When I review albums, I'll be using the format used at Hip Hop Isn't Dead. Go there often. It's a great site, and as you can tell, a big inspiration for this blog. S/O to Max. Additionally, since this review was constructed with getting it published on HHID in mind, there are references that will only really make sense to regular readers over there. Sorry in advance.
Justin Scott, know across numerous blogs as Big K.R.I.T. (King Remembered in Time), has released a couple of high profile street albums or mixtapes. Never quite sure on the difference. Anyways, I sat down tonight with the intention of puzzling over his second big release, “Return of 4eva”, to see if it stacked up against the previous “K.R.I.T. Wuz Here”. I’ve listened to both mixstreetalbums several times and I’m a fan of both, so know that I hold a positive bias on this guy before you read. Now, in the infamous words of Captain Tenneal, “Get it on!”.
1. R4 Intro – Starts off with boisterous horns and a solid bass before live drums kick in as Big K.R.I.T. describes the preview to the show, which is very fitting for an intro. It has the ring of a concept album, but let me reassure you that it’s nowhere near as contrived of a theme before Max cuts someone with a Wu vinyl. The fanfare comes back before the track cuts to an alarm clock and somebody yelling for Krit to wake up so he can start producing. Disappointing but it leads into…
2. Rise and Shine – …a very soft yet purposeful backing featuring flute and guitar with some modern boom bap as Krit spits some positivity and life lessons. K.R.I.T.’s accent is more Southern than most and he really bends (read: mangles) some words, either by default or for the sake of the rhyme.
3. R4 Theme Song – R4, standing for “Return of 4eva” if you haven’t cottoned on to that by now. In addition to being one of the new potentially great rappers in my opinion (and they’re all broken down geographically: J. Cole has the Easy, Freddie Gibbs and/or XV has the Midwest, Kendrick Lamar has the West and Krizzle is steady laying claim to the Dirty Dirty. How convenient. Naturally I expect disagreement, but don’t use the comment section to bitch about that. Send me a tweet [@Will_StL] or something and we’ll talk), K.R.I.T. is a hell of a producer.
4. Dreamin’ – One of the first singles to come forward from the murk of this project, “Dreamin’” finds Krit utilizing a guitar loop from … as well as a vocal sample about dreaming to great effect. This beat was one of the main reasons I was so excited about this; I sincerely think Krit is one of the most talented producers of his generation. BK rhymes about his journey to his current plateau of critical success: “Just know that I was once considered just a dreamer/but I paid my dues and turned so many doubters to believers”. A very relaxing and uplifting song, and one of the album’s best.
5. Rotation – In keeping with southern tradition, there are a few songs designed to be played loudly whilst one cruises his or her neighborhood. The drums are pretty standard save for the fill sample every 8 bars or so. The melody sounds like sunshine and the lyrics are above average braggadocio. Add that to a pretty good, albeit clichéd, hook and you have a very nice song.
6. My Sub – And the second track for ridin’ comes right after the other. If you’re looking for deep lyrics, you won’t find them in this sequence of the album as the drums are simplistic and the melody is predictable. This song is alright but it’s really only enjoyable at parties or while driving to work in your Ford Taurus.
7. Sookie Now (feat. David Banner) – These last three tracks are a little depressing given what Krit has done lyrically in the past, but at least the beat on this one has a little more complexity and drive to it. I’ve never been a big fan of David Banner (I’ve never had the luxury of a Chevy with butterfly doors, to be fair). Maybe it’s because I’m from St. Louis, maybe it’s something else but the traditional southern pattern of 8th note hi hats coupled with bland snares/claps and bass hits never really does it for me. Next time I’m down south I’ll snap into a Slim Jim and give it another shot, I guess. The “Mad Men” sample at the end was neat though.
8. American Rapstar – K.R.I.T. goes back to commentary of hip-hop here, and I think he sounds more impassioned and comfortable here as opposed to, uh, “Sookie Now”. (what the fuck is a sookie?) This is the other single, and it’s companion and BFF “Dreamin’” go hand in hand as BK does his best to detail the struggles and experiences of living and trying to make it as a rapper. He’s really good at utilizing vocal samples and this is one of the best examples of that.
9. Highs & Lows – I really like this song now. It’s a fusion of Krizzle’s pimpin’ mentality and his refreshing honesty, and it really works well on this song in my opinion. The “rapper singing his own chorus” is such a risky tactic because of how hit-or-miss it is but it works well here, with Krit earning bonus points for comparing the game to a mixing board. He’s actually a decent singer and manages to add a little to the song unlike Eminem, who’s squeaking warbling usually makes me throw shit at whoever’s closest to me. You’ll be in for a pleasant surprise at 3:00 as Krit flexes his versatility muscle.
10. Shake It (feat. Joi) – More singing, and I’ll be honest, it sounds a little contrived here. The sleigh bells are surprisingly inoffensive here as K.R.I.T. experiments with a new flow. This song keeps my interest mainly because of the contrast of played out song material and unique decisions in the songs production and execution. Joi seems to do backing vocals on the hook and that’s about it. This wasn’t bad, and to be honest, it could’ve been a lot worse. EDIT: Spoke too soon, both parties sing a lot more towards the end of the song, but it doesn’t make or break the song.
