Young & Reckless Presents: A Day In The Life With Big K.R.I.T.

Young & Reckless recently teamed up with Mississippi native Big K.R.I.T. for a lifestyle shoot in Los Angeles.

The self-proclaimed King of the South explains how his earliest musical influences like Willie Hutch, Al Green, Bobby Womack, and Curtis Mayfield contribute to his soulful style. Also paying homage to UGK, Outkast, MJG, and Scarface, K.R.I.T.’s aim is to make music that doesn’t fit in a genre but brings something out of you.

From taking time to listen to tracks from fans to making thought provoking music to inspire the youth, K.R.I.T. is bringing the soul back to hip hop.

Read more → Big K.R.I.T. Speaks On Working With B.B. King In The Studio

B.B. King, who passed away Thursday at age 89, influenced generations of musicians – including his fellow Mississippian Big K.R.I.T., who collaborated with his idol on 2012’s “Praying Man.” Here, the rapper shares his earliest memories of King and tell us what it was like to sit in the studio and watch him play.

My grandmother introduced me to B.B. King. She wasn’t someone who had a lot of posters, but there was a big poster of B.B. King on the wall as soon as you walked into her house in Meridian, Mississippi. Even now, hearing “The Thrill Is Gone” or “Midnight Believer” reminds me of her. The music represented soul. There was pain and frustration in it, but there was also the understanding that everything’s going to be better in the end. The grit and passion in the music told me this was someone who really meant what he was saying. It made me proud to be a Mississippian. As I got older, I went digging in the crates and found the work that he did with Bobby “Blue” Bland, and Live in Cook County Jail, where he was playing for the inmates. You could hear how the music affected people. It affected me, too – I wanted to have the same amount of soul and importance in my music that he had in his.

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Read more → #LGGFlex2 & Big K.R.I.T. Examine Art’s Broad Canvas (Promo)

When it comes to pursuing your dreams, having passion isn’t enough. You have to learn about what you love if you want to spend your life doing it.

This is the mantra Big K.R.I.T. has abided by for his entire artistic life—not just with his well-known career as a rapper and a producer, but also with his avocation as a visual artist.

K.R.I.T. started drawing as a kid and continues to do so to this day, sketching away in the recording studio in between takes. He views all art forms as connected, and is always creating new work, in one medium or another. Even music itself is a sort of canvas, he says, which he can paint his entire life on.

Big K.R.I.T. also has a few words of advice for aspiring artists: “Believe in yourself. If you have a style that you know is all your own,” he says, “exercise that style to make it even greater.”

For more from Big K.R.I.T. on creating art in all its forms, be sure to check out the video above, brought to you by LG.

Read more → Big K.R.I.T.’s ‘K.R.I.T. Wuz Here’ Is Listed As Top 25 Mixtapes Of The Decade So Far

BIG_KRIT_Krit_Wuz_Here-front-largeBig K.R.I.T. – “K.R.I.T. Wuz Here”

Release Date: May 3, 2010

Kritical was on his last, last spittle of gasoline before he dropped K.R.I.T Wuz Here. It was his leave-it-all-out-on-the-field moment, as more pointed works from years past left crowds not feeling much of anything at all. His 2010 offering changed all that, immediately placing him in a line of one as OutKast’s true successor and Def Jam’s southern answer to Nas. And not only did he rap, he produced, making his DIY coupling of grizzled tenor and thumping bassline seem like a gift from the rap Gods. The pressure was on after this one, though, and while he wouldn’t quite figure it out until last years Cadillactica, the Mississippi emcee would place himself in the conversation as a torchbearer for the future of southern Hip Hop with his 2010 now classic release.

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Read more → Interview With Prolific Hip Hop Artist Big K.R.I.T.


The prolific hip hop artist explains why he’s slowing down.

While entrenched in Southern rap heritage, Big K.R.I.T. aims to chisel his own path through the polished grill wearers and double-cup sippers. Too smart to be ignorant, too worldly to be preachy, he embraces the challenge of pleasing fickle fans and promoting the culture of his oft-ignored state Mississippi. The 28 year old is a veteran of the digital era’s exhausting release culture with six mixtapes, two albums and two EPs released since 2010.

Producing and rapping across 200 songs in four years, a sub-plot developed around K.R.I.T.’s talent. Was he creatively burnt out? Would he make concessions to chase the elusive hit single? K.R.I.T.’s 2012 Def Jam debut Live from the Underground was decent, but not quite the grand reveal fans expected.

Last November, he silenced fears with his sophomore album Cadillactica. K.R.I.T. outsourced collaborators including DJ Dahi, Raphael Saadiq and Jim Jonsin to share his vision as well expanding his own production universe. The concept record about a planet created by 808 drums showcased a reinvigorated K.R.I.T. cultivating his introspective lyrics while dabbling further in storytelling, singing and contemporary flows. Now taking a deserved breather to consider his next move, I asked K.R.I.T. about his early records, what draws people to country rap and why he decided to take this album off-planet.

What was your first local hit in Mississippi?

Man, the first record that I did in Mississippi that got played on a radio station was called… ha, “Adidas 1’s in the Club.” It was basically a remake of Crime Mob’s “Stilettos (Pumps),” but we did our own version.

Did you start with a cliché street sound on your very early records before you found your own style?

Oh yeah, definitely, because I was a hardcore Three 6 Mafia fan too. Just a lot of the instrumentation and a lot of the content was extremely aggressive, so it was like more of a shock value thing of just how aggressive and how violent you could be on a song. I was probably like 13 or 14, man, and you grow out of that pretty fast because you grow to the point where you start playing your records for a lot of people that actually know you, older people, and they know damn well that you ain’t living that kind of lifestyle. In the beginning it was just your imagination ran wild on a record, and you could pretty much rap about anything and everything under the sun just to kind of build this superhero character of yourself on record.

