K.R.I.T. Talks “Cadillactica,” and Breaks Down “Mt. Olympus”

By now, many of you are familiar with Big K.R.I.T.’s music, which includes both his work in the booth and on the boards—and he knows it. It’s that knowledge that has fueled his departure out of his comfort zone and into the realm of his forthcoming album, Cadillactica.

We sat down with the Mississippi artist, who spoke about his sound for his sophomore release. K.R.I.T explained, “For me it was trying to get back in a space of creating—not just because people want it, not trying to outdo anybody—but just creating a body of music that nobody would expect from me, and that I could obviously grow from myself.”

The growth is evident: Cadillactica is K.R.I.T.’s first concept album. On this project, he’s dialed back as a producer, allowing others like DJ Dahi, Jim Jonsin, and Raphael Saadiq to assist with crafting the album’s framework, giving him space to dig deeper into the writing process. It’s his song with Saadiq, “Soul Food,” that marks another unique alteration: analog production (something K.R.I.T wants to use whenever possible going forward).

These are only some of the things that Big K.R.I.T. has employed for Cadillactica. The rest will become clear on Nov. 10, when the Def Jam release makes its debut. Check out the interview above to see what else he had to say, including how he feels in retrospect about his state-of-rap single from earlier this year, “Mt. Olympus,” and how it came to be.


*”Cadillactica” will be released November 10th, 2014*

Read more → Big K.R.I.T. Talks Getting Production Relief On “Cadillactica”

#KillerCrew caught up with Big K.R.I.T. during his in-store at Laced to get a preview of his new album Cadillactica. He spoke with us about handing over the production reins on his new album, his desire to work on music outside of the Hip Hop world, infusing politics into his music and how playing the cello helped him as a hip hop producer. He gave us more than a few gems that have us anxiously awaiting November 10.

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Official Single: Big K.R.I.T. – “Soul Food” Ft. Raphael Saadiq (Produced By: Raphael Saadiq)

unnamedIf it ain’t made with love, then it ain’t fit to serve

Big K.R.I.T reminisces on what life was like growing up on his newest single “Soul Food”

With singer-songwriter and producer Raphael Saadiq on the hook, K.R.I.T paints a vivid picture of of the times he endured and while sometimes grim and dark, how they pale in comparison to the harshness of modern life.

As always, K.R.I.T.’s grandmother and the knowledge she bestowed on her grandson made its way into the song.

Pre-Order “Cadillactica”: HERE

Read more → A Conversation With Big K.R.I.T.

I got a chance to chop it up with Mississippi’s very own, Big K.R.I.T. at The Howard Theatre. Checkout part 1 of our interview with K.R.I.T. as he talks to us about his upcoming album, Cadillactica.

How are you doing first of all?

I’m doing good. We had a crazy show in Charlotte last night. Don’t let my reserve manner fool you, I’m just conserving all my energy for tonight.

That’s cool. So, Cadillactica comes out November 11th…

November 11th , no push backs! [Laughs]

No push backs! Can you tell me how the sound will differ from Live from the Underground?

It’s sonically spaced out. I don’t know, for me it was about showing growth. I think I was able to do that. I only used three samples on the entire project. But, it still has that feel of a sample, that soul. Every instrument has a place. Everything makes sense. There’s nothing out of the way going on. There’s a simplicity to it all too. I think that makes it easy to digest, sonically.
Sometimes you listen to a song and there’s so much going on, you listen to it one time and step away from it. I feel like I was able to create music on this album where you’ll put it on repeat and listen to it over and over again.

Yeah, I respect that because that’s what I do with “Pay Attention”. That’s like my song right now. [Laughs]

Aw, thank you. If you gotta put a song on repeat, definitely put that on repeat.

Now this time around, you didn’t produce it al by yourself. You chose to work with a team, why is that?

