OutKast - Southernplayalisticadillacmuzik

Well, I didn't realize second year of college would be this time consuming! Please forgive me if I'm not being too consistent with the reviews at the moment - I've got a ton of work to do! Anyway, since I spent the last post heavily criticizing Lil Wayne's debut album, I thought I'd show the South some much deserved love in this post. Enjoy!

In the mid 1990s, hip-hop wasn't exactly the most welcoming culture to get into. Sure, the music was pretty fantastic most of the time, but if you weren't an African American man hailing from either New York or Los Angeles, you would probably have a pretty damned difficult time getting the listeners and your peers to take you seriously. And for two teenage rappers hailing from Atlanta, Georgia, this was a big problem. 

Andre "Andre 3000" Benjamin and Antwan "Big Boi" Patton were two young and developing Southern MC's who were actually rivals whilst at high school together - this all changed when their teacher obviously implemented an alphabetical seating plan, forcing the pair to work together, and discover that their styles actually meshed really damn well. They quickly formed a rapping duo that went by the rather uninspired name of The Misfits - thankfully this was soon changed to the much more interesting OutKast - and their promising demos allowed them to sign with LaFace records in order to release their music to a wider audience. Their breakthrough occurred when they were invited to appear on their new label's compilation album A La Face Family Christmas, and did so in the form of the song "Player's Ball", which quickly became a hit among fans of hip-hop who weren't averse to two Southerners weighing in on the East and West dominated field. The track's success meant that LaFace had to of course quickly commission a full album from the duo, and so the pair teamed up with production group Organized Noize to create the first album in the much loved OutKast catalogue - the ridiculously titled Southernplayalisticadillacmuzik. Now that's a mouthful. 

As I just stated, the album was produced in its entirety by Organized Noize, who consisted of Sleepy Brown, Rico Wade and Ray Murray, the former of whom also showed up on the album multiple times to lend hook vocals, with mostly successful results - well, the guy did go on to contribute to a lot more of their music in the future, so they must have seen his vocals as having some use. Other than him, the only guest appearances were by the foul foursome that is Goodie Mob, back then spelling their title as "The Goody Mob" if the liner notes of this album are anything to go by. Khujo, T-Mo, Cee-Lo and Big Gipp (couldn't he have ended his name with an "o" sound too?) all pop up on here for a verse each over the course of two different songs, but other than them it was up to our two host MC's to hold things down. So let's give them a formal introduction.

Big Boi is the chap on the left of this (truly horrible) album cover, and he is generally seen as the more level-headed member of the duo. Some see this as a negative, as he perhaps never got as experimental as his partner in rhyme, nor was he always as clever lyrically, but I see it as more of a good thing that he was there to keep OutKast from entirely spiraling out of control during the Stankonia era - no, that inevitability was eventually realised around the time Speakerboxxx/The Love Below was released in 2003, but that's a story for another day. And surely everyone knows about that other chap - Andre 3000, even if they weren't aware that his moniker was simply "Dre" until about the year 2000. The man was truly a special kind of rapper, with a vocal delivery and experimental side that had never been seen before in the genre, and also an undeniable skill when it came to writing some of the most clever verses hip-hop had ever seen. This guy was truly the definition of weird & wonderful. Back in 1994, however, the pair of them were both just young chaps from Atlanta who thought that because they'd chatted a girl up at a bar once that month that they were certified players who had the right to spend half of the album bragging about themselves and their expertise at everything. 

Just kidding. The album's pretty great, actually. 

Every song is produced by Organized Noize.

1. Peaches (Intro)

As long as the rap album intro doesn't stretch over the minute mark then I can tolerate it just fine. This one has nice music too, which is always a bonus. 

