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.
