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4Eva N a Day (Mixtape Review)
4Eva N a Day
Released 5 March 2012
50:05 in length
1.) 8:04AM (Intro)
2.) Wake Up —— 4.25/5
3.) Yesterday —— 4.25/5
4.) Boobie Miles —— 4.5/5
5.) 4evaNaday (Theme) —— 3.75/5
6.) Me and My Old School —— 4.75/5
7.) 1986 —— 4/5
8.) Country Rap Tunes —— 4.25/5
9.) Sky Club —— 4/5
10.) Red Eye —— 5/5
11.) Down & Out —— 4/5
12.) Package Store —— 4.75/5
13.) Temptation —— 3.75/5
14.) Handwriting —— 4.25/5
15.) Insomnia —— 4/5
16.) 5:04AM (Interlude)
17.) The Alarm —— 3.75/5
Track One: 8:04AM (Intro)
Spoken word intro…
Track Two: Wake Up
With all of the alarm references and the exact time on the intro track (8:04AM) and the fact that this is called “Wake Up”, the saxophone delivered by Willie B is sultry and smooth with the extra slow drum beat definitely gives off the vibe that you just woke up and you’re still lazy and yawning, but up and getting’ shit together. You can already tell 20 seconds into the track that it’s going to be in the same vain as KRIT’s last release, Return of 4Eva. The keyboards, the sax, the drum beat, the hook that KRIT (per usual) sings himself. The only thing that mayyyybe seemed out of place was the iPhone ringing at the 2:30 mark, but I suppose it flows well into the next track…
Track Three: Yesterday
I was a giant fan of KRIT’s slower, reminiscing tracks on his last release and this track fairs the same way. The whole thing is an ode to his late grandmother. Though I couldn’t find much about her or how close he was with her, you definitely feel for KRIT and the nostalgia he describes in the verses. The beat is a bit like the tape’s opener, “Wake Up”, in the sense that there isn’t much to it, a simple drum beat and some light keyboard work. What is different is that some of the keyboard on this track feel a bit Houston-esque. It’s slow, so if you like slower/sad tracks; this is it; no cars and bitches here.
Track Four: Boobie Miles
The “lead single” off of 4Eva N a Day, I loved it back when it was released at the beginning of February, and I still love it on the tape. I really like the title, “Boobie Miles”, the back story to the actual Boobie Miles is indeed a sad one, and gives the song some added depth if you know it. The song is littered with sports references and metaphors; I just wonder how much a non-sports fan would love some of the lines. Regardless, the sax and bass-line are amazing backdrops here for KRITs silky ass voice. When I listen to this song, I definitely get the feeling like I’m in an old school car, mid-summer, sun setting and everything is orange and the air is hazy. KRIT’s words are all basically inspirational, but luckily, if that isn’t your thing, the instrumental will make you appreciate the song. And remember… Boobie didn’t lift.
Track Five: 4EvaNaDay (Theme)
The title track sounds a bit similar to Return of 4Eva’s title track and again, it’s good. It’s significantly more upbeat than the previous two tracks, but in the same breath, the soul sample makes sure that it’s not another upbeat “dance” track that a lot of rappers are doing these days. The bass flutters around here and if you have a good system or some good speakers, you’ll enjoy it, or at least I did. The lyrics again are inspirational and KRIT uses his Southern charm to make sure things like cars and girls fit somewhere into the references.
Track Six: Me and My Oldschool
Moooooothhherrrrrrfuck this song is so chill. The bass, the damn flutes, the drum beat, the screwed hook, the relaxing effects used on the guitar (done by Mike Hartnett, who was in a Southern rock group, Rehab some years back – who even had features by Goodie Mobb)… It’s all here. I’m not even a car guy but damn this song hits me. Another one of those mid-summer sunset tracks that this album is full of. The entire track is basically about his car, but luckily KRIT doesn’t just rhyme about his whip, he explains how it’s not just a car to him – it’s so much more. The track is awesome… Really. Another great thing this track does is flow into the following one.
Track Seven: 1986
One of 4Eva N a Day’s more fun songs. It just sounds like a great southern song; the hook is catchy as all hell. Other than the catchiness of the chook, what pulls me in the most is the guitar you hear behind the drums. Whether its computer generated or it’s live, something about it really makes me like it. In the beginning of the song, KRIT uses words to accentuate his southern drawl, and does it masterfully. And then… The damn switch at 2:35 or so; it’s like a completely different track with the way the beat takes a turn.
