OutKast | ||
| Allmusic Biography : OutKasts blend of gritty Southern soul, fluid raps, and the low-slung funk of their Organized Noize production crew epitomized the Atlanta wing of hip-hops rising force, the Dirty South, during the mid to late 90s. Along with Goodie Mob, OutKast took Southern hip-hop in bold and innovative directions: less reliance on aggression, more positivity and melody, thicker arrangements, and intricate lyrics. After Dré and Big Boi hit number one on the rap charts with their first single, "Players Ball," the duo embarked on a run of platinum albums spiked with several hit singles, enjoying numerous critical accolades in addition to their commercial success. André Benjamin (Dré) and Antwan Patton (Big Boi) attended the same high school in the Atlanta borough of East Point, and several lyrical battles made each gain respect for the others skills. They formed OutKast and were pursued by Organized Noize Productions, hitmakers for TLC and Xscape. Signed to Antonio "L.A." Reid and Babyfaces local LaFace label just after high school, OutKast recorded and released "Players Ball," then watched the single rise to number one on the rap chart. It slipped from the top spot only after six weeks, was certified gold, and created a buzz for a full-length release. That album, Southernplayalisticadillacmuzik, hit the Top 20 in 1994 and was certified platinum by the end of the year. Dré and Big Boi also won Best New Rap Group of the Year at the 1995 Source Awards. OutKast returned with a new album in 1996, releasing ATLiens that August; it hit number two and went platinum with help from the gold-selling single "Elevators (Me & You)" (number 12 pop, number one rap), as well as the Top 40 title track. Aquemini followed in 1998, also hitting number two and going double platinum. There were no huge hit singles this time around, but critics lavishly praised the albums unified, progressive vision, hailing it as a great leap forward and including it on many year-end polls. Unfortunately, in a somewhat bizarre turn of events, OutKast was sued over the albums lead single, "Rosa Parks," by none other than the civil rights pioneer herself, who claimed that the group had unlawfully appropriated her name to promote their music, also objecting to some of the songs language. The initial court decision dismissed the suit in late 1999. (The Supreme Court later allowed the lawsuit to proceed; the two parties eventually reached a settlement.) Dré modified his name to André 3000 before the group issued its hotly anticipated fourth album, Stankonia, in late 2000. Riding the momentum of uniformly excellent reviews and the stellar singles "B.O.B." and "Ms. Jackson," Stankonia debuted at number two and went triple platinum in just a few months; meanwhile, "Ms. Jackson" became their first number one pop single the following February. Both of those major singles and most of the album material -- all but three contributions from Organized Noize, in fact -- were produced by a trio dubbed Earthtone III (aka André 3000, Big Boi, and David "Mr. DJ" Sheats). 2003s Speakerboxxx/The Love Below, a double album, debuted at number one and spawned a pair of number one singles: the Dré-fronted "Hey Ya" and the Big Boi-fronted "The Way You Move." Speakerboxxx, more true to OutKasts past, could have been issued as a Big Boi solo album, while The Love Below, a diverse and playful affair, could have been an André 3000 release. Regardless of its dual nature, the set won the 2004 Grammy for Album of the Year. As breakup rumors continued to swirl, the duo returned with the feature film Idlewild -- a musical set in the Prohibition-era South -- and an extremely eclectic soundtrack billed as a proper OutKast album. Big Boi issued a solo album, Sir Lucious Left Foot: The Son of Chico Dusty in 2010, while André 3000 produced and/or appeared on a series of tracks by the likes of John Legend ("Green Light"), Beyoncé ("Party"), Lloyd ("Dedication to My Ex [Miss That])," and Young Jeezy ("I Do"). | ||
