Good to talk to you again, sir. I talked to you about a year ago before you came to Cleveland the last time.

Good to hear again from you too, brother. How you doing?

I’m pretty good. How about you?

I’m doing good, brother. I’m excited. man. The new project came out yesterday, called It’s Better This Way and the response has been amazing. I’m getting ready for the tour, so it’s a lot to be excited about.

The timing on that was crazy for me. I was revisiting Cadillactica and getting ready for this interview and then I go to Twitter and I see that this new project dropped and I’m like “Wow, really? And I’m talking to this brother tomorrow.”

[Laughs]

So I had to re-adjust some stuff here and there, but it’s all good. The first thing I wanted to mention was that when I went to see Straight Outta Compton I heard your song “Saturdays=Celebration” in the trailer of ‘Sicario’ and I thought that was a dope look.

No doubt

Now with Cadillactica, I personally like there was a tremendous amount of growth for you as an artist. For both being vulnerable enough to let other producers come in and also some of the content of the album. What would be some of the lessons you would say you’ve learned through the release of that album?

Definitely trying to get out of my comfort zone as an artist. I’m so used to producing for myself, pretty much and kind of really sticking to what I enjoy as far as drum packages and samples and the things that I use. So when I started working on Cadillactica, it was more about me trying to get out of that by working with other producers and using more obscure instruments and just challenging myself even where I was recording. I recorded went to Miami and recorded with Jim Jonsin, I went to LA and recorded a little bit. I was just trying to not be in my house and working so much. Even being able to get in the studio with the producers that I was working with — like being able to work with DJ Dahi and let him create from scratch or being able to get in with Terrace Martin or Raphael Saadiq — by doing that, it freed me up to write a little bit differently. I could dive deeper into Cadillactica. I wanted the album to sound sonically different than anything I had done before that and I tried not to sample so much too. It was only two samples throughout all of Cadillactica, which for me is a remarkable feat because normally I sample so heavy.

I was going to ask you if getting out of your comfort zones was one of your goals coming into that album. It seems like you were able to achieve that.

Definitely. Even with the It’s Better This Way project, it’s really all about becoming comfortable in my space. I’m not really chasing the sound that everybody is on or chasing what people are familiar with on radio, but just kind of finding my own pocket or my own niche and building on it as much as possible. Not doing it all by myself but rather while working with musicians who can bring certain parts to life and make sure that the music moves. When I say that, I mean that normally when you sample, you’re stuck to the grid of the sample because you might use a four to eight bar loop…but when you create original content, you have so much freedom when it comes to the instrumentation — to change things, to make breakdowns. Even the key I sing in and how I write music. It was just easier elaborating the things I come up with in my head or things I sing acapella in a voice note and then you get in with these amazing musicians and you bring these songs to life, they sound more cohesive. There was just a confidence. It may not be your favorite record on the radio or take off like that but over time, people will gravitate to my content and my sound because they know they can’t get it anywhere else.

Would you say that we’ll continue to hear the more polished sound from you as you keep moving forward or was it more of an experimental thing that you wanted to try out and get back to that comfort zone?

I’m going to stick with this. I’m definitely going to stick with where I’m going creatively. Even with the records where we get crunk and we turn up in the club that come from me, I feel that I’m able to put a message in there someway or somehow. For the most part, I really like where I’m going with the music. I like the amount of singing that’s happening and the positive platform and the things that I say in the content. I’ve done so much music throughout my career, it’s been over 270-something songs and records like “Soul Food” and “Hometown Hero” still stand out. I still perform these songs…along with a record like “Mt. Olympus.” I’m just excited to keep this feel and this vibe going musically. It’s just a brighter aspect, because I’m happy with where I am in life and it definitely shows in the music. At the same time, the person I was during ‘Krit Wuz Here‘ isn’t the person I am now as far as experiencing life and I really want to take people on this journey musically so the next album is even going to be crazier, I promise.

I saw that you went to Australia and had a string of shows over there. How was that experience?

It was beautiful. It was amazing. It’s definitely one of those places that make you say “I could vacation here, for real.” We went to Perth, Brisbane, Melbourne and Sydney. Just the response for the music — being able to do songs like “Country Shit” and the people turn up and the people being so aware of my catalog, was mind blowing. It’s exciting to see how far the music has traveled.

