Trappin’’ – Benjamin adopted a speak-singing croon while recording (having Killer Mike on the amusingly lewd ‘Snappin’ & Manner with the album’s guest stars – among them, future Run The Jewels MC Eventually moving to the studio to flesh out the songs in a collegiate Opting to work predominantly from his house that he was re-decorating,Ĭomposing song sketches on an acoustic guitar and painting lyrical ideas on his Well-spring of inspiration was largely (but not exclusively) down to Andreģ000. Groups apart, but Outkast was already a broad enough church in sonic terms to It was the product of the kind of creative restlessness that normally pulls Nothing like the dimension jump that actually transpired with Stankonia. 1998’s kaleidoscopic Aquemini had signposted this to some extent with its huge sonic palette, but Tempos and the duo’s lyrical dispositions, Stankonia was much faster, withīig Boi and Andre 3000 frequently more energised and urgent in both theĭelivery of their flows and their thematic content. Where the likes of their 1994 debut Southernplayalisticadillacmuzik and its 1996 successor ATLiens were generally laid-back in terms of their Immediately noticeable element of their fourth recordwas how different
Inĭoing so, they hit upon a rare alchemy of creative ingenuity and mass appeal Rock to rave music and gospel via more adjacent genres such as soul and funk. With a massively diverse palette of Black music influences, from psychedelic Rage back into it.” They sought to inject their established southern hip-hop template So it’s time to crank it up, put a little more
“Hip-hop is real comfortable right now,”īenjamin – a.k.a. The landscape of hip-hop at the end of the decade, and felt that it was tooĬomplacent, relying on gangsta-rap cliché and increasingly stale tricks in theĬase all but a few exceptions. The studio in the spring of 1999, Andre Benjamin and Antwan Patton looked at That wouldĪll change with their fourth album, Stankonia, released in the autumn ofĢ000 and which propelled them to global superstardom.
Kind of radio song that would ensure blanket coverage to reach outside of theirĮxisting fanbase, however big it was. Of calling-card track that would help them break international markets, or the Outside the United States was comparatively low, and they had not made any kind They had emerged not only as one of the most acclaimedĪuteurs in their genre, selling a million copies of each of their first three studioĪlbums and receiving glowing reviews from all quarters. The accompanying music video borrows heavily from cult musical films Grease and West Side Story as Dré and Big Boi are high school rivals competing for the affection of Caroline.Millennium dawned, Atlanta-based hip-hop duo Outkast were in a very “When I met her at a party, she was hardly acting naughty/I said, ‘Shorty, would you call me?’/She said, ‘Pardon me, are you balling?’/I said, ‘Darling, you sound like a prostitute pausing,’” he raps in response to her shitty attitude. Meanwhile, on the third verse, Big Boi recalls his rude interaction with Caroline. On the second verse, Three Stacks jokingly wishes something terrible would happen to her. “Caroline (Caroline), see, Caroline all the guys would say she's mighty fine (mighty fine)/But mighty fine only got you somewhere half the time/And the other half either got you/Cussed out or coming up short,” he rap-sings on the song.
Another fan favorite from Speakerboxxx/The Love Below, “Roses” is OutKast’s engaging tale about an uppity woman named Caroline who “thinks her shit don’t stink,” according to André 3000.
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