OutKast – Aquemini (1998)
By the time of the release of their 3rd album OutKast were still virtual unknowns outside of their native US, where this would become their 3rd successive million seller. They had perfected their pimpin’ personas on the debut “Southernplayalisticadillacmuzik”, taken a left turn with “ATliens”, a synth heavy, laid back space age classic before upping their game still further with “Aquemini”.
At the time hip hop was dominated by gangsta rap, the impact of more thoughtful acts like Tribe Called Quest and the Pharcyde had diminished, making Aquemini’s success all the more remarkable. Keeping the synths from the previous album whilst adding more live instruments to the mix, Andre and Big Boi rapped in their finest Southern drawls, spinning tongue-twisting tales that were equal parts bragging, social commentary and humour.
Kicking things off with ‘Return Of The G’, they immediately set out their stance – berating the so called gangstas who prefer living the lifestyle rather than taking care of business closer to home. Lead off single ‘Rosa Parks’ bounces along with acoustic guitar, scratches and a killer harmonica break – just in case we forgot they’re from the dirty south y’all. Brilliant rapid-fire lines dominate ‘Skew It On The Bar-b’ featuring Raekwon on a verse, and a memorable chorus that stays with you long after the track has finished.
There simply isn’t a weak link on the whole album. George Clinton guests on ‘Synthesizer’, ‘Slump’ is a highlight, inexplicably not released as a single. Both parts of ‘Da Art Of Storytellin’ and ‘Mamacita’ brilliantly lead into the album’s epic ‘SpottieOttieDopaliscious’. Seven minutes of dub reggae infused, horn heavy funk unravel before our ears. This could easily become sickly smooth in the hands of lesser artists, but here it works, the production perfectly suiting some of the duo’s best lines – brilliantly inventive, wry humour to the fore. It can’t be denied it’s almost impossible to top this track, but that’s not to say that the closing songs don’t deliver. ‘Liberation’ features future Gnarls Barkley voice Cee-Lo, before ‘Chonkyfire’ wraps things up with wah-wah drenched guitar.
There is a real warmth to the album, the production always innovative, the raps skilful and playful often disguising the underlying serious intent. They achieved huge success by being themselves, proud of their roots, not afraid to challenge what was hip at the time. ‘Aquemini’ is an incredible album, too good to be thought of as a mere hip hop album, and one which can’t be recommend highly enough.
Stuart Preston
By the time of the release of their 3rd album OutKast were still virtual unknowns outside of their native US, where this would become their 3rd successive million seller. They had perfected their pimpin’ personas on the debut “Southernplayalisticadillacmuzik”, taken a left turn with “ATliens”, a synth heavy, laid back space age classic before upping their game still further with “Aquemini”.
At the time hip hop was dominated by gangsta rap, the impact of more thoughtful acts like Tribe Called Quest and the Pharcyde had diminished, making Aquemini’s success all the more remarkable. Keeping the synths from the previous album whilst adding more live instruments to the mix, Andre and Big Boi rapped in their finest Southern drawls, spinning tongue-twisting tales that were equal parts bragging, social commentary and humour.
Kicking things off with ‘Return Of The G’, they immediately set out their stance – berating the so called gangstas who prefer living the lifestyle rather than taking care of business closer to home. Lead off single ‘Rosa Parks’ bounces along with acoustic guitar, scratches and a killer harmonica break – just in case we forgot they’re from the dirty south y’all. Brilliant rapid-fire lines dominate ‘Skew It On The Bar-b’ featuring Raekwon on a verse, and a memorable chorus that stays with you long after the track has finished.There simply isn’t a weak link on the whole album. George Clinton guests on ‘Synthesizer’, ‘Slump’ is a highlight, inexplicably not released as a single. Both parts of ‘Da Art Of Storytellin’ and ‘Mamacita’ brilliantly lead into the album’s epic ‘SpottieOttieDopaliscious’. Seven minutes of dub reggae infused, horn heavy funk unravel before our ears. This could easily become sickly smooth in the hands of lesser artists, but here it works, the production perfectly suiting some of the duo’s best lines – brilliantly inventive, wry humour to the fore. It can’t be denied it’s almost impossible to top this track, but that’s not to say that the closing songs don’t deliver. ‘Liberation’ features future Gnarls Barkley voice Cee-Lo, before ‘Chonkyfire’ wraps things up with wah-wah drenched guitar.
There is a real warmth to the album, the production always innovative, the raps skilful and playful often disguising the underlying serious intent. They achieved huge success by being themselves, proud of their roots, not afraid to challenge what was hip at the time. ‘Aquemini’ is an incredible album, too good to be thought of as a mere hip hop album, and one which can’t be recommend highly enough.
Stuart Preston
The musical world was a very different place almost 20 years ago. It was still the norm to only listen to one genre of music – imagine that? You could like metal, funk, alternative, rap, and jazz even – but preferably only one of them, and certainly not all at once. Until Faith No More came along.
From the very moment I got into Media I knew this was goin' to be a night to remember.
