OutKast - ATLiens

In 1994, Big Boi and Andre 3000 (known then as just Dre) released their debut solo album, Southernplayalisticadillacmuzik. The album, through my young and unexperienced eyes at least (wait, that's not how you're supposed to do that), is a masterpiece of Southern hip-hop, and one of the better debut albums from a hip-hop act ever. It combines strong instrumentation with top notch lyricism and flows to make for an exciting listen that makes the listener feel like a menacing yet sexy player from the Deep South, and I love it. Songs like "Ain't No Thang", "Hootie Hoo" and "D.E.E.P." make regular rotation for me, and the project as a whole is one I'll often chuck in the CD player of an evening, if I'm not making shitty art for college or watching the Peep Show for the millionth time. And when an artist (or in this case, two artists) make such a good piece of work, the natural thing would be to continue down that path, right? It's worked wonders for Mobb Deep, Ice Cube, Busta Rhymes and a bunch of other hip-hop artists over the years, so for Big and Dre to not do the simple thing and capitalise on the success of the debut, they'd have to be crazy. Right?

Well, yes. Probably. I mean, Andre's ventures following this time period would certainly attest to that. But anyway, the main point of that whole lead up I just did was to express that making something similar to Southernplayalisticadillacmuzik was very much not what OutKast did. No.

What they did, ladies and gentlemen, was make ATLiens. One of the most unique, ingenious and, let's be honest, incredible hip-hop albums of all time. 

ATLiens, as I'm sure you all know, was released in 1996 to critical acclaim and incredibly high sales, and was generally regarded as the album where OutKast went from exceptionally skilled versions of your average macho MCs, to the most innovative and groundbreaking hip-hop duo there ever was, and in a sea of many other fantastic duos too, that is. With Organized Noize behind the boards, and guest appearances from the members of Goodie Mob and other Southern affiliates, the two managed to craft an experience unlike one ever seen before in the hip-hop genre. So, what this review will aim to do is express exactly why I think this album is so good, why it is an improvement over the duo's debut, and why it still doesn't manage to be the duo's best. Got it? Good. Let's get into it. 

1. You May Die (Intro) (feat. Joi, Whild Peach & Trina) (prod. Organized Noize)

Some beautiful singing over relaxing music opens up this album, and kind of sets the mood for what's about to come. Kast would try something similar to open their next album, but in my opinion it didn't catch the magic of this one - this opener is truly mesmerising. 

2. Two Dope Boyz (In a Cadillac) (prod. Organized Noize)

Over a fairly relaxing instrumental that's still intense enough to excite the listener for the rest of the album, Andre and Big Boi make it clear that they ain't fuckin' around - this shit is good. Big Boi's main point of interest on this song is his flow, which is even more disjointed and out of pocket here than it was through Southernplayalisticadillacmuzik - sure, his lyrics aren't full of the most intriguing content, but despite that there's no doubt that he's a talented rapper just from this song. However, it's clear who the real MVP of this one is - Andre's two verses on this one are full of fantastic lines and a great, unique delivery that make for some incredibly memorable content: I especially love the verse where he talks about shutting down an aggressive battle rapper who approached him in the street. "I said look boy, I ain't for that fuck shit; so fuck this" is one of his best lines. This song really is the perfect opener - it lets the listener know that this is about to be a completely different experience from the last album, without turning them completely away by being as out there as the later content on here. It's a beautiful song, and- [*explosion*]. 

