6- Tuesday, November 11, 2014
The Michigan Daily - michigandaily.cam
6- Tuesday, November11, 2014 The Michigan Daily - michigandailycom
Perpetually ascending to the throne: A King Remembered in Time.
Elite Cailci
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K R I T asserts K.R.I.T. provides a unique
5 *third dimension and seems to
s varied talents be a man on a mission to keep
Southern rap alive and well.
on new LP On Cadillacrica, he exceeds
his mandate and solidifies
By NICK BOYD his status as a contemporary
DailyArts Writer rap titan and production
mastermind.
in Scott shouldered a "Let's create" - The album
burden when he chose opens with a woman's voice
age name, Big K.R.I.T. imploring K.R.I.T. to start
making some music (or sex,
nbered A pending your interpretation).
Time), K.R.t.T. protests initially,
three Cadillactica but it doesn't take much
pes prodding for him to concede
two Big K.R.I.T. to the voice. The rapper
S Def Jam then slides into the smooth
it's intro track, aptly dubbed
to argue with his rap "Kreation," and discusses
itials. K.R.I.T.'s new the pursuit of perfection.
, Cadillactica, lands "Kreation" transports the
high expectations, but listener to K.R.I.T.'s retro
ississippi native delivers Cadillac and signals the
ungent Southern, bass- beginning of a strange
subwoofer-tearing auditory journey through
his listeners have the annals of Southern rap.
accustomed to while It's clear from the beginning
aneously pushing his that K.R.I.T. won't conform
i boundaries. to any mainstream standards.
album draws from Throughout the album, he
5,anging from gospel stays true to. himself and
blpes, and featpo produce ,an artistically
s from Wiz Khalifa honest narrative.
$AP Ferg, providing Whereas "Kreation" puts
deal lyrical platform you in K.R.I.T.'s Cadillac, the
upporting cast for the album's third track, "My Sub
King. In a rap climate Pt. 3," threatens to blow a hole
singly dominated by in the trunk. You can't listen
unds of TDE and OVO, to this song without a fat-
ass subwoofer because
speakers won't regist
sounds aside from the
This track feels good i
ear holes, but may
your rib cage. And yes
really is the third song
titled "My Sub." Big K
has been paying h
to the subwoofer sin
second mix tape, Ret
4eva, which feature
track "My Sub." "M
Pt. 2" can be located
previous album, Live Fr
Underground. At this r:
will probably end up wi
Sub Pt.15."
Many tracks off Cadi
were released prior,
album, including "Soul
"Pay Attention" and
Lac." Although listener
already had the opportu
enjoy these songs, they
standouts on the album
Food," featuring R
Saadiq, employs a
gospel hook and a;
guitar loop that exen
K.RI.T.'s individuality
the rap world and willi
to bridge gaps across!
"Pay Attention," fey
Rico Love, begins slow
introspectively but bu
an intense chorus that s
song apart. "Lac Lac," fe
A$AP Ferg, closes o
album and is one of K.
all-time smoothest track
"Mind Control," the eighth
track off the album, features
Wiz Khalifa and E-40. A
slap bass line fit for Outkast
establishes the tone of the
song and creates a retro vibe
that epitomizes the album.
Don't worry, Wiz doesn't miss
his chance to drop a signature
verse, covering subject matter
from "Lobster bisque" to
"Money, clothes, hoes, weed
smoke." I guess it's the simple
things in life. Other prominent
features include Lupe Fiasco
on "Lost Generation." K.R.I.T.
and Lupe seem an unlikely
pairing, but they combine to
make this the second best
track from the album. Lupe
and K.R.I.T. seamlessly
exchange verses and both
rappers are at their respective
OEFJAM bests on the track.
The standout track from
Cadillactica is undoubtedly
' "Do You Love Me for Real."
The track features relatively
unknown singer Mara Hruby,
from Oakland, California, but
she nearly steals the show
other in her role singing the hook.
er any However, K.R.I.T. deserves
lyrics. credit for a compositional
n your masterpiece. The production
shatter of this track synthesizes a
- this downtempo beat and Hruby's
he has soulful vocals, providing
.R.I.T. Big K.R.I.T. the most
omage transcendent platform on
ce his the entire album. The song
urn of combines R&B and hip hop
d the in the perfect ratio, making
y Sub it one of the best rap songs
on his of the past year. Remember
om the the name Mara Hruby - she
ate, we may be a queen remembered
th "My in time.
Two summers ago,
llactica Kendrick Lamar called out
to the Big K.R.I.T. on his verse
Food," in Big Sean's "Control." On
"Lac Cadillactica, K.R.I.T. shows
s have the world why Lamar had his
nity to eyes on the Southern rapper
remain and proves he deserves to be
. "Soul numbered among today's rap
aphael elite. Beyond that, K.R.I.T.
bluesy shows that even among
soulful such esteemed company,
plifies he is unique - his ability to
within produce visionary beats and
ngness pay tribute to multiple genres
genres. while, maintaining a cohesive
aturing sound transprts him close
ly and to the pinnacle of today's rap
ilds to landscape. He may not have the
ets this same name recognition or pop
aturing sound of some of his peers, but
ut the he has exceptional talent and
R.IT.'s may prove to truly be a King
s. Remembered in Time.
