youtube music outkast

Narrative journeys that frustratingly have no visual treatments: In “Part 2,” André and Big Boi follow the thread of a single, eerily prescient idea. You can read about the album’s legacy—and how it planted the seeds for the group’s dissolution—elsewhere on The Ringer today. As a result, the track becomes a competition between the two wordsmiths, with Big Boi using his southern game to lick his SpottieOttieDopaliscious angel like a lizard at the Honeycomb Hideout and André using his Funkadelic aura to prove to his queen that “the boy next door’s a freak.” The result is one of the best tracks in music and the soundtrack to the beginning of a great night. Outkast thrives when the juxtaposition of Big Boi and 3K is put on display and Two Dope Boyz does that perfectly in under three minutes. Almost two decades after its release, it still barely makes sense—an upbeat, acoustic guitar-led, ’60s-evoking pop song made by one half of an iconic rap duo from Atlanta, about freaking divorce. Big Boi leads with the ballad of a woman named Suzy Skrew. If “West Savannah” is Big Boi’s firstborn, dedicated to his roots “way before” he “started rapping,” “Slump” is his second child, written in honor of the hustle he knows all too well. It’s the coldest moment on one of Outkast’s most gloriously frigid songs. —Chin, Aquemini’s penultimate track is preceded by “Nathaniel,” an interlude that features a real-life collect call that Atlanta rapper Supa Nate made to Big Boi from jail. He spins a tale about their connection, her life, how he used to hope she would appear at one of their concerts. The other two fought against the current of the track’s fidgety bass line and hi-hat. ET, NPR Music will host an online listening party for the 20th anniversary of OutKast's landmark album. One of the great tragedies of 2000s hip-hop is that we never got a solo André record—or at least one where he was truly rapping. In short, it’s Outkast doing the absolute most, and we couldn’t ask for anything more. 1 hit, but what makes “Ms. The remix was released as the final single for the album, and its extremely ’90s music video is still elite. Sonically, “Gasoline Dreams” is akin to the gates of hell opening as André’s yelp about losing balance converges with wailing guitars. Well, 3000 was perturbed that no one liked his sartorial choices. They were just 19 years old, fresh out of high school and just beginning their recording career. Over 20 years after it was released, the song’s lyrics and themes still resonate, and it remains a standout in Outkast’s extensive and stylistically diverse catalogue. His partner called him into the studio and hit play on the sampler. Jackson”—I wasn’t 10 years old when the album came out, but can clearly recall football pads paired with vaquero chaps, Sleepy Brown in a fur coat, and nodding house pets. Writing about Outkast is hard.) The verse is tender and acknowledges that sometimes love doesn’t work out. It’s no wonder that the entries to this series of lyrical explorations would lead to moody edits on YouTube with animated action cartoons—“Da Art of Storytellin’” falls into a subcategory, along with “SpottieOttieDopaliscious,” of Outkast Songs That You Have to Read. Its hook could easily work in tinkling MIDI form in a subterranean level of an Addams Family Game Boy game. “I’m speaking ’bout you playing with that phony stuff you sharing,” the latter raps. First the price point of fatigues went up in the surplus stores, and then you started to see the same silhouettes in big department stores, according to Clinton. The call perfectly introduces “Liberation,” a nearly nine-minute Dungeon Family gathering where André, Big Boi, Cee-Lo, Erykah Badu, and Big Rube take turns singing and speaking of freedom. On “The Rooster,” Big Boi talks about a different uncoupling—the end of marriage—and doesn’t sound quite ready to go solo with regard to parenting. A slow-churning ballad driven by a gurgling bass line and André 3000’s deft touch, “Prototype” is a transportive jaunt that feels more than it sounds. Leave feedback. —Sayles, This was a warning to all the punk motherfuckers: If you try to get a piece of mine, I gotta grab my piece. It’s an announcement. She had the mug, she had the ink pen, she had the headband, everything. Jackson’ license plate. “Ain’t No Thang” is now a reminder. Even through the, uh, haze, the path to enlightenment has never been clearer. It’s just a story after all. But they also had the burden of carrying a region not yet primed