The song’s new hook and slowed-down beat gives it a more R&B feel, which is better fit for the radio. “We wanted our name to mean ‘apart from the norm.’” So they pulled out a thesaurus, found a word similar to “misfits” and made a slight tweak to the spelling, and just like that Outkast was born. Baby, she bought herself a ‘Ms. But Sleepy Brown’s stupendously chill chorus (love the whispered “It’s the master plan!”) is all you really need to know about both the problem and the solution. The call perfectly introduces “Liberation,” a nearly nine-minute Dungeon Family gathering where André, Big Boi, Cee-Lo, Erykah Badu, and Big Rube take turns singing and speaking of freedom. It boasts an entire once-semi-famous collegiate marching band, thumping like the heart the lyrics describe; and guest vocals from Scar and Sleepy Brown; AND an appearance from Janelle Monáe in what was essentially her debut; A N D a music video that looks like a glorious, trippy amalgam of “Black Hole Sun,” “Don’t Come Around Here No More,” and Blue’s Clues. —Sayles, Content ©2020 The Ringer All Rights Reserved, The Ringer’s 50 Best Outkast Songs, Ranked, How ‘Stankonia’ Changed Outkast—and Popular Music—Forever Ever, I’m speaking ’bout you playing with that phony stuff you sharing,” the latter raps. So it was shocking when she appeared as a guest—and on one of Stankonia’s best songs, nonetheless. Sometimes when you reach the summit of popular music it gives you a better vantage point of what’s burning below. Although, as far as I can tell, Outkast invented marching bands in the first place. —Fujimoto, “Jazzy Belle” is a bit of a deep cut off of Outkast’s sophomore effort, ATLiens, but it showcases André 3000 and Big Boi doing what they do best. As a result, the track becomes a competition between the two wordsmiths, with Big Boi using his southern game to lick his SpottieOttieDopaliscious angel like a lizard at the Honeycomb Hideout and André using his Funkadelic aura to prove to his queen that “the boy next door’s a freak.” The result is one of the best tracks in music and the soundtrack to the beginning of a great night. (It’s one of those titles where you see it and you say to yourself, “OK, that’s silly,” but then you turn the album on and you hear it and you go, “All right, actually it’s perfect.”) And of course they’d have a song on that album with the same name, and that song would be lush and soulful and contemporary in a way that felt like throwing the ball to where a receiver was going and not where he was standing. Please also read our Privacy Notice and Terms of Use, which became effective December 20, 2019. In combination, “Git Up, Git Out” strikes the balance between preachy and unbelievable. And it’s fucking perfect. They were just 19 years old, fresh out of high school and just beginning their recording career. “B.O.B.” is a sky-splitting sonic boom; when it’s over, you can smell the ozone. Each rapper glitters individually, but they become more fascinating when juxtaposed with each other. Antwan is smooth as a baby’s bottom rapping—and briefly singing—about putting on (and taking off) clothes culled from a variety of species of dead animals. “I’m speaking ’bout you playing with that phony stuff you sharing,” the latter raps. The Ringer’s 50 Best Outkast Songs, Ranked. For a period that stretches roughly from 2007 to 2013, 3 Stacks blessed a long list of other artists’ records, twisting syllables and dropping gems in a way that surpassed even some of his best Outkast verses. Shit, let me get the faux-fur Kangol, too. —Sherman, From the opening baby wail it’s pretty clear that this song is about grinding. (Bonus track: The two shared an equally as great collaboration in 2015 on Badu’s “Hello,” the sweet closer to her criminally overlooked But You Caint Use My Phone.) Last February, just before his 78th birthday, George Clinton talked about adaptability as the trick to timelessness. You can read about the album’s legacy—and how it planted the seeds for the group’s dissolution—elsewhere on The Ringer today. “War” begins with a call to action from Big Boi on the general state of affairs in America. (Yeah! “We Luv Deez Hoez” is an embarrassing song that aged poorly, but I laugh every time I get to the end of Big Boi’s first verse: Yeah, I told y’all niggasAbout god damn takin’ them hoez to the Cheesecake FactoryLettin’ them hoez order strawberry lemonade and popcorn shrimpsThey ain’t goin’ do nuthin’But try to take all your motherfuckin’ cheese! Outkast is nothing like what you’ve