Big K.R.I.T. – “TRHICE X” EP


The 3-song EP featuring the sixth installment of “King” alternatively named “Higher,” and the focus track “Glorious,” produced and written by K.R.I.T., as well as “Look What I Got,” produced by Supah Mario (Drake, Young Thug).

“Thrice is more like a new beginning.  A way for me to reach out musically to my supporters and say thank you.  The EP in itself is all about growth sonically and letting go of my comfort zone,” states Big K.R.I.T.

Get “Thrice X”: HERE

NBA 2K19 Premiere: They Will Know Big K.R.I.T. [Dir. By: Bobby Lee Palmer]

Follow Big K.R.I.T. through New York while he attends the premiere of “NBA 2K19.” Get an inside look as he speaks on the evolution of his New York experience, while also sharing how gaming is a huge part of his creative process in the studio.

Film By: Bobby Lee Palmer


Bun B – “Return Of The Trill” Featuring Vocals, Production & Musical Coordination From Big K.R.I.T.

Last year Bun B announced his next album would be musically coordinated by Big K.R.I.T.. His new album “Return Of The Trill” features K.R.I.T. as an artist and producer also. You can find Krizzle on tracks like “Recognize” featuring T.I., “Outta Season,” “Slow It Down.” You’ll find his nuances and vibe sprinkled throughout the entire project. The fans have been wanting more from Bun B & K.R.I.T. since 2011’s “Country Shit(Remix),” looks like their prayers are finally answered. “Return Of The Trill” is available on all digital platforms. Get the album HERE.

KG Area 21 w/ Big K.R.I.T., Bun B & Kendrick Perkins

Big K.R.I.T. stops by TNT’s “KG AREA 21” w/ Kevin Garnett. They speak on everything from Lebron future team, Rodney Hood on the CAVs and the game of basketball. Eventually challenging each other to a very tense game of Jenga. Rate The Bars w/ Big K.R.I.T.

With no knowledge of who the lyrics belong to, K.R.I.T. gives his unfiltered opinion on other rappers’ bars.

Big K.R.I.T. “Big Bank” Featuring T.I. (Video) [Directed By: Motion Family]

Today, critically acclaimed rapper and producer, Big K.R.I.T., premieres the official video for “Big Bank” featuring 3x Grammy Award-Winning artist, T.I. The “Big Bank” visual, directed by Motion Family,  is a reflective nod to the braggadocios, country demeanor of Big K.R.I.T. who has expressed “that’s just me being country, being southern, over a sample-melodic amazing song with knock.” – NPR. The video features cameos from TransLee and Cyhi The Prynce, which Krizzle will be going on his “Heavy Is The Crown” Tour with in March.


Caleborate “Soul (Remix)” Featuring Big K.R.I.T.

Caleborate recruits Big K.R.I.T. to lace the remix with some innovative rhymes, dedicating his verse to the single parents who are scraping the bottom of the barrel to get by. “This for all the single mothers, single fathers outchea tryna make it,” K.R.I.T. raps on the Lege Kale-produced track. “Taking pay cuts, never late putting food up on the table.” Check the remix out below! The ReIntroduction Of Big K.R.I.T.

In regards to reputation in Hip-Hop, the South has certainly come a long way. In terms of talent, artists below the Mason-Dixon line certainly had it and more; regardless, it seems as if the Southern Rap gods had to fight tooth and nail for genuine respect in ‘the game’ that New York City birthed. Now, those very legends have helped not only to put a permanent spotlight on the South, but also to affix themselves as Rap’s current crown bearers.

One artist that deserves to be included in this conversation: Mississippi mastermind Big K.R.I.T.The self-proclaimed ‘King Remembered In Time’ has been producing some of the best — no, the best country Rap tunes this side of Pimp C and André 3000. The many mixtapes and albums that propelled K.R.I.T. to icon status — from the classic K.R.I.T. Wuz Here to the how-the-f***-is-this-so-slept-on Cadillactica — are just as solid if not better than chart-topping projects from the peers who are compelled to salute him as the genius that he is. The truth is, out of the many styles that K.R.I.T. possesses, there are two that he’s probably most known for: the hard-hitting, pimp-esque blend that oozes swagger from the crevices of a Roland TR-808, and Justin Scott, the man bringing the introspective, the vulnerable and — for all intents and purposes — the higher-conscious. Either way, both deliver words best described as time-stopping and life-changing, further stamping his near-flawless legacy in music.

Given all this, RESPECT. was more than honored to chop it up with the Meridian emcee-producer during the promotional run for his latest offering, 4eva Is A Mighty Long Time, a sonically-breathtaking look into the aforementioned two sides of K.R.I.T. In addition to breaking down the album, writer Landon Buford got a chance to take things back to the essence of the virtuoso’s artistic genesis: you can consider this our true re-introduction to Big K.R.I.T.

Read Full Interview: HERE Big K.R.I.T. Talks His New Album And Creating As An Independent Artist

The release of 4Eva is a Mighty Long Time has been a thrilling time to follow Big K.R.I.T’s career. The title of the double album oddly can be associated with the time we have formally heard from the Mississippi emcee, but with great reason. Departing Def Jam, K.R.I.T. took the independent route, placing himself at the helm of every piece of what will be coming from his person.

