Big K.R.I.T. – Boobie Miles (Prod. By Big K.R.I.T.) by BIGKRIT
How much free music is an artist expected to put out before they can make some real money? It’s a question that’s been floating on many rapper’s lips lately; guys like Trent Reznor and Thom Yorke can offer “free” albums easily enough, but – these days in particular – it’s hard for a rap star to make serious mainstream dollars. Guys like Yo Gotti and OJ da Juiceman have spent periods practically ruling hip hop hype, without any real time on top of the charts, even without ever releasing a major label album. In fact, Gotti’s debut only dropped two months ago, a whopping seven years after he became a mixtape star. Tity Boi (or 2 Chainz, whichever he wants to be called these days) is getting his shot with Kanye and Def Jam, but it’s no sure thing. The point is, a mixtape on fire doesn’t necessarily — or even often — assure stardom.
Big K.R.I.T. began his rise with K.R.I.T. wuz Here, after a streak of mixtapes spent growing. It was received warmly, if not quite warmly enough in the critical community, and it was, of course, Return of 4eva that gained the attention both it and its predecessor deserved.
Once upon a time, mixtapes were any rapper with a few ideas in his head’s potential savior: Curtis Jackson changed the game up with 50 Cent is the Future, and wannabe MCs everywhere were spitting and drooling all over everyone else’s beats, and it worked. This continued on for long enough, becoming less of a fame seeker, and more of a respect token for talented rapper’s with less impressive albums, guys like Jadakiss and Fabolous, etc, etc. Then Lil Wayne had his run, with both his own releases and those of his signee, Drake. So Far Gone again brought the mixtape into focus, with Drizzy walking into a million dollar deal. Considering Wayne and others were already backing him, it was a bit of a forged victory, but it struck a chord nonetheless. A few years later, A$AP Rocky waltzed into an even bigger deal off a single mixtape, the list goes on.
In summation, with mixtapes being regarded so seriously, a single release can make one a critical star or, perhaps, doom them. With an ever-growing emphasis on original material and a single, cohesive “concept” tapes have become both harder to record, more time consuming, and riskier moves. At the same time, they’ve never been less essential. K.R.I.T. is already a mixtape god; an underground king. He’s signed, hopefully months away from releasing his major label debut. You’d think the guy would be kicked back, interviewing, prepping a tour. Instead, he’s releasing a third tape of all original material in less than two years.
What this displays is twofold: of K.R.I.T.’s character, his unending desire to prove his worth to all listeners, as well as constantly engage his fanbase. And of hip hop; how the infusion of indie-hype has spawned an even harsher mainstream climate: you were hot 5 minutes ago, show us why you’re hot now. With the radio consistently seeking tunes closer to Alex da Kid’s token drumline much more readily than K.R.I.T.’s 8Ball & MJG sporting (seriously now, the kid’s got balls) debut single some additional hype is likely essential in a label’s eyes. He’s in a position to show and prove.
Hence, this mixtape exists. It’s comfortably K.R.I.T., neither venturing beyond the most basic facets of his developing sound, nor sinking below the standard he’s set. “Wake Up” is smooth, dreamy, much like the majority of R4eva. It’s certainly not boring, but much of this outing sounds as if it could have been quite fairly left of his last two venture’s. Tracks such as the tape’s “single,” “Boobie Miles,” are easy to groove with, but few moments match the grandiosity of R4eva’s peaks. It’s unlikely formerly loyal K.R.I.T. fans will come into it and discover him doing anything they haven’t already heard, nor find him doing it better, but neither will they leave displeased. For any new listeners, it will sound something nearing as inspiring as it did for those who love the two prior tapes – delightful at the least. With any luck, they’ll emerge fans and discover his superior material, and join the rest of us. Essentially, without daring to potentially mire his growth with a misstep, K.R.I.T. went for the win win, potentially missing out on another critical worshipping, but also leapfrogging the possible deathblow of a “gone as far as he’ll go” class of remark. By leaving the dedicated followers thinking there was room for more, K.R.I.T. only increases the potential of his genuine album. Because, again, the question rises: how much time must an artist invest in all original material without gain?
K.R.I.T. has continued the cycle of hype, neither increasing its fervor, nor harming it, keeping his rise perfectly in balance. He’s no doubt saving his strongest records for his debut, and fans can only await it. In the meantime, this mixtape is nothing to be ashamed of, the perfect treat an preface for coming greatness. K.R.I.T. ends the tape on the high note of “The Alarm,” an intensely repeating sample wondering, “Do you believe?,” with K.R.I.T. posing questions he wished he needed answered. With the oppressive difference between indie love and mainstream positioning, the words surely mean something to K.R.I.T. at this juncture in his career, and he lyrically attacks the beat, finally addressing the growing battle between the MC’s idealistic optimism and the intelligence that allows him to see beyond it, panicking, “In a world of fantasies, can you be a realist?” One begins to wonder. Then they wonder, after a tenure in big time hip hop, which side of K.R.I.T. will ultimately win out? Then — then — the hype for the album begins.
