Scratches and a stomping harmonica break that could have come from Lead single "Rosa Parks" juxtaposes front-porch acoustic guitar with DJ The richest and most inventive hip-hop tracks of the decade. More technique than their territorial peers. Their distinctive vocal deliveries are nowįully mature, with a recognizably Southern rhythmic bounce but loads Not that they shy away from rougher subject matter,īut their perspective is grounded and responsible, intentionallyĪvoiding hardcore clichés. Most importantly, producers Organized Noize imbue their tracks with a Southern earthiness and simultaneous spirituality that come across regardless of what Dre and Big BoiĪre rapping about. Instrumentation is fuller-sounding than ATLiens. Music draws from a vastly eclectic palette of sources, and the live Plants its feet on the ground for a surprisingly down-home flavor. Some of ATLiens' ethereal futurism is still present, but more often Aquemini The chilled-out space-funk of ATLiens had already thrown some fans for a loop, and Aquemini made it clear that its predecessor was no detour, but a stepping stone for even greater ambitions. Idlewild is certainly a spectacle, and an occasionally entertaining and enlightening one at that, but it translates into an elaborate diversion when compared to what this duo has done in the past.Even compared to their already excellent and forward-looking catalog, OutKast's sprawling third album, Aquemini, was a stroke of brilliance. “Hollywood Divorce” is an exception, where he does triple duty (producer, MC, vocalist) and guides Big Boi, Lil Wayne, and Snoop Dogg through a modern-day version of “Burn Hollywood Burn.” Big Boi is the album’s saving grace, still every bit the undervalued force with scythe-like rhymes and gazelle-like moves. When it comes to rapping, he’s “bored” with “no dragon to battle,” yet the verse containing that proclamation outstrips just about all the lines he croons. Despite Dré’s likely position as the driving creative force behind the whole project - and its further strides away from what his detractors think he should be doing - he’s far more effective as an MC than a singer. The music of the ’30s seeps through a handful of tracks, the best of which is led by Big Boi protégé Janelle Monaé, a young vocalist who stomps and sways through her time in the spotlight. However, at the same time, it just keeps on going, and even its highlights fall short of OutKast’s past and fail to transcend its assortment of inspirations. Rich with color and energy, mischievous asides, and biting observations, the album presents fresh ideas every couple of minutes.
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Big Boi and André 1936 share little space on a disc that’s not so much a series of misfires as it’s filled with shots that reach their targets, albeit softly and with little trace of impact. That presentation holds true throughout Idlewild’s soundtrack, which doubles as the sixth OutKast album. These roles are no stretch, and they cross paths in only a handful of scenes this all befits the together-but-separate presentation the duo has maintained for a few years. Set in the prohibition era, Big Boi plays a speakeasy owner, while Dré is the relatively introverted piano-playing son of a mortician. After a series of delays with its soundtrack, Idlewild reached theaters in August 2006.
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Along the way, OutKast’s first movie took on an entirely different shape, from Aquemini to Idlewild, and the duo attained enough star power to gain the support of HBO and Universal. Fast-forward eight years, past a fourth successive classic album, a double-disc blockbuster, and countless breakup rumors, as well as moonlighting gigs involving supporting actor roles and a successful dog kennel. In 1998, no studio would back the movie they were plotting. A lot happened to OutKast between the moment they began to think about making a movie and the release of Idlewild.