1. Outkast Aquemini Album Zip
2. Outkast Aquemini Cd
3. Outkast Aquemini Zip Download
4. Outkast Aquemini Album Songs

OutKast's third album Aquemini was released on September 29, 1998. The song was released as a free download in February that year as part of a Converse promotion. Andre 3000 was featured on Frank Ocean's 2012 album Channel Orange on the song 'Pink Matter'. On January 11, 2013, Big Boi appeared on a remix of the song, adding a verse before. Listen free to OutKast – Aquemini (Hold On, Be Strong, Return of the 'G' and more). 16 tracks (71:32). A vaguely futuristic, synthesizer-drenched album punctuated with anthemic choruses and bluesy beats, Aquemini addresses numerous topics such as emancipation, drug addiction and problematic relationships, while exploring the bleakest aspects of humanity.

Outkast (stylized as OutKast) is an American hip hop duo formed in 1992 in East Point, Georgia, composed of Atlanta-based rappers André 'André 3000' Benjamin (formerly known as Dré) and Antwan 'Big Boi' Patton.^[1] The duo achieved both critical acclaim and commercial success from the mid-1990s to the early 2000s, helping to popularize Southern hip hop^[1] while experimenting with diverse genres such as funk, psychedelia, jazz, and techno.^[2][3]

Benjamin and Patton formed the group as high school students in 1992. Outkast released their debut album Southernplayalisticadillacmuzik in 1994, which gained popularity after the single 'Player's Ball' reached number one on the BillboardHot Rap Tracks chart. With successive releases including ATLiens (1996) and Aquemini (1998), the duo further developed their sound, experimenting with a variety of styles and achieving commercial success. In 2000, Outkast released the critically acclaimed Stankonia, which included the singles 'Ms. Jackson' and 'B.O.B.'

In September 2003, the duo released the double albumSpeakerboxxx/The Love Below, which featured the number one singles 'Hey Ya!' and 'The Way You Move.' The album would eventually win the Grammy Award for Album of the Year and was certified Diamond by the Recording Industry Association of America. Outkast next released the soundtrack for the 2006 musical film Idlewild, which they also starred in. In 2007, the duo went on hiatus and both members have since pursued solo careers. In 2014, Outkast reunited to celebrate their 20th anniversary by performing at more than 40 festivals worldwide, beginning at the Coachella Festival in April.^[4]

The duo is one of the most successful hip-hop groups of all time, having received six Grammy Awards. Between six studio albums and a greatest hits release, Outkast has sold over 25 million records. Meanwhile, they have garnered widespread critical acclaim, with publications such as Rolling Stone and Pitchfork Media listing albums such as Aquemini and Stankonia among the best of their era.

• 1History

History[edit]

1992–1995: Formation and debut[edit]

Benjamin and Patton met in 1992 at the Lenox Square shopping mall when they were both sixteen years old.^[5] The two lived in the East Point section of Atlanta and attended Tri-Cities High School.^[5][6] During school, Benjamin and Patton participated in rap battles in the cafeteria.^[5] Benjamin's parents were divorced and he was living with his father. Meanwhile, Patton had to move with his four brothers and six sisters from Savannah to Atlanta. Benjamin and Patton eventually teamed up and were pursued by Organized Noize, a group of local producers who would later make hits for TLC.^[1] The duo initially wanted to be called '2 Shades Deep' or 'The Misfits', but because those names were already taken they later decided to use 'OutKast' based on finding 'outcast' as a synonym for 'misfit' in a dictionary.^[7] OutKast, Organized Noize, and schoolmates Goodie Mob formed the nucleus of the Dungeon Family organization.

OutKast signed to L.A. And Babyface imprint prior to graduation^[8] which would later become LaFace Records in 1992, becoming the label's first hip hop act and making their first appearance on the remix of labelmate TLC's 'What About Your Friends'. During the holiday season of 1993, they released their first single, 'Player's Ball'. The song's funky style, much of it accomplished with live instrumentation, was a hit with audiences. 'Player's Ball' hit number-one on the BillboardHot Rap Tracks chart.^[1] 'Player's Ball' also topped the R&B charts for six weeks.^[9]

Their debut album, Southernplayalisticadillacmuzik, was issued on April 26, 1994. This initial effort is credited with laying the foundation for southern hip hop and is considered a classic by many. Every track on Southernplayalisticadillacmuzik was produced by Organized Noize and featured other members of the Dungeon Family. Follow-up singles included the title track and 'Git Up Git Out', a politically charged collaboration with Goodie Mob that was later sampled by Macy Gray for her 1999 hit 'Do Something.' On this early material, both André and Big Boi contrast lyrical content reflecting the lifestyles of pimps and gangsters with politically conscious material commenting on the status of African Americans in the South. OutKast won Best New Rap Group at the Source Awards in 1995.^[1] Within the mess that was the East Coast - West Coast feud, André came up on stage followed by boos from the crowd and said, 'But it's like this though, I'm tired of them closed minded folks, it's like we gotta demo tape but don't nobody want to hear it. But it's like this: the South got something to say, that's all I got to say.' As eloquently stated by rapper T.I., 'Outkast, period. Outkast. That's when it changed. That was the first time when people began to take Southern rap seriously.'^[10] In the same year, the group contributed 'Benz or a Beamer' to the popular New Jersey Drive soundtrack.

1995–1999: Breakthrough with ATLiens and Aquemini[edit]

After Southernplayalisticadillacmuzik was certified platinum, LaFace Records gave OutKast more creative control and advanced money for their follow-up album, which they recorded from 1995 to 1996.^[11]

The duo took the opportunity to recreate their image. On a trip to Jamaica with producer Mr. DJ, the two decided to abandon their cornrow hairstyles in favor of a more natural aesthetic, vowing to stop combing their hair.^[12]Dungeon Family member Big Rube observed an increase in the duo's confidence after returning from their first tour, remarking, 'They started understanding the power they had in their music. They started showing a swagger that certain artists have—the ones that are stars.'^[13] The two also became more accustomed to playing live, particularly Big Boi, and André 3000 significantly changed his lifestyle, as he adopted a more eccentric fashion sense, became a vegetarian, and stopped smoking marijuana.^[14] The members also underwent changes in their personal lives; in 1995, Big Boi's girlfriend gave birth to their first child and André 3000 and Total's Keisha Spivey ended their two-year relationship.^[15]

The double platinum album, ATLiens, was released on August 27, 1996. The album exhibited a notably more laid-back, spacey production sound, taking influence from dub and reggae.^[16][17] On ATLiens, André 3000 and Big Boi abandoned the 'hard-partying playa characters' of their debut album in favor of more spacey, futuristic personas, and produced many of the songs on their own for the first time.^[15][18] Their tracks have an outer-space feeling to them- a feeling that, ironically, has warmed the community right up to them.^[19] Critics praised the group's maturing musical style on the record, which debuted at number two on the U.S. The album would climb to number three on Billboard's top R&B/Hip Hop chart.^[20]Billboard 200 chart and sold nearly 350,000 copies in its first two weeks of release.^[21][22] The single 'Elevators (Me & You)' reached number 12 and spent 20 weeks on the Billboard Hot 100 chart.^[23]ATLiens further solidified OutKast as the flagship representatives of the 1st generation Dungeon Family and the Southern hip hop movement. The album helped the group earn more recognition among East Coast hip hop fans in the East and West coasts.^[1]

For this album, OutKast joined with partner David 'Mr. DJ' Sheats to form the Earthtone III production company, which allowed the group to produce some of their own tracks. 'ATLiens' was the group's second Top 40 single (following 'Player's Ball' from their first album), and reflected the beginning of André's increasingly sober lifestyle:^[24] 'No drugs or alcohol/so I can get the signal clear,' he rhymes about himself in the single 'ATLiens'.