2. Myintrotoletuknow

I guess the pair weren't content with joining together all of the words in their album title - no, they had to do it with their opening song too. This might have annoyed me if the song was pretentious or annoying, but actually it's anything but - this song absolutely positively rocks, and is a brilliant way to introduce 'Kast to the listening public. Over a hardcore instrumental that gives off a very gritty but also triumphant vibe, the two get to ripping it up and letting you know what's up, and while I really like the way Big Boi opens things up on here, it's Andre who stands out, with one of the most phenomenal verses he's spit over the course of his career. There are so many quotables it's impossible to list, but I do especially like "you won't be getting away this time, I'm real as hell, so what's up". And who the hell would have expected the line "I rip shit with pimp shit, I'm slingin' it from the South, talk bad about the A-town, I'll bust you in your f!&%in' mouth" to come from Andre 3000 of all people? Then again, this whole song is completely detached from OutKast's later music - in the best way possible, that is. I love this track.

3. Ain't No Thang

And shockingly, this song is actually even better than the first one. "Ain't No Thang" is a standout in OutKast's discography for having a lot of references to gun violence, and how the pair of them are going to commit it upon you, the (most likely) innocent listener. Now, I've never particularly loved the glorification of violence in hip-hop music (which is one of the reasons I can't really stand most of the music from G-Unit), but when it's once in a blue moon the effects can be truly powerful. And that's the case with this song, arguably my favourite from this whole entire album. The instrumental on here contrasts with that of the last by being quite skeletal and bleak-sounding, but still being absolutely incredible in every way. I mean, have you heard that bass? It's so great, and the echoey drums just add to the menacing soundscape presented here. On their first album, OutKast's song structures do admittedly feel a bit amateur, with this one having four verses (two each), all of which are separated by a chorus, but when the beats, rhymes and chorus are this good? It's a blessing that it lasts so long. And trust me, while they're not insightful or very meaningful, these bars are still dope as hell. One of my favourite songs ever, full stop. 

4. Welcome to Atlanta (Interlude)

Unlike the intro, which felt fairly justified in its placement, this interlude didn't help with the album experience in any way, like it was clearly supposed to. This will become a recurring theme. 

5. Southernplayalisticadillacmuzik

One thing that I've noticed that I'm sure no-one else has is that OutKast have quite a large number of title tracks in their catalogue - the only album that doesn't incorporate the album title into a song name would be Speakerboxxx. One other thing this song taught me was that the title is actually pronounced "Southern Playalistic Cadillac Music", not "Southern Playa Listic-erdillac Music" like I once thought. The title track on here was also one of the singles released for the album, and it's yet another fantastic song, even if it's more radio-friendly atmosphere makes me enjoy it slightly less than the previous two actual songs. I mean, the beat on here feels like a straight rip-off of that on "Player's Ball", but still, at least it had the sense to rip off something dope. Big Boi starts the song off with an infamous "it's the M-I-Crooked Letter" (which he would use again in their song "ATLiens"), and the song continues on a good note from there, with great rhymes ("time to drop these 'bows like Dusty Rhodes, then I yell, "Ho" / and knock 'em up off they feet like a Southern hustler 'posed to do!") and an incredibly catchy chorus too. Nice stuff.

6. Call of Da Wild (feat. The Goody Mob)

Goodie Mob appear twice on this album, but on both songs only two members show up for verses - here it's Khujo and T-Mo, with the other two popping up on a later cut. However, Cee-Lo provides a chorus for us on here anyway, and it's one that's grown on me immensely. When I first heard the track, I thought the chorus kind of ruined it, but now I enjoy it a hell of a lot more. Andre begins this song with a fantastic verse that runs on for a while but is incredibly impressive nonetheless, and then T-Mo comes through with a manically aggressive and potent performance that might be my favourite on the whole track. Unfortunately, Big Boi and Khujo don't mesh with the beat quite as well as the two others, but it's not like they're bad - it's just that Andre and T-Mo where that good. Oh, and this menacing beat is one of the dopest on the album too. And ever think you'd hear the words "horrid" and "hatemonger" on the same Southern aggressive posse cut? Because I didn't, and here it is. 

