Yes, OutKast's rookie and sophomore LPs are awesome in their own right, but Aquemini is the moment that began rocket-launching the funky twosome toward legend status. But I guess that one was so good, you didn't need another one. More than knowing what we were doing, we were just imitating what they were doing. [laughs] I'd say, you know them chords ain't gonna work on everything. A real-life collect call from the bing features inmate and OutKast crony Nathaniel rapping a pungent, a cappella verse about the ills and ironies of doing time: "They treat you like a motherfuckin' slave/Dope fiends find Jesus, swear they saved." Both of them cats. But I remember saying to Big Boi, I'm so drunk I cannot leave this van. > “Forever hollering ‘Hootie Hoo!’ when we see cops” —(“Slump”) And after I had my daughter, Rico ended up running into my girlfriend Dana in the club and he told her to tell me to call. In their sit-down with VIBE and Cory Taylor, the anointed sisters share their thoughts on the COVID-19 pandemic, supporting the Black Lives Matter movement, working with hip-hop veteran Snoop Dogg for their single "His Love," and what they want the families of George Floyd and Breonna Taylor to know. It was subtle on ATLiens, but by the time we got to Aquemini it was like we had two different visions that were [parallel]. True to form, OutKast peers down the wormhole, offering a preview of the Stankonia to come with a song driven by electric guitar wails, fuzzy amp feedback, and a lyrical challenge to elevate issued to all those closed-minded MCs. Let me get that energy, come in here with me." Big Boi: That was the first time I had ever been in the booth with a nigga when he was rapping. He might've been in boot camp. And Mr. DJ was churning out some serious beats on the drum machine. The thugs emphatically decline: "Man, fuck them. Andre 3000, Big Boi and cast look back on a classic, With additional reporting by Jacinta Howard and Phillip Mlynar, Man, first they were some pimps. |, An indie filmmaker has turned Atlanta's civic conversation into the hottest meal ticket in town Andre 3000: Me and Big Boi were in high school when we started going and getting drunk. VIBE hosted an Instagram Live Q&A chat with Karen Clark Sheard and Dorinda Clark-Cole. It was Big Boi's idea to put him on the album, and half the time I had a cousin or somebody that was in jail [too] so we knew it would resonate with a lot of people. Andre 3000: The new generation, they talk about [ATLiens in the sense of them] being from outer space. Andre 3000: I was a young man searching, a young black man, so I was looking into Rastafarianism, Islam, whatever. Its like it made history: the "Skew It" snare. And he said, "Masada what's up, you need to come get paid, you know you're on the OutKast album?" It was an album that challenged each of the two men to uncover emotions surrounding their entire lives, and although it would ultimately contextualize the lifespan of OutKast as a group, the experience of Aquemini remains timeless. The track was already killer so it was really easy to just get a great tone and wail. I'm like, "Get in the booth with you?" That was one of my favorites. I guess [the song] was a warning. But it was cool, I understand where he was trying to go. So then, you know how we use these metaphors, [so we named it] Rosa Parks. It was like 3 in the morning. © 2020 The DJ Booth LLC. I told OutKast I had a song and they allowed me to produce and put "Hold On, Be Strong" on there. That's where it was heading. Then they be talkin' 'bout that black righteous space. Peak moment: Honestly, there are way too many on Aquemini. I heard that beat and it just spoke to me. On “Y’All Scared,” André’s verse about time lost on drugs reiterated the same notion of the trap; trapped within addiction, trapped within the political discussion of drugs, and, more than anything, trapped within one’s own fears. During this recent conversation, Tip talks about his upcoming Verzuz battle with Jeezy, politics, the Trap Music Museum, and his desire to make his TV/film directorial debut. The autobiographical leftover from the group’s 1994 debut Southernplayalisticadillacmuzik is a full-circle moment for OutKast, as a young Daddy Fat Saxxx recounts the monotonous plight of ATL D-boys and serves another STFU to those same doubters addressed on “Return of the 'G.'”. Just going back and forth on male/female [relationships]. Backed by a neck-snapping beat and curlicue guitar licks, Big Boi spits cautionary street tales while cutting corners with Dungeon Fam members Backbone and Cool Breeze in what could be considered the sequel to Goodie Mob's "Dirty South.". Can you see it? Preston's a groove monster. Featuring: Andre 3000: MC/producer | Big Boi: MC/producer | Mr. DJ: Producer, one-third of Earthtone III with OutKast, and cousin to Rico Wade | Rico Wade: Organized Noize founder/producer with Ray Murray and Pat "Sleepy" Brown | Raekwon: MC/Wu-Tang Clan member | Cee-Lo: Vocalist/Goodie Mob member | Khujo: MC/vocalist and Goodie Mob member | Masada: New Jersey-based MC and former Organized Noize protege | Joi: Vocalist/songwriter and long-time Dungeon Family collaborator | Kawan Prather: Former LaFace Records A&R for Aquemini and early Dungeon Family member | Preston Crump: Bass player | Marvin Chanz Parkman: Keyboard player and former Organized Noize staff producer/songwriter | Omar Phillips: Percussionist | Donny Mathis: Guitarist | Tomi Martin: Guitarist | Neal H. Pogue: Sound mixer/recording engineer, Produced by Donny Mathis and OutKast for Earthtone, Barely over a minute long, the meditative intro sounds like a relic from the previous album . That's Preston Crump playing bass, but somehow they got the credits mixed up and it says that Preston's playing [electric] guitar. Mr. DJ: He went to Banneker High School with me. We have never seen anything like this where a virus would come and sweep people away. How do we find peace within ourselves? He said, "Yeah, you're on the album. To categorize Aquemini as a specific type of rap album is damn near impossible, and it somehow manages to remain both far removed from and at the center of OutKast’s entire catalog. So 'Return of the Gangsta' was trying to give them a sense of, 'Hey, I'm still a regular person. But that's when they had started messing with them guitars and they might've just kept putting them motherfuckers on there. Preston Crump: Dre wanted us to give it a reggae feel. I was going to have him on there. The kinetic energy of “Hey Ya” and “B.O.B,” the elation hearing “ATLiens” and “Git Up, Git Out,” and even the journeys to the darkest corners of our psyche on songs like “Elevators (Me & You)” are how we have always chosen to remember the undisputedly greatest rap duo of all-time, without ever needing to view the magic of André and Big Boi as anything other than infinite. Kendrick Lamar’s good kid, m.A.A.d city is noticeably seasoned with spices from OutKast’s masterpiece, particularly on songs like “Real” and “The Art of Peer Pressure.”, Lines best for status updates: That beat is not the only one just a funny thing we made up stuff me... I say god is in the booth and do whatever I wanted to the! When he put it down guess [ the song now on all music streaming platforms was viewed a group invincible! They felt like we strayed from that had really become science-faction, ``! Know how we were in our own world covered by way of even aquemini song meaning. 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