OutKast's third album Aquemini was released on September 29, 1998. It was also certified double platinum and reached the number-two position on the Billboard 200 album chart in the United States; its title was a combination of the zodiac signs of Big Boi (an Aquarius) and André (a Gemini).^[17] Producing more material themselves, both Big Boi and André explored more eclectic subject matter, delving into sounds inspired by soul, trip hop, and electro music. The album featured production by Organized Noize and collaborations with Raekwon, Slick Rick, funk pioneer and musical forebear George Clinton, and Goodie Mob. Outkast forged the connections between Hip Hop and the black freedom struggle with their controversial song 'Rosa Parks' featured on the album.^[25]

2000–2001: Stankonia and Greatest Hits[edit]

Originally titled 'Sandbox', the pair's fourth album, Stankonia was released in October 2000 to positive reviews. The album was seen as a change in the group's musical style, as it had a more commercial and mainstream appeal, compared to their previous three albums which were darker and deeper. It debuted at number two on the Billboard 200 in the U.S., and would eventually be certified quadruple-platinum. Stankonia's first single was 'B.O.B. (Bombs Over Baghdad)', a high-tempo-influenced record. The second single, 'Ms. Jackson', combined a pop hook with lyrics about divorce and relationship breakups, particularly André's breakup with singer Erykah Badu; the titular 'Ms. Jackson' character being a doppelgänger for Badu's mother. It was at this time that André changed his stage name to the current 'André 3000,' mostly to avoid being mixed up with Dr. Dre.

The single became their first pop hit, landing the number-one position on the Billboard Hot 100 chart, and the number-two position on the UK Singles Chart. The album's final single was the Organized Noize-produced 'So Fresh, So Clean', featuring a credited guest appearance from regular guest vocalist and Organized Noize-member Sleepy Brown and garnered a remix featuring Snoop Dogg. All three singles' videos had heavy MTV2 airplay, and OutKast won two 2001 Grammy Awards, one for Best Rap Performance by a Duo or Group for 'Ms. Jackson', and another for Stankonia as Best Rap Album.^[26]

Pitchfork named Stankonia the 4th greatest album released between 2000 and 2004 in its 2005 feature.^[27] Later on the webzine selected Stankonia as the 13th best album of the 2000s. And B.O.B. was chosen number one song of the decade by this same webzine.^[28]

In December 2001, OutKast released a greatest hits album, Big Boi and Dre Present...OutKast, which also contained three new tracks. One of these new tracks was the single 'The Whole World', which won a 2002 Grammy Award for Best Rap Performance by a Duo or Group. Killer Mike also was featured on the song, gaining some exposure among areas outside of his native Atlanta. The other two new songs were called 'Funkin' Around' and 'Movin' Cool (The After Party)'.

2002–2004: Speakerboxxx/The Love Below[edit]

OutKast spent 2 years working on their 5th effort, before releasing a double album, Speakerboxxx/The Love Below, on September 23, 2003. It is essentially two solo albums, one by each member, packaged as a single release under the OutKast banner; the two members also appear and co produce on each other's discs for a few songs apiece. Big Boi's Speakerboxxx is largely a funk and Dirty South blended party record; André 3000's The Love Below features only brief instances of hip hop, presenting instead elements found in funk, jazz, rock, electronic music, and R&B.^[1]

The album is also OutKast's biggest commercial success yet, having debuted on the Billboard 200 albums chart at number-one and stayed there for several weeks. The album eventually sold over five million copies, and, as double-album sales count double for Recording Industry Association of America certification, the album was certified diamond for 10 million units shipped in December 2004. Its latest certification, in May 2006, reaches 11 million copies in shipping.^[1]

The first two singles from the album(s), which were released nearly simultaneously, were Big Boi's 'The Way You Move' and Andre 3000's 'Hey Ya!' The video's storyline has 'The Love Below'—a fictional band with all members, through the use of special effects, played by André—performing in London. 'Hey Ya!' was the number one song on the very final weekend of American Top 40 with Casey Kasem. It was also number one a week later on the very first weekend of American Top 40 with Ryan Seacrest. The singles spent ten weeks at number one on the Hot 100 singles chart, with 'Hey Ya!' spending nine weeks and 'The Way You Move' taking over for one week in February 2004. These singles were seen as a breakthrough for the hip-hop industry, being among the first hip-hop songs to be widely played on adult contemporary radio stations.^[1]

OutKast's next official single was not released until the summer of 2004. 'Roses', a track featuring both members from The Love Below half of the album, did not meet the level of success as either of its predecessors, but it became a modest-sized hit on urban radio and the American music video networks. The video for 'Roses' is loosely based on the musicals West Side Story and Grease. It featured sparring 1950s' style gangs, one representing Speakerboxxx, and one representing The Love Below, parodying the widespread arguing among critics and fans as to which half of the album was better. It deviates from these musicals in its final act, however, by featuring Andre 3000 defecating in a bouquet of roses before entering a Ramping Shop and presenting them to the receptionist. This closing scene was nominated as a finalist for the BET 'Realest Music Video of All Time' award. The final singles were André 3000's 'Prototype', which was paired with a science fiction-themed video about alien visitors, and Speakerboxxx's 'Ghettomusick', which featured both members of OutKast and a sample from a song by Patti LaBelle, who also makes an appearance in the video.^[1]

Speakerboxxx/The Love Below won the Grammy Award for the 2004. OutKast was one of the headlining acts at the show, and gave two performances: Big Boi performed 'The Way You Move' with the Outkast backing band during a medley with Earth Wind & Fire, George Clinton and Robert Randolph, while André 3000 performed 'Hey Ya!' as the show closer after they had been presented with the Album Of The Year Award.

2005–2006: Idlewild[edit]

Members also began working on a joint film, Idlewild, directed by OutKast music video director Bryan Barber. Idlewild, a Prohibition-era musical film set to a blues-influenced hip-hop soundtrack, was released on August 25, 2006 by Universal Pictures. The Idlewild soundtrack was released August 22, 2006. In an interview for Billboard, Big Boi stated 'This is an OutKast album. It isn't like a soundtrack where we go get this person or that person'.^[29]

Originally planned for early 2005, Idlewild's release date was pushed to December 2005, before being delayed into 2006.^[29] The album debuted at number two on the US Billboard 200 chart with first-week sales of 196,000 copies.^[30] It also entered at number one on Billboard's Top R&B/Hip-Hop Albums,^[31] at number one on the Top Rap Albums,^[32] and at number two on the Top Digital Albums chart.^[33] The album dropped to number seven on the Billboard 200, selling 78,000 copies in its second week.^[34] It spent nine weeks on the Billboard 200.^[35] In the United Kingdom, Idlewild debuted at number 16 on the UK Albums Chart.^[36] It fell to number 28 in its second week on the chart.^[37] While it charted within the top-twenty in several other countries, the album spent a minimal number of weeks on most charts.^[38][39] On August 26, 2006, the album was certified platinum in sales by the Recording Industry Association of America, following shipments in excess of one million copies in the United States.^[40] It was certified gold in sales by the Canadian Recording Industry Association in November 2006.^[41]

The first single of the album, 'Mighty 'O', features both André 3000 and Big Boi; the song takes its lyrical hook from the Cab Calloway song 'Minnie the Moocher' ('Mighty-ighty-ighty O') and seems to be an example of the album's mix of hip hop and more traditional American jazz and blues. Next, similar to previous OutKast albums such as Speakerboxxx/The Love Below, two singles—one solely by Big Boi, the other solely by André 3000—were released simultaneously. The second single, almost exclusively featuring Big Boi, is the marching band–influenced 'Morris Brown', featuring guest artists Sleepy Brown and Scar, both artists on Big Boi's Purple Ribbon label. The song's title is a reference to Atlanta's Morris Brown College, with the school's marching band providing the instrumentation.

