1. Ain’t No Thang
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Though they would reach the mainstream of global pop culture as fully formed psychedelic futurists, OutKast’s recorded life began with a sense of them as followers, even if there were hints that they would become leaders. Their debut album, Southernplayalisticadillacmuzik, contained more than average amounts of individuality and iconoclasm for its era, but the 1994 release found André 3000 and Big Boi still wearing a few influences proudly on their sleeves. That befits the album’s status as the work of two high-schoolers who couldn’t quite believe their luck – a chance meeting with the Organized Noize production team and an impromptu rap session held outside Rico Wade’s car, the pair freestyling to the instrumental of A Tribe Called Quest’s Scenario, led to a guest appearance on a remix of a single by local stars TLC. That in turn introduced OutKast to Atlanta’s LaFace label and won them their deal. By the time they knuckled down to their first LP, the pair felt different enough from their schoolfriends to wear the name OutKast like a badge of honour, but they were still in thrall to the styles and sounds of the day. As such, the album is a take on the G-funk/gangsta style, executed with plenty of Georgia swagger and the pair’s innate determination to express their individuality. Nevertheless, it is a remarkable and vivid genre piece: the first stirrings of the style their friends Goodie Mob would soon end up naming Dirty South. Ain’t No Thang is a standout from what remains a very good record. The lyric is filled with menacing imagery (“.357 to yo’ fo’head / There’ll be mo’ dead / ’cos I’m a pro, kid”) intercut with the playful chorus that’s designed to add chills by making murder sound complacent, but which also serves to remind you that these were still schoolboys playing at gangsta rap.
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2. Babylon
OutKast’s second album, ATLiens, is at once the duo’s most individual and perhaps also their least successful. As if determined to wrestle free of any influences at all, Big and Dré succeeded in crafting a record that stood defiantly alone, off to one side of everything else that was going on – not just in rap but in music generally. Their singular style came at a cost: a concept album recasting the pair as sci-fi superheroes (the CD booklet is a comic book that lays out some of the album’s themes), ATLiens works as a dense and cohesive whole, but only if the listener can submit to the totality of its moods and sound. Elevators (Me and You) was chosen as a single, and is the track from the album that has come to stand for this period in the band’s evolution. More representative, perhaps because of how it foreshadows future themes and approaches, is Babylon, a meditation on drugs, crime, sex and the loss of childhood innocence, laced with a sense of both men struggling to reconcile the heart and the head, the sacred and the profane, and their competing loves for both gangsta/street rap and a more intellectually nuanced kind of consciousness-raising music. The Organized Noize production team provide evocatively disconcerting backing, sepulchral hums over a descending bass motif and the ghost of a chicken-scratch guitar riff, music designed to stalk the subconscious in the same way as the irresolvable conundrum of a lyric does. OutKast hadn’t yet got to where they would eventually go, but it’s clear they were on the march.
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3. Aquemini
On the third album things all finally clicked into gear, and the idea of two individuals uniting as something greater than the sum of their parts was pushed to the front of the OutKast narrative. The title track melds the pair’s star signs to form what they profess will be an unbreakable new whole (“Nothing is for sure, nothing lasts forever, nothing is for certain / But until they close the curtain / It’s him and I / Aquemini”), but the record also marked the point of maturation of the period of searching through antecedents, and experimentation with the new, that were the respective hallmarks of the first two LPs. The group were starting to produce themselves: they’d learned from Organized Noize and – working as a trio called Earthtone III which incorporated David “Mr DJ” Sheats – they built this album in the same way, live musicians meshing with drum programming to create organic and richly textured tracks which nevertheless adhere to hip hop’s loop-and-sample aesthetic. The title track seems to coalesce from an aural mist rather than be built brick by brick from earth-bound foundations, and finds Big and Dré taking what were already their signature styles, rhymes slathered over beats like sauce ladled on to spaghetti, and transcending lyrics to produce sparkling shards of poetry. “Let’s walk to the bridge now, meet me halfway,” raps André, conjuring crack wraiths looking for a way out. “Now you may see some children dead off in the pathway / It’s them poor babies walkin’ slowly to the candy lady / It’s lookin’ bad – need some hope like the words ‘maybe’, ‘if’, or ‘probably’.”