ever heard and the fact that they ended the song with their speech from the infamous ’95 Source Awards proves that they really had something to say. One moment, Big Boi is comparing his rapping skills to a “polar bear’s toenails,” while André is pondering the future of the human race. “Mainstream” pushes back on the notion, showing that no matter how far Dre and Big Boi get, they’re still two dudes from the A. Leave feedback. André’s clear-eyed and sober manifestations clash with Big’s increasingly entertaining slick talk. We talk about genreless music a lot today. But there are worthy tracks beyond “Roses” and “Hey Ya!”: “Prototype” is a perfect song about a wounded person rediscovering love; “Spread” is frighteningly sexy; “Take Off Your Cool” certainly plays like Grammy bait, but it sure sounds good. —Baker. Stream Tracks and Playlists from Outkast on your desktop or mobile device. When the beat changes, so does Big Boi’s sense of urgency. “True, I’ve got more fans than the average man,” he concedes, “But not enough loot to last me / To the end of the week / I live by the beat / Like you live check-to-check / If it don’t move your feet / Then I don’t eat / So we like neck-to-neck.” The double-time burst is thrilling, and the mixture of hubris and humility is enthralling, and it’s all delivered with enough whirlwind charisma that everyone knew, even before those no. Billboard 200 chart, selling over 530,000 copies the first week. —Shea Serrano, Outkast had successfully integrated funk into hip-hop long before, but Speakerboxxx/The Love Below is the natural conclusion of those efforts, and “Prototype” is perhaps the best example of that end point. You could say the very same thing about the figures behind it. Well, 3000 was perturbed that no one liked his sartorial choices. But ultimately it came from a place of worry—for both society and, crucially, himself. Musically, Aquemini draws so much life force from so many different galaxies. “Roses” is a crucial bridge between Speakerboxxx and The Love Below (it marks Big Boi’s only appearance on the latter), and a top-10 hit despite its flagrant weirdness and, well, harshness: If you do pull it out at karaoke, just be advised that the outro requires you to repeat the words crazy bitch, like, 500 times. That’s clearly evident in this track, and it also encompasses the trajectory of the rest of their immaculate career. And of course they’d eventually release it as a single, except they’d make sure to not make it the first single, because that’s what everybody else would’ve done, and Outkast is not everybody else. Find OutKast bio, music, credits, awards, & streaming links on AllMusic - Atlanta duo whose blend of gritty Southern soul,… “Gangsta Shit,” buried 20 songs into the album, isn’t as flashy or iconic, but is just as adventurous, managing to do that Stankonia thing where it’s incredibly busy with diverse sound—guitars, drums, synths, whinier synths, layered vocals—but not claustrophobic. Forget New York; forget L.A.; ATL won this day. —Peters, Coming hard out of the Dungeon of Organized Noize, the 1994 track “Ain’t No Thang” is a statement piece. And more than that, Big Boi was going to shine. The remix was released as the final single for the album, and its extremely ’90s music video is still elite. Outkast - Outkast - Greatest Hits - Music ... Amazon Music Unlimited Amazon Music HD Prime Music Free Streaming Music Buy Music Open Web Player Settings CDs & Vinyl › Rap & Hip-Hop › Experimental Rap Share. Big Boi opens the talks, calling for very earth-bound groundwork. There’s a satisfyingly ~*~sPoOkY~*~ vibe to this song, which came out as a previously unreleased track on the 2001 greatest hits album Big Boi & Dre Present … Outkast. You’re allowed your preference, and if you choose “Player’s Ball” or “SpottieOttieDopaliscious” as your platonic ideal of an Outkast song, you’re not wrong. Let us know what you think of the website. But let’s not forget the other regional coup: Outkast making better Dr. Dre albums than Dr. Dre could manage after The Chronic. —Jonathan Kermah, ATLiens is an album about a group on the rise, and “13th Floor/Growing Old,” the album’s final track, shows the responsibility that comes with ascent. Through it all, a theme emerges: André and Big Boi may have been one of the most popular and respected hip-hop groups of all time, but they achieved those things their own way. Outkast makes its biggest, hottest melodies sound so effortless, so cool. The final track to an iconic Outkast album that