I
Dancing
the- blues
away
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n the opening-credits
scene of 2014's most
popular blockbuster
film, "Guardians of the Gal-
axy," the lonely figure of
Peter Quill
(Chris Pratt)
is seen
traversing
a rocky,
desolate
planet. Typ-
ical-action-
movie-score ADAM
strings THEISEN
swell in the
background
as Quill arrives at some
abandoned ruins. Enter-
ing the dilapidated monu-
ment, the camera focuses on
Quill's face, but the clichdd
music dies out. Quill fills the
silence by putting on a pair
of cheap-looking headphones
and hitting play on his Walk-
man.
Suddenly, unexpectedly,
Redbone's long-forgotten
1974 hit "Come and Get Your
Love" is playing, and Quill
is dancing among the wreck-
age. Like an intergalactic
Michael Jackson, he struts
along his path, spinning
around as he sings the song's
gleeful refrain into a micro-
phone that also happens to
be a small alien life form.
While lesser movies would've
likely picked your typi-
cal heroic instrumental to
accompany Quill's trek to his
mystical orb, director James
Gunn chose an upbeat '70s
jam and created an unforget-
table gete. ;
Too often whyen I' lis-
tening to music, I'll try to
pick songs from my iPod or
Spotify favorites that per-
fectly fit my current mood.
When I'm angry, I'll listen to
Minor Threat; when I'm fun,
Motown; when I need to con-
centrate on homework,Miles
Davis.
For the most part, there's
nothing wrong with this
strategy, but sometimes it
means I'll end up in a bad
mood and won't listen to
anything but the sorrow-
ful voices of Nick Drake or
Elliott Smith. I love those
guys, but I'm not always
looking for them to prolong
my mood - instead, I want
something that'll jumpstart
me out of it.
The other day I was lis-
tening to melancholy music
while walking to a class I
was dreading on a gloomy,
overcast day. Sprinkles start
hitting my glasses and finally
I decide that I'm just done
with this crap. So, inspired
by "Guardians," I switch
off my slow, sad ballad and
turn on "Come and Get Your
Love."
It was perfect. The
methodical bounciness of
the opening bass line, joined
quickly by the guitar, was
mimicked by the bounce in
my step. I was smiling and
trying my best to keep my
body from noticeably copy-
ing Chris Pratt's moves as I
swaggered my way down the
rainy streets of Ann Arbor.
In the 40 seconds it took
to get to the "Come and get
your looooo-hove!" chorus,
my mood had completely
changed. Sometimes, I real-
ized, I don't need to be stuck
in an unpleasant mood, and
I can use music to get me out
of it.
Naturally, I've been try-
ing to find other songs that
recreate this feeling - songs
that won't necessarily cure
all of my worries, but ones
that will at least help reori-
ent my mood on gloomy days.
The first obvious choice
was Three Dog Night's "Joy
to the World." The song's lyr-
ics are easy to laugh off but
impossible to forget. Singer
Hoyt Axton screams the first
line ("Jeremiah was a bull-
frog!") with such elation and
import that he sounds like
a scientist who's discovered
the missing piece of his life's
work. The guitars sound
much like they do on "Come
and Get Your Love," and the
chorus is just as easy to sing
along to. Even if you've never
heard the song before, you'll
be bobbing your head and
mouthing "joy to the fishes
in the deep blue sea/joy to
you and me" by the two-min-
ute mark.
It's not just your dad's
classic rock hits that have
this effect, though. Kend-
rick Lamar's "i" is a recent
example of life-affirming,
impossible-to-deny music
that obliterates all sadness.
(The assist from The Isley
Brothers is certainly the key
here - hip-hop producers
can almost never go wrong
when they sample old-school
soul.) UGK and Outkast's
"Int'l Players Anthem (I
Choose You)" is another one.
Andr 3000's verse always
hits me like a dive into a pool
on a 100-degree day.
We want The
Supremes and
Prince. We want
'500 Miles.
Rock songs with an edge
can have that "it" factpar,.
too, "Sheena is a y, Rpk-
er" by The Ramones also
soundtracks the beginning of
"Rock 'n' Roll High School,"
one of my favorite opening-
credits scenes of all-time.
Riff Randell plays the song
on her school's PA and the
entire school gets up and
dances. The song's effect on
young people is only slightly
overstated in the film.
So I've been trying to fig-
ure out what the common
denominator is. What, spe-
cifically, do these songs have
that make them such great
pick-me-ups? It certainly
isn't the case that every
popular, catchy song is a
perfect antidote to the blues.
Britney Spears, for example,
is great, but she doesn't get
me moving and smiling the
way that "Shake It Off" or
MKTO's "Classic" do. There's
something too stilted about
Spears's early work, and
something too grimy about
the later work - like she's
more under the control of
her producers than the song.
"Shake It Off" and "Classic"
have ingenious melodies, but
they also sound so effort-
less, like they just came to
their creators suddenly one
moment in the studio.
While I suppose it's pos-
sible that some people hate
Taylor Swift and get out
of their chairs for Britney,
my experiences with large,
diverse group events (like
weddings or sporting events)
tells me that there's a specific
subset of fun-filled songs
that connect generations and
improve everyone's mood.
And I think it comes down
to relaxation. When we're
stressed out and need to
loosen up, or even when we're
not and just want to dance
and sing, we want songs that
reflect that. We want people
who make it look easy. We
want The Supremes and
Prince. We want "500 Miles"
and "Sweet Caroline." If
we're going to shed our wor-
ries and boogie like we're on
an abandoned planet, we need
artists who are trying to do
the same.
Theisen is using a small aen
life form as a microphone. To join
him, e-mail ajtheis@umich.edu.
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