Outkast "The Love Below" (2003)

"The Love Below" is Outkast's, or Andree 3000's, second half of the duo's critically acclaimed 2003 double album. The first half  "Speakerboxx" saw Big Boi hold is own on a collection of solid tracks, but this record really pushes the mark as a conceptual record which truly challenged the Hip Hop sound with soaring highs and crashing lows. Andree brings us in with a classical score fit for backing in romantic golden era cinema before throwing us into a Jazz band groove with trumpets, pianos and guitars on "Love Hater". Its a change of gears that flows effortlessly as a gentle, serene acoustic guitar strums a dreamy tune with Andree bringing in the records conceptual nature, and the goddess of loves blessings upon him. Its a memorable group of tracks to bring the record in, but this is just where it gets started.

As the album comes into its own as the instrumentals find a sublime chemistry, stretching boundaries as subtle rhythmic presences let Funk, Rock and Soul fly free of any expectations. "Spread" and "Prototype" only held to Hip Hop through muted, subdued bass and kick grooves that let live instruments play out enigmatic songs like a normal band would. The album peaks with the cracking "Hey Ya!" & "Roses", both songs laying fetching memorable lyrics over the live band setup which reaches its peak at this point. So far we have been helped to a stunning level of genius as Andree stretches the versatility of this music effortlessly, with much help from is soft and ranged vocals which peak the songs with beautiful, catchy hooks in between his energetic raps.

Unfortunately thats where the magic ends. In an almost bizarre turn around the skit "Good Day, Good Sir" brings in a second half which casts the live band aside in favor of electronic synth leads and toned down percussions that lacks all the charm of the records first half. The romantic themes of the album feel further abstracted and become more convoluted in a now nauseating rumble of musings that lack a point. The record feels done at "My Favorite Things", a Rave and Drum and Bass remix of Coltrane's classic that dispels the magic from the original with rigid drum loops that rub up against it in an uncomfortable nature. Then the album just trails off with three uninteresting tracks.

I'm not sure what to make of this record. I want to know what Andree's thoughts were on the record as a whole, as from where I'm listening from the first half is genius and the second a real stinker. Theres no doubt though that the expansive ideas that have shaped Outkast's boundary pushing direction come from Andree and on "The Love Below" we hear his ideas at there best and worst. The live band brings limitless possibilities when couple with minimalist groove oriented percussion. The synthesizer work leaves much to be desired, however executed perfectly on Speakerboxxx's "Ghetto Musick". I'll return to this one time and time again, but just for the first ten tracks.

Favorite Tracks: Spread, Prototype, Hey Ya!, Rosses

Rating: 6/10

Outkast "Speakerboxxx" (2003)

Hip Hop duo Outkast have truely gained my love and respect, their music has moved me and they are undoubtedly this years best discovery however they are no hidden treasure, much more like a stash of gems out in the wide open. Outkast are critically acclaimed and I've been aware of them, heard a lot of them back in the early naughties and only got around to listening through there records many years later. Doing my research I learned this record to be one half of a double album, "The Love Below" the other half. Its the duo's, and one of Hip Hops biggest selling records and the back story is intriguing. With Andree 3000 following a new direction the two agreed too record solo records and package them together, as opposed to going separate their separate ways. Its been a while since I covered the last record "Stankonia" and the hesitation came from the high expectations critics set for this double record extravaganza.

Having absorbed both records I would certainly tip my hat to "Speakerboxxx" as my favorite, however I feel the concept of the two working apart is everything thats not working on both records. The album starts with "Ghetto Musick" a brilliantly eccentric fusion of Rave synthesizers, Funk and soul that feels complete with Andree featuring alongside Big Boi, complimenting his fast paced flow with zany chorus vocals and a choice sample of Patti Labelle coming together to make a solid track. Unfortunately Andree's absence is felt from this point on. Big Boi holds his own with a terrific set of songs that have quality instrumentals and raps, but each track feels like its missing a dynamic to make it spark.

To be fair, I'm too used to hearing the two bounce of one another. Theres a lot forward thinking tracks here that bring inventive Soul, Rock and Funk sounds to the Hip Hop formula creating engaging instrumentals ripe with variety and a freshness relevant to the time. Its a natural progression that Big Boi is following on his own and it works. "Unhappy", "War" and "Knowing" hold the Outkast vibe together, reminiscent of earlier sounds and overall the record flows well, with an amusing appearance from his young son on "Bamboo" which makes me chuckle each time. Its a strong record with a new take on production that showcases an array of inventive instrumentals, but it doesn't quite have the charm of the two working together, which we will hear again on Idlewild.