legitimizes their place in rap while showing a glimpse into their out-of-this-world future. OutKast is an American hip-hop duo from Atlanta, Georgia, United States. It was a decade removed from André’s prediction that the South would transform into a critical and commercial behemoth. Outkast’s fourth studio album unfolds like a bombastic awakening that the American dream is anything but, as the duo raps about cancer, AIDS, infidelity, and child support. Outkast are often written about as the inheritors of Clinton’s particular spirit of subversion, and of his talent for timelessness, for obvious reasons. They should’ve been excited, perhaps a little boastful. A new version of is available, to keep everything running smoothly, please reload the site. It’s the coldest moment on one of Outkast’s most gloriously frigid songs. For-ever-ever?”) to Big Boi’s brash defiance, echoing one of Badu’s biggest hits in his climactic verse that hits like a ton of bricks (“You keep on singin’ the same song / Let bygones be bygones, and you can go on and get the hell on / You and your mama”) even if you’ve heard this song a trillion times. Atlanta, Georgia natives André “André 3000” Benjamin and Antwan “Big Boi” Patton are OutKast, one of the most successful rap groups of all time. This song is, as they say, a lot—but then again, isn’t life? (“Roses really smell like poo-poo-ooh!”) And especially the meter-smashing way André 3000 barrels through the second verse: “I hope she’s speedin’ on the way to the club tryna hurry up to get to a baller or singer or somebody like that and try to put on her makeup in the mirror and crash, crash, craaaaaash into a ditch.” Harsh. Caught a RICO, back on the street like Chico / DeBarge.” —Kermah, What gets swallowed up in the shadow of their excellence is their age. I'm sorry Ms. Jackson (Oooooo)/ I am four eels/ Never meant to make your daughter cry/ I am several fish and not a guy, A thing that has been lost during all of this Outkast talk is how deliberate and intentional the group always seemed to be, even in their earliest days, which is the surest sign of their genius. To mark the 20th anniversary of ‘Stankonia,’ we’re counting down the top songs in André 3000 and Big Boi’s shared catalog. All he wants is for the population to smell the damn Folgers, and never forget that when Antwan André Patton brings food for thought to the table, you eat! —Katie Baker, The Speakerboxxx appreciator has logged on. Listen free to OutKast – Stankonia (Intro, Gasoline Dreams (with Khujo Goodie) and more). It’s hard to remember now how rigid genre divides were in the ’90s, and that’s because of Outkast. The joyous call-and-response chant of Caroline! It was another prime example that the group that never followed the rules invented some new ones themselves. It also briefly served as a war cry for the most unjust war this country has ever waged, in the same way that “Born in the U.S.A.” is an anthem at Republican rallies. But they also had the burden of carrying a region not yet primed to run music and the reputation that they’ve ascended past their childhood peers back home. André 3000 wears Dia de los Muertos face paint in the music video, while Killer Mike steals the show (Randy Moss–style) with his verse. Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. The chorus is a pseudo-sequel to Southernplayalisticadillacmuzik’s “Hootie Hoo,” this time delivered over a faith-infused harmony of background vocals. But the best moment on The Love Below is “She Lives in My Lap,” André’s answer to the Purple One’s “She’s Always in My Hair.” With Rosario Dawson riding shotgun, Dre unspools a messy tale of friends with benefits that have the potential for more. Sure, others had experimented with the form before, but never like this. Music News Throwback Thursday: Watch OutKast Freestyle In 1999 We joined Hangout Music Festival headliners Andre 3000 and Big Boi in the studio for an off-the-top poetry session. —Gruttadaro, “The South got something to say”: in retrospect, André’s speech at the 1995 Source Awards in Manhattan pits Outkast against New York. But when they called their shot in 1994, they didn’t know what that future held, just that they needed to get there. One started dressing differently. Perhaps a song that leaves that much room for misinterpretation shouldn’t be in the running for the best song from one of the best rap groups of all time. —Murdock, Absolutely stupendous karaoke song. So crazy that it works. 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