Big KRIT | Page 3 | Lipstick Alley
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This may include third parties who assist us in identifying which ads to deliver and third parties who deliver the advertisements. So this one, I was like, "I'm free.
I can do exactly what I want to. I've always had a hard time sequencing records because I'd have the trunk-rattling, aggressive car-slab music, and then I'd have a song that was more pertaining to how I was feeling at the time, maybe like "The Vent" or something like that, where it breaks up the entire album.
It's like an abrupt stop sonically on the low, so it was like, "Well, how do I raise people's spirits again? On one album, I could go be super hip-hop, rapper, superhero vibe, and then the Justin Scott side could be how I feel at home.
It could have those elements of, sometimes, the insecurity, the doubt, the depression, the anxiety, but how I keep my faith together in a record like "Mixed Messages," where sometimes we all have confusing messages that we send out. It's a blessing because I think we're at a place where everyone is starting to realize that there's a lot going on in society, a lot of social topics, and the presidential aspect.
There's just so much going on. It gave me the opportunity to speak my truth, and people were ready to embrace it. It's been an amazing journey thus far. When you have that defined split in terms of tone and lyrics, how do you also communicate that duality in the music? Thank God that I actually produce, too, because sonically I could tell off the bat what made more sense. A record like "Drinking Sessions," being so stripped-down and the piano chords and the blues horns, It didn't necessarily sound like hip-hop.
It sounded like something else. Even the intro to "Justin Scott," and I worked with DJ Khalil on that record, and it was important that I didn't rap on it because when I'm at home, as a music lover, I just love soul music, so I play records that I have nothing to do with and just vibe out.
Meet Big K.R.I.T.’s Fly Shea Buttery Boo Mara Hruby [Photos]
I wanted that to kind of show how I listen to music at home. That's what people know me for. But just sonically, "Price of Fame" would not have worked on the "Big K. But it makes so much sense on the "Justin Scott" side because it's more vulnerable.
It's the transparent part of me.
And I've always been this way, but you put that face on, that mask on, to go out in the world and be able to deal with the negativity and to try to embrace positivity. Then, you get back home and deal with all that. There might be one comment while you're at home, and it makes you question everything. When you're putting not just your name as an artist but your name as a person on the album, you're kind of saying, "This represents all of me.
Yeah, just a tad bit because you still leave yourself out there people to be like, "Mm, I don't like that vibe, and mm, I don't like that vibe. I would rather you rap about candy-paint metallic finish and cars," you know what I'm saying?
We don't want to be sad. But I think about a lot of old-school artists. When they were doing these songs, I don't think they were much concerned about what people think about the songs as much as, "I have to tell you about this. I have to speak on this. If people don't get it now, then maybe when they're 40, 50, 60—Lord willing, people still listen to my music—they'll go back and something will resonate with them.
That's what timeless music is. And I have to grow as an artist. Photo courtesy Joshua Kissi If the people who listen to me aren't there yet I understand, and we can relate. But it's also made it easy to do interviews. We have conversations like this, and like a lot of the radio people that I've talked to, they've also gone through depression. The room opens up, and we start having conversations that aren't surface, you know?
It's a beautiful experience, man. Your fans might recognize the connection between the titles of "4eva Is a Mighty Long Time" and several of your past releases, including "Return of 4eva" and "4eva N a Day.
My Night as a Video Vixen with Big K.R.I.T.
Well, all of my albums have a story I'm telling, and I have no idea how it's going to end. Wuz Here" his album even, that idea of more of an alien perspective or a being somewhere, and letting people know that I've been there, I've done this, or I'm a part of this whether you realize it or not.
Then, going to "Return of 4Eva," and that having still more of an outer-space experience to it, trying to take people somewhere. I think some of that comes with me being from Meridian, Mississippi, and sometimes feeling so much like an outsider.
I always felt like I needed to bring people to where I was from and having this more outcast, alien perspective when I do go out, because I know that, "OK. People may not be as familiar with where I'm from or have never been. I've got to take them there. I think outer space is the only place we all look at in awe, the stars and the planets, and there's just this mystery behind it.
Meet Big K.R.I.T.’s Fly Shea Buttery Boo Mara Hruby [Photos] | Bossip
So creating my albums, even "4eva Is a Mighty Long Time," I'm still giving it that space where it fits with "Return of 4eva" and fits with "4eva N a Day," which was the first release where I really showed people that I had two sides—that album cover with the little boy, the church being on the left side and a strip club on the right, the Bible on his left but the bottle on the right, and having to deal with that.
So I've always been putting that in my music. I just think this is the first time I could materialize it with two different albums and really be playing with exactly what the album is about and even show it with the album cover.
I've never been the type of person to put my face on album covers, so this was the first time that I was like, "No, I have to put my face. I have to show the energy and how it's different. What was the experience like having to be both an artist and an executive on this album? These are people that I've been working with for years, and they have a really good understanding of what my vision has always been for my music and how to take it to the next level.
I've been branding Multi sinceright? But it's one of those things where is where we really started, and even when I was signed to Def Jam, I never stopped screaming Multi and never stopped building what that meant. If anything, that was something I had the opportunity to do while signed to a major label was continuously putting my brand at the forefront.