Favorite Songs: Ghetto Musick, Bust, Knowing, Flip Flop Rock, Last Call

Rating: 6/10

Outkast "Stankonia" (2000)

Stankonia, the groups forth release named after the record studio they purchased to record this album in. Given the critically acclaimed success of their previous effort "Aquemini" the duo take of from where they left, moving forward with another fine record that shows no shortage of inspiration as the two forge classic tracks with an ear for expanding their musical ideas, just like they did on Aquemini. The biggest distinction between the two records is Stankonia's pace which features faster tempos with especially chaotic snare and base rhythms best showcased on "Snappin' & Trappin", that features "Killer Mike" & "B.O.B". Other distinctions include a noticeable increase in featured rappers who appear on many tracks. The track listing also has all the skits separated from the songs, something they didn't do on previous records.

The record starts of with a bang, "Gasoline Dreams" opens up with an obnoxious "Ah right" on repeat before dropping in with a phenomenal hook, "Don't everybody like the smell of gasoline, well burn mother fucker burn American dreams", the energy and tempo is high and the raps come in airy sung delivery over rocking guitars and lyrics which say so much about our society in so little words. Starting of with aggression, things quickly switch to smooth styles with "So Fresh, So Clean" and the album journeys on into a stylistic future funk oddball of styles and themes that come with terrific hooks track after track.

The production is split between Earthtone III and Organized Noise, the latter of which handled the earlier records and their style can be heard on their three numbers, but the album flows and again incorporates new sounds and ideas including gospel vocals, frenetic drum patterns and an evolving clean vocal approach from Andre 3000, best heard on the hit single "Ms. Jackson" a poppy, simplistic tune that revolves around a memorable hook and moody tone delivered through the organs, pianos and funky baseline. Like Aquemini, Staktonia's strengths come from the unorthodox and experimental, but here the character and style is stronger and unique, a step further out from the traditional Hip Hop sound without loosing anything. Stunning record with no shortage of substance that doesn't tire.

Favorite Songs: Gasoline Dreams, So Fresh So Clean, Ms Jackson, I'll Call Before I Come, B.O.B, We Luv Deez Hoez, Humble Mumble, Toilet Tisha

Rating: 8/10

Killer Mike "R.A.P. Music" (2012)

Southern rapper Killer Mike's sixth record "Rap Music" couldn't be more to the point. A title fitting for a record thats direct with solid raps and no-nonsense beats. Mike's twelve years of experience since his debut with Outkast, shines bright as he dominates each track with imaginative, commanding flows keeping the listener engaged with his lyrics, which get political in the later half of the record. Over the twelve tracks theres not a moment of filler on an album that seems to get progressively better with each track. Its quite an unusual way for a record to play through, but this one genuinely gets stronger and stronger until the title track sees the record out as Mike muses on all the influences that makes up his music.

One of the first things I picked up on was the production. The beats have that characteristic similar to "Run The Jewels", I was not surprised to find E-LP handled production of every track on this record. Its no surprise the two have continued to work together as we hear a very successful formula at work for the first time. E-LPs production captures a raw Hip Hop appeal for tight beats and grooving baselines, but his unusual pallet of buzz-saw instruments and distorted, pitch shifted samples create a style approachable but able to retain its own distinction. E-LP brings a lot of flavor to his beats with subtle tweaks and big shifts in the beats to break the sometimes stale nature of looped instrumentals.

Killer Mike is on fire this record, his flow is fast, impassioned and aggressive. The tone, delivery and pronunciation, crisp and clear. With so much to express theres no respite from his thoughts, rapped with creative word play and a fair amount of variety, from politically charged tracks to humorous story telling on "Jojos Chillin". I especially enjoyed the use of low pitch shifted rapping on "Ghetto Gospel" & "Butane", something I've desired to hear more of since Tupac's "Strictly 4 My Niggaz", E-LP and Mike using this sound effect to create some ghostly raps. Terrific record, solid through out but really comes into its prime with the track "Regan" depicting the horrid consequences of Ronald Regan's presidency. The Outkast references and "break" samples were also a nice touch considering my recent exploration of their music, very excited for the future of E-LP and Mike with RTJ3 and RAP Music 2 on the way.

Favorite Tracks: Southern Fried, Regan, Don't Die, Ghetto Gospel, Willie Burke Sherwood, R.A.P. Music

Rating: 8/10

Outkast "Aquemini" (1998)

Southern Hip Hop duo Outkast are a pair of musicians I'm growing an immense amount of admiration and respect for. I've been impressed with their intelligent approach to Hip Hop, showing strength and maturity with cerebral introspections and social commentaries, combined with charactered production that distinctively sets them aside from other acts. On this record "Aquemini", their third, the duo seem completely in sync with one another. Whether its lyrically, instrumentally, or conceptually, the two deliver a riveting and eloquent experience for the listener on a record thats filled to the brim with fine instrumentals, enticing rapping and an array of cultural interludes that tie the songs together. Good raps and beats is always the formula, but here the two transcend the genre with expressions and themes that create an air of expectational quality reflected in the album covers blaxploitation rendition of the two.

