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Is his newest effort a classic?
Big Krit is a rapper that doesn't get spoken enough about when we mention the upper-echelon of rap. After numerous albums, the tone of his newest album is clear: he will not be denied anymore. Is his newest effort a classic? Or just very good? Have a listen, read on, and determine that for yourself.
1.) (Intro) “Big Krit”- “I know 4eva is a mighty long time where should I begin?” This intro feels epic and extravagant. Big Krit delivers a spoken word poem in the beginning, but then the beat drops and he starts swinging like he’s outnumbered in street brawl. This is one of the best intros I’ve heard all year.
2.) “Confetti”- When Krit first dropped this track, I wasn’t crazy about it. But after hearing the intro, this song is a good transition. It’s good sequencing. Big Krit has been underrated for years now, but this album might bring him more exposure. Especially since southern rappers are on top of Hip-Hop right now.
3.) “Big Bank” ft. T.I.- The energy on this track is contagious. The snare hits so hard over this soulful loop that this track feels like a landmine. And of course, T.I. and Krit explode on this track.
4.) “Subenstein (My Sub IV)- This is a track for everyone who loves to bump their music as loud as humanly possible. Krit brags about his car’s speakers. What’s that? You’re mad that your house is shaking? Well, too bad! Either blast this song, or some stranger will pull up beside you in traffic and do it for you!
5.) “1999” ft. Lloyd- Lloyd is silky-smooth on the hook. But seriously, how come everyone has to rip off Juvenille’s “Back that Azz Up”? First Drake does it on “Practice,” and now this? I’m getting tired of this trend in Hip-Hop where artists are interpolating 90s hits into their records. It only makes so called “Old Heads” endorse the past even more. It was a great era for hip-hop, but those sounds need to stay in the 90s. Otherwise the nostalgia that this period invokes won’t let hip-hop evolve.
6.) “Ride Wit Me” ft. UGK- These names alongside one another makes me think back to Krit’s “Live From The Underground” album. Rest in peace to Pimp C. UGK compliments Krit’s style well. But Krit’s flow and bravado on this… geez. You definitely have to ride to this joint.
7.) “Get Up 2 Come Down” ft. Ceelo Green & Sleepy Brown- Krit is influenced by and a product of his predecessors: Outkast, Pimp C, and UGK. His delivery is reminiscent of Big Boi at times on this track. This is a great collaboration that’s filled with yearning and soulful eloquence.
8.) “Layup”- Add this to your smoke playlist, and let this track soothe you as you spark up. It’s downtempo, atmospheric, and incredibly catchy.
9.) “Classic Interlude”- Krit seems to be very self-aware. These are the voices of his haters, and his biggest fans who will call this a “classic”. It’s brief and funny, but I wish he hadn’t put this on the album. He should feel like his work is “classic”; but it also sets the bar very high.
10.) “Aux Cord”- Rapping about all of the music other than rap that has influenced his sound, and that he enjoyed. This is dope. I’m not crazy about it, but it’s very clever.
11.) “Get Away”- “Sleepy people”... I like the Kanye-esque sample on the intro. Krit brings the bars on this one like, “I come from where you whip it out the pot till it’s twerking”. BARS.
12.) “Justin Scott”- Krit is mega talented. People don’t talk about him enough when we discuss top-tier rappers in the game. He’s also one of the game’s best producers though. This soulful, organic arrangement is proof. He doesn’t rap once. While I enjoy this track, it didn’t need to be four minutes long. It’s borderline filler content.
13.) “Mixed Messages”- Krit is in his head on this one. He plays with contradictions that he and the average person make. The hook is incredibly catchy; not to mention the writing is thematic and cohesive.
14.) “Keep the Devil Off”- This is a funky gospel track; I can almost envision Krit preaching to the choir as a woman catches the holy ghost and cries out, “yes lawwwwd!” I probably won’t be revisiting this often, but I appreciate it.
15.) “Miss Georgia Fornia” ft. Joi- I’m getting Outkast “Roses” or “Ms. Jackson” vibes. The bluesy piano and hook are enough to make one sing along. Krit unleashes his inner Andre 3000 and Big Boi and it sounds gorgeous.
16.) “Everlasting”- This is a song I could see Wale attempting after he slaps on a spoken word poem for the intro. I’m glad this is Krit’s track though. I love the beatboxing around the third quarter of this song. This track is flawless.
17.) “Higher Calling” ft. Jill Scott- Nice soulful, funky groove. These last three tracks are about women. And it’s not the generic, “I fucked on your bitch and then ______ (insert something you did after). This album could’ve ended a few songs ago and it would still be a success.
18.) “Weekend interlude”- This is a funny short break. Nothing to revisit though.
19.) “Price Of Fame”- At this point, the album starts to wind down. Krit gets up close and personal about his celebrity. “I did without until I did within”- BARS. There’s talk about “pills on the dresser,” depression, and desperate relatives that try to milk you like a cash cow.
20.) “Drinking Sessions” ft. Keyon Harrold- Krit confronts alcoholism. It’s like going to the bar with Krit and listening to his frustrations. It’s incredibly transparent and introspective.
21.) “The Light” ft. Bilal, Robert Glasper Jr., Kenneth Whalum, and Burnis Earl Travis II- This track is incredibly jazzy. It’s Krit at his most political. In light of racial tensions in this country, this southern rapper’s perspective is valuable.
22.) “Bury Me In Gold”- “I got a goal to be golden like King Tut”. I love the repetition of “gold”. This track channels gospel vibes. I don’t find this outro as impressive as the intro, but it’s a nice way to conclude the album.
This is one of Big Krit’s best projects, and easily one of the best rap releases this year. There’s flawless production, cinematic writing, and great sequencing. Krit has always been a talented artist, but he pushed his sound further. I’m not crazy about every single song, but there’s more than enough to at least appreciate. At twenty tracks, it feels bloated at times; but there’s lots to revisit. 4eva is a Might Long Time is a southern rap jewel. Overall, A-.