 | Album: 1 of 9 Title: Southernplayalisticadillacmuzik Released: 1994-04-26 Tracks: 17 Duration: 1:04:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Peaches (intro) (00:50) 2 Myintrotoletuknow (02:40) 3 Ain’t No Thang (05:38) 4 Welcome to Atlanta (interlude) (00:57) 5 Southernplayalisticadillacmuzik (05:17) 6 Call of da Wild (06:06) 7 Player’s Ball (original) (04:21) 8 Claimin’ True (04:43) 9 Club Donkey Ass (interlude) (00:25) 10 Funky Ride (06:30) 11 Flim Flam (interlude) (01:14) 12 Git Up, Git Out (07:27) 13 True Dat (interlude) (01:16) 14 Crumblin’ Erb (05:09) 15 Hootie Hoo (03:58) 16 D.E.E.P. (05:31) 17 Player’s Ball (reprise) (02:19) |
| Southernplayalisticadillacmuzik : Allmusic album Review : It is on OutKasts debut album that the fledgling production team Organized Noize began forging one of the most distinctive production sounds in popular music in the 90s: part hip-hop; part live, Southern-fried guitar licks and booty-thick bass runs; and part lazy, early-70s soul. The album was not only artistically successful but also thrived commercially, leaping into the Top 20 album chart on the back of the outstanding hit single "Players Ball" and eventually going platinum. Although a little bit too dependent on overly simplistic and programmed snare beats, the music is unconditionally excellent, with languid, mellow melodies sliding atop rapid, mechanical drums. Organized Noize already had their distinguishing sound figured out, down to the last twanged, wah-wahed note. But what makes Southernplayalisticadillacmuzick such a wonderful album has even more to do with the presence of its rappers, Dre and Big Boi. No one sounded like OutKast in 1994 -- a mixture of lyrical acuity, goofball humor, Southern drawl, funky timing, and legitimate offbeat personalities. Few rappers of the 90s have displayed such an inventive sense of rhyme flow either, and few rap artists in general have ears as attuned to creating such catchy melodic and vocal hooks. Almost every song has some sort of tuneful chant or repetitive hook that marks it as instantly memorable. There are occasional dull and mediocre spots, such as "Call of Da Wild" and the overlong "Funky Ride," that cant even be elevated by a head-nodding bassline or a tricky rhyme. Such low points, however, are far outshined by the brilliant moments. Already an extremely strong showing, OutKast would continue to develop into one of the finest, most consistently challenging (not to mention booty-shaking) rap groups of the decade. | ||
 | Album: 2 of 9 Title: ATLiens Released: 1996-08-27 Tracks: 15 Duration: 57:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 You May Die (intro) (01:04) 2 Two Dope Boyz (in a Cadillac) (02:42) 3 ATLiens (03:50) 4 Wheelz of Steel (04:03) 5 Jazzy Belle (04:11) 6 Elevators (Me & You) (04:25) 7 Ova da Wudz (03:47) 8 Babylon (04:24) 9 Wailin’ (01:58) 10 Mainstream (05:18) 11 Decatur Psalm (03:58) 12 Millennium (03:09) 13 E.T. (Extraterrestrial) (03:06) 14 13th Floor/Growing Old (06:50) 15 Elevators (Me & You) (ONP 86 mix) (04:37) |
| ATLiens : Allmusic album Review : Though they were likely lost on casual hip-hop fans, Southernplayalisticadillacmuzik was full of subtle indications that OutKast were a lot more inventive than your average Southern playas. Their idiosyncrasies bubbled to the surface on their sophomore effort, ATLiens, an album of spacy sci-fi funk performed on live instruments. Largely abandoning the hard-partying playa characters of their debut, Dre and Big Boi develop a startlingly fresh, original sound to go along with their futuristic new personas. George Clintons space obsessions might seem to make P-Funk obvious musical source material, but ATLiens ignores the hard funk in favor of a smooth, laid-back vibe that perfectly suits the duos sense of melody. The albums chief musical foundation is still soul, especially the early-70s variety, but other influences begin to pop up as well. Some tracks have a spiritual, almost gospel feel (though only in tone, not lyrical content), and the Organized Noize production team frequently employs the spacious mixes and echo effects of dub reggae in creating the albums alien soundscapes. In addition to the striking musical leap forward, Dre and Big Boi continue to grow as rappers; their flows are getting more tongue-twistingly complex, and their lyrics more free-associative. Despite a couple of overly sleepy moments during the second half, ATLiens is overall a smashing success thanks to its highly distinctive style, and stands as probably OutKasts most focused work (though it isnt as wildly varied as subsequent efforts). The album may have alienated (pun recognized, but not intended) the more conservative wing of the groups fans, but it broke new ground for Southern hip-hop and marked OutKast as one of the most creatively restless and ambitious hip-hop groups of the 90s. | ||