3. ATLiens (prod. OutKast)

The title track, and arguably the most famous song off of this album, although there's another track later that arguably could usurp that position. On this track, it's made very clear that these are two MCs who want to go in different directions with their writing - while Big Boi is down-to-earth on here with bars about "shooting pool" and how he "step up in the party", Andre talks about issues with racism in America, young people's futures, gun violence, and how he makes women orgasm just by speaking to them (okay, maybe that last one was a bit unnecessary). Andre's lyrics here really do exemplify just what makes him so great - he's able to make an undeniable hit record without sacrificing his intellect or dumbing down his content. I mean, both of his verses on here are incredibly meaningful and socially relevant, yet fit perfectly into a song which on the surface is about getting people to throw their hands in the air and shout the ridiculous phrase "Oh Yeah Yer" at the top of their lungs like drunk maniacs. And I'm willing to bet everyone who heard this song for the first couple of times got that chorus stuck right in their head. This somehow manages to be even better than the opening song, and possibly the best OutKast song yet. Damn!

4. Wheelz Of Steel (prod. OutKast)

After two reasonably energetic opening songs, this is where, in my opinion at least, this album starts to become itself, and we begin to experience the ridiculously unique vibe that the project has. This song, despite the schizophrenic scratching towards the end, is just so chilled out, with an instrumental that lies around in the background like Grandad after Christmas lunch, and a chorus that's more of an incentive to take a lie down than one to jump up to at a party. Now, you may think these are negative comments, but no - because this song is fantastic. Not only do I love the chill beat and chorus (and the contrast the scratching provides), but I'm also a massive fan of what Dre and Big do with this track. Both spend their time reminiscing on their lives before fame, with negatives and positives discussed, and an overarching theme of the plights faced by young men growing up in those areas of Atlanta. Big Boi has the best line here - "it took your mama nine months to make it, but it only took a nigga thirty minutes to take it" - but there are many others that stand out too. This is the third absolutely great track in a row. 

5. Jazzy Belle (prod. Organized Noize)

Since we're all "socially conscious" now, Andre and Big Boi decide to use this track to talk about how they feel about how all these women they know are, basically, sluts, and are going around fucking anyone or anything they can get they hands on. The results, lyrically at least, are a mixed bag. On the one hand, there are some interesting points made by Big Boi about how these players who think that they got game are actually being used for their money and sex, and these women don't care about them at all - they'll be on to the next man within the week. Also, the bits where they address these women to tell them that they'll be the ones losing out in the end, and that they should stop these activities now, are nice and motivational. Unfortunately, not every line works. Andre's projected fear that these women are mothering the next generation crosses over into slut-shaming territory, and don't even get me started on the homophobic slur at the end of his second verse - that's just mean. And, while we're at it, the overall sentiment of telling women off for doing pretty much what men do and get away with all the time is also overdone in hip-hop, and comes across as incredibly ignorant and lacking in self awareness. Still, most of these lyrics are well executed, and I absolutely adore the beat and angelic female vocals. With a bit more thought put into some of these lyrics, this could have been even better. 

6. Elevators (Me & You) (prod. OutKast)

Goddamn that sleeve looks good. On this single, Big Boi and Dre reverse their typical formula - they begin the song with two eight bar verses followed by a chorus, and then each get a sixteen bar verse separated by a chorus. Yes, I'm sure I didn't need to tell you all that, but still I find it interesting. What's more interesting, however, is this song's beat, which is probably used to hypnotise people during CIA interrogations - in the best way possible, that is. This instrumental is one of the most unique yet incredible on this whole record, and what makes it even more amazing is that Big and Andre do it justice. The reminiscent rhymes are more personal than the socio-political observations on "Wheelz Of Steel", and Dre drops the best verse on the entire album at the end of the track - it's just one of those brilliant performances that you can remember so easily. "Yes we done came a long way like them slim-ass cigarettes from Virginia, this ain't gon' stop so we just gon' continue". Such a good verse, man. Also, the chorus is catchy as shit - it's the only way this song's ridiculous success can be explained too, as this was the biggest song from the album at the time, and helped introduce a lot of mainstream listeners to the incredible world of the Kast. And they deserved it too - this is one of the best hip-hop songs ever created. Yeah, I said it. 

Now I think about it, those previous five songs might stand as one of the strongest track runs ever. I mean, there can't be much to beat that, right? Please let me know in the comments what you think gets close. And it has to be four tracks or more. No exceptions. 