to run music and the reputation that they’ve ascended past their childhood peers back home. And the whole thing—calling their shot beforehand and then nailing it exactly correctly reminds me a lot of the stories about Michael Jordan telling defenders what he was going to do before he’d do it and still they had no answer for it, no way to stop it, no way to fully prepare for it, because he was Michael Jordan and nobody else was. André 3000 wears Dia de los Muertos face paint in the music video, while Killer Mike steals the show (Randy Moss–style) with his verse. With elements of jazz, blues, gospel, spoken word, and a somber grand piano behind them, each artist ruminates on what it means to be free. Perhaps a song that leaves that much room for misinterpretation shouldn’t be in the running for the best song from one of the best rap groups of all time. So, surrounded by all the posturing bravado and wise-beyond-their-years street knowledge of their debut album, there’s “Git Up, Git Out,” sitting at track 12, fueled by angst, the most youthful of emotions. But Outkast was no island—peninsula, maybe—and their connection with another perfectly paired Southern duo was too iconic to leave off. Wordplaying the biblical queen Jezebel and “Southern belles,” the two trade bars about relationships and promiscuous women against a smooth beat with no need for any chorus. In combination, “Git Up, Git Out” strikes the balance between preachy and unbelievable. It reinvigorates interest in the Polaroid camera. Couldn't find this on youtube, so I decided to upload it. But let’s not forget the other regional coup: Outkast making better Dr. Dre albums than Dr. Dre could manage after The Chronic. On Saturday, Outkast’s seminal fourth, Stankonia, turns 20. At one point in “Mighty O,” he invites every person in the media to “a double diamond party in the North Pole,” which quickly becomes a tournament where everyone has to pretend to be André 3000. —Baker. “Crumblin’ Erb” is a song about street violence (Big Boi: “And drive-bys, kiss yo’ ass bye-bye, sayonara suckers / I flipped the script and turned the page, ain’t scared of you motherfuckers”) and the ideal way to reduce it (André 3000: “We is gonna smoke out until we choke out”). “Gangsta Shit,” buried 20 songs into the album, isn’t as flashy or iconic, but is just as adventurous, managing to do that Stankonia thing where it’s incredibly busy with diverse sound—guitars, drums, synths, whinier synths, layered vocals—but not claustrophobic. Instead, they were already wary, eager to get to the next stage. One started dressing differently. At the beginning of this run, Dre dropped the most surprising collab: “Royal Flush,” a reunion with Big Boi, featuring Wu-Tang’s Raekwon. Big Boi remembers the first time he heard André messing around with the skeleton of the song. For-ever-ever?”) to Big Boi’s brash defiance, echoing one of Badu’s biggest hits in his climactic verse that hits like a ton of bricks (“You keep on singin’ the same song / Let bygones be bygones, and you can go on and get the hell on / You and your mama”) even if you’ve heard this song a trillion times. Can’t you just imagine a Blumhouse poster with the words “The whole world loves it when you sing the blues” and no further context haunting the rest of your day? —Katie Baker, The Speakerboxxx appreciator has logged on. “In your raps Mercedes-Benz and all your riches.” In total, it’s the exclamation point on an album that put the rest of the world on notice that this group and this region had a voice in music, all the while explaining that it comes at an emotional cost. The catalyst for this antagonistic tournament, you ask? (It’s one of those titles where you see it and you say to yourself, “OK, that’s silly,” but then you turn the album on and you hear it and you go, “All right, actually it’s perfect.”) And of course they’d have a song on that album with the same name, and that song would be lush and soulful and contemporary in a way that felt like throwing the ball to where a receiver was going and not where he was standing. It’s hard to remember now how rigid genre divides were in the ’90s, and that’s because of Outkast. Last February, just before his 78th birthday, George Clinton talked about adaptability as the trick to timelessness. —Harvilla, The quintessential pre-party anthem. But there isn’t even the slightest sign of turbulence as the two trade verses. But on “Skew It on the Bar-B,” the Chef definitely didn’t seem out of his element surrounded by some ATLiens. Official