Aquemini is a rich, fluid listen thats stimulating from start to finish. Despite this, its surprising diverse in production, with different themes accompanying the stylish, charactered beats Outkast have put their mark on. "Slump", "West Savannah" & "Spottieottiedopaliscious" feel like throw backs to "Southernplayalisticadillacmuzik", a fair few numbers have the spacious and darker, paranoid instrumentation of "ATLiens" and with songs like "Rosa Parks", "Synthesizer" and "Chonkyfire" the duo break the mold with supreme instrumentals that make use of live instruments like the harmonica, giving them a vibrant edge over the traditional sampling technique. The array of guest musicians contribute purposeful sounds that expand their pallet with guitars, pianos and marching band horns, creating a rich and lasting experience when combined with the sharp and crisp drum machines.

Beyond the illuminating instrumentals the duo deliver solid raps and killer hooks on a thought felt record where every word feels relevant. The themes expand on ATLiens socially conscious commentaries with the heart felt "Da Art Of Storytellin", themes of technological paranoia on "Synthesizer" and the pairs duality on the title track. Most exciting is the delivery which isn't afraid to expand with sung hooks and gospel vocals, in general breaking the monotony with catchy ideas of which all seem to work without fail. It can be felt in the vast array of guest musicians who add a layer and depth to many songs with vocal hooks working in the background behind the raps and the audacity to enhance the flow with layered lines and powerful, yet subtle reverb effects, empowering their rapping voices. I have nothing but praise for this album. Never a dull moment or skipped track, I thoroughly enjoy it in its seventy four minute entirety and can't praise it enough. Although relatively new to me, I can't help but feel I'll call it a classic with time.

Favorite Songs: Rosa Parks, Synthesizer, Slump, Mamacita, Spottieottiedopaliscious, Liberation, Chonkyfire
Rating: 9/10

Outkast "ATLiens" (1996)

Following up on 94's "Southernplayalisticadillacmuzik", Outkast's second album is a relatively big side step from the cultured southern character established on their debut. The album cover stands out as a Hip Hop record for its cartoon inspired graphic and primative 3D fonts. The logo and price an added oddity that as a whole is reminiscent of old Playstation games, at least for me. The cover hints at a strong sense of theme that is present throughout in the production and lyrical content. Reflecting on their commercial success and maturity as people, Andre and Big Boi focus on introspective and social topics in that lyrics that address family responsibility, urban life and a sprinkling of extraterrestrial activity that often feels like a metaphor for social alienation, the name being a combination of Atlanta, where the duo are from, and Aliens.

The theme established is played out well on this record which comes with a thick consistency from track to track. The production opts in for tight, crisp kits and constructed loops that provide a strong backbone for the raps without being bombastic or hyped, they subtly impress with quality and no cheap thrills. Working with the drums a cautious, paranoid bass line creeps around these tracks in the deep low end, playing out paced out grooves that break often to utilize its own absence. The two have a minimalist chemistry the sampling amplifies through quiet samples of various instruments and sounds that leave a big air in the mix for the duo to fill with their raps. Most tracks are devoid of hooks and melodic leads, the samples paint the atmosphere cautiously with alien, out of space sounds and noises to complete the sense of theme so strong.

Big Boi and Andre both shine on this record with continually engaging lyricism taking us through their introspections and thoughts that come with a handful of memorable lines and thought provoking lines, especially with their attitude towards women that displays a lot of change and maturity. With the musings on fame the two show a level headed character not phased by the ego or illusion success can bring. Their engaging intellect is a strength from a record that has no cheap thrills, needless violence or boasting. Solid lyrical content that feels like a breath of fresh air for this listener, despite it being almost 20 years old.

Overall I felt this was a solid, absorbing record, but maybe not one to pick up too often. The calmer vibe and subtler approach is a two edged sword that doesn't fit every mood, but in the right one this stands tall. It wasn't till I started to write that the era crept into my thoughts, this was 96 and a solid execution of new production ideas that were emerging at the time. This was also the beginning of the bling bling era and the record is rather bi-polarizing of that direction. In retrospect this album's importance and significance could be something I overlooked when gathering my thoughts, but for now I will look forward to obtaining their third "Aquemini".