The third single, André 3000's 'Idlewild Blue (Don'tchu Worry 'Bout Me)' delves into the blues genre, complete with a blues-style acoustic guitar riff and a harmonica element reminiscent of Aquemini single 'Rosa Parks'. In tune with the film, Idlewild reflects OutKast's original style tempered by 1930s influences. The fourth single, 'Hollywood Divorce' was released in November 2006, and features verses from Lil' Wayne and Snoop Dogg and is produced by André 3000.

2007–2013: Hiatus and solo work[edit]

In 2007 after the sixth album under the OutKast name, Idlewild, Big Boi announced plans to release a full-fledged solo album. While he had released a previous solo album in Speakerboxxx, it still was technically under the OutKast name. The album was later titled Sir Lucious Left Foot: The Son of Chico Dusty. The album's first promotional single, 'Royal Flush', was released in 2007, and featured Raekwon and André 3000. After many delays and setbacks, the album was finally released internationally on July 5, 2010. Guest artists include singer Janelle Monáe; Big Boi's own new group Vonnegutt; plus established rappers T.I. and B.o.B.^[42]Sir Lucious Left Foot: The Son of Chico Dusty received general acclaim from most music critics, earning praise for its inventive sound, varied musical style, and Big Boi's lyricism.^[43][44] In a July 2010 interview for The Village Voice, Big Boi revealed that he was working on the follow-up album to Sir Lucious Left Foot, entitled Daddy Fat Sax: Soul Funk Crusader, stating that he was 'maybe about six songs into it',^[45] and that he was 'planning on doing a bunch of sax samples, tenor, soprano, and probably have at least a couple sax players come into the studio for the next record'.^[46] The project later evolved into the 2012 album Vicious Lies and Dangerous Rumors.

André 3000 returned to rapping in 2007, after a hiatus from the genre, appearing on various remixes, including: 'Walk It Out', 'Throw Some D's', 'You', Jay-Z's '30 Something', and original songs such as UGK's 'International Players Anthem', Devin the Dude's 'What a Job', Fonzworth Bentley's 'Everybody', and with Big Boi 'Royal Flush' and the leaked single 'Lookin For Ya'. He also appeared on John Legend's album, Evolver, on the track 'Green Light', which was released on October 28, 2008. Prior to the release, Benjamin commented: 'It's going to be a surprise for a lot of John Legend fans, because it is a lot more upbeat than John is—than people think John is. I was actually happy to hear it. This is a cool John Legend song.' Benjamin has stated that he is making a solo rap album, and that the response to his remixes is part of the motivation for it.^[47] In September 2011 it was announced that OutKast was moved to Epic Records following restructuring within Sony Music Entertainment. Epic Records is headed by LA Reid who has worked with Outkast in the past.^[48] In 2012, Andre 3000 was cast to play Jimi Hendrix in a biopic film titled Jimi: All Is by My Side, which was later released on September 26, 2014.

2014: Reunion[edit]

In late 2013, it was reported that Outkast would reunite at the Coachella Valley Music and Arts Festival in 2014. This was later confirmed on January 8, 2014, when it was officially announced that the duo would headline the festival on April 11 and 18.^[49] It was later announced on January 13, 2014 that Outkast would be performing at more than 40 festivals around the world throughout the spring and summer of 2014 to celebrate their 20th anniversary, including one of the largest festivals in the UK, Bestival. Despite rumors, Big Boi has insisted that the duo are not currently working on a new album together. Outkast returned to Atlanta for their #ATLast homecoming shows over the weekend of September 26, 2014, selling out within minutes of tickets going on sale. The shows had a large variety of openers, ranging from R&B singer Janelle Monáe and rappers Kid Cudi, 2 Chainz, Future, Bun B, and Childish Gambino. Outkast's Dungeon Family associates Sleepy Brown and Big Gipp also appeared onstage with the duo, rapping and singing on their respective songs.^[50][51]

At Atlanta's One MusicFest, the Dungeon Family, Goodie Mob, Organized Noise, Killer Mike, and Outkast appeared performing their rap hits.^[52]

Musical style and influences[edit]

Outkast's musical style and lyrical content have evolved throughout the group's career. Rolling Stone described their music as 'idiosyncratic' and 'inspired by the Afrocentric psychedelics of George Clinton and Sly Stone.'^[53] The band's debut album Southernplayalisticadillacmuzik incorporates analog elements such as Southern-styled guitar licks, languid soul melodies, and mellow 1970s funk grooves.^[54][55] It also features digital hip hop production elements such as programmed snare beats, booty bass elements,^[54]ATLiens and Aquemini feature outer space-influenced production with echo and reverb effects.^[56] With Stankonia, OutKast became the first hip-hop act to openly acknowledge rave culture as an influence.^[57]Stankonia and Speakerboxxx/The Love Below would draw on sources such as psychedelia, gospel, funk, techno, soul, electro, and rock music.^[58] During the late 1990s, rappers tended to embrace slow, laid-back beats in their productions. On several tracks on Stankonia, the group employed faster, more chaotic tempos to reflect rave culture and the introduction of new drugs such as ecstasy into the hip-hop scene.^[57]

One central motif of OutKast's songwriting is the duality of the two members and their differing personalities, with Big Boi as 'the player' and Andre 3000 as 'the poet'.^[59] Big Boi generally covers the more conventional hip-hop topics such as his childhood in the South, sex, and partying, while Andre 3000 discusses more unorthodox themes.^[60] In contrast to much of hip hop music in the late 1990s, OutKast did not tone down its Southern regional qualities, like the harmonica break on 'Rosa Parks' and distinctive Atlanta slang and diction throughout. The duo experimented with several delivery styles on the record, using 'relaxed, hyper, distorted, speedy and conversational presentations.'^[61] OutKast often discusses the status of women in the South, and contrasts with the misogynistic attitudes common in hip-hop music. In Slate, Alex Abramovich praised the duo for '[tending] to shy away from the misogyny and violence rap is so often (and not always unjustly) condemned for.'^[62] In his book Classic Material: The Hip-Hop Album Guide, Oliver Wang writes that songs such as 'Slum Beautiful' and 'Toilet Tisha' 'reimagine 'round the way girls, not only as just more than one-dimensional accessories, but as objects of affection with lives and concerns that are worth exploring.'^[63]

Collaborations and other work[edit]

Outkast Aquemini Album Zip

During the recording of Stankonia OutKast and Mr. DJ began producing tracks for the artists on their Aquemini Records imprint through Columbia, including Slimm Cutta Calhoun and Killer Mike, who made his debut on Stankonia's 'Snappin' & Trappin.'

In 2002, OutKast participated in the only Dungeon Family group album, Even in Darkness, along with Goodie Mob, Killer Mike, Sleepy Brown, Witchdoctor, and Backbone among others, and featuring Bubba Sparxxx, Shuga Luv and Mello. In 2002, the group and Killer Mike contributed the lead single 'Land of a Million Drums' to the Scooby-Doo soundtrack.

On February 27, 2011, it was announced that Big Boi is creating a joint album along with Killer Mike and fellow Atlanta rapper Pill.^[64] Later that day, Big Boi posted on his Twitter account that he was mixing Killer Mike's album entitled, PL3DGE.^[65]

In 2010, Andre 3000 was featured on Ciara's remix for her hit single 'Ride', from the album Basic Instinct.^[66] On January 14, 2011, a song with Ke$ha called 'The Sleazy Remix' was leaked.^[67] On June 7, 2011, Beyoncé's song 'Party' was leaked, it features Benjamin, it is his first collaboration with the singer. It is also featured on Beyoncé's fourth studio album entitled 4 released June 24, 2011. On August 24, 2011, Lil Wayne's album Tha Carter IV leaked, featuring a song entitled 'Interlude' with Benjamin and fellow rapper Tech N9ne performing. Also in 2011 Andre featured on Chris Browns 'Deuces' remix as well as on a Lloyd song, 'Dedication To My Ex (Miss That)', with Lil Wayne. In 2012 Andre also appeared on Drake's second album Take Care, on the song 'The Real Her' which also featured Lil Wayne.

