Big K.R.I.T. Cadillactica Review

Big K.R.I.T. - Cadillactica Review

     28 year old Meridian, Miss. native and Def Jam signee Big K.R.I.T. is in an interesting position in his career. After a string of critically acclaimed mix tapes (2010's K.R.I.T. Wuz Here, 2011's Return of 4eva, and 2012's 4eva N a Day) his 2012 debut Live From The Underground while also acclaimed (anyone who has an ear should check out "Praying Man" a collaboration with blues legend B.B. King), performed to underwhelming sales. Despite the LP being released with little to no promotion it was enough to keep K.R.I.T.'s musical integrity intact. Fast forward a year later and K.R.I.T. became a named recipient to Kendrick Lamar's wrath on "Control". While others felt threatened with the verse (Drake anyone?) K.R.I.T. got much needed exposure that put him back into the "new generation" conversation, and then responded with "Mt. Olympus" displaying his gift of gab on the microphone. Now in 2014 K.R.I.T. is releasing is sophomore offering Cadillactica to maintain critical success, gain commercial exposure, represent the south with dignity, and carve his own lain in hip hop . . .whew!

     The album title is a reflection of a made up abstract planet held within K.R.I.T.'s own mind. 

It also serves as a prelude backstory to the cadillac that is shown on the cover to Live From The Underground. Starting off with the intro "Kreation" K.R.I.T. is in a conversation with singer (and real life girlfriend) Mara Hruby. She whispers "Let's Create" then K.R.I.T. goes into spoken word about being perfect and taking your time. As the baseline hits, you feel the soulful background reminiscent of early Outkast albums. This along with the Zapp inspired synthesizers in the midst of the record makes for a smooth intro, leading into "Life" the second track produced by K.R.I.T. himself. The drum and base heavy song finds K.R.I.T. finding who he is lyrically as an artist starting off with a somber then more forceful rhyming tone as the song progresses.

     "My Sub Pt. 3 (Bang Bang)" is similar to the previous songs in the trilogy of the same title: 808 heavy, and meant for stunting in your ...well cadillac. While not navy in substance it is trunk rattling music at its best. The same can be said for the albums' title track. Unlike the previous records, DJ Dahi handles the boards on this one and you  can feel the difference. K.R.I.T.'s delivery is more polished due to not having to pull double duty, producing and rapping. 

     If you want storytelling and substance, this album is for you just for the purpose of "Soul Food" a collaboration with Raphael Saadiq whom also produces the tune. Using soul food as a metaphor for nostalgic memories in life, K.R.I.T. hits home with the lines "What happened to the stay togethers/ Yeah I'm Witcha and that means forever/Grandparents had that kinda bond/But now we on some other shit/Naw we ain't got no rubbers here/I know she creeping so it ain't my son/Apples fall off of trees and roll down hills/We can't play games no more 'cause we got bills/Back in the day the yard was oh so filled/Now we can't come around here". Displaying Saadiq's voice for the chorus gives the sentimental song a big feel. So does "Pay Attention" which features Rico Love lamenting about paying more attention to his lady, while K.R.I.T. raps about a stripper nonetheless that he wants to pay attention to. Jim Jonsin produces this, and gives the song that commerce spice that K.R.I.T. has been in need of while still keeping in tune with the soulful sound of the album, and K.R.I.T.'s fan base satisfied alike.

     "King of the South" is another 808 heavy record, showcasing K.R.I.T.'s confidence as an MC (no shots to T.I. don't worry), and braggadocio force on the mic. Steering course however K.R.I.T. does a duet with Mara Hruby, slowing down the speed of the album into a jazz and blues song, where K.R.I.T. sings with Hruby's jazzy  vocals crooning "Do You Love Me For Real". The shocking part is that K.R.I.T. actually sounds good on this ( I mean Andre 3000 singing good). The song has single potential, and can be sped up with a remix if anyone tries it. Tracks like "Third Eye" and "Angels" contribute to the crooning, but brings in a nice mic of gangsta and soul, fusing a concoction of country sweet tea for the ears.

     Collaborations on the album are not of abundance and in fact makes since, like the smooth "Mo Better Cool, which features Devin the Dude, Bun B, and label mate Big Sant. Also "Mind Control" is good on the ears, even though E-40 and Wiz Khalifa aren't necessarily needed.

     The record that will bring K.R.I.T. to stadium status however is the blues/rock inspired "Saturdays=Celebration" with Blues/Rock musician Jamie N Commons. Sounding urgent in tone, K.R.I.T. raps about being strong and fighting resilience to doubters that may come in life. Tribal Drums in the choir filled background will get the listeners marching, a sound needed in times today filled with issues such as the Ferguson crisis. Ending the album is the clever wordplay between Big K.R.I.T. and Lupe Fiasco with "Lost Generation". In fact Lupe's sarcasm bars is enough to check the song out.