I love the project, I listened to it four times the night that it dropped. Great album art as always. There was  a quote from “King Pt. 4” that I wanted to bring up: “Art is art, no matter how you sculpt it, mold it, grow it…only to go unnoticed.” It seems like you’re still carrying a chip on your shoulder, can it get any heavier or has it reached capacity?

I think it can probably get heavier. I’m one of those people where I feel that musically, I still have to prove myself lyrically. It might just be the pressure that I’m putting on myself and I’m always going to go as hard as I can to make sure that quality music is noted and understood and paid attention to. That bar wasn’t just for me. It’s a lot of other artists that I know who are lyrical giants and musicians and those OGs I grew up listening to that didn’t get the respect they deserved or weren’t noticed. That’s why I put that in there, when it comes to art nowadays shock value gets more attention than a really great body of work or great art and that’s sad. When there’s bright lights and shine, people pay attention to that but they aren’t getting anything from it perhaps versus someone digging deep and listening to something you can actually get some substance and some content from.

The “King” series is just me venting about whatever is going on, not only about the state of hip-hop but how I feel as an artist personally. If I can’t tell the world how I feel, then there’s something wrong. Musically, I’ve always been an open book and put out my emotions right there on wax and that’s what “King Pt. 4” was all about. Even with that song, I’m starting to get to a place where I’m understanding that my path is my path and it’s gonna be what it’s gonna be but that’s not going to stop me from always pushing the envelope. I’m always going to go the distance with my music no matter what, even if people aren’t paying attention or giving me a certain kind of shine like they might do with other artists. I’m still going to go as hard as I can musically and give the people that actually do listen to my music quality over quantity.

I like that you can have the balance with songs like “Shakem Off” and “86” and then still come back with a song like “Got Me Thru.” It was a nice surprise to hear the old Ludacris sample and then to have him actually be on the song.

Shoutout to the OG, because the thing is Luda’s super busy and he was able to get me that verse back in the most timely fashion — and he killed it, which made it even better. It was an amazing experience, because the song I sampled (“Catch Up” from Incognegro) was one of my favorite crunk songs growing up. So to be able to sample that and THEN put him on the song was amazing.

You have this thing to your music where you can work with someone like the late, great B.B. King or Raphael Saddiq and then still do a cut with Trinidad James — who I feel is underrated, by the way. But it covers both ends of the spectrum. What do you think it is about your music that allows you to do that?

I think because the art form is music and it’s a painting. You paint what you want on your canvas and as artists when we collaborate on a record, it’s like collaborating on a mural. Trinidad had a really great idea as far as the song he did for the people (“Black Man Pt. 1”) and I appreciate him knowing that I’m the kind of person who likes to paint those kinds of paintings as well and we can collaborate on a song and it turns into what it is. Like you said, Trinidad is not only for the people, but he’s also a very intelligent cat. The music he makes is something that he believes in and he goes off on his own route and in his own lane. I’m actually excited to see the homie get so much shine from doing a song, having it blow up and then it becoming another record that the homie Bruno Mars ended up sampling it and turning it into something else. I think it’s camaraderie at the end of the day. I never told people that I was perfect. In my projects, I’ve always dropped different kinds of vibes on records because I feel as a person I’m like that, I’m human.

Sometimes I wanna grind and get money, sometimes I wanna hit the club, sometimes I just wanna ride around in my car and sometimes I don’t feel like doing any of that and I just want to have a drink and kick it. I feel like I have to put those vibes in my music because us as humans, we all go through those different emotions. I think that’s what my music become — it’s gotten to the point where it’s so relatable, that people understand how I can do certain records because I haven’t pretended to be anything. I’m just myself. When I do these interviews, they see it. They see I’m human and there’s nothing wrong with that. Sometimes there’s this superhuman aspect about being an artist and then get caught up in trying to uphold a persona that you couldn’t possibly uphold because you’re only human. I just never fell into that persona. I was always being myself and always told people about what I dealt with and how I felt about certain situations. I’ve exposed them to what my family was like and what my upbringing was like without feeling like I should have to hide anything. So I feel like when it was time to do a particular record, people just let me do me — and that’s a beautiful thing.

The easiest thing to be is yourself.

Exactly

You really wanted to work with Bobby Womack before he passed. Were there any other legends that are still here with us that you could probably picture yourself collaborating with?

