They won over critics, both white and Black alike, and won a handful of Grammys. To mark the 20th anniversary of ‘Stankonia,’ we’re counting down the top songs in André 3000 and Big Boi’s shared catalog. Somewhere along the line, André pursued other forms of transportation, but in this preposterously funky song off of Speakerboxxx, Big Boi asserts that we can still call him the gangsta mack in a Cadillac. The catalyst for this antagonistic tournament, you ask? So his verse on “Babylon” may come across as a tad preachy. Outkast's songs: Listen to songs by Outkast on Myspace, Stream Free Online Music by Outkast Which is what he does on “The Way You Move.” The rubbery charm of his voice is perfect in the spotlight, and revisiting this song now, it’s clear that he aimed to eventually make his own completely solo masterpiece album, a promise he fulfilled with 2010’s Sir Lucious Left Foot. At one point in “Mighty O,” he invites every person in the media to “a double diamond party in the North Pole,” which quickly becomes a tournament where everyone has to pretend to be André 3000. Because they’re Outkast. 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. Outkast are often written about as the inheritors of Clinton’s particular spirit of subversion, and of his talent for timelessness, for obvious reasons. —Serrano, So much of Outkast’s mythos, from the namesake of the group to their sophomore album, is based in physical and more meta geography. One of the funniest things that happens in a rap song is when the rapping ceases to be athletic, or spirited, and just begins to sound … kind of angry, like a scolding. “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! On the hook, the word “gangsta” is drawn out like it was the group’s last-resort reminder to everyone that they were gonna relentlessly stick up for everything they worked tirelessly to have and, more importantly, for each other. Over 20 years after it was released, the song’s lyrics and themes still resonate, and it remains a standout in Outkast’s extensive and stylistically diverse catalogue. I’m very stankful for that. If anything they doubled down, and that’s where “B.O.B.” comes in. A baby-faced but already bald-headed CeeLo Green (part of fellow Dungeon Family crew Goodie Mob) delivers a blistering 29-bar window into the recesses of his mind, carefully pondering the difference between “high” and “too high.” Big Boi extols the virtues of maturation and manhood, while Big Gipp (another Goodie representative) plays the song’s resident working man, detailing his corner-boy morning routine. —Rob Harvilla, André’s verse on “Ms. —Peters, There is something immensely haunting about “Da Art of Storytellin’ (Part 1)”—the synth that croons in the background like the opening to a sci-fi anthology series, the patter of bongos that rattles off every few seconds. While the original Organized Noize–produced track more than holds its own, DJ Swift C’s remix—which features an assist from Babyface—is arguably even better. “B.O.B.” is explosive; at 155 beats per minute, it’s faster than practically any rap song you’d ever heard to that point, and it feels even faster—a runaway freight train, except your conductors are either dressed like Jimi Hendrix or wearing Mitchell & Ness. We use cookies and other tracking technologies to improve your browsing experience on our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences come from. It was another prime example that the group that never followed the rules invented some new ones themselves. But ultimately it came from a place of worry—for both society and, crucially, himself. The instrumental is anthemic—kudos to the syrupy, orchestral vibes—laying the foundation for the duo to nullify any of the asinine side-eyes and shade they were getting from their haters/critics. And the whole thing—calling their shot beforehand and then nailing it exactly correctly reminds me a lot of the stories about Michael Jordan telling defenders what he was going to do before he’d do it and still they had no answer for it, no way to stop it, no way to fully prepare for it, because he was Michael Jordan and nobody else was. 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. It’s not their best album (that’s Aquemini) and it’s not the one that made them household names your mom would recognize (that’s the one with “Hey Ya!”), but it is their most daring, influential effort. 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. It’s not an aggressive drop, but it’s explosive, immediately transforming the track from a head nodder to an ass shaker. The first name that teenaged André Benjamin and Antwan Patton settled on for their rap group was 2 Shades Deep, a fine name except that there was another crew in Atlanta that went by 4 Shades Deep, and even if there was no copyright involved, there was a rule against biting. His appearances on UNK’s “Walk It Out,” Rich Boy’s “Throw Some D’s” and UGK’s “International Players Anthem (I Choose You)” were etched into legendary stone the minute they hit the airwaves. By choosing I Accept, you consent to our use of cookies and other tracking technologies. Looking back, it seems obvious that the most forward-thinking rap group of all time would’ve been focused on the future since their inception. They would satirize this on an Aquemini sketch, when a former fan tells a record store owner, “At first they were some pimps, man, but then they some aliens, or some genies or some shit. —Holmes, Technically speaking, “The Way You Move” was still part of an Outkast project, given that it’s from the Speakerboxxx/The Love Below double album that the group released in 2003. By this point, Outkast had also taken greater autonomy over their production. That’s clearly evident in this track, and it also encompasses the trajectory of the rest of their immaculate career. “In your raps Mercedes-Benz and all your riches. OutKast's blend of gritty Southern soul, fluid raps, and the low-slung funk of their production crew epitomized the Atlanta wing of hip-hop's rising force, the Dirty South, during the mid to late '90s. You could say the very same thing about the figures behind it. “Crumblin’ Erb” is a song about street violence (Big Boi: “And drive-bys, kiss yo’ ass bye-bye, sayonara suckers / I flipped the script and turned the page, ain’t scared of you motherfuckers”) and the ideal way to reduce it (André 3000: “We is gonna smoke out until we choke out”). Each rapper glitters individually, but they become more fascinating when juxtaposed with each other. It’s simple, but extravagantly simple. 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. The line that always sticks with me, however, comes in the front half of his 1:40-long verse: “It’s easier to run the street than walk in the sand.” For André, dropping a solo rap LP would’ve been the easy part. Big Boi remembers the first time he heard André messing around with the skeleton of the song. But on “Skew It on the Bar-B,” the Chef definitely didn’t seem out of his element surrounded by some ATLiens. The silly sing-along profundity of that chorus. The media has shucked and jived, politicians are modern-day magicians, and war is always followed by horror and sorrow. 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. Please also read our Privacy Notice and Terms of Use, which became effective December 20, 2019. —Harvilla, The quintessential pre-party anthem. The production is loud and bright with a snare that hits deep within your soul. 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. She had the mug, she had the ink pen, she had the headband, everything. I’d be mortified. It characterizes the extractive relationship between artist and audience in kinda horror-film terms. 12 on the Billboard Hot 100) and how far they had left to go (the no. It’s hard to remember now how rigid genre divides were in the ’90s, and that’s because of Outkast. The second name the two chose was Misfits. Over a four-minute stretch, Big Boi sets the André-produced beat ablaze. And it’s fucking perfect. But nothing in it would’ve led you to believe that Badu would show up anywhere near the album. The other two fought against the current of the track’s fidgety bass line and hi-hat. By 2000, Outkast was as American as flammable liquids and fruit-filled pastry, but the group’s magnum opus, Stankonia, felt indebted to a creeping realization. It includes all the hits and classics you’ve come to love, plus the deep album cuts and B-sides that show off their versatility. Speakerboxxx/The Love Below is the fifth studio album by American hip hop duo Outkast.It was released on September 23, 2003, by LaFace Records.Issued as a double album, its playtime of more than two hours is distributed over solo albums from both of the group's members. —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. Sonically, “Gasoline Dreams” is akin to the gates of hell opening as André’s yelp about losing balance converges with wailing guitars. By this point, you’re either nodding your head or shaking it, and truthfully, either reaction is completely justifiable. 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