     If Big K.R.I.T. wanted to silence doubters after the performance of his debut and that"Control" verse: he does. If commercial success is a worry: the alum has enough singles for the radio to play. If K.R.I.T. die hard fans want true hip-hop: The album is that. Don't sleep on planet Cadillactica.

Teyana Taylor 'VII' Review

   

If the title of your album is VII it would seem like this is your seventh LP being released doesn't it? In the case of Harlem born Teyana Taylor, it represents the years spent in the music industry prior to her now released debut VII (G.O.O.D./Def Jam). While this may seem like a long time to release a project, the patience shows throughout, as Teyana Taylor has perfected her voice in a way that shows promise in the future.
     The album opens up to a jazzy interlude "Outta My League", as Taylor finds a man that she feels she doesn't deserve. "Just Different" takes on a different approach in subject matter, but still keeps the jazz feel. Matter of a fact, the song even brings to mind early Mary J Blige in mood. "Still love in my heart/It's not the same/It's just different" sung as a woman who is tired of a relationship that once blossomed. The next track"Request" is seductive at best, as Taylor wants that special someone to request the role she should play in bed. Once again her vocal tone is so smooth that it's convincing as autobiographical (maybe it is?)
     The highlights of the album takes shape with "Do Not Disturb" a duet with Chris Brown. The drums along with the accompanying melody screams sex, and is sure to be a quiet storm favorite in the current playlist of radio rotation. As often as R&B artists try to submit to hip-hop beats, this is rather refreshing. The same can be said of "Broken Hearted Girl" which features fellow Def Jam artist Fabolous.
     "Put Your ove On" takes a backseat to the albums smooth feel, to bring in reggae influenced vibes that can give Rihanna a run for her money. Even as the 808's make you bounce to the groove, Teyana Taylor keeps her smooth vocals in tact with the previous album. This leads into the lead single "Maybe" (which should be a bigger hit) merging seduction and melody perfectly.
     Perhaps the biggest flaw of the album is its length. The project is only over a half hour long, and certain songs are cut short. In fact the previously mentioned "Just Different" and another "It Could Just Be Love" serve as interludes, whereas the full songs appear on the deluxe edition of the album. Who knows what the point of that is, but ridiculous comes to mind. Elsewhere the song "Dreams" adds to the album cohesiveness, but one cannot help to prefer the leaked altered version that was released last month online "Dreams of F*****g An R&B Chick".
     Give credit to Kanye West who oversaw VII for the cohesive effort, and while not a perfect album, Taylor shows promise as a singer, and will be a mainstay if the emotion that she poured into this LP is only the beginning of her artistry.

Theophilus London 'Vibes' Album Review

     There is something to be said about the 27 year old Trinidadian born artist Theophilus London. He has put out an album Vibes (Warner Bros.) that is both innovative and party-worthy, captured the attention of one of the greatest artists of the current generation Kanye West, as well as fashion icons such as Karl Lagerfeld, and is still very underrated.
     Vibes may put an end to that and bring in more eyes (and ears) to London's artistry. Appropriately titled, the album forces the listener into various feelings and rhythms to get you moving across the dance floor. More importantly it brings about a feeling of emotion that goes along to your rhythm while listening to the project. Then again, that is what vibrations is isn't it? Defined as a continuous shaking movement, vibrations is just what Theophilus London was hoping for.
     Essentially considered a rapper, London croons the introduction track "Water Me", the synthesizers and keyboards in the background lead into the smooth drums while London sings "Water me, and I will grow". Helping with the vocals and keys is none other than legendary artist and keyboardist Leon Ware (Marvin Gaye's I Want You). If this is the type of artist you start an album off with, you're in for some jamming.
     Tracks such as the "Neu Law" and "Take and Look" follow the same pattern of London's crooning throughout, but via more percussion heavy sound beds , especially on the latter song. "Take and Look" gives on an eerie feeling reminiscent of a blaxploitation horror film with a soundtrack that forces you to boogie. London's rapping doesn't start until "Can't Stop", his collaboration with Kanye West. West starts off the record rhyming braggadocio lines that take you back to his College Dropout days. London goes into the second verse with a much smoother flow that compliments the track, talking about his lady and there definition of a chill time.
     As a woman whisper's the word vibes in a man's ear (i guess?), "Get Me Right" starts along with a heavy bass that flows a groove that allows London to flex his skills at rhyme, while still getting u to "vibe in the groove" as he says in the song. "Heartbreaker" is anything but, mixing ddm, with Prince inspired vocals that that will drive an old man to breakdance.
     Storytelling trumps the feeling on "Do Girls" about a girl who only "do girls" but makes the exception with a "player like" London. The girl even confides in a friend about the issue in a phone convo (in the middle of the song).
     The album closes with "Figure It Out" a much slower feel to a mostly upbeat album. The song takes you back to 80's slow jams (it should, I mean Force M.D.'s are singing on it). If vibrations brings about a movement, then this will slow things down...in a good way.
     Vibes will surely be a staple in upscale clubs and fashion shows throughout the next year, and if any music listener wants to listen to an album that they can vibe to, Theophilus London has one for you.