 | Album: 3 of 9 Title: Aquemini Released: 1998-09-28 Tracks: 16 Duration: 1:14:48 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Hold On, Be Strong (01:11) 2 Return of the “G” (04:49) 3 Rosa Parks (05:24) 4 Skew It on the Bar‐B (03:14) 5 Aquemini (05:19) 6 Synthesizer (05:11) 7 Slump (05:08) 8 West Savannah (04:03) 9 Da Art of Storytellin’, Part 1 (03:42) 10 Da Art of Storytellin’, Part 2 (02:47) 11 Mamacita (05:52) 12 SpottieOttieDopaliscious (07:06) 13 Y’all Scared (04:50) 14 Nathaniel (01:09) 15 Liberation (08:45) 16 Chonkyfire (06:10) |
| Aquemini : Allmusic album Review : Even compared to their already excellent and forward-looking catalog, OutKasts sprawling third album, Aquemini, was a stroke of brilliance. 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. Some of ATLiens ethereal futurism is still present, but more often Aquemini plants its feet on the ground for a surprisingly down-home flavor. The music draws from a vastly eclectic palette of sources, and the live instrumentation is fuller-sounding than ATLiens. Most importantly, producers Organized Noize imbue their tracks with a Southern earthiness and simultaneous spirituality that come across regardless of what Dre and Big Boi are rapping about. Not that they shy away from rougher subject matter, but their perspective is grounded and responsible, intentionally avoiding hardcore clichés. Their distinctive vocal deliveries are now fully mature, with a recognizably Southern rhythmic bounce but loads more technique than their territorial peers. Those flows grace some of the richest and most inventive hip-hop tracks of the decade. The airy lead single "Rosa Parks" juxtaposes front-porch acoustic guitar with DJ scratches and a stomping harmonica break that could have come from nowhere but the South. Unexpected touches like that are all over the record: the live orchestra on "Return of the G"; the electronic, George Clinton-guested "Synthesizer"; the reggae horns and dub-style echo of "SpottieOttieDopaliscious"; the hard-rocking wah-wah guitar of "Chonkyfire"; and on and on. Whats most impressive is the way everything comes together to justify the full-CD running time, something few hip-hop epics of this scope ever accomplish. After a few listens, not even the meditative jams on the second half of the album feel all that excessive. Aquemini fulfills all its ambitions, covering more than enough territory to qualify it as a virtuosic masterpiece, and a landmark hip-hop album of the late 90s. | ||
 | Album: 4 of 9 Title: Stankonia Released: 2000-10-23 Tracks: 24 Duration: 1:13:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Intro (01:10) 2 Gasoline Dreams (03:35) 3 I’m Cool (interlude) (00:42) 4 So Fresh, So Clean (04:00) 5 Ms. Jackson (04:30) 6 Snappin’ & Trappin’ (04:20) 7 D.F. (interlude) (00:27) 8 Spaghetti Junction (03:57) 9 Kim & Cookie (interlude) (01:13) 10 I’ll Call Before I Come (04:18) 11 B.O.B. (05:04) 12 Xplosion (04:09) 13 Good Hair (interlude) (00:15) 14 We Luv Deez Hoez (04:10) 15 Humble Mumble (04:51) 16 Drinkin’ Again (interlude) (00:24) 17 ? (01:29) 18 Red Velvet (03:53) 19 Cruisin’ in the ATL (interlude) (00:19) 20 Gangsta Shit (04:41) 21 Toilet Tisha (04:25) 22 Slum Beautiful (04:08) 23 Pre‐Nump (interlude) (00:27) 24 Stankonia (Stanklove) (06:50) |
| Stankonia : Allmusic album Review : Stankonia was OutKasts second straight masterstroke, an album just as ambitious, just as all-over-the-map, and even hookier than its predecessor. With producers Organized Noize playing a diminished role, Stankonia reclaims the duos futuristic bent. Earthtone III (Andre, Big Boi, Mr. DJ) helms most of the backing tracks, and while the live-performance approach is still present, theres more reliance on programmed percussion, otherworldly synthesizers, and surreal sound effects. Yet the results are surprisingly warm and soulful, a trippy sort of techno-psychedelic funk. Every repeat listen seems to uncover some new element in the mix, but most of the songs have such memorable hooks that its easy to stay