Aquemini is THE definition of Outkast, no questions asked. Even though most people are only familiar with their newer materials, for anyone new to to the group (or even rap) this album is a good place to start. Big Boi and Andre 3000, develop their strengths to their full potential musically this time and more of the tracks from now on are produced by themselves. At this point in time, Big Boi and Andre had drifted apart in the sense that they have different styles (especially with their flow) – no longer seem like 2 high-schoolers with similar styles – this time, after their experience with ATLiens, they let themselves expand individually.
Like Big Boi said himself, Outkast tried to crank it up with this one. It shows, as in the production every song has a catchy melody and a lyrical flow that compliments every tweak in the production. It's a sound closer to their 1st album, but more diverse and easily better. Lyrically, again, Andre 3000 is again everyone's favorite half of the group. There’s nothing much to say about Big Boi, but he does his best to smack down all Outkast opposers before they even start opposing. He’s there to ensure Outkast isn’t going to fall. Their newfound lyrical diversity shows in “Return of the G”, “Da Art of Storytellin’”, “Chonkyfire”, as they are all fresh. And all this is done with great style, Big Boi and Andre are even more distinguishable, compared to other rappers and to each other. Southern flavor definitely rings on Aquemini, such as in “Rosa Parks” and “Slump”, but it’s not something that should repel you, this in fact has a staggering appeal if you listen. Outkast albums have never been known to have high-quality guest appearances, but this one is an exception to me personally. We get Wu-Tang member Raekwon, George Clinton, Cee-Lo, Erykah Badu, Sleepy Brown, Big Rube, and of course more Goodie Mob members. If you want a true sequel to Southerplayalisticadillacmuzik, you can’t go wrong with Aquemini, and not only that, but Aquemini is the best place to start if you are new to Outkast.
One thing that annoys are the skits that come after basically every track. They’re no good either, basically pointless so often they simply do not add to the album. They don’t detract from it either is because they come at the end of the track (instead of taking up the tracklist) A bad change from ATLiens is that Andre and Big Boi don't trade off verses and smoothly as they used to, and this continues through the rest of their career, so oh well. That doesn’t mean the tracks are not more enjoyable, just more formulatic if it weren't for the guests. Also the hint of Southern flavor spread across can be alien to many rap listeners, not that it's a bad thing, but it might be a turn off.
1. Hold On, Be Strong
2. Return of The G [4/5]
3. Rosa Parks [5] *
4. Skew It On The Bar-B [5]
5. Aquemini [4]
6. Synthesizer [5]
7. Slump [4]
8. West Savannah [3]
9. Da Art of Storytelling (Part. I) [5] *
10. Da Art of Storytelling (Part. II) [5]
11. Mamacita [3]
12. SpottieOttieDopaliscious [4] *
13. Y'all Scared [3]
14. Nathaniel [1]
15. Liberation [5]
16. Chonkyfire [5]
(highlights are marked with *)
1. Hold On, Be Strong
Outkast is tries to recreate the ATLiens feel with this ominous intro, very similar to the previous album. It starts of slow, with eerie singing repeating over and over in a loop, with atmospheric background guitar.
2. Return of The G -5/5-
The first of a few songs using real instruments, “Return of The G” starts off slow but with a solid bassline. Don’t get the impression that Outkast is trying to be gangsta, it fits them very well. Andre 3000 comes at us with a pretty angry verse, divided into 4 small ones, a great layout to pick off his problems one by one. This easily surpasses ATLiens’ intro – louder and more upfront. One of the 4 fragments:
Return of the Gangsta, thanks ta'
Them n*ggas who got them kids
Who got enough to buy an ounce
But not enough to bounce them kids to the zoo
Or to the park, so they grow up in the dark never
Seeing light so they end up being like YO’ SORRY A**
Robbing n*ggas in broad daylight GET DOWN
Quite appetizing. Big Boi follows up with a more laid back, verse, coasting with a southern vibe. From there on the track fades out with trumpets, violins and synth. A skit I find interesting comes in after, about a bunch of tough guys looking for a good CD, and the guy at the counter ends up giving them Outkast. Woo-hoo.
3. Rosa Parks -5-
Aquemini gets a lot better here. One of the most memorable Outkast joints is “Rosa Parks” and following ATLiens, is the single. Probably their most danceable track, the production consists of acoustic guitar, scratching, clapping, and an overall party vibe. The chorus is great to chant along to in the car and few hip-hop singles can match it. Big Boi announces the return of Outkast along with some slick remarks about other entertainers. Andre’s verse is half a story, and half thought-provoking, which is good for a single. Every word matches perfectly with the acoustics in the background, and fades out with a lengthy harmonica solo you can’t get anywhere else but from Outkast. Another skit follows, basically more dialogue. Video: 4/5 It’s kinda cheesy, I still hate Outkast’s outfits, but with the cheap background visuals and viking suits, you’ve got one wacky video. Big Boi is sitting in his chair as usual, and Andre shows up at a parade in a street party. A dance scene picks up at the harmonica solo; good stuff. Definitely not bad for an Outkast video.