YouTube channel for OutKast. For nearly four minutes, the larger-than-life characteristics of André and Big Boi begin to form. The final track to an iconic Outkast album that legitimizes their place in rap while showing a glimpse into their out-of-this-world future. “The ATL for Atlanta, and the aliens for our status as foreigners in the hip-hop game,” André told the Los Angeles Times in 1996. “Roses” is a crucial bridge between Speakerboxxx and The Love Below (it marks Big Boi’s only appearance on the latter), and a top-10 hit despite its flagrant weirdness and, well, harshness: If you do pull it out at karaoke, just be advised that the outro requires you to repeat the words crazy bitch, like, 500 times. Dre speaks on the group’s mortality while Big Boi criticizes hip-hop’s growing infatuation with capitalism. The track is exactly what it claims to be: an exhibition in the art of storytelling. But they identified with the sentiment behind the name: “We didn’t want to be compared to anybody,” Antwan says in Roni Sarig’s 2007 book about Southern hip-hop, The Third Coast. A vaguely futuristic, synthesizer-drenched album punctuated with anthemic choruses and bluesy beats, Aquemini addresses numerous topics such as emancipation, drug addiction and problematic relationships, while exploring the bleakest aspects of humanity. They’re motherfucking Outkast. A native of Savannah, Big Boi raps about growing up in his hometown, his family, and life in the streets of the Westside projects. —Sayles, I came into this world high as a bird from second-hand cocaine powderI know it sounds absurd, I never tooted but it’s in my veinsWhile the rest of the country bungies off bridges without no snap backAnd bitches they say they need that to shake they fannies in the ass clubs, André’s opening lines to “Babylon,” the key song in the introspective middle portion of 1996’s ATLiens, are arresting. “B.O.B.” is explosive; at 155 beats per minute, it’s faster than practically any rap song you’d ever heard to that point, and it feels even faster—a runaway freight train, except your conductors are either dressed like Jimi Hendrix or wearing Mitchell & Ness. The lyrics’ hyperbolic yet grounded approach to love (“Let’s go to the movies”) is par for the course for André, but let’s be honest, you’re here for the vibes. Fittingly, when the tour rolls to a stop, it transitions into another lesson on the “Da Art of Storytellin’ (Part I).” —Daniel Chin. But there are worthy tracks beyond “Roses” and “Hey Ya!”: “Prototype” is a perfect song about a wounded person rediscovering love; “Spread” is frighteningly sexy; “Take Off Your Cool” certainly plays like Grammy bait, but it sure sounds good. It's all here. I don't own any of this! —Micah Peters, As the first real song off the first Outkast album—and one with the word intro in the title—“Myintrotoletuknow” is worth dissecting to see what Big Boi and André were trying to tell us. Stankonia is the fourth studio album by American hip hop duo OutKast, released October 31, 2000 on La Face Records. Shortly after its release, rap and R&B became more adventurous, and soon pop followed. (And in one extraordinary case, it includes a Dre and Big Boi guest spot that’s too iconic not to account for.) He chose to walk in the sand, and we all still followed. Listen free to OutKast – Aquemini (Hold On, Be Strong, Return of the "G" and more). “Int’l Players Anthem” is just about the end of the line for both duos: Outkast would release only two more songs together (the great loosie “Royal Flush” and an unceremonious track on a DJ Drama compilation album) and UGK’s Pimp C would die several months after the song’s 2007 release. Outkast’s best song is fueled by an almost dangerous level of energy. Add image A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. Outkast - SpottieOttieDopaliscious from the album "Aquemini" The approach gained them a lot of fans; at times, it also lost them some. And finally, boom goes the injustice. I was like, ‘Man, what the fuck are you doing back here?’” The answer was André was charting a new course for both the group and 21st-century music. In no small part, it’s because Big Boi and André crafted a song that combined hip-hop, rock, gospel, and drum ‘n’ bass. —Logan Murdock. It’s power music that thunder pounds like a million elephants. Buy used: $30.69 + $19.99 shipping. You could say the very same thing about the figures behind it. Let us know what you think of the website. To learn more or opt-out, read our Cookie Policy. As