diverted. The immediate dividends include two of 2000s best singles: "B.O.B." is the fastest of several tracks built on jittery drumnbass rhythms, but Andre and Big Boi keep up with awe-inspiring effortlessness. "Ms. Jackson," meanwhile, is an anguished plea directed at the mother of the mother of an out-of-wedlock child, tinged with regret, bitterness, and affection. Its sensitivity and social awareness are echoed in varying proportions elsewhere, from the Public Enemy-style rant "Gasoline Dreams" to the heartbreaking suicide tale "Toilet Tisha." But the group also returns to its roots for some of the most testosterone-drenched material since their debut. Then again, OutKast doesnt take its posturing too seriously, which is why they can portray women holding their own, or make bizarre boasts about being "So Fresh, So Clean." Given the variety of moods, it helps that the album is broken up by brief, usually humorous interludes, which serve as a sort of reset button. It takes a few listens to pull everything together, but given the immense scope, its striking how few weak tracks there are. Its no wonder Stankonia consolidated OutKasts status as critics darlings, and began attracting broad new audiences: its across-the-board appeal and ambition overshadowed nearly every other pop album released in 2000. | ||
 | Album: 5 of 9 Title: Big Boi & Dre Present… OutKast Released: 2001-12-04 Tracks: 16 Duration: 1:13:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Intro (01:07) 2 Funkin’ Around (04:34) 3 Ain’t No Thang (05:39) 4 So Fresh, So Clean (04:02) 5 Rosa Parks (03:57) 6 The Whole World (04:55) 7 Aquemini (04:42) 8 B.O.B. (04:38) 9 Southernplayalisticadillacmuzik (04:11) 10 Crumblin’ Erb (05:17) 11 Ms. Jackson (03:59) 12 Player’s Ball (Original) (04:23) 13 Elevators (Me & You) (04:18) 14 Spottieottiedopaliscious (05:58) 15 Git Up, Git Out (07:26) 16 Movin’ Cool (The After Party) (03:59) |
| Big Boi & Dre Present… OutKast : Allmusic album Review : OutKasts first hits compilation comes at the perfect time; after gaining millions of new fans (more of a whole different demographic) with the crossover hit Stankonia, Dré and Big Boi delivered a tight summation of their decade-long career for listeners whose familiarity grows hazy before the duo hit with "Ms. Jackson" and "B.O.B." OutKast has been doing great work since their fully formed debut with 1993s "Players Ball," and their singles hold up well. Those looking for positivity and emotion on the level of "Ms. Jackson" will find it (wrapped in great productions) on "Rosa Parks" and "Git up, Git Out." The down-tempo "Elevators (Me & You)" is an OutKast history-in-miniature, while two excellent tracks from their debut -- "Aint No Thang" and "Southernplayalisticadillacmuzik" -- introduced the groups formula of syrupy G-funk and intricate, slang-heavy rapping. Also included are three new tracks: the brass-heavy "Funkin Around," a P-Funk pastiche named "The Whole World," and the jazz-club jam "Movin Cool (The After Party)." | ||
 | Album: 6 of 9 Title: Ghetto Musick / She Lives In My Lap Released: 2003 Tracks: 5 Duration: 20:45 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Ghetto Musick (Radio Mix) (03:56) 2 Ghetto Musick (Club Mix) (03:56) 3 Ghetto Musick (Instrumental) (03:57) 4 She Lives In My Lap (Radio Mix) (04:28) 5 She Lives In My Lap (Instrumental) (04:28) |
 | Album: 7 of 9 Title: Speakerboxxx / The Love Below Released: 2003-09-23 Tracks: 40 Duration: 2:15:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Intro (01:29) 2 GhettoMusick (03:57) 3 Unhappy (03:19) 4 Bowtie (03:57) 5 The Way You Move (03:54) 6 The Rooster (03:57) 7 Bust (03:09) 8 War (02:44) 9 Church (03:27) 10 Bamboo (interlude) (02:10) 11 Tomb of the Boom (04:46) 12 E‐Mac (interlude) (00:25) 13 Knowing (03:33) 14 Flip Flop Rock (04:36) 15 Interlude (01:15) 16 Reset (04:36) 17 D‐Boi (interlude) (00:41) 18 Last Call (03:57) 19 Bowtie (postlude) (00:35) 1 The Love Below (intro) (01:28) 2 Love Hater (02:50) 3 God (interlude) (02:20) 4 Happy Valentine’s Day (05:23) 5 Spread (03:51) 6 Where Are My Panties? (01:54) 7 Prototype (05:26) 8 She Lives in My Lap (04:27) 9 Hey Ya! (03:55) 10 Roses (06:10) 11 Good Day, Good Sir (01:25) 12 Behold a Lady (04:37) 13 Pink & Blue (05:05) 14 Love in War (03:26) 15 She’s Alive (04:07) 16 Dracula’s Wedding (02:33) 17 The Letter (00:21) 18 My Favorite Things (05:14) 19 Take Off Your Cool (02:38) 20 Vibrate (06:39) 21 A Life in the Day of Benjamin André (Incomplete) (04:50) |
