-One freak’s commentary on one song a week-
Does anyone else feel like this week needs a little injection of life-juice? Yes? Well, leave it to Big Boi.
Way back whenwhoknows I wrote a column about my entry point into the world of hip-hop. The story went something like this: I was melting in the back seat of some rich kid’s Explorer as he bumped Outkast’s Aquemeni. Like, love at first listen.
They’re certainly loveable, but Outkast has always seemed to straddle the line between hip-hop credibility and pop-hop marketability. A scenario I’ve experienced during many-a-latenight conversation goes something like this:
DUDE: Who’s your favorite rapper?
ME: Andre 3000.
DUDE (looking slightly uncomfortable): Oh. Yeah. He’s aiiight.
And I’d be left feeling insecure about my taste. But why? Critics and fans definitely give them credit, but in spite of their ridiculous gift of flow, their catchy beats, the immense sales, and their image-malleability, the duo can’t seem to get to that status stratosphere where guys like Biggie, Tupac,Jay-Z, Nas and even friggin’ Lil’ Wayne dwell. Atthe same time, their stardom and Mtv-friendly singles put them outside the hip-hop credibility basement of rappers like Talib Kweli, UGK or MF Doom. Heck, on top of all that they can’t even roll gangsta like Jeezy or Ghostface. What does this mean for Outkast? On the larger scale of things they’re left in this weird Kanye West, Ludacris, Missy Elliott middle-ground. It’s not a bad place for your pockets to be, but it just doesn’t seem to do them justice.
What’s to blame? Their angle. From young ATL wanna-be-ganagstas to space-alien-spitters to mystic-muses to separate dishes of hip-hop-experimentation, Outkast has never fit a mold. They’ve evolved. They’ve rapped about ghetto pitfalls, Cadillacs, sour relationships, their children, piano-bar speakeasies, modern technology, ceiling fans—and they’ve always come from a fresh angle. Something about their willingness to experiment artistically—a quality that is generally appreciated in music—has mildly discredited them in the genre of hip-hop. Maybe that’s what Jay-Z was talking about when he claimed that hip-hop had stagnated and indie rock had taken its place as the invigorated American musical medium?
Even my rant is crazy! Why should I feel the need to defend Outkast? Doesn’t their body of work speak for itself? I guess that whenever some new music from the duo surfaces, I can’t help but reconsider this argument.
So earlier this week, Big Boi dropped another nugget from his highly anticipated solo-album, Sir Lucious Leftfoot. The first song surfaced waaaayyyy back in March, and it features his partner in crime spitting a ridiculous verse. The second track to leak bumps sticky-funky with some help from George Clinton and Too Short. In case you missed them:
Big Boi – Royal Flush (feat. Andre 3000 & Raekwon)
Big Boi – Fo Yo Sorrows (feat. George Clinton & Too Short)
Boi’s new new joint is a third indication that Sir Lucious is poised to outshine his half of Outkast’s 2003 double-release, Speakerboxxx—which suffered from a small rash of throwaway tracks.
In 2007 UGK dipped into the 70’s soul bin, clipped a piece of Willie Hutch’s “I Choose You,” and invited Outkast to cameo on one of the best rap tracks in recent memory: “International Player’s Anthem.” Big Boi follows suit and digs on a Teddy Pendergrass driven sample from the Harold Melvin & the Blue Note’s track, “I Miss You.” And who shows up? Mr. Show-Up 2009, Gucci Mane. And damn, he delivers the goods. But sorry, no Juiceman.
Enjoy your week!
Big Boi feat. Gucci Mane – Shine Blockas
YES. THANK YOU. GREAT. You are right and History will prove it, I think.