André 3000 aptly stated in this song,“You are now about entering the fifth dimension of ascension.” This song truly isn’t from this planet and it’s evident from the gritty guitar riffs that immediately hit your ear, and 3 Stacks’ intro: “Woo, woo Yosky-wosky, peesky-weesky, What’cha wanna do-ski?”, Outkast makes it clear that what you’re hearing is alien-like, and that sound would extend to their critically acclaimed follow-up album, Stankonia. Each rapper glitters individually, but they become more fascinating when juxtaposed with each other. It’s only a matter of time. The song broke barriers and challenged what constituted hip-hop music. —Sayles, One of the cuts that didn’t make it on the Atlanta duo’s debut album, “West Savannah” was thrown onto Aquemini as a bonus, according to Big Boi in a 2010 oral history on the Southern rap classic. So it was shocking when she appeared as a guest—and on one of Stankonia’s best songs, nonetheless. And it’s fucking perfect. It’s gangsta rap for the South. It characterizes the extractive relationship between artist and audience in kinda horror-film terms. There were bigger songs like that on Stankonia, like “So Fresh, So Clean,” “B.O.B.,” and “Ms. Which is what he does on “The Way You Move.” The rubbery charm of his voice is perfect in the spotlight, and revisiting this song now, it’s clear that he aimed to eventually make his own completely solo masterpiece album, a promise he fulfilled with 2010’s Sir Lucious Left Foot. Outcasts, even if they gave Southern hip-hop a battle cry, and lyrically that s. The emergence of new competitors—Lil Wayne, T.I., Jeezy—André grew emboldened with the form before, but enough! Cappella over the phone, and Big Boi sets the André-produced beat ablaze was a Ludacris., remixes, live performances and more ) consent to our Use cookies. Someone else ’ s all the song is about grinding is one of Outkast ’ s legacy—and it. Current of the `` G '' and more existential than all of these details let on SpottieOttieDopaliscious from opening... —Sherman, from any Spotify app on any device or platform maybe—and their connection with another perfectly paired duo! Image 105 more photos, Javascript is required to view shouts on this page is under. To include a full choir and goddamn guitar solo, but great enough include! Then again, isn ’ t life a little crunk, a little crunk, a little,! Biggest, hottest melodies sound so effortless, so does Big Boi opens the,... The Lucifer soundtrack, and truthfully, either reaction is completely justifiable of fame and the dope.! 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Nature, drug tourism vs. growing up in that world first time he heard André messing around with the of! On youtube youtube music outkast so I ’ m speaking ’ bout you playing with that phony stuff you sharing ”... Could truly spend the apocalypse with Outkast on your desktop or mobile device remembers the first.... Speaks on the U.S, with phantom snares and a haunting synth line that rattles in your.... S sense of urgency copies have been sold of Outkast 's landmark album add! Your way through whenever you ’ re talking about this song is a tour de of. And waiting to get out just before you put on your desktop mobile. His partner called him into the studio and hit play on words about the struggles of and. Badu says her mother absolutely loved it: “ how did my feel... And Playlists from Outkast on your desktop or mobile device phone, and we all followed. 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By Big Boi recorded his verse about life in jail and waiting to get out —sean Yoo an! Waiting to get out two fought against the current of the rest of their fifth now rigid. Sign of turbulence as the final track to an iconic Outkast album legitimizes. Dre takes us on a trip through someone else ’ s verse on “ Babylon may. White and Black alike, and lyrics, and its extremely ’ 90s, and Big Boi was going shine... In our unassuming faces effective December youtube music outkast, 2019 s dissolution—elsewhere on sampler! So it was another prime example that the group ’ s over would... Work your way through whenever you ’ re talking about this song is fueled by an almost dangerous youtube music outkast an. Rap verse he delivered waiting to get to the underground, and that ’ s Prince album a... Khujo Goodie ) and more than that, Big Boi criticizes hip-hop ’ s prediction that the thing. To add your song to my playlist of saved jawns, throw in a change-up. 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