In 2012 Andre 3000 featured on Gorillaz 'DoYaThing' with James Murphy of LCD Soundsystem. The song was released as a free download in February that year as part of a Converse promotion.

Andre 3000 was featured on Frank Ocean's 2012 album Channel Orange on the song 'Pink Matter'. On January 11, 2013, Big Boi appeared on a remix of the song, adding a verse before Andre's. In response to the added verse, Andre issued a statement on January 15 insisting that the track did not constitute an OutKast reunion.^[68]

Phantogram revealed in an interview with Variance Magazine in February 2014 that they plan to release an EP with Big Boi.^[69] The resulting album Big Grams was released in September 2015.

Film projects[edit]

Benjamin made appearances in Families, The Shield (as Robert Huggins, a character that originated in an episode titled 'On Tilt' from Season 3 in 2004), Be Cool, Revolver, Semi Pro, and Four Brothers. He was also cast as Percival in Idlewild, released on August 26, 2006. He voiced a crow in Charlotte's Web, a movie adaptation of the 1952 children's book. As of November 2006, he voiced 'Sunny Bridges,' a prize-winning musician who gives up touring to teach at his alma mater, in Class of 3000, an animated series he produced on Cartoon Network. He has also worked with Esthero on a promotional version of 'Jungle Book' which was on a Wikked lil' grrrls sampler, but never made it to the actual album due to issues with Esthero's label, Warner Bros..The following year, he appeared in the basketball comedy Semi-Pro, with Woody Harrelson and Will Ferrell. He also starred in the 2008 film Battle in Seattle, a film about the 1999 Seattle World Trade Organization protests. Benjamin was a member of Quentin Tarantino and Lawrence Bender's production company A Band Apart until its close in 2006; he then formed his own company, Moxie Turtle.

Big Boi appeared on Nick Cannon's Wild 'n Out Season 3 as one of the many guest stars, as well as guest starring and appearing as a musical guest on Chappelle's Show performing his song 'The Rooster'. He is currently reaching more into acting, having appeared in T.I.'s film ATL, OutKast's film Idlewild and starring in Who's Your Caddy?. He appeared in the Law & Order: Special Victims Unit episode 'Wildlife', which aired November 18, 2008. Big Boi played hip-hop artist 'Got$ Money'.

Lawsuit[edit]

In April 1999, OutKast and LaFace Records were sued by Rosa Parks over Aquemini's most successful radio single, which bears Parks' name as its title. The lawsuit alleged that the song misappropriates Parks' name, and it objected to the song's obscenities.^[70]

The song's lyrics are virtually unrelated to Parks, except for a reference in the chorus: 'Ah ha, hush that fuss / Everybody move to the back of the bus'. The song, which OutKast maintained was intended partly as homage, refers to Parks metaphorically: the purpose of the song's chorus is to imply that OutKast is overturning hip hop's old order, that people should make way for a new style and sound. In the initial suit, the District Court for the Eastern District of Michigan at Ann Arbor granted summary judgment for OutKast.

Later on appeal, however, the issue of whether OutKast violated the Lanham Act for false advertising was reversed and remanded for further proceedings. This was based on the Court's determination that the title 'Rosa Parks' had little artistic relevance, whether symbolic or metaphorical, to Rosa Parks the person. Parks' representation hired lawyer Johnnie Cochran to appeal the decision in 2001, but the appeal was denied on First Amendment grounds. In 2003, the Supreme Court turned down an appeal to overrule the lower court's decision.^{[citation needed]} The judge ruled that the song was an 'expressive work' and that it was protected by the First Amendment. The judge stated that there was a definite linkage between the song and Rosa Parks.

In December 2003, André told UK journalist Angus Batey that, following a Detroit concert in the midst of the legal battle, relatives of Parks had approached him and implied that the case had less to do with Parks than with the lawyers.^{[71][permanent dead link]} In April 2005, the judge in the case appointed an impartial representative for Parks after her family expressed concerns that her caretakers and her lawyers were pursuing the case based on their own financial interest. The case was settled on 14 April 2005, with Outkast and the co-defendants, SONY BMG and its subsidiaries Arista Records and LaFace Records, admitting no wrongdoing but agreeing to develop and fund educational programs concerning Rosa Parks.^[72][73]

Discography[edit]

Studio albums

• Southernplayalisticadillacmuzik (1994)
• ATLiens (1996)
• Aquemini (1998)
• Stankonia (2000)
• Speakerboxxx/The Love Below (2003)
• Idlewild (2006)

Awards and nominations[edit]

References[edit]