Favorite Songs: Two Dope Boyz, Atliens, Wheelz Of Steel, Elevators, Mainstream, 13Th Floor

Rating: 8/10

Master P "Ghetto D" (1997)

Taking another dive into the Southern Hip Hop scene I picked up "Ghetto D" based on a recommendation from a friend. Hailed as a classic, it's Master P's sixth album, a rapper who's name I've heard often and is cited as the most successful from the South, maybe more so for his entrepreneurial business endeavors than his rapping. This is P's second best selling recording released on his own record label "No Limit Records" that stars a whole array of guest rappers who span all but one track on this lengthy record. 

My initial impressions were not so pleasing, the opening track's crack production tutorial set the tone for an unapologetic attitude that initially was hard get into. The souths boisterous, aggressive delivery style took some getting used to. Shouty, jittery delivers from some of the albums guests served as a style over substance that grew on me greatly. The use of subtle echos and reverbs add a lot to raps, especially when the focus is flow and texture, more so than the lyrical content. Through it all Master P is solid as an anchor, his low-toned, deep voice and competent flow delivers consistently, engaging us in socially conscious and drug-related topics with no shortage of boasting provado. His style is his own, but there are some big 2Pac influences at work on this record, ranging from the beats to rapping which includes quite a few reiterated lines and statements for Pac's songs, the track "Tryin 2 Do Something", a rework of "Bury Me A G", or the original "For the Love of You" by The Isley Brothers, depending how you look at it. And of course I have to mention the UGH. P's loud, forceful ugh shout which caught my attention with a touch of amusement, a primal expression that was so simple and catchy that by the end of the record had me saying UGH too. 

The beat production of this record is solid, timeless. The style is focused on drum machines and electronic instruments that create a crisp, solid and punchy sound from all instruments that play our some grooving arrangements. Theres room for the occasional sample, but in general its a progressive step away from the sample oriented sound of the early 90s. Warm simulated baselines, colorful keys and electronic leads decorate these tracks with energy. The hi-hats also caught my attention, with a recent introduction to Trap and its fast rhythmic notation I heard an early incarnation of appreciation for the hi-hats that had them inflecting rhythms instead of keeping count. The variety and quality in this record is substantial, the 19 tracks range all sorts of classic Hip Hop themes and vibes and through the 80 minutes it never tires. Although I prefer shorter records, this one just didn't let the foot of the gas, there was only one or two "stand out" tracks, but none that felt unworthy of my attention. Great record, I feel this one will help me step into the Southern scene as I seek out some more artists to listen to.

Favorite Tracks: Ghetto D, We Riders, Plan B, Weed & Money, Captin Kirk, Stop Hatin, Make Em Say UGH, Going Through Some Thangs, Come And Get Some

Rating: 7/10

Outkast "Southernplayalisticadillacmuzik" (1994)

Southern Hip Hop duo Outkast have achieved massive international success and critical acclaim since there inception in 92. Selling millions of records and winning several Grammy awards they have truly secured their place in Hip Hops elite. My memory of this group was all positive, fantastic singles like "Bombs Over Bagdad", "So Fresh, So Clean" and "Ms. Jackson" used to play on MTV in my youth and I had no reason not to check their discography out. After listening to "Stankonia" I decided to go back to where it began for the group on this their debut, released in the creative prime of Hip Hops classic 90s era.

The southern scene is one I'm still grasping and understanding, what I expected of a southern group was not present on this record. What I found was funky, stylish and reminiscent of the west coast G-Funk sound, but of its closest comparisons Outkast genuinely define their own sound on this record. The production from Organized Noise fuses elements of Funk and Soul with a Psychedelic touch into a Hip Hop package that Andre and Big Boi compliment with their slick rapping and high pitched, "Players Ball", vocal leads. The chemistry creates a powerful, smooth and stylish cultural indulgence. Its a relaxing listen, one that shifts the gears from the bombastic and aggressive momentum that Hip Hop was moving in. Outkast slow it down and swoon us with their confident, laid back attitude. In retrospect this record sounds a step ahead of its time, theres a much larger focus on the non-percussive instruments themselves, including a slick, exotic guitar solo which does nothing but compliment the track "Funky Ride" and other soulful sounds, and some electronic elements too. 

Lyrically, Andre & Big Boi deliver plenty of engaging story telling verses, with smooth flows and annunciations. Their charm on this record is the appreciation of what comes between, not bombarding us with verse after verse, the duo drop some classic choruses and interludes that break up the pace. Their overall tone was much lighter than the misogynist and violent contexts found on some other records of the era. Altogether the duo drop a dynamic and thoughtful debut that takes a step forward instrumentally that gives this album a freedom to focus more on its less traditional elements. Its an indulging listen, one I've enjoyed immensely.

Favorite Tracks: Ain't No Thang, Southernplayalisticadillacmuzik, Players Ball, Funky Ride, Hootie Hoo

Rating: 8/10