As you can probably tell by its appearance on Classics Week, Aquemini was the best (Foundation was the one I wasn't too hot on, not The Love Movement, which's quality I will defend to this day), but oddly enough, this marks the first time I've written about an Outkast release. Why? No particular reason, I just never got to them. Anyways, Aquemini is frequently regarded as the group's magnum opus (although there are a select few that swear everything they did prior to 2000 was garbage; those are the worst type of people). As its so elegantly stated on the album, first they were some pimps, then they were aliens, but in 1998, they were...paliens? They were paliens. Basically, they wrapped up everything great from their first two releases and perfected it over the span of sixteen tracks. In 1996, though, fans were disgruntled with the crew "completely altering their style" (which really couldn't be farther from the truth; completely altering their style would have been them forming a folk-metal band with Flava Flav playing the harmonica), but our two heroes kept doing their own thing, and what do you know, people are still finding this album and thinking it sounds like some shit that could drop twenty years from now. That just goes to show that ignoring trends and doing something original is the way to go when making timeless music.
Things were a little different for Aquemini, though, whose clunky title is a combination of the astrological signs Aquarius and Gemini, as it broke the dry spell and became the first album to receive five mics in The Source in a long ass time, and at the time, that was some important shit. And although this speaks absolutely nothing about the music, the crew finally came up with some badass album artwork, which is quite an improvement considering where they started on Imnottypingoutthislongasstitlethathasnospaces. It looks like they put a ton of time into that picture, and their dedication is appreciated.
The fans were quick to recognize brilliance as well. The album sold a million copies just two months after release, and was eventually recognized as double platinum. Critics rightfully lost their shit, because at the time, and especially today, there's just not too many albums that can smoothly carry the commercial accessibility of radio hits with periodic spoken word interludes, social commentary, a little R&B, and a couple songs that eclipse the seven minute mark. In 1998, nothing sounded like this shit, and in 2014, my last statement remains.
But more than its originality, it kind of sounded alright too...
1. Hold On, Be Strong
True story: Andre 3000 went to a flea market and bought a kalimba after hearing it on an Earth Wind & Fire record. He used it on this particular intro, which is actually simply the chorus of what was once an entire song. It sounds reminiscent of ATLiens, and even though I can't say this got me jumping out of my seat in excitement, its a necessary way to easy into what is about to come.
2. Return of the G
As I previously stated, Outkast was faced with a lot of questions dealing with just what the hell they were doing with their music. Their response was this: a colossal monster of a verse delivered by Andre 3000 that automatically skyrocketed him up my all time MCs list. In one verse, he pretty much dismantled and broke apart every bit of criticism he had acquired and turned the tables on the other party. Big Boi's verse is cool and all, and he delivers some vicious wordplay, but I always have a hard time giving much of a fuck after the opening bars. The beat is fantastic, though, and is does an even better job than the intro in easing you into the album. One of my all time favorite moments in hip hop.
3. Rosa Parks
Ah man, it's been a minute since I've last heard this song and I'm admittedly surprised to say that its held up well. It's no wonder that this was one of the crew's best known singles, its catchy and infectious in all the right ways. I've always been fascinated with Andre's line about meeting a gypsy who told him that he's "only as funky as his last cut". That's something that both him and Big Boi seem to have been following for their entire careers. Plus, there's a fucking harmonica solo right in the middle of the song; how's that for a lead single? Andre fucking destroys his partner here, but that's only because the beat fits his style like a glove. Obviously, I still enjoy this.
4. Skew It on the Bar-B (Feat. Raekwon)
A Raekwon feature because, why the fuck not? I have no clue how or why these three linked up, but its mighty hard to complain, as the results are terrific. Anyways, Outkast obviously likes making fun music, but there's almost always a serious or preachy undertone: this is an anomaly. Aside from kicking some Australian education, this is all good times, and our hosts want you to know that they're running shit. Of course, this all takes place over a beat partly constructed with the Police Woman theme. Because, once again, why the fuck not?
