Aquemini
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Aquemini (
Released as the follow-up to the duo's commercially successful 1996 album ATLiens, Aquemini expands on the previous record's outer space-inspired compositions by incorporating live instrumentation and drawing on 1970s funk, southern soul, gospel, country, psychedelic rock, and other influences. The album reflected a greater level of creative freedom for the group, which led to the members self-producing the majority of the tracks and employing a large number of session musicians who filtered in and out of the studio throughout its recording, exerting a major influence on the album's compositional development. Featured guest artists include Raekwon, George Clinton, and Erykah Badu. Lyrically, Aquemini explores various subjects including individuality, human nature, addiction, self-inflicted struggles, technology, and interpersonal relationships, as well as blending science fiction concepts and urban narratives.
Aquemini received widespread critical acclaim from music critics, who praised the album's musicality, eclectic sound, and unique lyrical themes. Like its predecessor, it was a commercial success, peaking at No. 2 on both the
Background
In 1994, Outkast released their debut album, Southernplayalisticadillacmuzik, which was recorded when the rappers Big Boi and André 3000 were 18. Bolstered by the success of "Player's Ball", the record established Outkast as prominent figures in the Southern hip hop scene.[6] After the album was certified platinum, LaFace Records gave Outkast more creative control and advanced money for their 1996 follow-up album ATLiens.[7] On ATLiens, André 3000 and Big Boi abandoned the "hard-partying playa characters" of their debut album in favor of personas that were more futuristic, and produced many of the songs on their own for the first time.[8][9] Critics praised the group's maturing musical style on the record, which debuted at number two on the US Billboard 200 chart and sold nearly 350,000 copies in its first 2 weeks of release.[10][11] The single "Elevators (Me & You)" reached number 12 and spent 20 weeks on the Billboard Hot 100 chart.[12]
After the release of ATLiens, André 3000 entered a relationship with the neo soul singer Erykah Badu, who was part of a burgeoning movement in the urban music scene described as "more bohemian than ghetto".[13] André 3000 adopted a more flamboyant style of dress during performances in promotion of ATLiens that included large glasses, blond wigs, and marching band uniforms. Badu gave birth to his first child in November 1997, which presented new artistic inspiration for the rapper.[13]
Recording
Due to OutKast's newfound commercial success and higher budget for the album, the group enjoyed a more relaxed schedule and "could really just live" at the studio.
For the record, André 3000 did most of the album's production, while Big Boi crafted hooks for the songs.[15] André 3000 and the producer Mr. DJ learned about beat creation through observing the members of Organized Noize at work, with Mr. DJ observing that despite André 3000's normally frugal lifestyle, his enthusiasm for production led him to splurge on costly recording equipment.[14] At one point, André 3000 attempted singing and modifying his voice with pitch-correction equipment, but Big Boi warned him that this would alienate the group's urban audience.[17] Another point of contention was the order of the track listing; Big Boi wanted to begin the album with "Y'all Scared" while André 3000 and the other producers and musicians wanted the first track to be "Return of the G", preferring that the record start with a song with just the duo as opposed to one with multiple collaborators. Big Boi missed his flight to attend the album mastering session and by the time he arrived, the others had already settled on a cohesive track list for the record. After a long, heated discussion, Big Boi eventually agreed to opening the album with "Return of the G".[14] The album features the song "West Savannah", which had been recorded during the Southernplayalisticadillacmuzik sessions, and was included on Aquemini to give listeners a "bonus" that had sentimental value for the duo, as well as to pay homage to Big Boi's family living in Savannah.[14]
Musical style and lyrics
OutKast wore their musical connections easily, and sometimes literally. The references to 70s funk and soul weren't just in the deep, colour-saturated funk underpinning the whole album ... It's also a very musical album. Sure, there are samples, but it's mostly real musicians playing guitars and horns, or in the case of the charmingly named South Central Chamber Orchestra, strings and woodwind.
Emma Warren of The Guardian, on the record's musical style.[18]
Big Boi described the music on the album as "very experimental"
Lyrically, much of Aquemini features introspection about the desolation of the
Songs
Aquemini's opening track "Hold On, Be Strong" was written by the session guitarist Donny Mathis and originally conceived as a full song with verses, but the group preferred to only use the refrain.
