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Photo by Vickey Ford (SneakShot) for Okayplayer Meet the Players & PoetsRosario Dawson: The KIDS and 25th Hour actress dipped her feet into musical waters, providing spoken-word vocals on the ever-sultry “She Lives In My Lap” off of The Love Below.Khujo Goodie: A Dungeon Family and Goodie Mob member who has also appeared on most of OutKast’s albums. Being a few years older than the pack, Khujo refers to himself as a “big bro” to Big and Dre.Cee-Lo Green: A first-generation member of the Dungeon Family and Goodie Mob, who worked closely alongside the ‘Kast during the formative years of their respective careers.
Many may also recognize Cee-Lo as the unforgettable voice behind Gnarls Barkley, who Cee-Lo reveals are close to wrapping up their third album. “Me and Danger Mouse are working on a Gnarls Barkley albumI’m talking about ten or twelve songs into it.”Jonathan Mannion: One of hip-hop’s most iconic photographers. Mannion has shot the duo on a multitude of occasions and served as the photographer for the Speakerboxxx.Norah Jones: Norah Jones can be found supplying soothing harmonies with 3 Stacks on The Love Below ’s “Take Off Your Cool”Jazze Pha: Though he got his career start not too long after OutKast, Jazze Pha began picking up significant traction as a producer shortly before Speakerboxxx/The Love Below came together. Pha can be heard singing background vocals on Speakerboxxx ’s “Bowtie”Neal Pogue: An audio engineer who worked on every single OutKast album. This time around, his duties consisted of mixing seven tracks for The Love Below side, including the smash single, “Hey Ya!”.
Photo Credit: Jonathan Mannion Great Things Take TimeBelieve it or not, “The Way You Move” actually started off as a bigger hit than “Hey Ya!” The Sleepy Brown-assisted song debuted on the Billboard Hot 100 a full three weeks before the aforementioned companion release.Although “Hey Ya!” would eventually become the more successful of the two, “The Way You Move” was still earth-shattering in its own right. At the time of its release, it broke the Hot 100 record for most weeks at number two (eight weeks), before finally hitting the top spot on February 14th 2004, just in time for Valentine’s Day. The club-ready single peaked at number 22 on the Hot 100’s 2000s Decade-End Chart.Big Boi , 2018: Carl Mo is a producer from Atlanta, so we had mutual friends. I had a pool party at my house one day and he had a skeleton beat.
I still have it, I have all the skeleton versions to the original songs. We were playing it at the pool party and Sleepy Brown started humming a melody to the song.
We were like, “Aw shit, we gotta record this!” Mind you, I had that beat for like four, five years and just at a pool party, his head came up and we were like, “We’re gonna record it.”So, we got to the studio and we just started going crazy. Debra Killings played the bass on that record. She’s actually the female voice on all of our records. The female on “Southernplayalisticadillacmuzik,” she’s in my band to this day. She came in and I start putting ink to pad. Then I had this guitar player by the name of Zaza.
He passed away like a couple of years ago. He was a very special guy.We just had this hodgepodge of characters that would come in and sprinkle their flavor on whatever we were working on. Like, I’m called The King of Putting Motherfuckas On! I would give anybody a shot, you know what I’m sayin’? Even if you’re uninvited. If you just so happen to be in a room and be like, “Hey, you know I got a violin in the carlet’s try that out.” You know what I’m sayin’?
That’s how the music comes out. I like to say the music is always organically created, never genetically modified or contrived, know what I mean?I sat on the beat for years and it came together in one night. Put it all together.
It’s very much a staple in the OutKast catalog. Photo Credit: Vickey Ford (SneakShot) for Okayplayer. “Reset” was a Dungeon Family ClassicThroughout their respective careers, OutKast and Goodie Mob were some of the closest collaborators. The two groups spent the better half of their teen years recording in “The Dungeon,” a creative hub located in the basement of producer Rico Wade’s mother’s house. It was there that the southern spitters would develop their signature sounds and an undeniable camaraderie amongst one another, with the watchful eyes of mentors Organized Noize — Wade, Brown, and Ray Murray— creating a one-of-a-kind work environment.Flash forward a decade, family was still a priority. Following Cee-Lo Green’s from Goodie Mob in 2000 and Khujo Goodie’s, the group seemed to be in a sour state.
Nonetheless, when the call to collaborate came, both adamantly answered, with Big Boi hand picking his longtime companions for one of Speakerboxxx ’s most introspective tracks: “Reset.”Cee-Lo Green: I got the invite to come and be a part of it. Typically, I would go in and I would pick something, but this time Big just had me in mind.
I think he just felt really strongly that this was a record that would just suit me, and he was right. When you’re presented with an ultimatum like that, you just want to deliver, you know what I mean?Of course, any OutKast opportunity is a brand opportunity to give your best and represent our collective. I just definitely wanted to step up and deliver.
That’s really what the simple motivation is, and then I just began to reflect on things that were immediate in my everyday life.Sometimes, you’re motivated by the things you get changed because the past is permanent. If you had an opportunity to go back and rectify some of those things, I’m sure that we all would do some things differently. That’s the moment you gotta be imaginative or if I could settle everything, how would I go about it? Every day is an opportunity to improve. I look objectively and optimistically into each new day and it’s just something that I practice subconsciously, or at least I try to.I was in a situation where I was married. We had a son together. I had two adopted daughters from her previous relationship.
I always try and represent that pseudo maturity that essence of what you were kinda able to identify with as that Dungeon Family sound. We were just young men trying to do right by our opportunities, our voices, and our talents.Khujo Goodie: I think I had just got back on my feet after I had my leg amputated.