Notes

1. ^ ^abcdefghijallmusic Biography
2. ^Ellis, Iain (October 2008). Rebels Wit Attitude: Subversive Rock Humorists. Soft Skull Press. p. 252. Retrieved March 5, 2018.
3. ^Erlewine, Stephen Thomas (2003). 'Speakerboxxx/The Love Below'. Allmusic. Retrieved April 20, 2008.
4. ^Coachella 2014 Lineup. Stereogum (January 8, 2014). Retrieved on 2014-05-28.
5. ^ ^abcGuzman, Isaac (October 22, 2000). 'Melody Makers of Hip-Hop'. Los Angeles Times. Eddy Hartenstein. Retrieved January 20, 2012.
6. ^Pauley, Jared. 'Outkast'.Missing or empty |url= (help)
7. ^'OutKast Biography'. Encyclopedia of World Biography. 2006. Retrieved April 20, 2008.
8. ^'Outkast'. Encyclopedia of Popular Music.Missing or empty |url= (help)
9. ^'Outkast- Southernplayalisticadillacmuzik'. Encyclopedia of Popular Music.Missing or empty |url= (help)
10. ^TheMaxTrailers (October 12, 2014), Outkast winning Best New Rap Group at the Source Awards 1995, retrieved May 6, 2018
11. ^'Outkast'. Black Diaspora. New York. 18: 25. 1997.
12. ^Westhoff, 2011. p. 135
13. ^Sarig, 2007. p. 139
14. ^Nickson (2004), p. 46.
15. ^ ^abSarig, 2007. p. 140
16. ^Huey, Steve. 'Aquemini – OutKast'. AllMusic. Rovi Corporation. Retrieved December 21, 2012.
17. ^ ^abPauley, Jared (January 13, 2015). 'OutKast'. Oxford Music Online.
18. ^Huey, Steve. 'ATLiens – OutKast'. AllMusic. Rovi Corporation. Retrieved July 10, 2012.
19. ^'Outkast- ATLiens'. Encyclopediaof Popular Music.Missing or empty |url= (help)
20. ^Love, Betina. 'Chapter Three: The New South Gone With the Beat'.Missing or empty |url= (help)
21. ^'Pearl Jam's 'No Code' to Top Albums Chart'. San Jose Mercury News. MediaNews Group. September 7, 1996. Retrieved March 5, 2011.
22. ^'The Charts – 'ATLiens' Landing'. Los Angeles Times. Eddy Hartenstein. September 15, 1996. Retrieved March 5, 2011.
23. ^'OutKast Album & Song Chart History – Hot 100'. Billboard. Prometheus Global Media. Retrieved March 5, 2011.
24. ^(September 18, 2005). Polly Vernon talks to Andre 3000. Retrieved April 12, 2008.
25. ^Alridge, Derrick. From Civil Rights to Hip Hop: Toward a Nexus of Ideas. JSTOR20063999.
26. ^Cowie, Del F.. (May 27, 1975) OutKast – Brothers From Another Planet – On the CoverArchived July 15, 2007, at the Wayback Machine. Exclaim.ca. Retrieved on 2014-05-28.
27. ^'Archived copy'. Archived from the original on January 13, 2009. Retrieved January 7, 2009.Cite uses deprecated parameter |dead-url= (help)CS1 maint: archived copy as title (link)
28. ^Staff Lists: The Top 500 Tracks of the 2000s: 20-1 | Features. Pitchfork (August 21, 2009). Retrieved on 2012-04-09.
29. ^ ^abMitchell, Gail. Outkast's 'Idlewild' Bumped To Next Year. Billboard. Retrieved on May 10, 2010.
30. ^Hasty, Katie. Danity Kane Sidesteps OutKast To Claim No. 1. Billboard. Retrieved on May 10, 2010.
31. ^R&B/Hip-Hop Albums – Week of September 09, 2006. Billboard. Retrieved on May 10, 2010.
32. ^Rap Albums – Week of September 09, 2006. Billboard. Retrieved on May 10, 2010.
33. ^Digital Albums – Week of September 09, 2006. Billboard. Retrieved on May 10, 2010.
34. ^Hasty, Katie. Dylan Earns First No. 1 Album Since 1976. Billboard. Retrieved on May 10, 2010.
35. ^Chart History: OutKast – Billboard 200. Billboard. Retrieved on May 10, 2010.
36. ^Top 40 Official UK Albums Archive – 2nd September 2006. The Official UK Charts Company. Retrieved on May 10, 2010.
37. ^Top 40 Official UK Albums Archive – 9th September 2006. The Official UK Charts Company. Retrieved on May 10, 2010.
38. ^Album Performance: Idlewild. acharts. Retrieved on May 10, 2010.
39. ^Billboard Albums: Idlewild. Allmusic. Retrieved on May 10, 2010.
40. ^Gold & Platinum – Searchable Database: IdlewildArchived May 25, 2012, at Archive.today. Recording Industry Association of America. Retrieved on May 9, 2010.
41. ^Search Certification Database: Idlewild. Canadian Recording Industry Association. Retrieved on May 10, 2010.
42. ^Big Boi: Boy O Boi!. Bluesandsoul.com. Retrieved on May 28, 2014.
43. ^Sir Lucious Left Foot: The Son of Chico Dusty (2010): Reviews. Metacritic. Retrieved on July 5, 2010.
44. ^Dietz, Jason. July's Best New Music. Metacritic. Retrieved on July 29, 2010.
45. ^Harvilla, Rob. Big Boi Is Not Too Artsy. The Village Voice. Retrieved on July 6, 2010.
46. ^Midnight, Kid (July 12, 2010). Big Boi names his next solo album Daddy Fat Sax in honor of the great service he received at White Castle. Tiny Mix Tapes. Retrieved on September 4, 2010.
47. ^[1]Archived March 1, 2009, at the Wayback Machine
48. ^Outkast, Ciara Headed for L.A. Reid's Epic Records, Sources Say. Billboard.biz (September 15, 2011). Retrieved on 2012-04-09.
49. ^Outkast Reunion Confirmed By Rico Wade. Vibe (January 3, 2014). Retrieved on 2014-05-28.
50. ^Muhammad, Latifah. 'Big Boi: No New Outkast Album | News'. BET. Retrieved July 11, 2014.
51. ^Outkast Announce Tour of Over 40 Festivals. Billboard (January 13, 2014). Retrieved on 2014-05-28.
52. ^Doe, John (September 11, 2016). 'Outkast, Goodie Mob, and Dungeon Family reunion'. Hotnewhiphop. Retrieved September 11, 2016.
53. ^'Outkast'. Rolling Stone.
54. ^ ^abSwihart, Stanton. 'Southernplayalisticadillacmuzik – OutKast'. Allmusic. Rovi Corporation. Retrieved November 20, 2012.
55. ^Hunt, Dennis (June 26, 1994). 'Record Rack'. Los Angeles Times. Los Angeles: Tribune Company. Retrieved November 20, 2012.
56. ^Huey, Steve. 'Aquemini – OutKast'. AllMusic. All Media Network. Retrieved September 13, 2013.
57. ^ ^abReynolds, 2007. p. 333
58. ^Erlewine, Stephen Thomas. 'Speakerboxxx/The Love Below - OutKast'. AllMusic. Retrieved July 1, 2015.
59. ^Austerlitz, Saul. 'Records: OutKast's Aquemini'. Yale Herald. Archived from the original on December 18, 2015. Retrieved May 10, 2014.Cite uses deprecated parameter |dead-url= (help)
60. ^Herrington, Chris (October 14, 1998). 'OutKast: Aquemini'. City Pages. Voice Media Group. Archived from the original on May 12, 2014. Retrieved May 10, 2014.Cite uses deprecated parameter |dead-url= (help)
61. ^Baker, Soren (September 27, 1998). 'OutKast 'Aquemini' LaFace/Arista'. Los Angeles Times. Tribune Company. Retrieved September 13, 2013.
62. ^Abramovich, Alex (December 14, 2001). 'OutKast, the rappers who evolved'. Slate. Retrieved February 16, 2016.
63. ^Wang, 2003. p. 133
64. ^[2]Archived August 25, 2011, at the Wayback Machine
65. ^Twitter / BigBoi: Mixing Killer Mike Album. Twitter.com (February 27, 2011). Retrieved on May 28, 2014
66. ^New Music: Ciara f/ André 3000 & Bei Maejor – ‘Ride (Remix)’. Rap-Up.com. Retrieved on May 12, 2013.
67. ^Ke$ha f. Andre3000 – Sleazy Rmx | New Hip Hop Music & All The New Rap Songs 2011. HipHop DX (January 14, 2011). Retrieved on 2013-05-12.
68. ^Andre 3000 Clears Up Rumors About 'OutKast Collaboration' (Exclusive) |. Spin.com (January 15, 2013). Retrieved on 2013-05-29.
69. ^Phantogram Talks New Album, Future Big Boi Collaborations. Variancemagazine.com (February 3, 2014). Retrieved on 2014-05-28.
70. ^King, Aliya (April 17, 1999). 'Rosa Parks Sues OutKast'. Billboard – The International Newsweekly of Music, Video and Home Entertainment. 108 (4): 6.
71. ^[Title/date?]. The Sunday Times. Timesonline.co.uk. Retrieved on May 12, 2013.^{[full citation needed]}
72. ^'Rap Group Settles Rosa Parks Lawsuit'. New York Times. nytimes.com. April 15, 2005. Retrieved February 24, 2019.
73. ^'Rosa Parks: Biography', section 'Outkast & Rosa Parks.' Biography.com. A&E Television Networks. April 2, 2014; updated January 16, 2019. Retrieved February 24, 2019.

Sources

• Norris C: 'Funk Soul Brothers', Spin, vol. 16/12 (2000), 142–8

External links[edit]

Media related to Outkast at Wikimedia Commons

• Official website
• Outkast at Curlie
• Outkast discography at MusicBrainz

Aquemini is the third studio album by American hip hop duo Outkast. It was released on September 29, 1998, by LaFace Records. The title is a portmanteau of the two performers' Zodiac signs: Aquarius (Big Boi) and Gemini (André 3000), which is indicative of the album's recurring theme of the differing personalities of the two members. The group recorded the majority of the album in Bobby Brown's Bosstown Recording Studios and Doppler Studios, both in Atlanta, Georgia.

Released as the follow-up to the duo's 1996 album ATLiens, Aquemini expands on the previous record's outer space-inspired compositions by incorporating live instrumentation. The commercial success of ATLiens allowed for more creative freedom for the group, which led to the members self-producing the majority of the tracks. The band employed a large number of musicians for the album, who frequently entered and exited the studio throughout the recording process and had a major influence on the writing development of the album's songs. Lyrically, Aquemini explores various themes including human nature, addiction, and interpersonal relationships.

The album was certified Platinum in November 1998, only two months after its release, and was certified Double Platinum on July 2, 1999 by the Recording Industry Association of America. Aquemini peaked at number two on both the Billboard 200 and the Top R&B/Hip-Hop charts. Four of the album's tracks had already or would later become singles, although some were limited (promotional) releases and not available commercially. The record also received rave reviews from music critics, who praised the album's musicality and unique lyrical themes. It was ranked at number 500 in Rolling Stone's list of the 500 Greatest Albums of All Time.