The next track, "Skew It On the Bar-B", features the
"Da Art of Storytellin' (Part 1)" tells the story of a self-destructive childhood friend named Sasha Thumper who dies of a drug overdose.[31] Commenting on the song's lyrical content, author Mickey Hess remarks that André 3000 "manages to walk the fine line between emotionalism and masculinity by articulating this highly emotional narrative with an almost emotionless tone."[31] The next track, "Da Art of Storytellin' (Part 2)", is an apocalyptic song that represents the group's vision of "the last song recorded in the world", with André 3000 commenting, "I do remember thinking, 'What if it was the end of the world and we had to get to the Dungeon on some X-Men superhero shit. I think I was vibing on some end-of-the-world, last-recorded-song shit'".[14] Following is "Mamacita", which features Dungeon Crew rapper Masada in a meditation on male-female relationships, inspired by an ex-girlfriend of André 3000 who began pursuing women after their breakup.[14] "SpottieOttieDopaliscious" relates a story of ill-fated romance, with André 3000 describing the infatuation during an encounter with a woman at a club and Big Boi noting the hopelessness of the relationship as the song progresses.[32]
"Y'all Scared" is a collaboration with three members of Goodie Mob and contains the chant "If you scared, say you scared" accompanied by prominent organ and guitar work.[14] "Nathaniel" is an a cappella rap by the group's close friend who at the time was an inmate in a Georgia prison, and the song is a recording of an actual collect call during his time in jail. The track is an introduction to "Liberation".[14] The eight-minute-long "Liberation" combines a variety of musical styles, including gospel, jazz, blues, and world music. The song is notable for not including rapped vocals and instead features vocal alternations between singing and spoken word styles.[33] Lyrically, the track utilizes images of slavery to symbolize artistic freedom and not being concerned with the opinions of the public and record labels.[33] The album closes with "Chonkyfire", which features a fuzzy guitar riff and snippets from OutKast's speech at the 1995 Source Awards in which the group emphasized the Southern hip-hop scene as a legitimate subgenre.[34] Billboard called "Chonkyfire" a track of "bad-trip psychedelic rock."[24]
Release
The group originally planned to create a film in conjunction with Aquemini, completing a script three months before the release of the record. OutKast met with MTV for the project, who, despite liking the idea for the film, hoped to instead buy the project and cast Missy Elliott and Busta Rhymes instead, feeling they had more "star power."[35] Although the duo recalls being "heartbroken" at the time, André 3000 and Big Boi continued to work on ideas for a collaborative film, eventually resulting in the 2006 musical Idlewild starring the group.[35] David Browne of The New York Times viewed the album art as an homage to blaxploitation films of the 1970s.[36] The record's title is a combination of the two members' zodiac signs, with André 3000 being a Gemini and Big Boi being an Aquarius.[29] The packaging featured a sticker describing Big Boi as "the playa" and André as "the poet".[24]
Aquemini debuted behind Jay-Z's Vol. 2... Hard Knock Life at number two on the Billboard Hot 200, the same opening position of both ATLiens and the group's next release, Stankonia.[37][38] The record sold 227,000 copies in its first week of release, ahead of A Tribe Called Quest's The Love Movement and Lauryn Hill's The Miseducation of Lauryn Hill.[37] In Norway and Germany, the album peaked at numbers 39 and 66, respectively.[39]
In 1999, civil rights activist
Critical reception
Review scores | |
---|---|
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Chicago Sun-Times | ![]() ![]() ![]() ![]() |
Christgau's Consumer Guide | A−[4] |
Entertainment Weekly | A[1] |
Los Angeles Times | ![]() ![]() ![]() ![]() |
Q | ![]() ![]() ![]() ![]() ![]() |
Rolling Stone | ![]() ![]() ![]() ![]() ![]() |
Spin | 9/10[44] |
Uncut | ![]() ![]() ![]() ![]() ![]() |
USA Today | ![]() ![]() ![]() ![]() |