I was able to write that rhyme. Big Boi, like he always do, he gave me the opportunity to get in there and be a part of history. I was so happy that my little brother still felt that way about his big brother. Still being able to have that confidence in his big brother to know that he would pull out a good 16.That particular song definitely fit the way my life was going at the time because I had to reset, man. I had to go back in and rethink some things.
I had to reevaluate myself, and I had to get back in there, get back on my job.Cee-Lo wasn’t on the song yet and I think that Big Boi was already on the song and the hook was too. Once I heard the hook, I started vibin’ with it. I was like, “Man, this shit would go perfect with what I’m going through right now.”Cee-Lo Green: I think in some type of roundabout way, it was kind of an opportunity for us to all showcase together. Me and Goodie, we were at industrial odds, not internal odds. We were never uncool, we were always family. With family, you have that sibling rivalry, that internal riffing and that’s to be expected.
We’re all men, all individuals. They have different opinions, priorities, different focuses, different flaws.Khujo Goodie: You know how the media does it. The same way they perpetuated that East Coast/West Coast thing, and that got outta hand! We lost two of the greatest MCs in the world.I just think it was totally different with us cause Dungeon Family is family. Family don’t always get along all the time. The good thing about family is that we know that we family. We know that this is something bigger than that.
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If it was some type of beef like that, Cee-Lo wouldn’t have even got on the song! All the time, you gotta put aside the bullshit, man, so that you could get greater things accomplished.
The twelve-lane Connector plows through Atlanta like the Nile of pavement. Along its fenced banks lie the majority of the city's attractions. Turner buildings, blossoming with neon network logos, lure Yellowjacket grads from the adjacent campus cluster with the sweet nectar of Powerpuff Girls money. Across the way, The Varsity serves grease between buns, communicating with an enigmatic fast food lexicon that rivals rhyming Cockneys. Tourists walk the overpass to the ghostly Olympic park, built on the graveyard of Techwood projects, in the shadows of Vick's pastel dome. Hipsters and reluctant yuppies settle in the gentrified Five Points and Cabbagetown, giving their quaint subdivisions more verdant ' Park' monikers.
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And finally, there's Turner Field, reverberating collective October sighs, before the highway splits back into its tributaries in East Point, the cultural fountainhead. The hip-hop id to New York's ego: the home of Outkast.Lauded retroactively in 2000, upon the release of Stankonia, for a formula that had been perfected by teenagers on 1994's Southernplayalisticadillacmuzik, Outkast charged up the public with silly amounts of reserved anticipation for this double-disc marathon. Since dropping that debut nearly ten years ago, Outkast's singles have charted a steady incline of genre-defiance and pop virtuosity. But now, in the wake of the commercial and critical smash that yielded such classic tracks as 'Ms.
Jackson', 'B.O.B.' , and 'So Fresh, So Clean', Big Boi and Andre 3000 have, for the first time, chosen to work in separate corners, like Beatles after India. Here, on the resulting Speakerboxxx/The Love Below, the two wander down the blacktop from East Point, each plotting their own distinct course: Andre, like I-85, shoots off to the airport and sky-high trips before dipping into the Mardi Gras marshes of New Orleans, while Big Boi rolls deep down I-75 into south Florida, home of booty bass and baby blue.The consensus in rock circles had unfairly anticipated that The Love Below would reign supreme over Big Boi's Speakerboxxx, since Andre was the one with the guitar in the fuzzy boots. As it turns out, his Prince-mimicking fusion looks a lot better on paper than it sounds in your ears.
On too many songs, Andre repeats space-playboy choruses over repetitious, unfinished digifunk. As the brief orchestrated outro to 'Pink and Blue' suggests, each track feels like it's missing something- strings, guitars, harmonies, organic instruments, and, oh right: Big Boi.
Andre does have his moment, though: 'Hey Ya!' Glitters and towers like the silver Westin hotel over an 80s Atlanta skyline, blending Flaming Lips-like synth-bass and ebullient acoustic guitar with the rebellious joy of 'Little Red Corvette'- and like all classic songs, it introduces new vernacular with a genius that transcends product placement. Even indymedia.org feeders will shout 'Polaroid!' While miming spanking at this fall's Not-Dog cookouts.Of the few other tracks on The Love Below that come close to reaching 'Hey Ya!' 's apex, the one that most succeeds is 'Spread', which showcases trumpets and piano weaving through a rubber bassline and scattering rimshots. Its chorus has Andre putting on his Camille voice, while the verses contain some of the only moments on the album in which he actually flows.
When he does, he's tight enough to pose the question of why he decided to cut back on rapping at all- particularly since, frankly, he ranks just above Pharrell Williams on the 'brilliant but mosquito-throated crooner' list. Elsewhere, the quite literal 'Dracula's Wedding' boasts guest vocalist Kelis over whistling squelches, while Norah Jones' lovely turn on the acoustic 'Take Off Your Cool' hints at the true stylistic breadth Andre is capable of achieving.
'Baby, take off your cool/ I want to get to know you,' they both sing over plucks and strums. Heed your lyrics, Andre. (Except for that 'become the master of your own bastion' nonsense.)Big Boi's Speakerboxxx coolly upstages its counterpart: Although it, too, provides the world with one earthshaking single, it differs from The Love Below in that it also manages to maintain a consistent level of brilliance and emotional complexity. Here, Big Boi effectively asserts himself as man who wants both a stripper pole in his home and his nostalgic place saved on the pew- 'Unhappy' conveys that in its beat alone!