7. Player's Ball (Original)

OutKast's very first single, and while they would improve with the lead singles on some of their later releases, this is still a pretty damn good track. This is presumably labelled as the original either because the remix was the one that appeared in the video, and they wanted people to make sure they knew what version they were getting, or because there's a "reprise" of the song later on. The instrumental on here is chilled out and yet keeps up a certain energy throughout the track, and Andre and Big both absolutely kill this beat with some brilliant flows and some subtle hints to the Christmas period in there, since that is what the song was made for in the first place. Oh, and the Sleepy Brown hook? Absolutely brilliant. Kind of like the song. "It's beginning to look a lot like, what?!"

8. Claimin' True

After that jolly, upbeat track, OutKast evidently needed something to appeal to the folks from the streets, and so this is a song all about keepin' it real, and being honest about your street pedigree. Oh, and it's pretty fantastic too. The instrumental on this thing is one of the more melancholy on the album, and if most rappers tried their hand at it I would probably find the song bland. Thankfully, Andre and Big Boi both ride this beat perfectly, with some brilliant lines and flows that stand as some of the best on the LP. Big Boi's hook is also one of the catchiest in OutKast's catalogue. Sure, the instrumental on here isn't one of my favourites, but everything else about this track bangs.

9. Club Donkey Ass (Interlude)

I mean, I know it's supposed to set up the next track, but did we really need to hear this skit? No? Then why the fuck put it on here??

10. Funky Ride

Upon my first listen of this album, I was disappointed to find that this track features no contributions from Dre or Big Boi at all - instead, it's a six-and-a-half minute behemoth of a croon-fest performed by a group called Society Of Soul, who also did the hook on the title track here I believe. On my first few listens I found this a bit of an overlong dud, but over time it's grown on me to the point where I look forward to it on every listen. Those melodies are just nice, man. Who said I only listen to rap music?

11. Flim Flam (Interlude)

This interlude is a little bit more interesting than the previous two on here, but that's really not saying much if we're being honest. 

12. Git Up, Git Out (feat. The Goody Mob)

The third and final single released for this album also happens to be the longest in OutKast's entire career, at well over seven minutes. Damn! Still, it's a testament to this song's greatness that this track never gets boring - quite the opposite in fact, as all four verses on this track are some of the best I've heard from this era. Cee-Lo Green provides an indelible (I always wanted to use that word) chorus that sticks in your head like the cocaine you just sniffed before reading this write-up, and follows it up with a rapped verse that I wasn't aware the man known for some often nasally singing and not much else was capable of. If it wasn't for Dre closing this one off in the best way, I would state that Cee-Lo's verse was the strongest here. Big Gipp (what a name!) and Big Boi predictably kill it too, and my God is this instrumental great. So great, apparently, that Big Boi practically nicked it for his later track "West Savannah" on OutKast's Aquemini. C'mon, y'all telling me you don't hear that? This is easily one of the dopest songs here, and one of the best motivational hip-hop tracks in history. "You need to get up, get out and get something / how will you make it if you never even try?"

13. True Dat (Interlude)

Big Rube provides the first of many spoken word poetry pieces over his career. This one is backed up by less poignant music than his later ones, though, giving it a nicer, more light-hearted atmosphere. 

14. Crumblin' Erb

Now, I don't want to sound like a cynic, but unless an album is actually perfect, I probably will try to pick out a weakest song somewhere. That's just the critic in me. And for Southernplayalisticadillacmuzik, this is the song that earns that title for me. I'm sorry, OK? This track is still pretty great, mind - not only is the song title hilarious as hell, but the instrumental is pleasant to listen to, and the subject matter about stopping the violence and chilling out instead are great to hear, even from people who threatened to "wet (me) up like cereal" and "put the .357 to (my) forehead" just earlier on in the album. My main problem with this one is Sleepy Brown's chorus - it's not bad, but it's a bit too soft and not catchy enough to make up for that. Still, the worst of a brilliant bunch isn't necessarily a bad place to be. 