4. Skew It On The Bar-B f/ Raekwon -5-
First of all, the beat here is Aquemini’s finest. Pure fast-paced rhythm throughout the whole track, and that is reason enough to listen to this. Again, the chorus is addictive; another one to chant along to. This sort of acts as a “Wheelz of Steel” counterpart, but ultimately Andre's and Raekwon's verses don’t really mean anything. Thankfully Big Boi saves it big time for once, expressing his feeling for artists to go the extra mile in music, not to just make half-assed effort, but keep on jammin’ till you’re satisfied. The track comes to a close with another skit.
5. Aquemini -4-
The next track slows down the pace of Aquemini, giving Outkast a break to express their lyrical skill. The beat has been minimized, and has a tribal-jungle feel to it. It's the only song with 4 verses, which gives a great look at the duo's individual personalities. Aquarius and Gemini trade off verses smoothly, giving the listener a taste of what they can do with a pen. This song is enjoyable if you’re in the mood, but otherwise I skip it a lot because it slows the flow of the album.
6. Synthesizer f/ George Clinton -5-
Following up the last skit is my personal favorite track on the album. The name is supposed to stand for all the new technology we have and how we abuse it. 4 verses are spit one after another over great production – funky, fast-paced techno is the only way to describe it. Basically there’s no chorus, and the lyrics are pure gold. Outkast goes on and on about fancy computer gimmicks, backed up by a powerful verse by George Clinton. Surprise, Andre 3000 outshines them all: Give me a drug so I can make seven babies – pump my breasts up – can you suck the fat up? Please make my life appear like ain’t no such thing as bad luck All of it reeks of so much creativity that it's hard to absorb all at once.
7. Slump f/ Goodie Mob -4-
Things lighten up on “Slump”. Members from the Goodie Mob join up with Big Boi to give us a laid back track that paints a good picture of Southern lifestyle. The song sets a good mood with singing and enjoyable lyrics. The general topic is how them and the Goodie Mob got by in the South by selling weed and getting around cops; they definitely look back on it fondly. But they do encourage listeners to think about their future and all that stuff. The chorus also makes somewhat of a tribute to their first album. Southern taste is in full force here and it's never been pulled off this smoothly.
8. West Savannah -3-
Big Boi tackles “West Savannah” on his own, coming up with sort of an autobiography, with subject matter not unlike “Slump”. It’s supposed to be based off a tune from their first album (perhaps a B-side), so it’s got a grimy southern beat complete with trumpets. Those too lazy to listen to the lyrics will probably find the chorus the best part; but the point that Big Boi tries to make is his childhood was quite bumpy. He talks about how his parents weren’t around, how he sold drugs to pay the rent, and how he came to be the "playa" that he is now. Nothing all that special to me.
9. Da Art of Storytelling (Part. I) -5-
If there’s any classic that Aquemini has added to Outkast’s legacy, it’s the “Art of Storytelling” series. In part 1, Big Boi and Dre talk about different girls they’ve met during their lives, and what’s cool is that the 2 girls were friends, so when Big Boi finishes his side of the story story with Suzy, Andre's has some relevency. His verse, which may be his best ever because the phenomenal wordplay, REALLY hits the spot. It's a more depressing story that hits hard as the narrative comes to a close, an expected sad ending. As for the beat, it’s surprisingly fast paced and steady throughout though might feel messy to some. Accompanied is a chorus that really does add to this timeless track. Video: 3 Unfortunately, this is one of the weird ones, incorporating puppets and artboards with the story (You can tell it’s Andre-influenced). It doesn't go as well with the lyrics, but one of the big plusses is that Slick Rick is featured on it!
10. Da Art of Storytelling (Part. II) -5-
Thankfully it doesn’t cut off there. The production on this track is definitely better, just because of the blazing instrumental. It induces a sense of urgency, which reflects the frantic lyrics which have nothing to do with Part 1 actually. Production doesn't outshine the verses, which are so close to the material found on ATLiens, it’s only fitting to say they’re out of this world. By this of course I mean Andre 3000’s powerful verse, whose concept is pretty hard to wrap my head around, like:
Look out the window golly the sky is electric blue
Mamma Earth is dying and crying because of you
Raining cats and jackles all shackles disintegrate to residue
Silly mortals haven’t a clue..