| Speakerboxxx / The Love Below : Allmusic album Review : To call OutKasts follow-up to their 2000 masterpiece Stankonia the most eagerly awaited hip-hop album of the new millennium may be hyperbole, but not by much. In its kaleidoscopic, deep-fried amalgam of Dirty South, dirty funk, techno, and psychedelia, Stankonia was fearlessly exploratory and giddy with possibilities. It was hard to imagine where the duo was going to go next, but one possibility that few entertained was that Big Boi and Andre 3000 would split apart, each recording an album on his own and then releasing the pair as the fifth OutKast album, Speakerboxxx/The Love Below, in the fall of 2003. Although both albums have their own distinct character, the effect is kind of like if the Beatles issued The White Album as one LP of Lennon tunes, the other of McCartney songs -- the individual records may be more coherent, but the illusion that the group can do anything is tarnished. By isolating themselves from each other, Big Boi and Andre 3000 diminish the idea of OutKast slightly, since the focus is on the individuals, not the group. Which, of course, is part of the point of releasing solo albums under the group name -- its to prove that the two can exist under the umbrella of the OutKast aesthetic while standing as individuals. Thing is, while it would have been a wild, bracing listen to hear these 39 songs mixed up, alternating between Boi and Dre cuts, the two albums do prove that the music can be solo in execution but remain OutKast records through and through. Both records are visionary, imaginative listens, providing some of the best music of 2003, regardless of genre. If conventional wisdom, based on their public personas and previous music, held that Big Bois record, Speakerboxxx, would be the more conventional of the two and Andre 3000s The Love Below the more experimental, that doesnt turn out to be quite true. From the moment Speakerboxxx kicks into gear with "GhettoMusick" and its relentless blend of old-school 808s and breakneck breakbeats, its clear that Boi is ignoring boundaries, and the rest of his album follows suit. Its grounded firmly within hip-hop, but the beats bend against the grain and the arrangements are overflowing with ideas and thrilling, unpredictable juxtapositions, such as how "Bowtie" swings like big-band jazz filtered through George Clinton, how "The Way You Move" offsets its hard-driving verses with seductive choruses, or how "The Rooster" cheerfully rides a threatening minor-key mariachi groove, salted by slippery horns and loose-limbed wah-wah guitars. Its a hell of a ride, reclaiming the adventurous spirit of the golden age and pushing it into a new era. By contrast, The Love Below isnt so much visionary as it is unapologetically eccentric. And as the cocktail jazz pianos that sparkle through the first few songs indicate, its not much of a hip-hop album. Instead, Andre 3000 has created the great lost Prince album -- the platter that the Purple One recorded somewhere between Around the World in a Day and Sign o the Times. Its not just that the music and song titles cheekily recall Prince -- "She Lives in My Lap" is a close relation of the B-side "Shes Always in My Hair" -- its that Dre disregards any rules on a quest to create his own interior world, right down to a dialogue with God. The difference between Andre 3000 and Prince is in that dialogue, too: Prince was tortured; Andre is trying to get laid. That cheerfully randy spirit surges through The Love Below, even on the spooky-serious closer, "A Life in the Day of Benjamin Andre," and it gives Andre the freedom to try a little of everything, from mock crooning on "Love Haters" to a breakbeat jazz interpretation of "My Favorite Things" to the strange one-man funk of "Roses" and the incandescent "Hey Ya!," where classic soul and electro-funk coexist happily. So, both records are very different, but the remarkable thing is, they both feel thoroughly like OutKast music. Big Boi and Andre 3000 took off in different directions from the same starting point, yet they wind up sounding unified because they share the same freewheeling aesthetic, where everything is alive and everything is possible within their music. That spirit fuels not just the best hip-hop, but the best pop music, and both Speakerboxxx and The Love Below are among the best hip-hop and best pop music released this decade. Each is a knockout individually, and paired together, their force is undeniable. | ||
