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
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