Miraculously Big Boi follows this up perfectly - being more down to earth, and more understandable as to what’s going on. In his case, the world is about to end, and he frantically finds his way to the "dungeon" to meet up with his buddies. And the last thing they decide to do before they vanish is record one final song.. pretty cool and shows how dedicated he is to music.
11. Mamacita f/ Masada, Witchdocter -3-
This is a pretty weird song. “Mamacita” uses eerie, minimal beats that emit a strong atmosphere around the lyrics. Guests include Masada and WitchDocter, and they throw in a bit of Latin flavor. Lyrically it’s inconsistent, basically all about respect, but the guests really don’t fit in with Outkast at all. Andre 3000 drops in a great verse, definitely introspective even if the rhyming isn’t as good. The worse part is probably the chorus, which is really annoying. It’s a small price to pay though; this track definitely only adds to Aquemini - especially for those who like the wierd vibe that appears in spots on the album.
12. Spottieottiedopaliscious f/ Sleepy Brown -4-
I'd classify this and “Slump” as the feel-good tracks of Aquemini. Famous trumpets and assorted (live?) instrumentals are memorable, reflecting the subject matter nicely. Outkast sinks into the night life as they retell stories from way back, from when they were teens probably. Andre 3000 steals the show (again!), recalling a fight in a club with a little twist at the end. Both throw in pretty long verses, with Sleepy Brown connecting them with a fitting chorus. If you’re impatient though, usually you’ll find yourself skipping this song.
13. Y'all Scared f/ Goodie Mob -3-
Time to regroup with the Goodie Mob. 5 verses are packed in here, following the same blueprint as Slump except more serious. Things get a bit gangsta here, and I don't think it fits with Outkast's appeal, but the guest appearances overruled them. Their message is basically not to mess with the South, but the delivery is pretty messy and not as easy on the ears. They expect everyone to be intimidated, but at least the instrumental is just that - similar to Mamacita, with an eerie, threatening background. Again, this doesn’t fit with Outkast’s focus, and it’s a pretty forgettable track overall, with most of the credit coming from the amount of lyrics.
14. Nathaniel [1]
Should be counted as a skit, this is a 1-minute freestyle by some guy over the radio. Maybe worth a listen.
15. Liberation f/ Cee-Lo, Erykah Badu, Big Rube [5]
This is where I was blown away by the guest appearances. Andre 3000 and Big Boi return again to their introspective lyrics, which is fitting for the end of the album. They’re on a more personal level here than anywhere else, and the subject applies to a lot of people at the same time. Behind a soothing, tropical instrumental, mostly everyone sings here, and everything is pulled off incredibly, making the most out of the 9 minutes provided (but never gets old). Already it's known that any track either Erykah, Cee-lo, or Big Rube touches turns gold, but to have them all on the SAME track is a rare treat. Personally, Erykah Badu easily outshines everyone with a pretty touching and powerful verse. Why can't she be this good on her own albums? Afterwards Big Rube gives us something of a speech, incorporating a farmlife comparison throughout -- and reminds me of "13th Floor" from ATLiens. His lyrics are always deep, and really etches into your head. The production serves as a fitting backdrop, feeling very organic and "tropical". For the last couple minutes the instrumental goes through variations, with the same soothing piano loop, serving itself as the outro to this epicness.
16. Chonkyfire [5]
Chonkyfire isn't your typical lazy, introspective end track - it could have easily been the first track on Aquemini; it would have been a nice kicker. The most prominent aspect is a raging guitar riff, a forerunner to Stankonia's "Gasoline Dreams". A banging track with an unforgettable chorus shouted by Andre, leaves you thinking that your money was well spent. After his verse the instrumental blends nicely again into raw hip-hop once Big Boi drops in. To me he actually outshines Andre this time, directing his verse to lazy people (Get up, get out, etc.) which is nothing new from Outkast. Electric guitar loops over into a skit where they're treated to an award at the stage, where it blends out with another skit connecting back to the beginning of the album, rounding out the album smoothly.
Growth Factor: [2] Some tracks take more time to get into.
Epinions.com periodically updates pricing and product information from third-party sources, so some information may be slightly out-of-date. You should confirm all information before relying on it.
![Aquemini [PA] by OutKast](http://di1.shopping.com/images1/pi/11/a5/6a/2002104477-177x150-0-0.jpg)
- Add to My Yahoo!: 
- Add to Google Homepage: 
© 1999-2009 Shopping.com, Inc.