Blog 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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Big K.R.I.T. – “Pay Attention” Ft. Rico Love (Music Video) [Directed By: Daniel C]

Big K.R.I.T. has released the visuals for his single “Pay Attention” ft. Rico Love from his upcoming album “Cadillactica.” The video was directed by Daniel C and it shows K.R.I.T. in a way we’ve never seen before, enhancing the vibes of the hit song. 

Download “Pay Attention” and pre-order “Cadillactica”: HERE


Read more → Big K.R.I.T. Talks “Cadillactica & Kicks A Fire Freestyle

Big K.R.I.T is one of those artists whose talent causes you to wonder why the rest of the country hasn’t caught on yet. With his new “Cadillactica” track currently making its rounds, Krit stopped by Sway in the Morning to speak on Spike Lee, J.Cole, Kendrick and spit a freestyle of course.

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Official Single: Big K.R.I.T. – “Cadillactica” (Produced By: DJ Dahi)


With the November 11 date for the project’s release nearing, Big K.R.I.T. lets loose “Cadillactica,” the title track from the new album. This one’s primed for his Pay Attention tour, driven by his rapid-fire flow and the repetitive hook. The lyrical content is structured around the mythical reverence we Southerners tend to hold for a ‘Lac (“This some cold sh*t, That my granddaddy wish he could’ve drove and passed down”) and the spell-binding effect it creates for everybody who sees you shining, including haters and ladies.

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


Read more → Exclusive Interview w/ Big K.R.I.T. About “Cadillactica” & Tupac

Screen-Shot-2014-10-14-at-1.37.23-AMWith his album Cadillactica less than a month away, the Mississippi native sat down with us to talk about his new albums, how being in love affects his music, “Mt. Olympus” , Tupac & much more.

Big K.R.I.T.’s sophomore album Cadillactica is quickly approaching it’s November 11th release date. Since the release of his latest mixtape See Me On Top Vol. 4 over the past few weeks it seems like every couple days we have some new details or interesting tidbits to consider in anticipation. Whether it’s the futuristic cover art or some new music-like the title track “Cadillactica” released last night as part of the iTunes Preorder – theres plenty to chew on. But if those tidbits we’re hors d’oeuvres we present to you a feast. Young Krizzle spoke with us just hours before his performance at New York City’s Highline Ballroom show with openers Two-9 and needless to say he dropped some gems.

The Source: Do you have a pre show ritual?

Big K.R.I.T. : Yea , sleep, hahaha.

The Source: Do yo have a specific story of when a show may have went wrong?

Big K.R.I.T : Nah, normally when we do shows man , even if it’s a slip with the mic and the mic cut off or the speakers go out or you know the song comes on wrong, we always kind press through it. To be honest we normally just go out there and just kill that shit, people might run up on stage and that happens..

The Source: So no Action Bronson moments?

Big K.R.I.T. : Nah, Nah, I’m good. Depending what song they run up on , they may turn up for a little bit while thats going on , but then they usually get off, we jump in the crowd, throw water, kick it have fun

The Source: I know you have Two-9 opening up for you, how did that come about, why them:

Big K.R.I.T. : I mean well, because of the energy is crazy, they got their own energy. I respect the movement, to be young and have a real movement, not only in Atlanta but they’re making noise everywhere else, and they’re so in house, having thieir own producers. They’re so artistic but its still kinda edgy, and its youth at the end of the day they get up there and they go hard, and I’m like DAMN, okay,. You need that around you at the same time , because were at a point now that theres music I want to put other people on to situations, so why not come out on tour and be a part of this shit because all it’s gonna do is help brand them, and once they get shit poppin, bring me out on stage!

The Source: I actually got handed their cd outside a show before even hearing of them, and then they started making noise on the internet and I went back and was like wow that’s them!

Big K.R.I.T. : I’m tellin you man, somebody might come by and slip you some dope!

The Source: So, This is a real Concept album.

Big K.R.I.T. : YEA!

The Source: The days of real concept albums, and overall just concepts in general aren’t what they used to be. Are there any albums that are concept albums or just ones that come to mind that helped maybe inspire you a bit [in the making of Cadillacitca].

Big K.R.I.T. : Im gonna be honest, these albums didn’t seem like a concept album, but they were more soundtracks. Willie Hutch The Mack, to be able to tell a story musically always intrigued me , Isaac Hayes ‘Shaft’, things of that nature. So the listening to these albums all the way through you get an idea of the movie without seeing it, you know what I’m saying. That was my first introduction to it , like o shit I can tell a story cinematically on wax though. That and understanding the tone and how to create a song and it literally takes people there is all about tempo, its all about the kind of feeling in the instruments you decide to use, and all that goes into trying to create a conceptual album, and then figuring out the very clever way of tying it in to every other project you’ve ever done. If you go back and listen to even K.R.I.T. Wuz Here , there’s pieces in it and ideas and thoughts, that are intertwined with return of Return of 4Eva and that gets you ready for 4eva N a Day and that prepares you for Live from the Underground and Live goes into King Remembered In Time as far as prepping people for the next step , which is a singing K.R.I.T, and then King is like ok now I’m going to take you on a whole other journey and I just wanted to tell the story of where the Cadillac came from that crashed landed on Live from the Underground.

The Source: With how people listen to music now, its very quick and disposable, wit the concept album, were you at all concerned with that, even though its artistically something you want to do, its something that people might miss?

Big K.R.I.T. : Nah because if you take away the planet Cadillactica , if you remove the sequencing of the records, I still feel like I made strong enough songs to live on their own. And that was an extremely important , that these songs without the skits are still solid records, the skits , theres only 2 of em really and they only help with moving along the sequence but these songs stand all on their own. Even if people don’t necessarily get it, the whole story of it, I think just bottom line they’ll appreciate the quality of the music that’s on the album.

Read Full Story: HERE

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