2 Chainz (feat. Bun B & Big K.R.I.T.) - Pimps (Mixtape, 2011)

never knew a video for this existed. Goddamn, that fucking sax/hook. No, this will not become a 2 Chainz appreciation blog. Yes, K.R.I.T. needs to stop this pimp shit. Yes, this is one of the best Bun verses in recent memory. 

Big K.R.I.T. (feat. 8Ball & MJG & 2 Chainz) - Money On The Floor (Cinematic Music Group/Def Jam, 2011)

I’ve never met Big K.R.I.T. (and my interview with him never happened), but judging him based on interviews and his musical persona alone, dude has gotta be the most kind-hearted rapper I’ve ever seen. Which is why songs like this strip club joint just don’t work for him. I can’t believe Krit’s in the strip jawnt throwing out hundreds in the air; I’m half expecting him to take his jacket off and cover up some poor girl he presumes to be underage, while asking her what she’s doing out so late and where her parents are. I’m not trying to say Krit’s a lame, but look at that dude. Look how warm his smile is (pause). If I saw someone that looked like him in the strip club, I’d probably just fucking run. There’s no reason that man should ever be around some poor girls shaking their titties in public. Dude’s probably going to burn down the club in the name of the Lord. Not saying he’d do that, again, but that’s what would be going through my mind. I wouldn’t even finish my drink. That shit ain’t natural.

8Ball, MJG, and 2 Chainz more than likely live in the strip club though, and that’s why this song works so damn well. K.R.I.T., no matter how awkward his verse is, lays the groundworks for this song with a hypnotic beat, paying tribute to Screw classic, 25 Lighters (the original featuring Lil Keke and Fat Pat).  8Ball manages to be the rapper who picks up the ball (no pun intended?) and runs with it, his husky voice taking the beat to new lengths. MJG is the first to really mention the 25 Lighters theme though, and PIMP TIGHT follows up his big partner’s verse with an intricately laced ode to pole-dancing.

2 Chainz is the standout though, continuing what must be his best year ever with an entire verse built around the number 25. It’s pretty appropriate considering his original moniker probably came from all the nights he spent in the strip club. What the hell is that dude holding though? Everytime I see 2 Chainz, I just get more confused

Big K.R.I.T. - Country Shit (internet, 2010)

I’ve already given my thoughts on K.R.I.T.’s debut album, K.R.I.T. Wuz Here, early on in my blog. I’m still bumping it now, and believe it’s easily one of the best debut projects from an artist in a long while. What made me review this particular track was Pitchfork’s reviewing of it; although I’m not the harshest Pitchfork critic, I am someone who isn’t completely comfortable when they decide to review hip-hop. Their love of crack-rappers and country rappers, to be ironic, often frustrates me. You wouldn’t believe how irritating it is to see someone who listens to nothing but Pitchforkian band listen to Gucci Mane just because Pitchfork started covering him. As someone who has his heart in this rap-shit, the hipster-demograhic that make up Pitchfork are the last people I want covering an emerging artist like Big K.R.I.T., as it’s going to make at least half of his fanbase at this early in his career a bunch of skinny-jean wearing Tom Waits enthusiasts (Tom Waits ftw, btw)

I know noz touched on this in his review of K.R.I.T.’s album, but I’d like to bring it up here; country rap is slowly becoming this generation’s backpack rap. Ever since UGK finally made it to prominence with their double-disc, Underground Kingz, in 2007, critics have slowly discovered this emerging rap scene throughout the South that is, for the most part, stylistically different from the boom-bap street rap they covered in the early Aughts, and electro-hop they covered in the later half. Now critics are wearing “R.I.P. Pimp C” shirts every December 4th, and actually giving a kid named Yelawolf a chance.

K.R.I.T.’s Country Shit isn’t the beginning of this revolution, but it stands out a lot considering it’s nothing more than a free album that was released on the internet with no promotion. I didn’t see them reviewing Smoke DZA’s album, nor have they reviewed anything by similar artist, Curren$y, two cats they probably would have fawned over in the past due to being less organic. Already hipsters have already started checking out K.R.I.T. based on his Pitchfork co-sign alone, and although that’s great for him, I can see this having a negative side effect in his long-term future.