7. Ova Da Wudz (feat. EJ Tha Witch Doctor) (prod. OutKast)

Look - I understand that hip-hop artists have to misspell all of their titles by law, but I think we can all agree that this one is a little bit much. I mean, only four of the original twelve letters of this phrase remain here! Still, it's better than capitalising every single goddamn title like artists do nowadays I suppose. Oh, you want me to talk about the music? Oh, okay then. 

This song is definitely the weakest so far, but I still like it a lot. The main issue for me is the chorus, performed by the guest star EJ Tha Witch Doctor - the lyrics aren't bad, but the way he forces them out of his mouth like an unexpectedly soft apple is a bit too grating for me. Other than that, this song is one of the more menacing and aggressive on this album, and once again it features two artists with very clearly different lyrical directions, which would obviously later manifest into different musical ones. Big Boi spends the first verse boasting about his skill on the mic and the amount of women who want to have intercourse with him, and then his second (a shorter one to close the song off) explicitly describing some of the details of said intercourse. It's the way he delivers these lyrics that sell them though - the flows are great, and the aggression in some of the bars perfectly matches the darker tone of the beat. As for Dre... well, he seems to have a problem with record labels not paying artists properly, despite these artists having lives to lead of their own, and therefore spends his verse lamenting on that. The contrast works though - one second you're vibing to Big's brilliant flow, the next you're listening into Dre's dope lyrics. This is a good song, but compared to what we've heard so far it is a noticeable downgrade.

8. Babylon (feat. Andrea Martin) (prod. Organized Noize)

One of the heavier songs on ATLiens, "Babylon" speaks on some very negative thoughts each artist has going through their mind, and it's an interesting instance of a song where Andre dominates the runtime - on their first three efforts, you could normally either expect them to be equal, or to hear Big Boi only. The first verse might be the best, as Dre speaks on his being born into the world as a "crack baby", and drifts into talking about women objectifying themselves in strip clubs, and finally gun violence in the street, all of which feels socially relevant even today. It's a great performance, but sadly the second verse fails to meet it's lofty standards - Andre's faith in his final line's impact is touching, but sadly "they call it horny because it's devilish" is probably the worst lyric on the entire album, next to the "dykes" one from earlier. Big Boi is left to pick up the pace, and does so successfully - the final couple of lyrics of his verse are some of the most powerful and notable of his career. Lyrically, this song is complex and quite dark, and that's why I love it - it just happens to have really nice music and a lovely sung hook tying it together. Sure, there are questionable moments, but as a whole this is one of my favourite songs on here. Airing out one's demons can't possibly be a bad thing, in any case. 

9. Wailin' (feat. Cee-Lo Green) (prod. Organized Noize)

Call it an interlude if you want, but it's a damn good one, you've got to admit that. This is the shortest track on the album excluding the intro, clocking in at just two minutes, and while it would have been nice to see it develop further, I still really enjoy this cut. The instrumental is so relaxing and wonderful, and a lot more conventional than the last, and I like how Cee-Lo comes in the middle just to hum - Kid Cudi should do that more on his guest appearances, rather than drop crappy verses like the one on Travis Scott's "Looove". The two hosts here impress too - Big Boi's rhymes are pretty great and have a nice flow, whilst André continues on his food for thought shit by telling you exactly why he refuses to spend his time in the spotlight rapping about his riches and his ability to rap well. It's just crazy how well this guy's lyrics age, man. This is a great little tune. 