Man, definitely. Al Green. Off the rip. Al Green would definitely be one of these people that I would love to do a song with. And yeah, Bobby Womack was the one and it hurt me when he passed because that was definitely something that I had looked forward to just because of the songs that I had sampled from him. Frankie Beverly & Maze, I would love to do a song with them. Bootsy Collins. I actually tried to get Bootsy Collins on “Mind Control” on Cadillactica but we just ran out of time and it didn’t go through, but I still plan and would love to work with him. George Clinton, it would be amazing to do a song with him. Those are the people off the top right now that I could name. You know the people that are old school that my dad and them played. Ron Isley. I would love to do a project or at least a song with the Isley Brothers. That would be lovely.

And all the people you named, they’re still out here making music. So it’s definitely possible.

I know. Bill Withers. I have to say Bill Withers too. I would love to do a song with Bill Withers.

One of the songs on It’s Better This Way sounds like it might have a Bill Withers sample on it.

Yeah, definitely. I ain’t gonna say which one, but you’re right.

Follow Big K.R.I.T. on Twitter

The post Interview: Big K.R.I.T. Talks Getting Out Of His Comfort Zone, Dream Collaborations, And More appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Tri-state area K.R.I.T. fans are in luck! The “Mt. Olympus” rapper will be hitting the High Line Ballroom on October 28th. Tickets are available here.

October 22nd:  NORFOLK, VA atThe Norva

October 23rd: CHARLOTTE, NC at The Filmore

October 24th: RALEIGH, NC at The Ritz

October 25th: CHARLOTTESVILLE,VA at Jefferson Theatre

October 27th: WASHINGTON, DC at The Howard Theatre

October 28th: NEW YORK, NY at Highline Ballroom

October 29th: PITTSBURGH, PA at Altar Bar

October 30th: CLEVELAND, OH at Grog Shop

November 01: DETROIT, MI at St. Andrews Hall

November 3rd: LANSING, MI at The Loft

November 4th: CHICAGO, IL at The Metro

November 5th : COLUMBUS, OH at Park Street Studio

November 6th:  LOUISVILLE, KY at Mercury

November 7: ST. LOUIS, MO at The Ready Room

November 8th: MINNEAPOLIS, MN at First Avenue

November 10th: LAWRENCE, KS at Granada Theater

November 11th: LINCOLN, NE at Bourbon Street

November 13 | DENVER. CO | Cervantis

November 15th: RENO, NV at Knitting Factory

November 16th: SAN FRANCISCO, CA at Slims

November 17th: LOS ANGELES, CA at The Regent

November 18th: SANTA ANA, CA at The Observatory

November 19th: SAN DIEGO, CA at North Park Theatre

November 24th: HOUSTON,TX at Warehouse Live

November 25th: SAN ANTONIO,TX at Alamo City Music Hall

November 27th: DALLAS,TX at Bomb Factory

November 28th: AUSTIN,TX at Emo’s

November 30th: NEW ORLEANS, LA at House Of Blues

December 1st: BIRMINGHAM, AL at Iron City

December 2nd: TUSCALOOSA,AL at Druid City Music Hall

December 3rd: MEMPHIS, TN at Minglewood Hall

December 4th: MERIDIAN, MS at Temple Theatre

December 5th: JACKSON, MS at Hal & Mal’s

December 6th: MOBILE, AL at Soul Kitchen

December 8th: COLUMBIA,SC at Music Farm

December 9th: ASHEVILLE, NC at The Orange Peel

December 10th: CHARLESTON, SC at Music Farm

December 12th: MACON,GA at Cox Capitol Theatre

December 18th: ATLANTA, GA at Masquerade

The post Big K.R.I.T. to Hit the Road for “Kritically Acclaimed” Tour appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

To say that K.R.I.T was in Jackson, Mississippi  just to do a show is an understatement. The truth is that when K.R.I.T. comes home, it’s a celebration. Originally from Meridian, MS, K.R.I.T’s Pay Attention Tour brought him to Hal & Mal’s bar and venue located in downtown Jackson. The cold wintry air couldn’t keep the loyal fan base from paying attention to the 3rd coast representer. The lined formed around the building in the midst of predicted bad weather, which included black ice and freezing rain. Nevertheless, the show continued and K.R.I.T. performed better than ever. His agenda began with “King Without A Crown,”as he adorned a black snapback with the word “KING.”   K.R.I.T. did something right by taking the crowd back with his underground staples “County Sh*t” from Krit Wuz Here and “Rotation” from R4. The deeply rooted lyricist performed songs from his 2nd studio album, Cadillactica,released at the end of 2014. Making sure his vibe was felt, he brought along his sub while putting his rap skills to test on “Mt. Olympus” and “King of the South.” Multi Alumni artist Big Sant made an appearance on stage to hype the crowd up a notch while  the Atlanta based DJ Dibiase held down the turn tables. K.R.I.T.’s tour served up a delicious plate of soul food for the city of Jackson just to show them that the king was home.

