DJBooth.net: 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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RealTalkHipHop.com: Big K.R.I.T. Talks “King Of The South” & His “Cadillactica” Album

Arab Joe sat with Big K.R.I.T. after his performance at Tattoo in Toronto. They discussed being King of the South, Charlamagne Tha God, Who He Doesn’t Listen to, the Southern Barrier, Mt. Olympus and more.

www.RealTalkHipHop.com

Pitchfork.com: 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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Concrete615.com: Big K.R.I.T. Covers Concrete Magazine’s Latest Issue

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Big K.R.I.T. speaks in depth with Concrete Magazine for the issue #59 cover story. He touches on his latest project “Cadillactica”, life on the road,crate digging, today’s state of hip-hop and even gives indie artist some great advice.

SmokingSection.net: 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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Billboard.com: Big K.R.I.T. Claims No. 1 on Top R&B/Hip-Hop Albums

10731870_592267894233170_790730278_nBig K.R.I.T. scores his second No. 1 on Top R&B/Hip-Hop Albums with the entrance of Cadillactica, moving 44,000 in first-week sales (his best week ever), according to Nielsen SoundScan. The 28-year old rapper last debuted atop the chart in 2012 with Live From the Underground (41,000 units). The new set includes a host of featured acts, including Raphael Saadiq and Wiz Khalifa. The second single from the set, “Pay Attention” featuring Rico Love, spent a week at No. 24 on the Billboard + Twitter Top Tracks chart in August.

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Big K.R.I.T. Talks About “Cadillactica” First Week Sales w/ DJ Smallz

Big K.R.I.T. sits down with DJ Smallz, fresh off his first week sales numbers of 44k, his best ever, despite lack of TV and radio promotion and comments on it. He also weighs in on J. Cole’s upcoming new album, “2014 Forest Hills Drive”, announced 3 weeks before release with no TV or radio promotion.

AustinChronicle.com: Big K.R.I.T. – “Cadillactica” (Review)

10809718_1495105110770944_273014568_nBig K.R.I.T. Cruises Cadillactica Mashing Outkast’s Stankonia and any 8Ball & MJG album.

Breaking through while maintaining your essence remains the most difficult task in hip-hop. When your major label debut (Live from the Underground) isn’t the critical or commercial success anticipated, an automatic hedging into commercialism generally follows. Mississippi MC Big K.R.I.T. bucks the trend on follow-up Cadillactica.

From the jump, with “Life,” he ventures deeper into himself:

“Transmission, I missed my mark day one.
I was so close to the sun, I burnt the top off my roof.
I traveled a million miles to uncover what most would doubt.
Although I believe in God, I need proof.”

Standout single, the title track flexes incredible wordplay. Clever bits of hood existentialism show up on the adjoining skit, concerning a questionable drive-thru that offers “low self-esteem, famine, [a DNA test], or a biscuit.” (“Hell nah!”) The Raphael Saadiq-assisted “Soul Food” then brings out the heavy artillery, as the Southern wordsmith pines:

“The acrobats on the corner, they flip.
So when them white vans pull up, shawty, we dip.
Out of view, could’ve been a track star at the school.
But it took the police just to get that .44 out of you.”

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CoolHunting.com: Song Of The Car – Big K.R.I.T. Sends Drivers To Cadillactica

10802395_769193633151850_564280932_nIt’s only natural that this contemporary Caddy is paired with “Cadillactica” by Mississippi-born lyricist Big K.R.I.T., who came up the old-fashioned way in hard-spitting hip-hop. He first drew widespread attention in 2011, crushing mixtapes and proving his merit through clever verses. Big K.R.I.T.’s transition to album format finds his crisp diction intact, over more polished production notes. His conceptual ode to Cadillac cars draws from classic Southern rap technique that he describes as “Sonic Boom South.” In “Cadillactica,” Big K.R.I.T. gives us a fresh flow as we floss in a make and model that has found its way back to the inter-cadi-llactic highway.

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Big K.R.I.T. – The Making of Cadillactica – Soul Food (Episode 3) w/ Raphael Saadiq (Video)

Big K.R.I.T. offers a behind-the-scenes look into the making of “Soul Food” featuring Raphael Saadiq.

#Cadillactica in stores now http://smarturl.it/Cadillactica