Aquemini received widespread acclaim from critics.[47] AllMusic's Steve Huey called it "a stroke of brilliance". He praised the record for avoiding the "hardcore clichés" and summed up his review by saying that Aquemini is "a virtuosic masterpiece, and a landmark hip-hop album of the late '90s".[20] Robert Christgau also commented positively on the album, calling the record "evolved G-funk with denser instrumental crosstalk"[4] and "rap-rock every bit as heavy as the bohrium and dubnium compounds hardheads hyped circa the Judgment Night soundtrack".[48] Los Angeles Times writer Soren Baker complimented OutKast's "intelligent hip-hop" and commented that "musically, the collection supplies some of the lushest tracks ever included on a hip-hop record", noting that the music will "stimulate the mind, touch the soul and pack the dance floor."[23] Q named it the group's "third best offering."[43] Sia Michel of The Village Voice called it "an impassioned state-of-hip-hop address".[49] In a brief review for Entertainment Weekly, Cheo Tyehimba qualified Aquemini as the hip-hop album of the year.[1]
In a retrospective review, Tim Stelloh from PopMatters described the album as a "loud, unpretentious, eclectic kick in the ass". He praised it for being "full of both fear and curiosity, and those emotions were channeled through its production."[51] Dave Hughes, writing in Slant Magazine, stated: "Ten years on, Aquemini is the single strongest aspect of one of the art form's deepest benches. Snappier and more experimental than the pair's early work, and focused enough to feel comfortable in a sprawl, it's the moment when OutKast came fully into itself."[27]
Accolades
Aquemini has been included in several publications' best album lists. In 2003, Rolling Stone ranked it number 500 on its list of the 500 Greatest Albums of All Time. The staff explained the inclusion by stating: "OutKast unleashed an explosive hip-hop that deployed live musicians, social commentary and a heavy dose of deep funk".[52] The album was placed at number 11 on the list of the "100 Best Albums of the Nineties" by the same magazine.[53] In 2020, they revised their 500 Greatest Albums of All Time list and re-ranked the album at number 49, calling it "the greatest record ever to come out of the Dirty South."[54]
The album was included in
Legacy
Aquemini is a hip-hop classic that pushes the limits of what we normally consider hip-hop, yet is decidedly true to its roots.
Critics hailed the recording as OutKast's most fully realized up to that time and one of the best of the 1990s.[70] Steve Huey wrote: "Aquemini fulfills all its ambitions, covering more than enough territory to qualify it as a virtuosic masterpiece, and a landmark hip-hop album of the late '90s".[20] Ebony observed that Aquemini is "perhaps OutKast's best effort" and "a huge commercial and artistic success".[71] Matt Wink concluded that OutKast with this album "carved their place in the game and grabbed the world's attention. No two people with a similar background could be more different and no two artists could have made this masterpiece."[72]
Track listing
Track listing and samples compiled from album liner notes.[77]
No. | Title | Writer(s) | Producer(s) | Length | ||
---|---|---|---|---|---|---|
1. | "Hold On, Be Strong" | Donny Mathis |
| OutKast | 8:46 | |
16. | "Chonkyfire" |
| Outkast | 6:10 | ||
Total length: | 74:47 |
Notes
- The vinyl edition moves "Chonkyfire" after "Y'all Scared".
- The clean version of the album has all of the skits in between the songs removed. The interlude "Nathaniel" was omitted, as was the fifth verse of "Liberation".
- "Hold On, Be Strong" features vocals by 4.0, better known as The Four Phonics
- "Slump" features vocals by Backbone and Cool Breeze
- "Mamacita" features vocals by Masada, Witchdoctorand Buulllllll!
- "West Savannah" and "SpottieOttieDopaliscious" feature vocals by Sleepy Brown
- "Liberation" features vocals by Erykah Badu, Ruben Bailey, Joi and Whild Peach
Sample credits[77]
- "Return of the 'G'" contains interpolations from "Superfly" by Curtis Mayfield.
- "Rosa Parks" contains interpolations from "Cancion de Amor" by The Sandpipers.
- "Skew It on the Bar-B" contains an interpolation of "Police Woman" performed by Henry Mancini.