Track Eight: Country Rap Tunes
KRIT sings his own (yet again, very catchy) hook here. KRIT really is becoming an amazing producer and its tracks like this where it becomes apparent to me. The mixing alone is incredible. There are some background vocals throughout the track that I’m pretty sure he did himself and sampled them. The lyrics aren’t exactly technically brilliant, there aren’t any “lyrical miracles” here, but the hook alone is enough to prove that KRIT isn’t aiming for technical ability with his rhymes. I liked the song upon first listen, I started loving the song at 1:06 when the drum beat kicks in and made me bob my head. If you’re southern or have any southern roots in you (and are into hip hop, obviously), you’ll respect this track. Like on “Wake Up” you can hear KRIT’s iPhone ringing, carrying the conversation into the next track.
Track Nine: Sky Club
KRIT goes back to the heavy instrumentally influenced beat on this one. Some smooth keyboard and synth work, some sax, vinyl scratches, drums and another good bass line. The lyrical content contains quite a few plane/pilot metaphors that really make you appreciate Rap Genius. What makes this song fall to the sidelines is that it acts as the opener to the best track on the whole tape…
Track Ten: Red Eye
This track is amazing. KRIT goes out of his element here on multiple levels. The beat is light on the layers, featuring really only some heavy piano work and some oldschool drums. There aren’t any catchy hooks, no talk about cars… It’s all about his girl and their defunct relationship. What makes me love this song so much is that it’s KRIT being KRIT, meanwhile doing something different. He doesn’t stop delivering the same vibe that he gives off on his other tracks, but still manages to branch out and try something new, and excel at it. Highly, highly recommend this track.
Track Eleven: Down & Out
With a title like “Down & Out”, it would be dumb to expect anything other than another inspirational track. Again, it sounds like another song that could have fit perfectly on Return of 4Eva. I’m thinking that the only bad that about this one is that it rests between my two favorite songs on the tape. He talks about how life is rough at times and he questions outlets and what he can do to better his situation. The final few bars on the last verse really hit a chord with me.
I seen one the other day, but she had bruises on her face
And cried to me that men ain’t shit and she fed up
They only want her with her legs up
Even though her nose swollen and eye was closed
I told her keep her head up
Track Twelve: Package Store
Highly likely that in time, this will be my favorite KRIT track of all. He flexes his ability to story tell and his ability to produce. This beat is just so damn addicting. He’s drops three verses, each surrounding the idea that alcohol is an evil vice and the first two, the first especially, paint amazing pictures of the destruction that it (alcohol) can cause. But back to the beat – it’s heavy on the layers, includes lots of different keyboard tones, some chains(?), some guitars with smooth ass effects, drums with multiple tones. The keyboard shines the most on the hook (as always, catchy). It’s slow, but not too slow, just right. Yet again, I’m getting this image in my head of an orangey/hazy sunset in the summer and it’s tough to beat.
Track Thirteen: Temptation
Bass, bass, bass, synth and some keyboards that remind me of something Three 6 Mafia would have had used years ago. The sunset that the majority of the tracks have painted for me has faded at this point and now it’s the same day, just later and the sun has set. I get this feeling because now on the track, KRIT is explaining women (the temptation) and how he’s trying to holla at ‘em, and also the “we ain’t trippin’ cause the stars out” line in the hook. The “Oh-oh-oh” Beastie Boys sample that kicks in at about 40 seconds is a little tacky, I think. KRIT has a female deliver the hook once towards the end of the song which he makes flow well within the words of the song, but her voice just doesn’t match up well with what KRIT has to offer and I would have probably preferred that he just do it himself.
Track Fourteen: Handwriting
“Handwriting” features a prominent sample from Ann Peebles as the song’s hook. The whole track features some simple drum beats with some pretty cool guitar and jazz influences and some strings back there somewhere. It definitely sounds cool, and KRIT is definitely layering the fuck out of this, but not overdoing it by any means. The lyrical content is a topic that I liked hearing out of KRIT: That what he’s doing as an artist should be enough to get him recognized and fuck anyone that thinks otherwise. He sounds a little angrier than normal here and it’s a tad refreshing and DAMN that guitar is a good touch.
