Think outside the boxxx
When rap's most dynamic duo, Outkast, released their critically acclaimed double disc "Speakerboxxx/The Love Below" in 2003, there was understandably a lot of fuss made. Was this a sign of tensions breaking the long-time friends apart? A portent of things to come? A musical diversion of tastes that saw Andre 3000 get his Princely funk on, while Big Boi carried on the trademark hip-hop sound perfected through the astonishingly consistent previous four albums, and culminating in 2000's incredible "Stankonia"? Was it a clever marketing ploy to allow for the musical meanderings of Andre 3000 while still giving rap heads their market share of beats to head-nod to? Or a devilish marketing tool to test the waters of Andre's pop credentials before an all out assault on the market that lapped up the all-conquering pop-soul of "Hey Ya" but would never countenance listening to any Ghettomusick?
Well, the answer, as it turned out, was probably all and none of these at the same time. But in many ways the reasons behind the development of the album are irrelevant because what we were given with this unprecedented hip-hop album was close to perfection, a high watermark of rap in the 21st century and a record that transcends its allotted genre, to stand as simply a great musical reference point. All of this being the case, it has always seemed that, with its P-Funk mimicry, multi-instrument explorations, soulful vocals and spacey metaphors for love that Andre 3000's "The Love Below" was always going to get the lion's share of attention and plaudits.
Why? Well basically because people don't expect rappers to do that, and so when they do, and do it well, critics and fans alike can fawn in breathless wonder, marvelling at the sheer artistry of it all. Now don't get me wrong, "The Love Below" is a great album of itself, with some particular high-points such as the undeniable genius of "Hey Ya" and the quite beautiful "Baby, Take Off Your Cool". But my questions is really whether it would be so heralded, or even noticed, were it not an established rapper turning his trade on its head, albeit a rapper from a group who have set the standard for funky quality and cornered innovation as an established trademark. Possibly not. "The Love Below" glitters, but is it really all gold? On the other hand, Big Boi's "Speakerboxxx" is a stunning tour de force of straight-up hip-hop from start to finish, cementing the Outkast sound and moving it on to new levels of brilliance.
It stands alone arguably much more easily than it's soulful sibling, and it is this that I wanted to draw attention to. I don't want to denigrate the former at all, because I genuinely do love it, I just want to give a shout out to Big Boi for his half of the equation. Understated on its release, "Speakerboxxx" is simply one of the best rap albums of the last 10 years, point blank. It is easy to miss the point that Big Boi, despite his more traditional rap alpha-male leanings, has many things to say. Significant things. While "The Love Below" is an essentially narcissistic and sometime syrupy play on the intertwined themes of love and sex, Big Boi's manifesto takes in the Iraq conflict, religious musings, single parenthood, social injustice, as well as love in its many colours. Of course he also gets his pimp on at times, and all to a sonic backdrop of relentlessly impressive and ground-breaking funk, soul and ass-shaking bass, just like the dirty south expects.
There are heavy rumours of an actual solo album slated for release this year, provisionally entitled "Sir Luscious Leftfoot", and tipped to be along the musical lines of "Speakerboxxx" and so in some ways my assertions will be put to the test. Whatever the case, one thing is for certain, and that is that Big Boi can rhyme with the best of them, and I look forward to another unadulterated feast of good hip-hop. Like any good relationship, Outkast's strength lies in the fact that their core stability and trust in one another provides the backdrop for the individuals to flourish, and to service their own creative needs. They can think outside the box without needing to leave it, and that in itself is a thing of beauty
Well, the answer, as it turned out, was probably all and none of these at the same time. But in many ways the reasons behind the development of the album are irrelevant because what we were given with this unprecedented hip-hop album was close to perfection, a high watermark of rap in the 21st century and a record that transcends its allotted genre, to stand as simply a great musical reference point. All of this being the case, it has always seemed that, with its P-Funk mimicry, multi-instrument explorations, soulful vocals and spacey metaphors for love that Andre 3000's "The Love Below" was always going to get the lion's share of attention and plaudits.
Why? Well basically because people don't expect rappers to do that, and so when they do, and do it well, critics and fans alike can fawn in breathless wonder, marvelling at the sheer artistry of it all. Now don't get me wrong, "The Love Below" is a great album of itself, with some particular high-points such as the undeniable genius of "Hey Ya" and the quite beautiful "Baby, Take Off Your Cool". But my questions is really whether it would be so heralded, or even noticed, were it not an established rapper turning his trade on its head, albeit a rapper from a group who have set the standard for funky quality and cornered innovation as an established trademark. Possibly not. "The Love Below" glitters, but is it really all gold? On the other hand, Big Boi's "Speakerboxxx" is a stunning tour de force of straight-up hip-hop from start to finish, cementing the Outkast sound and moving it on to new levels of brilliance.
It stands alone arguably much more easily than it's soulful sibling, and it is this that I wanted to draw attention to. I don't want to denigrate the former at all, because I genuinely do love it, I just want to give a shout out to Big Boi for his half of the equation. Understated on its release, "Speakerboxxx" is simply one of the best rap albums of the last 10 years, point blank. It is easy to miss the point that Big Boi, despite his more traditional rap alpha-male leanings, has many things to say. Significant things. While "The Love Below" is an essentially narcissistic and sometime syrupy play on the intertwined themes of love and sex, Big Boi's manifesto takes in the Iraq conflict, religious musings, single parenthood, social injustice, as well as love in its many colours. Of course he also gets his pimp on at times, and all to a sonic backdrop of relentlessly impressive and ground-breaking funk, soul and ass-shaking bass, just like the dirty south expects.
There are heavy rumours of an actual solo album slated for release this year, provisionally entitled "Sir Luscious Leftfoot", and tipped to be along the musical lines of "Speakerboxxx" and so in some ways my assertions will be put to the test. Whatever the case, one thing is for certain, and that is that Big Boi can rhyme with the best of them, and I look forward to another unadulterated feast of good hip-hop. Like any good relationship, Outkast's strength lies in the fact that their core stability and trust in one another provides the backdrop for the individuals to flourish, and to service their own creative needs. They can think outside the box without needing to leave it, and that in itself is a thing of beauty
posted by Twelve Bar at 6:09 PM
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