4. Rosa Parks
Aquemini’s first single got the band into trouble when the civil rights icon it was named after launched a lawsuit against them, claiming the record sought to trade off her name. The opposite was the intention: the song was meant as a doff of the cap, and wasn’t about Parks or the bus boycott she inspired, but uses the image of that historic moment as a metaphor to illustrate OutKast’s combination of principles and iconoclasm. “It was basically a braggadocious hip hop song,” André told me in 2003. “It had nothing to do with Rosa Parks. It was just a new symbolism. It was another way of saying, ‘Get out of my way.’” The production is perhaps the group’s most obviously rustic and redolent of their deep south roots – an insistent, almost flamenco, guitar figure gives way to a middle eight in which André’s pastor stepfather plays a harmonica solo while the musicians stomp on the wooden studio floor to create yet another new sub-genre – porch-stoop country hip hop.
5. B.O.B.
The first single from the fourth album Stankonia has been interpreted as an anti-war polemic and would acquire a veneer of dread prophecy as the Bush administration’s wars pitched America into a terrifying 21st century. But at its heart, it’s a song about André’s dissatisfaction with the music of the late 90s and his and Big Boi’s attempts to pull their atrophying genre back to life. “The song was a title before it was anything,” André told me in that 2003 interview. “It had no music or lyrics, I just wrote ‘Bombs Over Baghdad’ down on a piece of paper and put it in my pocket, because I knew it was a dope title.” The group had been touring in the UK when the Clinton administration took potshots against Saddam Hussein in 1998. “It had nothing to do with the war: it was symbolism,” he said. “Warning shots – that’s what ran round my head. I felt that’s what people in music were doing. Everybody was kind of playing around, too easy and too calm: everything was smooth, everybody was cool. So it was a reaction to that. I wanted to hear something fierce and urgent. Bombs Over Baghdad was really like a slap in the face – kind of wake everybody up. ‘Don’t pull your thang out unless you came to bang’ [the song’s hook] was like: ‘Hey, don’t get in the ring unless you want to do it.’” The track – production is credited to Earthtone III, but André says it was mostly his own work – adopts the high-speed attack of the drum’n’bass OutKast had encountered in Britain, adds a histrionic, hyperventilated guitar solo, then rushes in to a coda where a chant of “Power, music, electric revival” responds to the rappers’ breakneck verse calls. Nothing in even this band’s catalogue of eclectic excess had adequately prepared their audience for it: its effect was indelible and its impact considerable. It would be their next single – the far more conventional, if no less singular, Ms Jackson – that became a big hit, but B.O.B. is arguably OutKast’s greatest moment.
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6. The Whole World ft Killer Mike
One of three new songs added to a best-of, The Whole World arrived late in 2001 and, while it may have been recorded beforehand, it stands as one of pop’s first and most astute responses to the 9/11 attacks. From André’s shout-out to laid-off airport workers to Big Boi’s reference to black boxes, the allusions to those terrible events are typically quotidian: despite their sci-fi dalliances, OutKast have always been a group whose focus has been on the human dimension of the situations their writing describes. As ever, though, this isn’t a song about only one thing: indeed, the primary topic appears to be a coming to terms with and response to the fame the group had found after Ms Jackson propelled them to the pinnacle of pop stardom, and the way that celebrity culture feeds off the foibles and failures of the famous. The broken-down beat gives the whole piece a feel of the archaic – a deliberate musical reaction to the futurism of the record that gave them that elevated place in the public’s consciousness, perhaps. As if to emphasise its sense of uneasy dislocation, both Big and Dré rap across the syncopated beat as if delivering lyrics over a standard 4/4 track: Killer Mike, in an early appearance long before he found fame in Run the Jewels, approaches the task with a markedly different attitude, constructing his verse in bouncing groupings of syllables of a kind not seen in rap since Chuck D’s second verse in Bring the Noise more than a decade earlier.