Check out a few photos from the show below. Photos by Robin M. Johnson.

The post Big K.R.I.T. Serves Up A Plate of Soul Food In Jackson, Mississippi appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The post Big K.R.I.T. Performs “Soul Food” on Jimmy Fallon appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Checkout Big K.R.I.T.’s  visuals for “Soul Food” featuring Raphael Saadiq below:

The post New Video: Big K.R.I.T. Feat Raphael Saadiq – “Soul Food” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

“I take you through the life, from the beginning of life, being young and rambunctious in life, getting to that point in life when you start remembering what being young was like and wanting that back. Then getting to that point where you’re like I’m not young anymore, I need to accept that and start tyrna find what’s my purpose now, going from there to finding your purpose and becoming content with what you’ve done,” is how Big K.R.I.T. described his second album Cadillactica in an interview with Elliott Wilson. Needless to say the 17-track is nothing of  the rapper’s description. Each cut has the ability to transport listeners to one or more of those stages, even more so when heard collectively. With that being said, Cadillactica does not fully embody K.R.I.T.’s sample-driven self-produced sound, however longtime fans won’t appreciate it any less because even though those things may be missing on some tracks, K.R.I.T. and his lyrical wonderments aren’t.

Although Cadillactica doesn’t follow the stages outlined above in a direct sense, the first one does. It takes you to the beginning of Cadillactica.

Just by seeing its name one might think that “Kreation (Intro)” is about the creation of Cadillactica, but the 3 minute and 20 second track is about much more. It’s about the creation of life and the happiness and doubt that goes along with it. Doubts about themselves and the world this life would be born into. K.R.I.T. uses the hook to describe describes the need for him and his to be perfect for this life by saying:

“Let’s just take our time/Pretend like we started this/Pretend like we are creation/Pretend like it’s all on us to be perfect/How about, let’s just be perfect/And let us not pretend that we ain’t made in God’s images/Let’s make good on these promises and be perfect/How about let’s be perfect,” Shortly after K.R.I.T. shows that love for this life will be easier to grasp than perfection with these words, “You are the ocean, I am a mountain/When a piece of me falls off in you there’s no way of countin’/The days and times another you and me will arrive/But watch it grow to reach the sky/Emoted to be like you and I/I hope it has your glowing eyes/The light, the dark, I won’t refuse it love/Instead I’ll give it heart/Probably the same color as Mars.”

It would be easy to assume that “Life,” the album’s second track has to do with the life that was just created but it isn’t, at least not directly.  The track serves as a bridge between trying to finding a purpose in life to finding a purpose and being content with it quite well. K.R.I.T.  chronicles feelings of despair, doubt and deceit on this one. But he also let’s us where all that strife has gotten him on the hook.

“My Sub Part 3 (Big Bang)” brings listeners to the stage of being young and rambunctious in life, while at the same time time showcasing how and why his approach to rap came to be. The track has that blast in your car element with its catchy hook, but the way K.R.I.T describes his own music evolution gives even more reason for max volume. Once again K.R.I.T. shows how his ride has helped music shine.

K.R.I.T. shows even more love to his ride on the title track “Cadillactica.” He’s spitting about how dope his car is but his play on words may be even doper. He ends the high energy track with a skit that references how fast food and fast living can be harmful to the body and the soul.

“Soul Food” featuring Raphael Sadiq elaborates on this thought and takes us to the stage of wanting to be young again. Clocking in at around four minutes “Soul Food” doesn’t only question where soul food has gone, it also poses the same question about the soulful.    

On the first verse K.R.I.T. reminisces about his younger days when he lived with grandmother, his track ambitions and the feeling of oblivion that comes with childhood innocence. Food itself becomes a prominent allegory in verse two to describe how our outlooks on life and love have changed.