The people I worked with I knew sonically understood the music I make. They understand bass , but still melody. A lot of them knew where they thought I should go next or had an idea like “ Yo Krit, I wanna see you go over here.” And when I got an opportunity to work with them, they were giving me tracks that I would make for myself.Those records spoke to me in a different way. Creatively, even cadence wise. I’m rapping differently on certain records because the drum patterns are different than what I make for myself. The tempos are different. I think it helped me as a producer because I still ended up producing 70% of it. But if I didn’t tell you I made the beat, you wouldn’t be able to tell because I think sonically it all sounds like growth and it just all meshes so well together.

That’s awesome because I know I can see you’re growth. I remember seeing you when you performed with Wiz Khalifa in New York. I remember I was in high school ,but Krit Wuz Here was my shit.

Ooh, I was green on stage.

Yeah ,but you handled yourself. Somebody was like “Who the fuck are you,” and you were like “ I’m Big K.R.I.T. shawty” and that’s all you needed.

[Laughs] No doubt.

This time around, you worked with Lupe Fiasco, Jamie N. Common, and Raphael Saadiq. How was that?

I mean, it was great. Lupe is the homie. You can call him he’ll just give you advice in general, outside of music. And then Jamie N. Common, he has a record called “Jungle” , it was like a Beats [By Dre] campaign for soccer. He’s an amazing singer, he has a really vintage and gritty sound to him. That record is “Saturday’s a Celebration”.
Raphael Saadiq was just a no brainer for me because I’ve been such a fan for so long. I knew that he could help me create a song that sounded like a sample, but it wasn’t at all. It still had that soul and that warmth. He believes in vintage machinery. So when we were creating it, it sonically sounds different than everything else. Because of the tape machines we ran it through and how he records his drums, that’s all an experience for me too.

Read Pt. Of Story: HERE


Read more → Big K.R.I.T. Talks Trans-Galactic New Album “Cadillactica”

For his second Def Jam album, Cadillactica, Mississippi hip-hop auteur Big K.R.I.T. leaves behind the “dirty dirty third coast muddy water” and blasts right off into the stratosphere. The album, due November 11th, is a 15-song Afro-futurist concept suite taking place on the fictional planet named in the title. To take us there, K.R.I.T. has expanded his sonic palette to boldly go where his dependable country-rap mixtapes have never gone before – rubbery Zapp noises, choirs of Kate Bush-style moans, cinematic marching band drums, cicadas – in addition to his first time ever working with multiple outside producers (including Raphael Saddiq and Jim Jonsin).

On the LP, rhyming is set to stun, building off the energy of 2013’s manic “Mount Olympus,” a track written one day after Kendrick Lamar’s “Control” verse, which name-dropped K.R.I.T. among 10 other rising rappers. We caught up with the Mississippi rapper to try to explore his fantastic planet.

You said that you weren’t able to do what you wanted creatively on the last record. Why?

Because, with mixtapes, I was sampling a lot. With [2012's Def Jam debut] Live From the Underground, I went to sampling without any knowledge of or knowing how long it takes to clear a sample. So, a lot of these records I had created with samples embedded in them. Like, the record with B.B. King, “Praying Man,” had a sample embedded in it.


I’m not – nah. Nah. That had a sample. “If I Fall” had a sample. It was records that had samples, and I had to take them away. Live From the Underground theme song had a sample, and I had to take it away. So, you try to replay ‘em, but they never match up. So I dealt with that and then also wanted to… For me, it was like trying to prove myself. It went from just naturally trying to prove myself to being angry and proving myself. And I never want to write from that perspective ever again.

So you wrote that record angry?

I wrote that record in a frustration. Because it was a lot going on. I was paying too much attention to intricate things, business-wise. I wasn’t accustomed to how the rollout planned worked. Me, I [usually] made a mixtape and dropped it. But [Def Jam] had a rollout plan, I wasn’t accustomed to that, and so, it flooded over into my music – and you could tell that. That’s why this album is such a relief. I wasn’t mad making it. I wasn’t under the most pressure. I wasn’t concerned with samples because we didn’t use ‘em.

Are there any expectations from Def Jam for the new record?

No. Because I think we shocked a lot of people with Live From the Underground. It had no radio record. There was no official single. And we dropped it and people supported it because of the content. So I think we shocked a lot of people with that to the point where it’s like, they really understand it’s best to just kind of let me do me. And, with this album, I took it even further with working with other producers and not sampling so much, but creating songs that sound like samples.