11. Made Alot (feat. Big Sant) – I really wish there was a typo and we had a feature from someone named Big Santa but alas, it’s merely K.R.I.T’s label mate and smoking buddy. K.R.I.T. doesn’t do anything exceptional with his rhymes but he manages to sound interested enough to make this song worth listening to. The beat is the star here, with a plinking piano and more vocal samples. Sant kinda sucks but he does sound swagged out, and I guess in some circles that’s all that matters. K.R.I.T. ends the song on a high note with his mini verse.
12. Lions and Lambs – The beat for this song sounds like a calmer, modernized version of OutKast’s “Babylon”, although I’m probably not the first person to say that. I don’t know if this is a legitimate grievance but it seems like when artists have a strange accent they’re automatically allowed a lot more leeway with rhyming and the like. Krit sounds smooth and sincere, and the beat is mellow as fuck; if you can’t tell, I really like this song.
13. King’s Blues – It’s becoming a pattern for K.R.I.T. to start with his choruses and rhyme later; not sure how I feel about it on a technical level but it’s an interesting change of pace from the traditional method. Drums are the same they’ve been throughout the album, while a distorted guitar wends it’s way across time signatures as Justin lays claim to his throne. Humility is certainly still dead in our chosen genre. The saxophone that showed up late to the party was a nice touch.
14. Time Machine (feat. Chamillionaire) – Pardon the ignorance of my view of Chamillionaire as David Banner with a dorkier name. This song is more formulaic than I’m used to hearing from K.R.I.T. but whatever. Krit calls for the good ol’ days of his youth (although when you compare this to one of his earlier songs entitled “Neva Go Back” you have to wonder what happened to him between recording the two releases. This song really drags along but he somehow maintains his enthusiasm long enough for Chamillionaire to stumble into the booth and rap about nothing for about 45 seconds which is just about the same amount of time it took to make out his check. I like this song one day and can’t deal with it the next.
15. Get Right – “This is just an anthem for the players”. Now that you know that you can save this for parties. Something in my dorm was broken every time I heard the phrase “Party like it’s 1999”. That and rhyming anything with “rock of Gibraltar” should be retired. Violation of this law will result in a penalty: A fine if the judge is merciful and recording an EP with Waka Flocka if he has absolutely no soul. The first half of the hook is catchy as fuck which makes me wonder why K.R.I.T. let his weed carriers finish off the rest of the refrain.
16. Amtrak – If Krizzle used live drums in his songs to the effect of Ant from Atmosphere or Black Milk (Detroit, or Random Axe I guess). The phrase “Yeah, bitch, I know you hear the train coming” made me pause for a second. The bassline is pretty fat but it’s about the only thing I remember from this song.
17. Players Ballad (feat. Raheem Devaughn) – I wonder if Radio Raheem speaks in melodic chords. Probably. This is probably at least partially a nod to Kast’s “Player’s Ball” and mostly an ode to the southern belles that apparently reside on and around K.R.I.T.’s bed. For as soft as this song is, it moves at a quick clip. Very nicely done, Mr. Scott.
18. Another Naïve Individual Glorifying Greed and Encouraging Racism – If you can read, you can spell. K.R.I.T.’s lays down some of his deeper lyrics on one of his more pleasant beats. The trumpet that makes an appearance in the chorus is nearly perfect in the opinion of this music nerd. I’m not black but I can appreciate the meaning of this track even if I’ll never really understand the full impact of the word. Great song.
19. Free My Soul – This beat is sleepier than Charles Hamilton’s voice. K.R.I.T. starts it off by singing about how he’s afraid his accomplishments won’t measure up. The more songs he makes the more I unwillingly think of him as the southern Common. Not much, but enough to stick around and whisper “socially conscious” ad nauseum.
20. The Vent – If you haven’t ever seen Nyle’s “Let the Beat Build Video”, do so. Then listen to this song a few times. Those are some of the best recent examples I can provide of how to build a mood throughout the course of a song. This is easily the most personal song on the album and it’s one of the most beautiful lyrically. I don’t usually use that word but it’s too applicable to pass up on this occasion. It’s a bit lengthy, clocking it at 5:20, but it’s the most introspective and somber five minutes and twenty seconds of my day whenever I listen to it. Best song on the album.
21. Country Shit (Remix) [feat. Ludacris and Bun B] – And just like that the mood is murdered in it’s sleep. I’ve never understood the Luda hype. Cultural thing I suppose, although the Bun B is consistent and the beat is nice. Also wins the award for “What the fuck did he just say?” the first time I heard the chorus. Great song if you’re the mood to go ham, bad song for bedtime stories.
So class, today we looked inside the mind of one Justin Scott, stylized as Big K.R.I.T. for giggles, and learned that indeed, the South got something to say. I’m probably higher on Krit than most of y’all two, but most people I’ve introduced to him like him to some degree.
Buy or Burn: It’s a free album, you lucky son of a bitch.
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