5. Aquemini
The album's title track sounds like something that would have fit perfectly on the second half of ATLiens, before a shift in the beat. The hook would be way too wordy for nearly every other group, but it works here. Call it double standards, but Outkast is allowed to do that type of shit. One of the main reasons that it works so well is that it has Andre's verse to back it up. Five days out of the week, I'll tell you that "Return of the G" is my favorite three stacks verse, on one of the other days, it'll be "International Players Anthem", but if I'm on some other shit, I'll say his first verse this is his best (I know it seems like Andre is blowing his partner out of the water, and he mostly is, but Big Boi kinda got him on that last track). This is phenomenal.
6. Synthesizer (Feat. George Clinton)
The fact that a George Clinton feature feels completely natural speaks volumes about how eccentric Aquemini sounds. This is never one of the songs I go to whenever I throw on this album, but that's a shame, because this is one hell of a track. Aside from a beat that still feels like its from the future, the two make a case for how the impact of technology is dehumanizing society, and while Andre's double time verse still stands out, both him and Big Boi deliver thought-provoking bars. Weird as hell, but appropriate.
7. Slump (Feat. Backbone & Cool Breeze)
Even though I can't imagine why anyone thought that the public would prefer a song with Big Boi and some weed carriers over an actual Outkast effort, the experiment ultimately works thanks to the golden hook. As an odd sort of companion piece to "Synthesizer", this songs deals with selling drugs, but instead if going surface level, the three discussion the contrived nature of the wealthy and how drug dealing becomes the only way of survival. Which is still pretty damn surface level when you think about it, but the song sounds great, so I have no complaints.
8. West Savannah
According to Big Boi, this was recorded in 1994 during the, fine I'll spell it, Southerplayalisticadillacmuzik sessions. The addition of this song would have made a good album even better, but it sounds fine on here as well, and is actually one of the jazzier, more traditional songs. Andre doesn't bother showing up here, either, as Big Boi continues his tales of drug dealing. I guess Andre realized that he was over powering his partner almost every. single. song. Not really one of the best songs, and I doubt you'll even remember it if this is your first time listening, but it segues nicely into...
9. Da Art of Storytellin' (Part 1)
When I reviewed J Cole's Born Sinner (I still stand by calling it mediocre) last year, I said this was my favorite Outkast song, and while I may have been exaggerating to emphasize how much Jermaine needed to avoid fucking up, I still love this song. Mr. DJ provides an undeniably great beat that will make you almost not even notice the lyrics. Now, that's wouldn't be a very good thing considering the title, but if you listen, you'll hear both MCs (apparently Andre got back from his pizza run) deliver great, but really fucking depressing verses.
10. Da Art of Storytellin' (Part 2)
Not as excellent as part 1, but it gets pretty goddamn close, which makes for an outstanding one-two punch. The beat is much darker than anything we've heard on the album thus far (which is quite the feat; none of these instrumentals could ever be classified as "happy"), and it synchronizes nicely with the grim lyrics. Andre's altered vocals even work, which goes to show how much of a roll these two are on.
11. Mamacita (Feat. Masada & Witchdoctor)
Damn, here's the part of the review where I have to explain to you all how an album can have an obvious flaw, but still earn a five. I'll agree with everyone else on the entire planet: the hook fucking sucks. Its terrible, and is really an absurd misstep for a group that just provided so much greatness. What I will also do, though, is tell you that if you can get by the fuck ass hook, there's a decent song to be found. Side from Witchdoctor's ridiculous verse (he says "...in the oven I got your favorite, Stouffer's lasagna/That's how much I want ya", which is pretty damn funny with how specific it is), our hosts really haven't changed much, and deliver appropriately strong verses. Still, its best to act like this never happened.