“Some greens just can’t be cleaned and you can’t wash out the taste/Of rotten fruits/Salted looks and herbs/If it ain’t made with love then it ain’t fit to serve, I heard/Some get bruised and battered/Thrown away half eaten as if their seeds never ever mattered/It ain’t ripe, it ain’t right,” spits K.R.I.T. in regards to what relations seem like nowadays. Directly after that he asks, “What happened to the stay-togethers?/Die with you, and that means forever,” Surely a question pondered by many.

“Pay Attention” featuring Rico Love gives us at least one answer to that question–being overlooked. Being overlooked in love may not be the only focus of “Pay Attention” though. The track may be alluding to K.R.I.T being overlooked in the rap game and how’s that’s quickly changing.

K.R.I.T. follows “Pay Attention” with “King Of The South” were he further asserts his role in the game, especially in the South where Mississippi sits.

“Mind Control” featuring E-40 and Wiz Khalifa finds the three rappers spitting about wooing woman. The hook will likely be stuck in your head, befitting right?

“Stand By (Interlude)” featuring Kenneth Whalum (III) tells the story of a woman woman who had no one to stand by her and ended up in a life of manipulation. “Stand By” reminds us of one important thing, “even the strong need someone to rely on.”

On “Do You Love Me For Real” featuring Mara Hruby brings back the soul feel in embraced in “Soul Food” and zeros back in on K.R.I.T.’s love for his ride. Having his lady on lady on the track shows that its about more than personification.

The fact that “Third Eye” follows it further solidifies that idea. The bass of the beat mimics the sound of a heartbeat and K.R.I.T.’s first words on the track are “My two eyes saw your third eye from across the room, I can see your soul babe, I  think you’re my soul mate,” He goes on to rap about feeling so connected to someone he barely knows, and not feeling weary at all. You can decide which stage this song aligns with, because it might be all of them.

“Mo Better Cool” featuring Bun B, Devin The Dude and Big Saint focuses on what things change with status and what things don’t. “Mo Better Cool” is on Cadillactica to show that having more and being better doesn’t always lead to happiness.

“Angels” is a song about contemplation and being deep in thought. Hence the hook, “I think angels get high/Cause I can’t describe all these clouds in the sky/I think God must have cried/Cause I can’t describe all this rain in my life/I think angels get high.”

Because if they can reach clarity amongst all this clutter they must be on to something.

“Saturdays = Celebrations” featuring Jamie N Commons definitely has to to do with being content with what you’ve done since K.R.I.T, takes on the subject of death. “Saturdays=Celebrations” is the way track two start. K.R.I.T. is reminding us that death isn’t only about sorrow it’s about celebration of life.

“Lost Generation” featuring Lupe Fiasco focuses on the same people who don’t know about a stay-togethers–the lost generation. The bridge represents the voice of this generation with:

“N***a, we ain’t lost/This the b***h I’m a boss generation/(For the lost generation)/N***a, we ain’t lost/This is xans got me nodding off generation/(For the lost generation)/N***a, we ain’t lost/This the puttin’ candy in my cough generation/(For the lost generation)/Nigga, we ain’t lost/You can find me jumping off Porsche in a race.(For the lost generation).”

For KRIT and Fiasco “Lost Generation” is there to show how skewed outlooks on and approaches to life can be.  Fiasco use of satire mixed with K.R.I.T’.s vivid depiction makes for a thought provoking track.

The next track “Mt. Olympus (Reprise)” will leave you thinking about why K.R.I.T. has the name he does. As many of you know he goes hard on this one and shows that he is not only a king that will be remembered in time, but is one that can be both timeless and relevant.

Cadillactica ends with “Lac Lac” featuring ASAP Ferg. The track ends the album in a great way because it hits all the stages and it makes Cadillactica complete.

Cadillactica is definitely a planet worth traveling to.

The post Album Review: Big K.R.I.T. – ‘Cadillactica’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Big K.R.I.T. fans got a special treat last night as the new King of the South gave them an early stream of Cadillactica. Scheduled to be released on November 10th, the album features his newly released single “King Of The South,” as well as “Soul Food” featuring Raphael Saadiqq and “Pay Attention” featuring Rico Love. K.R.I.T. has also gone on tour, touching down in New Orleans, Birmingham, AL and Atlanta, GA. Stream Cadillactica via NPR.org.

The post Check Out the Stream for Big K.R.I.T.’s ‘Cadillactica’ appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.