 | Album: 8 of 9 Title: Idlewild Released: 2006-08-22 Tracks: 25 Duration: 1:18:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Intro (02:12) 2 Mighty “O” (04:16) 3 Peaches (03:10) 4 Idlewild Blue (Don’tchu Worry ’Bout Me) (03:24) 5 Infatuation (interlude) (00:48) 6 N2U (03:40) 7 Morris Brown (04:24) 8 Chronomentrophobia (02:12) 9 The Train (04:09) 10 Life Is Like a Musical (02:14) 11 No Bootleg DVDs (interlude) (00:50) 12 Hollywood Divorce (05:22) 13 Zora (interlude) (00:16) 14 Call the Law (04:51) 15 Bamboo & Cross (interlude) (00:54) 16 Buggface (02:45) 17 Makes No Sense at All (02:53) 18 In Your Dreams (03:34) 19 PJ & Rooster (04:27) 20 Mutron Angel (04:18) 21 Greatest Show on Earth (03:06) 22 You’re Beautiful (interlude) (00:29) 23 When I Look in Your Eyes (02:43) 24 Dyin’ to Live (02:07) 25 A Bad Note (08:47) |
| Idlewild : Allmusic album Review : A lot happened to OutKast between the moment they began to think about making a movie and the release of Idlewild. In 1998, no studio would back the movie they were plotting. 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. Along the way, OutKasts 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. After a series of delays with its soundtrack, Idlewild reached theaters in August 2006. Set in the prohibition era, Big Boi plays a speakeasy owner, while Dré is the relatively introverted piano-playing son of a mortician. 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. That presentation holds true throughout Idlewilds soundtrack, which doubles as the sixth OutKast album. Big Boi and André 1936 share little space on a disc thats not so much a series of misfires as its filled with shots that reach their targets, albeit softly and with little trace of impact. Rich with color and energy, mischievous asides, and biting observations, the album presents fresh ideas every couple of minutes. However, at the same time, it just keeps on going, and even its highlights fall short of OutKasts past and fail to transcend its assortment of inspirations. Little of it sticks. 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. Despite Drés 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 -- hes far more effective as an MC than a singer. When it comes to rapping, hes "bored" with "no dragon to battle," yet the verse containing that proclamation outstrips just about all the lines he croons. "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 albums saving grace, still every bit the undervalued force with scythe-like rhymes and gazelle-like moves. 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. | ||
 | Album: 9 of 9 Title: WhatuBeenWaitin4 Released: 2008-09-08 Tracks: 16 Duration: 1:01:35 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Patients Makes Perfect (03:51) 2 What U Think (05:42) 3 Millionaire Status (03:40) 4 Warriors (04:05) 5 Smoked Out (04:55) 6 Head Up (04:11) 7 What It Is (01:19) 8 The Times (04:33) 9 Have U Ever (02:38) 10 Its Alright (03:30) 11 Blow (04:50) 12 Remind Me (03:37) 13 All Day (03:30) 14 Trippin (02:42) 15 Off the Hook (04:29) 16 Cant Stand (04:03) |
| WhatuBeenWaitin4 : Allmusic album Review : A disc of dubious origin, WhatUBeenWaitin4 was evidently put together by an enterprising individual who owns a number of nonalbum OutKast tracks. It’s a compilation of random tracks dressed (horribly so) to look like a new album. The true titles of the tracks are masked (again, horribly so). The opening track, “Patients Makes Perfect,” is “In Due Time” -- taken from the Soul Food soundtrack. “What U Think,” the second track, is “Tough Guy” -- taken from the soundtrack of the Samuel Jackson-starring Shaft remake. “Millionaire Status” is “Millionaire,” taken from Kelis’ Tasty. OutKast fans can play this identification game for the remainder of the tracklist. While it could be a handy way to gather relatively obscure parts of OutKast’s discography, WhatUBeenWaitin4 is a bootleg through and through. | ||