Yet this newfound acceptance among hip-hop heads didn't occur overnight. Despite its ability to transcend racial, gender and class barriers, rap culture has a legacy of cynicism and xenophobia that stretches back to its inception in the Bronx during the '70s. Think back to KRS One's "The Bridge Is Over," which featured the now infamous maxim: "Bronx keeps on makin' it/ Brooklyn keeps on takin' it/ Queens keeps on fakin' ... ya' still tellin' lies to me." Thus, each borough of New York had to prove that it was worthy of becoming part of the hip-hop empire, and after that each coast did. The West established itself in the late '80s with acts like Too $hort, Ice-T and N.W.A. These groups paved the way for a second generation of emcees, consisting of Snoop, Tupac and Warren G, all of whom managed to conquer the game simultaneously in the early '90s. Hence the blueprint is such that a group of artists from one particular region gain nominal fame and open doors for the next wave of rappers who often spearhead a renaissance.
Down south the progenitors were Geto Boys and Outkast. The former came to prominence in the late '80s and merely proved that the South could produce credible 'gangsta rap.' The latter arrived on the scene in 1994 and with their first three albums showed that southerners could master every sub-genre of hip-hop music, from pimped-out funk associated with the West to conscious underground introduced by the East. It's no surprise that after the second wave of southerners (No Limit, Cash Money, etc.) came along and took over, Geto Boys fell by the wayside, with only one member having a successful solo career, while Outkast continues to experience commercial success, not only running alongside its successors, but often surpassing them.
Unfortunately, rumors have been circulating since "Aquemini," released in 1998, that Outkast might be calling it quits in the near future. Heads have been speculating about how much longer the unlikely pair of Big Boi, the quintessential southern pimp, and Dre, a maladroit musical genius, could stay together. Of course, the duo's musical output hasn't reflected this gossip at all-until now. Their new double CD, entitled "Speakerboxxx/The Love Below," is actually two solo efforts united under a one moniker, suggesting that perhaps the two have become musically estranged. Still, a careful listening reveals that this change may be easy to swallow.
It isn't difficult to discern that "Speakerboxxx" is Big Boi's album. While Dre's voice can be heard chiming in on the choruses to "GhettoMusick," a fast-paced sci-fi sounding track that features a soulful Patti Labelle sample, as well as on "Knowing," his contribution is pretty small. In light of this, Big Boi is faced with the challenge of carrying a traditional Outkast album by himself. Fortunately, he succeeds by broadening his themes and improving upon his lyrical skills considerably.
On "Unhappy," he takes us back with a reminiscent track that sounds like it was lost somewhere between "Southernplayalisticadillac," and "Atliens." Other tracks like "War," about the social ramifications of 9/11, and the self-explanatory "Church," feature the poignant commentary we've come to expect from an Outkast album. In addition, the musical backdrops are absolutely brilliant. "Bowtie" resurrects the southern R&B funk of the '70s, while "The Way You Move" utilizes a hard-hitting 808 bass and kick that'll have heads everywhere doing the "bankhead bounce." The latter track also features Big Boi rhyming dismissively about the rumors of a prospective break-up: "Ready for action, nip it in the bud we never relaxin' Outkast is everlastin'/ not clashin' not at all, but see my nigga [Dre] went to do a little actin'/ now that's for anyone askin' ... "
The latter half of the album features obligatory cameos from Outkast affiliates Goodie Mob, Slim Calhoun and the South's best kept secret, Killer Mike, who drops some nice one-liners on "Bust." However, the two most notable guest appearances are those of Jay-Z on the piano-laced "Flip-Flop Rock" and Ludacris on "Tomb of the Boom." While these awkward mixes could potentially fail, they end up working perfectly, helping to create a well-rounded album and prove that Big Boi has the ability to make another progressive Outkast album without Dre.
On "The Love Below," Dre has put together 21 tracks that deal primarily with the travails of manhood and relationships. Fans should be forewarned though that it's not a rap album. Nearly all of the tracks feature Dre crooning in a soulful, countrified voice that shows influences ranging from Prince to Curtis Mayfield. Sure, it sounds a little odd, but for the most part, it works extremely well.
Standout cuts include "Pink and Blue," with an elegant string sample and an infectious chorus, "Dracula's Wedding" (featuring Kelis), a cut with haunting, distorted vocals, and "Behold A Lady," which epitomizes Dre's penchant for writing odd lyrics ("Sophistifunk, aristocats, distinguished dogs, clean up your act/pull up your pants, ladies n' gents, please act like you got some sense").
The album's gem, however, is "She's Alive," a track dedicated to his mother which features snippets from a conversation Dre had with her about his absent father. On the slow track he sings in heartfelt falsetto, "A boy to raise at a young age/ no help from him, but she's alive/ to be made strong, but all alone/ must be a pain, but she's alive."
For those who thought Dre's album would be a weird musical space odyssey, you're right, but it's a trip well worth taking. Not only is his solo effort funky, rhythmic and experimental, it also features standout guest spots from Norah Jones and Rosario Dawson, as well as some of his most intimate lyrics. It's essentially more of an added bonus to "Speakerboxxx" for Oukast fans, and an introduction to the new musical direction of Dre 3000 for those who have been waiting for him to step out on his own.
On "Speakerboxxx/The Love Below," there's no loss of conceptual unity. It's still an Outkast album. Maybe the rumors are true, and it will be their last joint venture, but nonetheless, it suggests that the future looks very bright for Dre, Big Boi and their legion of fans.