Is that a sample of the Beastie Boys’ “Paul Revere” on “My Sub Pt. 3 (Big Bang)”?

I think I know what you’re talking about, but that’s not them though. But that was me reversing my own hi-hat. Which is not even the same hi-hat. Don’t worry.

It’s like a vintage Def Jam record. It sounds like Def Jam, 1986.

Where it all started. That kind of song, if you think about the Beastie Boys song, it was so gritty, and it was so stripped down from what most people would use – raw hi-hat, kick drum, 808. I want to do something that feels like that too. But it’s also inspired by a lot of other hard, bass-hitting records. You talking about “Freaky Tales” by Too $hort.

This whole idea of exploring space on the new record — this is such a left turn from “Country Shit.”

You think? I mentioned Pluto in “Country Shit.” All I’m doing is telling you where the Cadillac that that crash landed on Live From the Underground came from. It came from Planet Cadillactica, which is still my creative mind. All this music came from my creative mind – my conscious thoughts. I just decided to make it a planet.

Read Full Story: HERE

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Big K.R.I.T. – The Making Of Cadillactica: Cadillactica(Episode Two) w/ DJ Dahi

Big K.R.I.T. gives another behind the scenes look at the making of his new album “Cadillactica.” This time taking us in the studio with him and DJ Dahi as they craft the title track. “Cadillactica” is the follow-up to K.R.I.T.’s 2012 breakout debut “Live From The Underground.” The album will be available online and in stores 11.11.14.

Directed By Andrew Litten

Get the new single on iTunes when you pre-order “Cadillactica.”

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HipHopSince1987: Big K.R.I.T. Takes The Musical Journey To “Cadillactica”

In our latest exclusive, HHS1987 cameras caught up with southern spitter BBig K.R.I.T. to discuss his new LP ‘Cadillactica’, what fans can expect from the conceptual body of work, and his decision to primarily rely on outside production for the first time in his career.

Young Krizzle also detailed his desire to score films, discover the next David Ruffin, and never cut his beard, while admitting to a live performance habit that is surge to make sneakerheads cringe.

Check out the candid interview and be on the lookout for more exclusive content.

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A-Villa – “The Colosseum” Ft. Big K.R.I.T., Termanology & Inspectah Deck

From A-Villa:

“The Colosseum” is the ultimate battle arena. And as a song, it represents the battle element of emceeing, with my blaring string & horn driven beat providing the battleground for Big K.R.I.T., Termanology, and Inspectah Deck to showcase their lyrical abilities. It also pays homage to some of the great lyrical emcees that paved the way, such as Big Pun, Big Daddy Kane, The D.O.C, and others… who you hear vocally on the hook.

Sonically, I was inspired by DJ Premier & RZA and you can hear that from the intro, to the scratching, and the Kung Fu movie snippet at the end. Big K.R.I.T. sets the track off lovely with his southern drawl and precise wordplay.

I met K.R.I.T. at a meet & greet before a show he had in Chicago. I introduced myself, told him about my project, and gave him a beat CD. The next day, I got an email with his verse over this particular beat, which I never would’ve thought K.R.I.T. would pick. But it shows his versatility as an artist and his ability to stand out on any type of record.

I then sent it to Termanology, who I’m a fan of and knew he would kill it. But I didn’t anticipate him laying down one of my favorite verses on the album.

Then with Inspectah Deck, I had sent him a different beat and asked for that “Triumph” & “Above The Clouds” type of feel, which he definitely delivered on and made it easy to tie everything together. However, I had lost the scratches I had previously done before my turntables broke. So at the last minute, I had the homie DJ Scend re-do what I had lost. However, he added his own flavor to it and even improved upon what I had originally intended.

Overall, I’m really proud of this song and love everything about it…the concept, the intro, the beat, the beat switch up, the verses, the DJ cuts, and outro. It’s just a hard rap record and is the essence of Hip Hop…good beats & rhymes.

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