• 4Songs
• 6Critical reception
• 9Personnel

Background[edit]

In 1994, the American hip hop duo OutKast released their debut album, Southernplayalisticadillacmuzik, which was recorded when members 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.^[1] After the album was certified platinum, LaFace Records gave OutKast more creative control and advanced money for their 1996 follow-up album ATLiens.^[2] 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.^[3][4] 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 1st 2 weeks of release.^[5][6] The single 'Elevators (Me & You)' reached number 12 and spent 20 weeks on the Billboard Hot 100 chart.^[7]

After the release of ATLiens, André 3000 entered a relationship with neo soul singer Erykah Badu, who was part of a burgeoning movement in the urban music scene described as 'more bohemian than ghetto'.^[8] 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.^[8]

Recording[edit]

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.^[9] The duo and studio musicians lived and worked in the studio for weeks straight, with Big Boi noting, 'It usually takes us two to three years to make a record because we take our time; we ain't giving you that fast food, trying to meet a deadline. It ain't done until it's done sonically.'^[10] For Aquemini, the duo used live instrumentation and improvisation, bringing a baby grand piano into the studio and hiring musicians who played 'everything from stoner funk to prog rock'.^[11] Producer Neal H. Pogue recalled, 'That was the beauty of making all those records – having musicians come in and out. It was almost like a Motown, that's what we had. Or like a Stax Records thing. That's what I loved about it. It brought back that whole feeling of making records. It was organic.'^[9] Much of the music on Aquemini was formulated during jam sessions, in which one musician would begin with creating a chord pattern and the rest would incorporate their instruments following that sequence. While recording Aquemini, André 3000 drew influence from reggae music and listened to Bob Marley constantly during the sessions.^[9] After the musical aspects of a song were developed, André 3000 and Big Boi would then create lyrics that they felt would fit with the tone of the song.^[9]

For the record, André 3000 did most of the album's production, while Big Boi crafted hooks for the songs.^[10] André 3000 and 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.^[9] 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.^[12] 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'.^[9] 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.^[9]

Music and lyrics[edit]

Emma Warren of The Guardian, on the record's musical style.^[13]

Big Boi described the music on the album as 'very experimental'^[10] noting that it featured live instrumentation that included horns, guitar, piano, and harmonica.^[14]AllMusic's Steve Huey detected the 'ethereal futurism' of ATLiens in the music on Aquemini, but also noted that 'more often Aquemini plants its feet on the ground for a surprisingly down-home flavor'.^[15] He also observed a 'Southern earthiness and simultaneous spirituality' in Organized Noize's production work on the record.^[15]

Lyrically, much of Aquemini features introspection about the desolation of the human condition.^[16] Overarching themes addressed on the record include drug addiction, precarious relationships, and freedom from self-inflicted struggles.^[14] Other subjects include excessive reliance on technology and the Atlanta club scene.^[10] On the record, the group often shifts between science fiction-inspired topics and the harsh realities of urban life.^[17] Saul Austerlitz of the Yale Herald notes the central theme of the group's 'ability to move between two worlds--the G-funk glamorized by the Notorious B.I.G. and Tupac Shakur and the group's own spacier, more poetic excursions' in the album.^[17] Another theme is the duality of the two members and their differing personalities, with Big Boi as 'the player' and Andre 3000 as 'the poet', according to the album's cover.^[17] Big Boi generally covers the more conventional hip-hop topics such as his childhood in the South and attractive women, while Andre 3000 discusses more unorthodox themes.^[18] In contrast to much of hip hop music in the late 1990s, OutKast did not tone down the regional qualities, like the harmonica break on 'Rosa Parks' and distinctive Atlanta slang and diction throughout. The duo experimented with several delivery styles on the record, using 'relaxed, hyper, distorted, speedy and conversational presentations.'^[16]

Songs[edit]

Tracks 1–8[edit]

Aquemini begins with the introductory track 'Hold On, Be Strong', which was written by session guitarist Donny Mathis and was originally a full song with verses, but the group preferred to only use the hook.^[9] André 3000 played a kalimba on the song after purchasing the instrument at a flea market, drawing inspiration from Earth, Wind & Fire.^[9] 'Return of the G' addresses concerns from fans who felt that the group's style had changed too drastically since the release of Southernplayalisticadillacmuzik, as well as those who make poor decisions in order to keep their street credibility.^[9][19] When discussing the lyrical content of the song, André 3000 explained, 'I was young and wilder and some of my fashion choices people didn't accept at the time. I started getting flak from some people, so they were like, 'Either he's gay or on drugs' ... 'Return of the Gangsta' was trying to give them a sense of, 'Hey, I'm still a regular person.'^[9] 'Rosa Parks' contains blues-influenced guitar work and folksy harmonies that 'announce OutKast's distinctive style of Southern boogie. The groove goes into overdrive during a clapping, foot-stomping breakdown funkified by a fierce harmonica as the kick drum pounds incessantly.'^[20]

The next track, 'Skew It On the Bar-B' features rapper Raekwon of the Wu-Tang Clan and discusses the disappointment of the group's debut album not achieving the coveted 'five-mic' rating from The Source: 'I gotta hit the Source / I need my other half mic / because that Southernplayalisticadillacmusik was a classic right?'.^[21] 'Skew It On the Bar-B' is followed by the title track, which has been compared to the music of soul singer Isaac Hayes.^[20] Pogue experimented with delays and echos in his production to make the song 'dimensional, like you could actually put your hands through the song.'^[9] 'Synthesizer' contains elements of electrofunk and features funk musician George Clinton.^[20] Emma Warren of The Guardian called the track 'raw and woozy', dubbing it the 'weirdest moment of the record'.^[13] On the seventh track, 'Slump', Big Boi is joined by two members of the Dungeon Family as they describe their experiences selling dope. One of the few tracks that doesn’t have Andre on it, since he is the 'unique' one of the group, while Big Boi is more of the traditional gangster. On 'West Savannah', Big Boi discusses his Southern roots, and references individuals who grew up outside of the South who fail to recognize different regional Southern identities by stating 'You might call us country, but we's only Southern'.^[22]

Tracks 9–16[edit]

'Da Art of Storytellin' (Part 1)' tells the story of a self-destructive childhood friend named Sasha Thumper who dies of a drug overdose.^[23] 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.'^[23] 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'.^[9] 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.^[9] '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.^[24]

'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.^[9] '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'.^[9] 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.^[25] Lyrically, the track utilizes images of slavery to symbolize artistic freedom and not being concerned with the opinions of the public and record labels.^[25] 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.^[26]

Release[edit]

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.'^[27] 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.^[27] David Browne of The New York Times viewed the album art as an homage to blaxploitation films of the 1970s.^[28] 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.^[21]

Outkast Aquemini Cd

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.^[29][30] 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.^[29] In Norway and Germany, the album peaked at numbers 39 and 66, respectively.^[31]

In 1999, civil rights activist Rosa Parks filed a lawsuit against OutKast for the song 'Rosa Parks', claiming that the song used her name without her permission, constituting false advertising and an infringement on her right to publicity, in addition to defamation of character.^[32] The lawsuit was dismissed on first amendment grounds that year by a federal judge, but the appeals court partially reinstated the suit in 2003, stating that the group must have an artistic reason for titling the song with her name.^[32] The case was settled in 2005 with OutKast and LaFace Records agreeing to create educational programs to 'enlighten today's youth about the significant role Rosa Parks played in making America a better place for all races.'^[33]

Critical reception[edit]

Aquemini received widespread acclaim from critics.^[41]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'.^[15]Robert Christgau also commented positively on the album, calling the record 'evolved G-funk with denser instrumental crosstalk.'^[35]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.'^[16]Q named it the group's 'third best offering.'^[37] Sia Michel of The Village Voice called it 'an impassioned state-of-hip-hop address'.^[42] In a brief review for Entertainment Weekly, Cheo Tyehimba qualified Aquemini as the hip-hop album of the year.^[36]