Is there a chance if you weren’t making music or playing baseball you’d be working for the railroad?

Definitely, it’s one of those things where it’s a very lucrative job to have. My dad works on the railroad, my uncle worked on the railroad, I’ve got cousins that work. It keeps you away from home, but you make a really good living and it’s one of careers that you can retire at. So if I ended up staying in Meridian, Mississippi, I probably would have been working on the railroad and be able to acquire some kind of financial freedom at an early age.

Why do artists and promoters usually skip over Mississippi?

It goes to what people know as the far as the history is concerned and having some kind of idea that Mississippi is how it used to be, that’s one thing. It’s not necessarily a vacation destination too, if you would just generally want to go. Thirdly, I think people sometimes forget that there is an actual fan-base down there. If you’re talking about metropolitan cities, there are not really a lot of huge cities in Mississippi. So if you’re not really in touch with the ground-work, street team aspect in the deep south then you wouldn’t even understand or realize that you have a fan-base there.

Alabama is the same kind of place where people don’t necessarily always go to do shows. Arkansas is one of those places as well. I’m a strong believer in making my rounds in what people call the Chitlin’ circuit to kind of keep that foundation going, because a lot of those fans are going to be fans forever because they support the music 100% regardless of whether you have a hit record or not.

Read Full Story: HERE

Read more → Big K.R.I.T.’s Breakthrough Mixtape, ‘K.R.I.T. Wuz Here,’ Is Still His Magnum Opus

BIG_KRIT_Krit_Wuz_Here-front-largeHere’s the short of it. It took Big K.R.I.T. six tries to make an amazing first impression. Depending on who you hear the story from, K.R.I.T. could have languished in the Mississippi underground forever had K.R.I.T. Wuz Here not become the initial piece of inertia for his career in 2010. Especially for a rapper/producer from the South a year after another rapper/producer broke through with his own critically acclaimed mixtape.

KWH arrived within a four-month period in which landmark tapes from Curren$y (Smokee Robinson), Wiz Khalifa (Kush and Orange Juice), and Dom Kennedy (From the Westside, With Love) all showed up on our doorsteps. K.R.I.T.’s surprised me the most, maybe because I wasn’t expecting it; unlike KWH, the other mixtapes came with all the fanfare and buzz from bloggers and music journos. Dom had car music in the summer on lock with “1997,” and Wiz and Spitta could do that sub-genre that isn’t really a genre, “cloud rap,” better than anybody. What many others and I got from KWH was a similar feeling of struggle in the face of pending success, a man of the people sick and tired of going unheard by the masses.

Weeks before its May 3, 2010, release date, K.R.I.T. had appeared on “Glass House,” a fast-paced collab with Curren$y and Wiz Khalifa where he ran in the anchor verse from the Kush and Orange Juice track. If you hadn’t done any homework on the Meridian, Miss., native and ignored the music he released beginning in 2005 with the See Me on Top series, hearing a third voice next to Wiz and Spitta, when they were arguably rap’s favorite stoner duo of the moment, was a bit of a shock, a reach even.

“Glass House” reappeared on KWH, but it instead flowed with the rest of the tape, 19 tracks in full of burly, opinionated Southern bravado tucked in between soul samples and hard-hitting 808 drums. It landed as the 37th best mixtape of all-time when we ranked them back in 2013. His sound has evolved somewhat since, with the lyrics getting even more to the point, the soul samples a bit more identifiable and syrupy.

The opening lines of “Viktorious” signified that K.R.I.T. was rapping with a point to prove. He was going to be labeled slow, with people not caring if he made beats or had been rapping his ass off since 2005. He summarized all of it as knowing his time would eventually come. He and Big SANT knocked around UGK-like isms on “Return of 4eva,” continuing a path set by the sounds of Suave House, Pimp C, 8Ball & MJG, and more. “Country Shit” eventually became his first single, and Bun B and Ludacris showed up on the remix. Didn’t matter if Def Jam was cutting the check—the South felt like we had another underdog to root for.

Read Full Story: HERE

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Childish Major & Matik Estrada “Keep Running” Ft. Big K.R.I.T. & Curtis Williams

1426511950_8e1d7cbbc6bda04b27ef650e3625a3caDownload the free “Community Service” EP from ATL producer/emcee duo Childish Major & Matik Estrada.

In less than two years, Childish Major has established himself as an ATL producer to watch by producing for Rocko, Rome Fortune, and Two-9. After hearing the Community Service EP, we’ve now got our eyes on young emcee Matik Estrada, too. The Atlanta duo just previewed “Keep Running”, featuring Big K.R.I.T., and now we get the full EP, which is available for free.

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T-Pain “The King” Featuring Bun B & Big K.R.I.T.

T-Pain_The_Iron_Way-front-largeT-Pain and Big K.R.I.T. join up for another collab on Pain’s new free album “The Iron Way.” This time T-Pain handles the hook and recruits the Underground King Bun B to join K.R.I.T. on the track titled “The King.” Listen and download the tape below.

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Big Sant – “Strictly 4 My SLEEPERZ” (Mixtape) [Hosted By: DJ Breakem Off

CB4MzccVIAIWSnzAfter 10 successful weeks of his weekly series “MFxOG Mondays”, Mississippi rap artist Big Sant returns with his new project entitled “Strictly 4 My Sleeperz, a follow-up to 2013’s The Great American Mattress Sale.

Featuring production from Multi Alumni’s own Big K.R.I.T. “Sleeperz” also boasts the production talents of Kreatev, Slade Da Monsta, LoStarr and a host of others.

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