Track Fifteen: Insomnia
The song is called “Insomnia”, so naturally it’s about what helps him sleep. And in this case it’s his girl. It’s actually pretty fucking cool. In both of the verses, towards the end he sounds hungry. It’s awesome because I completely see the connection. He’s fiending and needs a girl, so he gets on the phone and gets on that booty call. He explains on the phone in the intro that it’s 4AM so it’s late at night and he just wants to get to sleep. The beat actually doesn’t necessarily match the “hungry” vibe I was getting from KRIT’s verses. There’s more guitar work from Mike Hartnett here, which solos slowly throughout the song, mixed in is a standard drum beat and some (kind of) cheesy keys. At 2:55 though… It’s kind of funny the first time but… Come on… A good 40 seconds of the sex sounds? Luckily the catchy ass hook kicks back in and that’s how the song ends.
Track Sixteen: 5:04AM
Spoken word… Interlude…?
Track Seventeen: The Alarm
FANTASTIC usage of the sample. KRIT uses the line “Do you believe?” at the beginning of each bar and lets that begin his lines and throughout, it’s just building and KRIT is sounding angrier and angrier and getting quite philosophical. Some more sax featured on the song, piano, some chimes, but my biggest gripes about this song are 1) that it doesn’t have enough in it. He could have stolen the entire album on this track if he kept going with that angry tone he was spitting. And 2) The opera vocals. I can’t enjoy them here. Kanye and Jay did it on “HAM” and I didn’t like it, and I don’t like it here. Something about hip hop and opera just don’t mix well with me. It doesn’t give off the “larger than life” feel that I’d assume he was going for. What does is the instrumental build up and the strong piano used. Again… If only the song included more than 90 seconds of vocals from KRIT.
Big KRIT manages to take an amazing aura that he possesses and channel it through his music and give off one of the best vibes in hip hop right now. The instrumental work on this mixtape, just like on his last release, Return of 4Eva, are again, on point; and using more instrumentation on this release in particular. 4Eva N a Day plays out as a day in KRIT’s life, for the most part; which is a cool concept. If you play the album front to back, you can use the phone calls that link each track to help guide you to what time of day it is and where/what he’s doing. I’m a big fan of what KRIT’s doing right now and I really do appreciate that he does his own producing. And it’s gotten to the point where I can definitely say, his production is better than his actual rapping. Not that his rapping is bad, because his charismatic flow and ability to make catchy hook after catchy hook is incredible. This tape’s production might be my favorite so far this year. The mixing alone is just so well done and never over polished. 4Eva N a Day absolutely confirms that Big KRIT has the drive to develop consistent, quality work and that he is one of the best ‘up and comers’ in the game right now.
on point as usual 6x
Another quality review from 6x. I agree with every one of the song ratings, except I’d give “Boobie Miles” a 5
I’d give “Country Rap Tunes” a 5/5, but hey, I’m Southern, so it strikes me in a special way.
Anyway, as per the norm, you’ve written a great review, 6x.
agree with that Red Eye
That piano beats was sooo beautiful…
Incredible, 6x. I don’t think there’s anything on the review that I would disagree with. Can’t wait for the next one!
Are there any songs on here that you guys disliked? I know one of the hardest questions to answer when I was asked was, “What’s your least favorite song?” After reviewing it and giving it dozens of plays, I might have to go with the title track.
I agree with you, only because the hook is just not up to par. .
My least favorite was probably “Insomnia”, but I somehow can’t really come up with a complaint about it. The guitarist did his thing. The lowest I’d rate the track would probably be 3.5. .
“At 2:55 though… It’s kind of funny the first time but… Come on… A good 40 seconds of the sex sounds?”
That was my exact reaction the first time I heard it lol. Great review btw
Don’t let the “freshness” of Wiz’s and OF’s new mixtapes fool you, folks. This here… This is the bee’s knees.
And my least favorite song on here has to be “Temptation”, but only because that Beastie Boys sample was ruined for me by OF.
I can understand why “Temptation” would be people’s least favorites. The beat is pretty late 90’s/early 2000’s sounding… And yeah… That Beastie Boys sample…
I thought Temptation was dope, my least favorite track was probably the 4evaNaday theme
Thank you, 6x. I know no one else would have been able to do this justice. Your reviews take what I would have said, and add a whole new layer for me to think on.
Fantastic album, and an equally great review.