10. Mainstream (feat. Khujo & T-Bu of Goodie Mob) (prod. Organized Noize)

Big Boi and Dre invite two of their buddies from the Goodie Mob to rhyme alongside them, fresh off their highly regarded group debut Soul Food. Sadly, this still ends up being the weakest cut so far - it's not bad, but this beat is the first that feels like it will send me to sleep against my own will, rather than help me relax of an evening. Does that make sense? I hope so. The concept of this track is interesting, though - it's about the vicious cycle of the hood, and how having these drug dealers and pimps idolised by young black kids inevitably makes them want to grow up to be the same thing, only to realise it'll get them killed faster than it'll get them happy. The track seems like a criticism of the state of hip-hop music, which was seen to be getting more and more blingy around the time this album was released, so that's a theory that would make sense. I love Dre's verse most, but really the only poor effort is that of T-Bu, who sounds like he was just rudely woken from a sofa nap only to be given a red bull and immediately thrust straight into the studio to record his verse. Oh, and Khujo's mispronunciation of "conscience" was weirdly unnecessary too. Still, the song's main problem is the dreary beat - otherwise, it's pretty stellar. 

11. Decatur Psalm (feat. Cool Breeze & Big Gipp) (prod. Organized Noize)

I'm sorry, but who in their right mind sits down in attempt to find a rap name for himself, comes up with "cool breeze", and decides he'll roll with that? Am I missing something here? Anyway, this song always kind of went in one ear and out the other for me - the beat is interesting but feels a bit off somehow, and the storytelling which was well executed by mr. Breeze isn't really followed up well by Big Boi or the bloke hilariously called Big Gipp (seriously, who the fuck gave these guys their stage names?). Also, the "it won't be over til the big girl from Decatur sang" chorus is bloody horrible, and Big Boi rhyming "Tuesday" and "April Fool's Day" is one of the lamer moments to be found in the OutKast catalogue. This isn't bad, but it does bring down what's so far been a near-flawless effort. 

12. Millennium (prod. Organized Noize)

Brings back the momentum that was lost on the previous song, but not quite enough to reach the highs of earlier in my opinion. Andre makes a stellar return after popping to the shop during the recording of "Decatur Psalm", opening this track with a great verse that reads as a letter to God during times of turmoil for him - the verse not going into specifics is actually a great idea too, as it helps it to come off as incredibly relatable for anyone going through any kinds of struggles: I'm not a religious person, but I'm not going to lie and say I've never believed there might be a God of sorts out there, who could just be controlling my surroundings and everything I come into contact with. That verse is unfortunately followed by what appear to be the sounds of Andre being repeatedly hit in the face with tennis balls - I mean, what in the hell is this nonsensical chorus? It sounds like someone attempting to mime a song they know none of the words to, only with noise coming out. Big Boi's verse is thankfully nice, and I love the laid-back instrumental on here... but what in the fuck were they thinking with that chorus? "Catchy" my ass - Genius.com is apparently not averse to terrible opinions on the annotations every now and then. Who the hell walks through their house singing "uh uh uh uh uh uh uh..."??

I feel my message has been lost - I do like this song. Just not the chorus.

13. E.T. (Extraterrestrial) (feat. EJ Tha Witch Doctor) (prod. OutKast)

I'm sure there's someone somewhere who found the parenthesis in this title helpful, but that's certainly not me. Jeez, I'm becoming negative. I guess it's easy to become nitpicky when an album is this good. This song right here has a much more cinematic sound than most of the rest of this project, which helps fit with the title, and while the chorus may take some getting used too for some, it's undeniable that this track contains some of the best verses on the entire record. Big Boi's verse laments on some of the dire situations in the place where he grew up, and how he hopes that as a famous rapper he can help inspire people to turn their lives around and get onto the right path - it's unfortunate that by the time Andre's verse has finished, Big's performance is all but forgotten. Because Jesus Andre is phenomenal on here - I think his verse might be the second best on the record. His "average Joe" bars are the type that make you wonder just how the hell he came up with it, and the motivational lyrics on here teamed with the rising beat almost bring a tear to my eye every time. Jesus, this guy is good. You can see why he's often considered the greatest of all time. Overall, definitely one of the best songs here. 