12. SpottieOttieDopalicious (Feat. Sleepy Brown)
Here, we have one of one of my favorite things: a song that you either love or hate. One of Outkast's biggest experiments, and no other song in rap sounds more like sitting around at 2:30 in the morning reminiscing with friends than "SpottieOttieDopalicious". After a scene setting verse from Sleepy Brown, Dre and Big Boi get to mumbling about a bygone night at the old Charles Disco in Atlanta. Andre runs down the details of a scuffle with "Set It Off" playing in his ear, and finding a beyond beautiful girl through his drunken interpretation, while Big Boi fills us in on his life, as he and his SpottieOttieDopalicious face their newest trial: raising a child. The album as a whole has shown both MCs growing more verbose and laid-back as the tracks progressed, and by the time SpottieOttieDopalicious—all seven minutes of its horn carried, hazy atmosphere—rolls around, they're ready to let loose. Here, they let their words fill every crevice of the magnificent instrumental. It shouldn't work, and many people claim that it doesn't, but the risks pay off and make for a one of a kind song that masters the art of storytelling. Nice work, guys.
13. Y'all Scared
Coming back down to earth, Outkast invites three fourths of Goodie Mobb over for their chance to shine, and the results come off nicely. T-Mo starts off the party on the right foot, Gipp is underwhelming, and Dre and Andre kick the shit out of everyone. Khujo has a verse too, but he had the misfortune of following our hosts and his above average contribution is overshadowed. The electronic-tinged instrumental is a good enough soundscape for the rhymes, but where the hell is Cee-Lo?
14. Nathaniel
Older me used to always skip this song, but I've come to realize the genius of its placement. This short interlude features a real-life collect call a capella verse from one of the group's affiliates who was apparently serving some time. A perfect set-up for the upcoming song.
15. Liberation (Feat. Cee-Lo, Big Rube, & Erykah Badu)
Oh, there's Cee-Lo. He appears on a song that's not as experimental as "SpottieOttieDopalicious", but any time that you throw on an eight minute song that features more spoken word poetry and singing than rapping, there's going to be the risk of everyone hating it. Its good, though, as all five participates delivery overly personal contributions that deal with love, hate, struggle, achieving goals, freedom, and escaping personal disillusionment. It's really quite incredible, and no one outshines the others. They're all just here giving their own organic interpretation of liberation, and whether its Andre freeing himself from the critique of his peers, or Big Boi coming to the realization that he can be whatever he wants (cliche, but he pulls it off), it all sounds good.
16. Chonkyfire
With the themes self-searching and inner-struggle floating around the majority of Aquemini, the sentiment of the last song would have been a fitting ending, but this is Outkast, and that would be too textbook for an album of this creativity. Serving as a whiplash from the serenity of the last track, the beat is electronic, rockish, and hip hop all at the same time, and is really one of the better instrumentals on the album. Big Boi and Andre end things appropriately, explaining how the past hour won't mean anything if you don't use their words to enlighten yourself and take action. Embrace knowledge and use it to achieve your goals. I can't think of anther album that would have the balls to mess up something so great and make it even better.
Rating: 5/5
Outkast's third album continues their remarkably consistent career, as they reach their peak with the blazing success of Aquemini. The thing is, Aquemini has flaws, maybe more than any album that I've given a perfect score, but even their missteps add a certain personality that no album in history has been able to replicate. It's wildly creative and will often leave you wondering just what in the hell is going on, but I can almost guarantee you that once the album starts playing, it'll be impossible to willingly turn off. That's because their experiments work every single time, resulting in several of the most unique songs in their extensive catalogs. Oh, and the rapping is, like, really good. For the most part of their careers, the two have been somewhat on par, but on Aquemini, Andre is the clear star, offering one of the most impressive lyrical performances of the 90s, and, with this disc alone, justifies his placement on so many Top Ten Rappers lists. Its for that reason, and many others, that Aquemini is Outkast's most influential (don't say Stankonia, you know I'm right), most creative, and best album. Truly one of a kind.