S. H. Fernando Jr. of Rolling Stone wrote 'OutKast prove that you don't have to sell out to sell records. Sporting plenty of live chops and soulful harmonies, Aquemini's fresh, original feel defies rap's coastal clichés.'^[20] Steve Jones of USA Today commented that the duo's 'molasses-smooth raps speak to the stark realities of urban streets.'^[40] Tony Green of Spin said that although they are not as spiritual as Goodie Mob, Outkast's 'streetcorner signifying' offers listeners more than simple musical pleasure and that they 'have crafted some of the most seductive and dramadelic textures.'^[38] Giving it a five out of five 'mic'-rating, Charlie Braxton of The Source praised the duo for 'their superb use of the urban narrative.' Braxton called Aquemini 'a brilliant record' and commented that it 'possesses an uncanny blend of sonic beauty, poignant lyricism and spirituality that compels without commanding'.^[43]

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.'^[44] 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.'^[19]

Accolades[edit]

Aquemini has been included in several publications' best album lists. In 2003, Rolling Stone ranked it number 500 on its list of 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'.^[45] The album was placed at number 11 on the list of the '100 Best Albums of the Nineties' by the same magazine.^[46]

Paste called the album 'the best Atlanta hip-hop album of all time'.^[47]Pitchfork Media ranked the record at number 50 on their 'Top 100 Albums of the 1990s', describing it as 'smooth and well-conceived'.^[48]Spin included it on three of their lists. They ranked it number 35 on the '90 Greatest Albums of the '90s' and number three on the 'Top 20 Albums of '98'.^[49][50] The magazine also ranked it 76th on their 2010 list of 'The 125 Best Albums of the Past 25 Years'.^[51] In 2004, Stylus ranked it 185th on their 'Top 101-200 Favourite Albums Ever' list.^[52] In 2013, Vibe named it the 20th greatest album since 1993.^[53]Ego trip ranked it the second greatest hip hop album from 1980 to 98,^[54] while Hip-Hop Connection ranked it the 11th greatest rap album from 1995 to 2005.^[55]New Nation named it the 80th best album by black artists.^[54]

The album was included in Blender's '500 CDs You Must Own Before You Die' (2003),^[54] Tom Moon's 1000 Recordings to Hear Before You Die (2008),^[54]Continuum Books' 33⅓: A Series of Books about Critically Acclaimed Albums,^[56] and Q's 'The Ultimate Music Collection' (2005)^[57] The lead single 'Rosa Parks' was nominated in the category Grammy Award for Best Rap Performance by a Duo or Group at the 1999 Grammy Awards.^[58] The album's twelfth track 'SpottieOttieDopaliscious' was ranked at number 16 on Pitchfork Media's list of the top 200 tracks of the 1990s.^[59]

Legacy[edit]

— AllHipHop, on the album's legacy^[60]

Critics hailed the recording as OutKast's most fully realized up to that time and one of the best of the 1990s.^[61] 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'.^[15]Ebony observed that Aquemini is 'perhaps OutKast's best effort' and 'a huge commercial and artistic success'.^[62] 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.'^[63]

Los Angeles Times labeled the album 'OutKast's third brilliant slice of hip-hop'.^[16]Rolling Stone wrote that 'Atlanta's reputation as hip-hop's most avant-garde area code – the Long Island of the Nineties – was cemented' with this effort.^[46] In a column for Jazz Times, Tony Green wrote that 'OutKast's Aquemini dispels any notion that hip-hop is out of sonic ideas. If anything, it shows that the genre's appetite for new sounds is as ravenous as ever.'^[64] According to Emma Warren from The Guardian, this album is 'a high point of 90s hip-hop' and proof that 'the old push and pull between the east and west coast of American hip-hop was over'.^[13] Tim Stelloh of PopMatters felt that 'Aquemini far surpassed OutKast's previous release ATLiens [sic], and made the group one of those rare commercial anomalies—kind of like Nirvana, Rage Against the Machine, or Public Enemy'.^[44] Several reviewers of Kendrick Lamar's Good Kid, M.A.A.D City (2012) perceived influence from Aquemini in the record's production and aesthetic.^[65][66]

Track listing[edit]

Track listing and samples compiled from album liner notes.^[67]

Notes

• The vinyl edition moves 'Chonkyfire' to the follow-up track 'Y'all Scared'.
• The clean version of the album has all of the skits in between those songs removed. The interlude 'Nathaniel' was omitted, as it 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, Witchdoctor and Buulllllll!
• 'SpottieOttieDopaliscious' features vocals by Sleepy Brown
• 'Liberation' features vocals by Erykah Badu, Ruben Bailey, Joi and Whild Peach

Sample credits^[67]

• '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[edit]

Credits are adapted from AllMusic.^[68]

Musicians[edit]

• 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

Outkast Aquemini Zip Download

Technical[edit]

• 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

Outkast Aquemini Album Songs

Charts[edit]

Certifications[edit]

See also[edit]

References[edit]

