Music: Big Boi – Sir Lucious Leftfoot: The Son of Chico Dusty

After a long run of hit albums, Outkast had seemed to hit a wall with Idlewild, the soundtrack to their musical motion picture of the same name, both of which received lukewarm reviews. It was a departure from Outkast’s normal sound (if you can call it ‘normal’ – their style is inimitable), employing the sound and feel of the big band 20’s if black folks ran the show. A large part of the stylistic change was allegedly driven by Andre 3000, the perceiveably ‘funkier’ (and to many, stranger) of the rap duo.

The album was bittersweet, as it proceeded Speakerboxxx/The Love Below, the pair’s double album release, which was essentially two solo albums packaged together. And to many fans, it signaled the decline of Outkast. It appeared they were getting soft, or at least, failing at being experimental. It was relatively quiet on the Outkast front. They released a handful of un-notable singles, and both Big Boi and Andre 3000 were seen working with other artists, separately. It began to seem that the band really was breaking up. Fast forward several years later to 2010, when then the duo leaked a single, Lookin 4 Ya. This song featured rapping parts from both Big Boi and Andre 3000, accompanied by a smooth hook featuring the vagina-wetting voice of Sleepy Brown, most known for appearing on ‘The Way You Move’, Big Boi’s key single from Speakerboxxx. The single was a throwback to old school ‘Kast, and proved instantly that the team had not lost their edge and, if anything, were hard at work on something new.

Enter Sir Lucious Leftfoot: The Son of Chico Dusty, Big Boi’s first solo album release. The album art features a Big Boi logo in the recognizable shape of Outkast’s famous crown logo, reminding listeners this isn’t an abandon of Outkast music. If anything, ‘Kast fans should see this as a team release. Dre 3K might not be present lyrically or on all tracks of production, but the sound is undeniably Outkast. The tracks are peppered with skits in between, depicting life in West Savannah, Georgia, where players fast-talk dirty south hoes, and where crackhead hustlers jive talk the police. Where many band-turned-solo acts tend to move forward and forget their roots, Big Boi keeps this album Decatur by shouting out to Outkast, Goodie Mob, and the Dungeon Family.

If you’ve ever given Speakerboxx and Idlewild a full listen, you’ll clearly see the evolution of Big Boi’s artistic direction. The man has a love of beats in the minor keys, that have almost a gothic vibe to them. Tracks on this album, like ‘Night Night’ and ‘Tangerine‘ are reminiscent of ‘War’ (from Speakerboxxx). There’s almost something to be feared in these tracks, which embody something almost evil feeling, though the lyrical subject matter is classic Outkast fare (It’s bedtime/Tuck yourself in/I can tell that you’re terrified/Check my records/You will see that I’m verified/I terrorize/Now you’re terrified). The first track beyond the intro, ‘Daddy Fat Sax‘, is an epic confidence track, sampling previous Outkast tracks (‘X-plosion’ f/ B-Real), and is perfectly expressive of Big Boi’s character as an artist. You can even tell Idlewild has influenced Big Boi in tracks like ‘Be Still‘, which features a chorus by Janelle Monae, who was also featured in Idlewild’s ‘Call the Law‘. And ‘The Train Pt. 2‘  is a follow up to ‘The Train‘ from Idlewild, produced by Organized Noize, of which Sleepy Brown is a part.

It’s actually pretty hard to put a finger on what makes this album so catchy. The production has a distinct dirty south feel, but would have been wasted in the hands of a less-capable rapper. Big Boi brings a confidence that is not created by money or girls or flashy clothes. He raps about all of those things, but underneath those things, you know you are listening to the life and times of Big Boi, aka Antwon Patton, aka Daddy Fat Sax, aka Sir Lucious Leftfoot. Big Boi stands out as an artist primarily because he applies his life experience to the microphone, and even in the popular singles like ‘Shutterbug‘ and ‘Shine Blockas‘ have that unique flavour that can only be found on Outkast tracks.

On a personal level, the most notable track for me is ‘You Ain’t No DJ’, which completely embodies the radical, extraterrestrial instrumental that Andre 3000’s been known to produce. The track sounds almost demented, a digital bell loop repeating in what can only be described as a developing insanity. But there is something so damn catchy, I can’t help to hunch my shoulders over, pull my fingers out their holster, and do the crooked booty.

This album is absolutely solid. Not only is it a great solo album, but it has a maturity that is best appreciated by having listened to Outkast’s previous albums. It gives new Big Boi fans an incredible introduction, and old Outkast fans what they’ve been wanting to hear for a long time.

k-os, Kanada’s Kanye

If I were to judge a book by its cover or, in this case, a CD by its jacket, I’d say that singer/rapper/producer k-os is trying to make a statement. What that statement particularly is, I don’t know. Aesthetically, the case is an obvious throwback to his debut (and to many, best) album, Exit. k-os’ fourth album, Yes!, remembers Exit’s gradient greens on both the CD jacket and disc, but sports the contradicting colour red, and replacing the green, lit EXIT sign, is a playful red YES! sign in its stead. What this infers to me is that k-os is trying to remind us of his roots. But there’s something different here. k-os is no longer k-os.

Instead, he has become the bionic man. Deviating far from his originally organic and almost militia-quality style, Yes! seems to have quite the opposite effect, employing an American Army of digitizers and synthesizers. Song titles and subject matter are general k-os fair, from love to pacifism to music to well, “being different.” However, the message is muddled through try-hard rhymes and experimental rhythms and flows. Where Exit’s lyrics are an obvious fine wine, embodying nearly 30 years of growing, learning, and struggling, Yes! is like the quickly generated soda pop for those of the masses who enjoy proclaiming their disgust with mainstream media.

Don’t get me wrong, amidst my obvious criticisms, the album still has its ups. Songs like Burning Bridges, I Wish I Knew Natalie Portman, 4,3,2,1, and Eye Know Something are all catchy-chorus, single-material. But even the entire album does not hold a candle to any lone track on Exit.

Kings of Leon: Only by the Night

Picked up this album the other day and started listening to it while I was writing the Left 4 Dead Guide that you should see on the site in a couple days and thought I should say something about how great it is.

I only like to talk about how good an album is if the better majority of the songs are single worthy or are catchy to some degree or if the music has something imperceptible that brings you back to it and Only by the Night is one of those albums.

The singer Caleb Followill has a really interesting voice that sounds like it should be coming out of speakers on a big open air concert from the 60’s. While I don’t agree with their choices in hairstyles, their sound is like a southern folk band mixed with something that sounds good. Cut me some slack ok? I’m not a big music reviewer but what I think you should do is check out some of the tracks on the album and see if they float your boat.

Basically if you like a sound that is upbeat, somewhat bittersweet but not about longing or cutting yourself and that you can either rock out to or lay back and chill with, check out Kings of Leon, Only by the Night. You won’t be disappointed.

Check out their website

Tracks of note:

1. Sex on Fire
2. Closer
3. Crawl
4. Use Somebody
5. Notion
6. Manhattan