- "Synthesizer" contains an interpolation of "Rock Dirge" performed by Sly Stone.
- "Da Art of Storytellin' (Pt.2)" contains samples from "Spirit of the Water" performed by Camel.
- "SpottieOttieDopaliscious" contains excerpts from "Dancing with the Moonlit Knight" performed by Genesis.
- "Y'All Scared" contains interpolations from "Air Born" performed by Camel.
Personnel
Credits are adapted from AllMusic.[78]
Musicians
- Andre 3000– vocals, kalimba (on "Hold On, Be Strong")
- Big Boi – vocals
- Raekwon – vocals
- The Four Phonics – vocals
- Erykah Badu – vocals
- Ruben Bailey – vocals
- Big Gipp – vocals
- Pat Brown – vocals
- Cee Lo Green– vocals
- Cool Breeze – vocals
- Delvida Flaherty – vocals
- Joi Gilliam – vocals
- Lil' Will – vocals
- Goodie Mob – vocals
- Witchdoctor– vocals
- Joi – vocals
- Khujo – vocals
- T-Mo – vocals
- CJ Jones – vocals
- Jamahr Williams – vocals
- Whild Peach – vocals
- Charles Veal – concert master, orchestral arrangements
- The South Central Chamber Orchestra – strings, woodwind
- Marvin "Chanz" Parkman – bass guitar, piano, synthesizer
- Victor Alexander – drums
- Omar Phillips – percussion
- Darian Emory – horn
- LaMarquis Mark Jefferson – bass guitar
- Skinny Miracles – bass guitar
- Kenneth Wright – synthesizer
- Craig Love – guitar
- Tomi Martin – guitar
- Martin Terry – electric guitar
- Jim Sitterly – violin
- Mr. DJ – scratching
- George Clinton – background vocals
- Sleepy Brown – background vocals
- Jermaine Smith – background vocals
- Jim Smith – background vocals
- Debra Killings – background vocals
Technical
- Babyface – executive producer
- OutKast – executive producer, producer
- Organized Noize – composer, executive producer, producer, programming
- Mr. DJ Sheats – arranger, mixing, producer
- Courtney Taylor – coordination
- Josh Butler – mixing
- Jonnie Davis "Most" – mixing
- Shawn Grove – mixing assistant
- Claudine Pontier – mixing assistant
- Brian Gardner – mastering
- Blake Eiseman – engineering
- Jean B. Smit – engineering
- Bernasky Wall – engineering
- Ryan Williams – engineering
- Ralph Cacciurri – assistant engineer
- Ricco Lumpkins – assistant engineer
- Alberto Perez – assistant engineer
- Jason Rome – assistant engineer
- Kenny Stallworth – assistant engineer
- Jason Stokes – assistant engineer
- Katy Teasdale – assistant engineer
- D.L. Warfield – art direction, design
- Nigel Sawyer – assistant art director, design assistant
- Greg Hawkins – artwork
- Tom Smugala – photography
Charts
Weekly charts
|
Year-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
Canada (Music Canada)[88] | Gold | 50,000^ |
United Kingdom (BPI)[89] | Silver | 60,000‡ |
United States (RIAA)[90] | 3× Platinum | 3,000,000‡ |
^ Shipments figures based on certification alone. |
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{{cite AV media notes}}
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Bibliography
- Hess, Mickey, ed. (2007). Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. ISBN 978-0-313-33903-5.
- Miller, Kiri, ed. (June 21, 2010). Traveling Home: Sacred Harp Singing and American Pluralism (Music in American Life). University of Illinois Press. ISBN 978-0-252-07757-9.
- ISBN 0-312-33735-3.
- Sarig, Roni, ed. (May 1, 2007). Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing. Da Capo Press. ISBN 978-0-306-81430-3.
- Wang, Oliver, ed. (May 1, 2003). Classic Material: The Hip-Hop Album Guide. ISBN 1-55022-561-8.
External links
- Aquemini at Discogs
- Album Review at RapReviews
- Album Review at Yahoo! Music
- The Making of OutKast's Aquemini at Creative Loafing