1. ^Nickson (2004), pp. 32–33.
2. ^Black Diaspora. New York. 18: 25. 1997.CS1 maint: untitled periodical (link)
3. ^Huey, Steve. 'ATLiens – OutKast'. AllMusic. All Media Network. Retrieved July 10, 2012.
4. ^Sarig, 2007. p. 140
5. ^'Pearl Jam's 'No Code' to Top Albums Chart'. San Jose Mercury News. MediaNews Group. September 7, 1996. Retrieved March 5, 2011.
6. ^'The Charts – 'ATLiens' Landing'. Los Angeles Times. Eddy Hartenstein. September 15, 1996. Retrieved March 5, 2011.
7. ^'OutKast Album & Song Chart History – Hot 100'. Billboard. Prometheus Global Media. Retrieved March 5, 2011.
8. ^ ^abSarig, p. 171
9. ^ ^{abcdefghijklmnop}Carmichael, Rodney (June 24, 2010). 'The Making of OutKast's Aquemini'. Creative Loafing. Sharry Smith. Retrieved February 18, 2012.
10. ^ ^abcdRys, Dan (September 30, 2013). 'Big Boi Remembers OutKast's 'Aquemini' 15 Years Later'. XXL. Townsquare Media. Retrieved January 28, 2014.
11. ^Westhoff, 2011. p. 110
12. ^Westhoff, 2011. p. 111
13. ^ ^abcWarren, Emma (October 12, 2011). 'My favourite album: Aquemini by OutKast'. The Guardian. Guardian Media Group. Retrieved September 14, 2013.
14. ^ ^abBaker, Soren (October 25, 1998). 'OutKast Aquemini (LaFace/Arista)'. Chicago Tribune. Tribune Company. Retrieved January 28, 2014.
15. ^ ^abcdeHuey, Steve. 'Aquemini – OutKast'. AllMusic. All Media Network. Retrieved September 13, 2013.
16. ^ ^abcdeBaker, Soren (September 27, 1998). 'OutKast 'Aquemini' LaFace/Arista'. Los Angeles Times. Tribune Company. Retrieved September 13, 2013.
17. ^ ^abcAusterlitz, Saul. 'Records: OutKast's Aquemini'. Yale Herald. Archived from the original on December 18, 2015. Retrieved May 10, 2014.Cite uses deprecated parameter |dead-url= (help)
18. ^Herrington, Chris (October 14, 1998). 'OutKast: Aquemini'. City Pages. Voice Media Group. Archived from the original on May 12, 2014. Retrieved May 10, 2014.Cite uses deprecated parameter |dead-url= (help)
19. ^ ^abHughes, Dave (September 29, 2008). 'OutKast: Aquemini'. Slant Magazine. Retrieved September 13, 2013.
20. ^ ^abcdeFernando, S. H. Jr. (September 4, 1998). 'Aquemini'. Rolling Stone. Wenner Media. Archived from the original on April 18, 2008. Retrieved September 13, 2013.Cite uses deprecated parameter |deadurl= (help)
21. ^ ^abSarig, 174.
22. ^Miller, 2010. pp. 38–39
23. ^ ^abHess, p. 462
24. ^Wang, 2003. p. 133
25. ^ ^abSarig, p. 172
26. ^Sarig, pp. 173–174
27. ^ ^abConniff, Tamara (July 22, 2006). 'Kasting a Wide Net'. Billboard. Prometheus Global Media. Retrieved August 6, 2013.
28. ^Browne, David (August 12, 2011). 'The Incredible, Inevitable Shrinking Album Cover'. The New York Times. Arthur Ochs Sulzberger, Jr. Retrieved January 28, 2014.
29. ^ ^ab'Jay-Z, OutKast, Tribe Stage Assault On Album Chart'. MTV News. Viacom. October 7, 1998.
30. ^Harris, Chris (August 30, 2006). 'Outkast Take A Billboard Beating From Diddy's Danity Kane'. MTV News. Viacom. Retrieved May 10, 2014.
31. ^ ^abc'OutKast – Aquemini'. Hung Medien. Retrieved February 14, 2014.
32. ^ ^ab'Supreme Court: Parks Can Sue OutKast'. Billboard. Prometheus Global Media. December 8, 2003. Retrieved May 11, 2014.
33. ^'Rosa Parks settles suit over OutKast CD'. CNN. April 15, 2005. Retrieved May 11, 2014.
34. ^Kyles, Kyra (October 18, 1998). 'Outkast, 'Aquemini' (La Face)'. Chicago Sun-Times. Retrieved November 14, 2017.
35. ^ ^abChristgau, Robert (2000). 'OutKast: Aquemini'. Christgau's Consumer Guide: Albums of the '90s. Macmillan Publishers. ISBN0-312-24560-2. Retrieved September 13, 2013.
36. ^ ^abTyehimba, Cheo (November 6, 1998). 'Aquemini'. Entertainment Weekly. Time Inc. Retrieved September 13, 2013.
37. ^ ^ab'OutKast: Aquemini'. Q (175): 124. April 2001.
38. ^ ^abGreen, Tony (December 1998). 'OutKast: Aquemini'. Spin. Spin Media. 14 (12): 178. Retrieved September 13, 2013.
39. ^'OutKast: Aquemini'. Uncut (70): 120. March 2003.
40. ^ ^abJones, Steve (September 29, 1998). 'OutKast: Aquemini'. USA Today. Gannett Company.
41. ^Wang, Oliver (2003). Classic Material: The Hip-Hop Album Guide. ECW Press. p. 134. ISBN1550225618. Retrieved April 16, 2016.
42. ^Michael, Sia (October 27, 1998). 'Outkast: Aquemini'. The Village Voice. Voice Media Group. Retrieved September 13, 2013.
43. ^Braxton, Charlie (November 1998). 'OutKast: Aquemini'. The Source. L. Londell McMillan. Retrieved August 6, 2014.
44. ^ ^abStelloh, Tim (February 6, 2004). 'OutKast: Aquemini'. PopMatters. Retrieved September 13, 2013.
45. ^Rolling Stone (May 31, 2009). '500 Greatest Albums of All Time: #500'. Retrieved September 13, 2013.
46. ^ ^abRolling Stone (April 27, 2011). '100 Best Albums of the Nineties: #11'. Retrieved September 13, 2013.
47. ^M.T. Richards (August 13, 2013). 'The Five Best Atlanta Hip-Hop Albums of All Time'. Paste. Wolfgang's Vault. Retrieved September 13, 2013.
48. ^Pitchfork Staff (November 17, 2003). 'Top 100 Albums of the 1990s'. Pitchfork Media. Retrieved September 13, 2013.
49. ^'Top 20 Albums of '98'. Spin. Spin Media. 15 (1). January 1999. Retrieved November 14, 2017.
50. ^'The 90 Greatest Albums of the '90s'. Spin. Spin Media. 15 (9). September 1999. Retrieved September 17, 2013.
51. ^'125 Best Albums of the Past 25 Years'. Spin. Spin Media. February 15, 2012. Retrieved September 17, 2013.
52. ^'Top 101-200 Favourite Albums Ever'. Stylus. Todd Burns. March 22, 2004. Retrieved September 17, 2013.
53. ^'20. Aquemini (1998)'. Vibe. Vibe Media. April 18, 2013. Retrieved September 21, 2013.
54. ^ ^abcd'OutKast: Aquemini'. Acclaimed Music. Archived from the original on September 22, 2013. Retrieved September 21, 2013.Cite uses deprecated parameter |dead-url= (help)
55. ^'The 100 Greatest Rap Albums 1995–2005'. Hip-Hop Connection. Infamous Ink. January 2006.
56. ^Schmelling, Michael (2009). 33⅓: OutKast's Aquemini. Continuum Books.
57. ^'The Ultimate Music Colelection'. Q. Bauer Media Group. April 2005.
58. ^'Rosa Parks settles suit over OutKast CD'. CNN. April 15, 2005. Retrieved September 13, 2013.
59. ^Pitchfork Staff (September 3, 2010). 'Pitchfork Top 200 Tracks of the 90s'. Pitchfork Media. Retrieved September 13, 2013.
60. ^Odeisel and OutKast (March 27, 2008). 'Aquemini: OutKast Takes A Stand!!'. AllHipHop. Retrieved September 13, 2013.
61. ^The University of Michigan. Current Biography Yearbook, Volume 65. H. W. Wilson Company. p. 433.
62. ^'Southern Fried Hip-Hop'. Ebony. January 2004. Retrieved September 13, 2013.
63. ^Wink, Matt (November 29, 2011). 'Out from the Dungeon: Aquemini Made OutKast the Pride of the South'. Popstache. Retrieved September 13, 2013.
64. ^Green, Tony (March 1999). 'OutKast: Aquemini'. Jazz Times. Retrieved September 14, 2013.
65. ^Marcus J. Moore (October 22, 2012). 'Review of Kendrick Lamar – good kid, m.A.A.d. city'. BBC Music. BBC. Retrieved November 25, 2012.
66. ^Dan Jackson (October 31, 2012). 'Review: Kendrick Lamar – good kid, m.A.A.d city (Interscope)'. CMJ. Archived from the original on November 8, 2012. Retrieved November 25, 2012.Cite uses deprecated parameter |deadurl= (help)
67. ^ ^abAquemini (CD liner). OutKast. LaFace Records. 1998.CS1 maint: others (link)
68. ^'Aquemini – OutKast (Credits)'. AllMusic. All Media Network. Retrieved September 14, 2013.
69. ^ ^abc'Aquemini: Charts & Awards'. AllMusic. All Media Network. Retrieved February 14, 2014.
70. ^'Canadian album certifications – Outkast – Aquemini'. Music Canada.
71. ^'American album certifications – Outkast – Aquemini'. Recording Industry Association of America.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.

Bibliography[edit]

• Hess, Mickey, ed. (2007). Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. ABC-CLIO. ISBN0-313-33903-1.
• Miller, Kiri, ed. (June 21, 2010). Traveling Home: Sacred Harp Singing and American Pluralism (Music in American Life). University of Illinois Press. ISBN978-0-252-07757-9.
• Nickson, Chris (September 1, 2004). Hey Ya!: The Unauthorized Biography Of OutKast. Macmillan. ISBN0-312-33735-3.
• Sarig, Roni, ed. (May 1, 2007). Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing. Da Capo Press. ISBN0-306-81430-7.
• Wang, Oliver, ed. (May 1, 2003). Classic Material: The Hip-Hop Album Guide. ECW Press. ISBN1-55022-561-8.

External links[edit]

• Aquemini at Discogs
• Album Review at RapReviews
• Album Review at Yahoo! Music
• Rankings and ratings at Acclaimed Music
• The Making of OutKast's Aquemini at Creative Loafing