7. Dungeon Family – Trans DF Express
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With OutKast established stars, Goodie Mob widely eulogised cult artists and other members of their extended Atlanta family getting solo deals, 2002 seemed like a good time for a collective album. Even In Darkness presented Dungeon Family as a Dirty South Wu-Tang Clan, a bewildering array of lyrical techniques and vocal styles from rappers attempting an extended conceptual metaphor that likened their rap styles to medieval swordplay (the kung-fu references are replaced here by a knights of the round table conceit) given a unifying musical backdrop courtesy of Organized Noize. Big and Dré are prominent on the record but, tellingly, never overbearingly so: duties were shared out democratically, with everyone from the collective being given their chance to shine. The Kraftwerk-referencing first single was the only exception – to try to give the project the biggest possible commercial push, the track united the most prominent and popular of the DF MCs (Cee-Lo, André, Goodie Mob’s Big Gipp and Big Boi).
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8. GhettoMusick
The indivisibility they’d trumpeted on Aquemini was always going to be a tough trick to pull off indefinitely, and by the time a fifth album was ready, in 2003, the duo had surrendered to the inevitable. Rather than two parts of the same whole, OutKast now presented themselves as interdependent individuals, and the album – Speakerboxxx/The Love Below – was essentially two solo albums stuck together with a deliberate lack of effort at concealing the fact. In truth, André’s portion (The Love Below) was a genuine solo affair, while Big’s disc included a few moments where the pair had worked in the same collaborative manner as before. As such, GhettoMusick was among the double disc’s few genuine OutKast songs – the beat was crafted by André, with him providing ad libs and the chorus, while the rapped verses are left to Big Boi. The only other way it links to previous OutKast records is in its rejection of all templates and preconceptions: it’s breathtaking in both its pace and in the contempt it appears to hold all of the music that has come before it in. The main part of the track is a frenetic buzz, punctuated by André’s lines about trying to find a way to fit in and to get the music out; a series of ruptures rend this disconcerting continuum, the first highlighting an electronic organ buried deep in the mix, the next two inserting huge chunks of Patti LaBelle’s Love, Need and Want You, with no attempt made to hide the fact that it’s a far slower track with no obvious connection to the new piece into which it’s stitched, Frankenstein’s monster-like.
9. Hey Ya!
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The nearest André’s The Love Below gets to a genuine OutKast song is Roses, which Big Boi co-wrote and -produced. But even though it’s all his own work – he plays all the instruments, as the cheeky and hugely entertaining video implies – Hey Ya is the song for which OutKast are best known. There’s an argument to be made for Big having a part in it even by his absence: few other professional partnerships would have been strong enough to permit each member the freedom to work individually while still remaining part of the collective. So in that sense Hey Ya is testament to Big Boi’s open-mindedness and his ability to enable and encourage his bandmate’s experimentation. The track had a lengthy gestation – this writer’s first exposure to it was in demo form, played on repeat from a CDR in a photo studio in New York in November 2001, while OutKast, Goodie Mob, other Dungeon Family members and Bootsy Collins posed for a session for Dazed & Confused magazine. Even at that stage the lyrics were finished, and there was talk that the track might be included as one of the new songs on the best-of that included The Whole World. “I was just talking to my homeboy, he say: ‘How you make a song like that, man? It’s jammin’, but you from the hood! How you make a song like that?’,” André said, explaining the philosophy behind what he considered a Beatles-influenced track to Collins. “I mean, white people, they been imitatin’ black music for so long because they like it so they want to do it. But flip it around! We imitate their music and funk it up! It’s all one cycle. Jimi learned from Bob Dylan. It really ain’t no black and white thing – it’s in the music.”
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10. Morris Brown
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The original plan for Speakerboxxx/The Love Below had been for the album to be the soundtrack to an OutKast film. That idea wasn’t cancelled, just postponed – until 2006, when Idlewild emerged. Both film and soundtrack album struggle these days to climb out of the shadow of the group’s earlier work, but there’s much to commend on what remains, as of this writing, the band’s last album. André doesn’t appear on the second single, Morris Brown, but produced it: apparently recorded during the Speakerboxxx sessions but shelved, it emerges here as a typically acerbic piece, a forced marriage between vaudeville, rap and marching band music (the title comes from the Atlanta college, whose band features on the song) that no group other than OutKast would have ever dared attempt. Following Idlewild’s release, the band went on hiatus. Big Boi released two solo albums as André contributed a string of cameos to other people’s records while building an acting CV. In 2014 they reunited for a number of festival gigs around the globe, and apparently still work together from time to time – but any suggestions that a new record is in the works have been strenuously and emphatically denied.