14. 13th Floor/Growing Old (feat. Debra Killings & Big Rube) (prod. Organized Noize)

After popping up on the last album for a quick interlude titled "True Dat", Big Rube gets another chance to flaunt his spoken word here, and while the cryptic nature of it is patronising, I do enjoy the final bit, where he says "Babylon", but it's actually "babble on". I just think that bit's really interesting. Thankfully, the wonderful piano music behind this spoken word is then turned into a proper beat for an actual song - imagine if they had wasted that on just the Big Rube part. Debra Killings provides what is probably the best chorus on the whole album, whilst Andre and Big Boi drop some reminiscent rhymes and reflect on the fact that they will indeed continue to grow old until they eventually pass away, just like all of us. The verses here aren't necessarily some of the most notable on the whole album, but as a package this song just comes together so well - I couldn't think of any rappers more suited to this beat, and that sample from "Elevators" is perfectly implemented too. I think this is probably the best possible way they could have closed the album, with it perfectly concluding the uniquely laid back sound the album has exhibited so well the way through. Oh, and speaking of "Elevators".

15. Elevators (ONP 86 Mix) (prod. OutKast, re-prod. Organized Noize)

For this remix that really should have been listed as a bonus track, Organized Noize take the self produced instrumental from the original and put some more normal drums on it. Sure, it ain't as good as the OG by any means, but it's worth checking out anyway, and works just fine on its own. But yeah, the original is better, so really there was no point in putting this on the album. Save the remixes for the b-sides, boys. 

Sadly, ATLiens is finished now, but oh well - it gives me the opportunity to summarise just why this album is so fucking great, despite the fact that it does have a couple of missed opportunities towards the second half. If Southernplayalisticadillacmuzik is a brash, outgoing player, then ATLiens is its calm and introspective best friend, who's surprisingly smart for the amount of weed he consumes. And what I mean by that is that these two albums are so very different, but at the same time work incredibly well together, with ATliens being the slightly better listen for a couple of reasons. Firstly, it lacks skits, which were a bit of a problem on the debut - hip-hop skits are rarely funny if we're being honest, and it's not often I'll hear one and genuinely laugh out loud (shout out "The $20 Sack Pyramid" and "Heart Street Directions", plus a few others). And the Southernplayalisticadillacmuzik ones may as well have played the sound of tumbleweed rolling through the desert. And secondly, it gains content - sure, "Git Up, Git Out" and "D.E.E.P." were two of the most memorable cuts on the debut, but let's not act like there wasn't a fuck-ton of boasting and pimping on that album. On ATLiens, there's a multitude of different lyrical themes, including but not limited to the exploitation of artists on major labels, the implementation of crack into the hood, the negative implications that come with having sex with everyone, and most importantly, how not to use the phrase "April Fool's Day" in a rap song. All jokes aside, it's a very diverse album, and there's no denying that both artists grew substantially in these two years. The performances here are great, with André standing out as the MVP of the project thanks to his consistently stellar observations and diverse vocabulary. No disrespect to Big - he's great too. But one thing that's undeniable is that this album is very largely helped by its production, from both Organized Noize and OutKast themselves. This production is trippy as hell, relaxing as shit, and just so experimental. It doesn't sound anything like what was coming out at the time, instead feeling like it could be mistaken for something from the 2010s - in a positive way. It just sounds so clean and slick. This album is unique, experimental and incredibly bold, and for OutKast was a pivotal moment for boosting the aspirations of their careers. There aren't many albums out there that sound like this one, nor many that took this much of a risk, and paid off this well. And you know the crazy thing about it? It isn't even their best. 

Until next time, folks...

Best Tracks: Two Dope Boyz (In a Cadillac), ATLiens, Wheelz Of Steel, Elevators (Me & You), Babylon, Wailin', E.T. (Extraterrestrial), 13th Floor/Growing Old

Worst Tracks: Decatur Psalm

Catch up on any other OutKast stuff I've written over here!

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!