The Soul of the Modern South: Big K.R.I.T Eternally Makes His Mark with ‘4 Eva Is a Mighty Long Time’

Big K.R.I.T. 's latest album cements his status as a living legend

Some things are worth the wait; better quality than quantity I would argue.

It took many days and nights for Big K.R.I.T to deliver “4 Eva is a Mighty Long Time” but everything was well worth it.

I will be honest with you all: Since my undergraduate years in Atlanta, I have heard of Big K.R.I.T in spurts, with even my best friend attempting to put me on and one of my favorite DMV rappers (Logic) doing a feature with the Southern titan back in 2014. When I was a Resident Assistant my Junior year of college one of my residents shared K.R.I.T’s newest album that premiered that Fall, Cadillactica. Sleeping on K.R.I.T still, my resident played it through many times but still to this day, I did not thoroughly check it out even though I know the entire story that the album was telling.

I awoke this weekend to the light of Big K.R.I.T’s legacy on rap, unable to sleep any longer with 4 Eva Is A Mighty Long Time blasting.  K.R.I.T stands for “King Remembered in Time”, but forget all that mess for, with this album on top of his other projects and tracks of his discography, he will be remembered NOW for his contributions to the rap game and Hip Hop at large.

With the intro track to the double album that titled after his stage name, Big K.R.I.T came out swinging with scriptures for verses. With “Confetti”, K.R.I.T showed his persona as a true poet as a mean guitar blazed throughout the track. Lacking in sleep from the previous day, I was dosing off but the powerful instrumental of “Big Bank” featuring T.I woke me right up. Containing true Southern soul with an instrumental worthy of the Southern Rap Gods, T.I. added flawless complimentary energy in a way that my resident from three years ago (who I reconnected with) said that was reminiscent of two Dragon Ball Z warriors sparring. “Subenstein (My Sub IV)” displayed K.R.I.T for the truly talented dual/rapper that he truly is.

Let’s talk about “1999” featuring Lloyd y’all. Yes, I am a throwback type of musical gentleman, but the fashion in which K.R.I.T flipped it with Lloyd’s always fantastic voice made it into the most memorable track of the album whilst being the coolest strip club anthem I have heard in a minute. With “Get Up to Come Down” feat. Ceelo Green and Sleepy Brown, K.R.I.T unequivocally showed how he had the Soul of the South with storytelling on ten and still perpetuating cash money hoes raps. We even got Goodie Mob CeeLo Green back y’all! I realized with this song that my accent got 10 times thicker so far listening to this album.

“Layup” would start off any day smooth while the “Classis Interlude” that followed will have you cracking up, proving that K.R.I.T has yet to falter in incredible skits that are genuinely hilarious. With “Aux Cord”, you’d be a fool not to pass the aux cord to play it in the whip with the homies. The wild part of “Get Away” was that it was a dynamic outro…but only symbolized half completion of the double album.


“Justin Scott”, the intro to the second half of the album, was a full orchestra of instrumental beauty. I was marveling at the beauty in how he rose to the occasion again in the same album but said to myself out loud, “Damn, how did this n*gga arrive TWICE?”

“Mixed Messages” was extremely introspective of K.R.I.T, elucidating the fakeness within the music industry. “Keep the Devil Off” exemplified the essence of Southern rap and became my new favorite Negro Spiritual. “Miss Georgia Fornia” featuring Joi, created a cinematic experience with his lyricism and storytelling. “Everlasting” was very smooth leading into “Higher Calling” featuring Jill Scott was another southern love ballad that helped the album grow into a masterpiece like status.

“Weekend Interlude” was hilarious and light to prepare for the gravity the latter half of the album would switch over into. “Price of Fame” was a candid story of K.R.I.T’s heart, concerning K.R.I.T’s depression and stressors with the famous lifestyle. It flowed ominously yet masterfully into “Drinking Sessions” featuring Keyon Harrold, which simulated and gave a peek into K.R.I.T’s depressive-drinking sessions. “The Light” featuring Bilal, Robert Glasper Jr. Kenneth Whalum and Burniss Earl Travis II took a switch from the candid expression of sad human emotion. It was beautiful and reflective as Bilal clearly shined.

“Bury Me in Gold” was an excellent end to the double album with a powerful verse and an even more powerful public service announcement, showing that if K.R.I.T died today, his mark on rap would be immortalized.

A true King not just remembered in time, but revered in the now. Hip Hop thanks you, Big K.R.I.T.

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