15. Hootie Hoo

Production-wise, this is a complete departure from the other work of Organized Noize on this project, and while all those other beats have been dope as hell, this is still easily one of the greatest here. This instrumental is bass-heavy, cold, dark and unbelievably menacing - I mean, it's like OutKast are rapping to you whilst holding you at knife-point in a dark Atlanta alleyway (if such a thing exists - I've never visited before). I absolutely love this beat, both during Big Boi's first verse when it's just the bass and ominous hi-hat hits, and when the dusty drum loop finally comes in during the first chorus. I can understand why some see this as too skeletal, but I personally think it's perfection, and a classic beat for sure. Oh, and the rhymes? They're pretty great too. While Big Boi masters his flow with perfection, Andre focuses on telling a story about accidentally getting someone pregnant and ignoring it, which is... nice. Still, his storytelling abilities are undeniably great here, and the reciting of the chorus is just the cherry on top. Classic stuff.

16. D.E.E.P.

While "Ain't No Thang" is without doubt my most played song from this LP, "D.E.E.P." is probably the best track objectively, and the one I tend to be most impressed by when listening to it. First of all, this aggressive, pulsating beat is one of the most potent on the whole record, and sounds gritty yet perfectly aged - and I'll admit now that "Hootie Hoo"'s beat didn't age very well at all. Then, we have the rhymes - this is another song where both MC's get two full verses each, separated by a hook every time, and once again it works, despite that formula often getting monotonous with other team ups. Of course, the main reason why everybody remembers this one is because of that utterly brilliant third verse, where Andre takes the issues of racial profiling and spits it back in the bigots' faces - it's truly one of the greatest verses in hip-hop history, and if you haven't heard it, you'd better check it out. And check the whole song while you're at it - it's easily one of the best cuts here. 

17. Player's Ball (Reprise)

OutKast ends the album with a Sleepy Brown solo version of the project's big single. This is actually a pretty interesting way to close things up, and it sounds nice too, which is always a bonus. 

Jesus, OutKast were good. Even at their least creative, the pair were able to put together a masterpiece of Southern hip-hop, one that has grown on me with every listen and continues to grown on me as I give it praise here. Southernplayalisticadillacmuzik is a fantastic record, full of unique and head noddin' beats, insanely catchy choruses, and most importantly, two of the best rappers to ever grace the genre showing off their chemistry to a high end. I mean, was there a single verse on here from the duo that even got close to being weak? Let's talk about the production first, since I always do that - it's bloody phenomenal. There are really two types of instrumental on here - the softer, richer ones that appear on cuts including the title track, "Player's Ball" and "Git Up, Git Out", that are always brilliantly layered and enhance whatever the rappers over them happen to be talking about, and then the grittier, darker, percussion heavy instrumentals that appear on "Ain't No Thang", "Call of Da Wild" and "D.E.E.P.", which I actually prefer, and provide a menacing atmosphere for OutKast to spit more aggressive and direct lyrics to the listener. There isn't a single beat on here that gets even close to being weak, and it's the same for the verses. Big Boi's flow on this album is always incredible, switching between fast and slow like a schizophrenic snake that's just found his way onto a field of kangaroos, and while Andre isn't as interesting flow-wise a lot of the time, he makes up for it with a monumentous amount of quotable lyrics and brilliant subject matter choices - the guy really was a legendary MC, and still is judging by some of the guest verses we've heard since 2010. In fact, if I had to pick I'd say Andre was the slightly better rapper on this album, but then again I'm sure most people would agree. And before I finish up, can I just say how brilliant these hooks are? Aside from the one on "Crumblin' Erb", which I had my slight issues with, every chorus is unbelievably catchy and memorable, helping the project's replay value out a ton (where the skits certainly don't). Sure, this album isn't OutKast's most thoughtful album, or most experimental, or best, but it's still a bloody great debut - the fact that they would improve on it time and time again is just testament to this group's incredible skill. This is one of the dopest debut albums ever released. True dat.

Best Tracks: Myintrotoletuknow, Ain't No Thang, Southernplayalisticadillacmuzik, Player's Ball, Git Up Git Out, Hootie Hoo, D.E.E.P.

Worst Tracks: Crumblin' Erb

More on the work of Big Boi and Andre 3000 to come!