Reemerging with a double album, Big K.R.I.T. took on a tall task. Few artists in hip-hop’s history have taken on the daunting task and released a body of work that would not only hold ears for the duration but receive critical acclaim. Call K.R.I.T. the genres latest unicorn. Not only did he successfully sidestep the perceptions attributed to double albums, he created what many believe to be the work that he always strived for while under the constraints of a label and even stripped himself down to bring Justin Scott, an examination of himself tagged with his government name.

The successful 2017 for K.R.I.T. will stretch into next year with a headlining tour bringing in CyHi the Prynce and Ty Dolla $ign, the latter for select dates. With 2017 coming to a close and a bright future on the immediate horizon, K.R.I.T. hopped on the phone to talk his new album, his new freedom as an artist, his upcoming tour and more.

How has the response been from fans, what are the consensus favorites that come back on the album?

Big K.R.I.T.: Man, definitely “1999,” which was produced by Mannie Fresh, featuring Lloyd definitely shined. “Subenstein,” which is a part of the “My Sub” series, we on the fourth one is tearing speakers up in buildings. The “Intro”, the record with UGK, all of them has healthy responses but those are the ones that stand out a lot.

You came into this one two years removed from Cadillactica, how was your approach as an artist different?

Big K.R.I.T.: The freedom, I felt like I had the same freedom from the mixtapes with this album. I was able to creatively do what I wanted to do or felt like, even with it being a double album. I always had an issue with sequencing a lot of the songs with having really hard, knocking, player type anthems and then having something like “The Vent” or “Angels” and with this album I was able to do two different albums. They sound different, feel different on the instrumentation and the concepts. It worked and it wasn’t like I had to go sit in a boardroom or anything like that to play the records. This is what I wanted to put out and it was a go.

Read Full Interview: HERE

ClashMagazine: Big K.R.I.T. On Finding Happiness And Creating His Ambitious Album ‘4eva Is a Mighty Long Time’

Like it or not, your favourite rapper is a major brand. With hip-hop’s ever expanding popularity, and the introduction of social media, the entrepreneurial hustler’s spirit that we’ve celebrated for years has morphed into full blown capitalism: artists that can best articulate their USP in a snappy elevator pitch are the ones destined for greatness. While this may be a blessing for record label marketing departments everywhere, for consumers it’s watering down the product, making rap stars less real, more two dimensional and unable to truly articulate the complexities of the human condition, for fear of being off-brand.
As a Def Jam signee, Mississippi rapper Big K.R.I.T. refused to fit his conflicted realities into a neat, marketable box. A three dimensional talent, Justin Scott was signed to Def Jam by then senior president of A&R Sha Money XL in 2010 after the release of his acclaimed mixtape ‘K.R.I.T. Wuz Here’. Despite inking a deal as a high priority act, he soon found himself surrounded by an unrecognisable team of staff following label restructuring, and felt that those left weren’t sure what to do with him.
While he was by no means a flop – his first two albums charted in the top ten on US Billboard 200, and his 2012 single ‘I Got This’ was declared the Miami Heat’s theme song by LeBron James as they won the NBA championship – K.R.I.T. wasn’t the star he should have been under Def Jam’s regime. It seems that this was due to a misunderstanding of K.R.I.T.’s fan base rather than anything on the creative front. For example, while the label chased the digital world, they failed to realise how important physical product remained for K.R.I.T.’s fans. “Physical copies were so important to me in these small cities, in the Best Buys and shit,” he explained on an episode of YouTube talk show ‘Everyday Struggle’, “because that shit still means something, especially in the South. Streaming hit and it was like ‘Oh, there’s really no space for you.’”

n 2016 K.R.I.T. announced via Twitter that he was parting ways with Def Jam. He’d tell Billboard that this was because of changes in the business, but refused to be too specific. “It’s definitely a longer story,” he said, “but for the most part, it’s no love lost.”
Now, with the benefit of hindsight, he sees the split as a blessing. “I don’t regret what I’ve had to go through,” he assures us, kicking back at home one Friday morning, “because it got me to this point. You can always say ‘I wish I could have…’ but I’m here now. I’ve got to deal with it as it’s been.” Now afforded the freedom to take his career entirely into his own hands, K.R.I.T. has released one of 2017’s best rap albums, ‘4eva Is A Mighty Long Time’, an expansive double LP exploring two sides to his life as an artist; one disc comprises trunk rattling bass primed for the subwoofers, while the other is a jazzy revelation of the Clark Kent behind his Superman.
“I’m human,” he states, simply, of the LP’s intent. “To me it’s always been about trying to show the duality of myself. I think we all go out into the world sometimes with a confidence, we put that face on and turn into superheroes. I think it’s important for me to talk about that, [as well as] what you go through when you’re not feeling the world, you don’t feel up for talking.” On album track ‘Mixed Messages’ he’s open about the double standards “I got a whole lot of mixed messages in my songs, am I wrong to feel this way?” he asks in the hook, before reaping off a list of admissions such as: “I never really liked all the fake shit, but I’m attracted to the fake ass and fake tits.”
K.R.I.T. hopes that the transparency will allow him to connect with other human beings – particularly his cult fanbase – in a deeper way, and that may lead them to be more understanding when he isn’t able to oblige every request for a photo, or answer every message he receives on social media. “I never like letting people down,” he admits. “I think we all want to be liked and loved right?”

Read Full Article: HERE