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Aquemini - OutKast


Hip-Hop outkast hip hop rap Dirty South

Produced by OutKast for Earthtone A three-dimensional aural massage with a mystical hook that gave cause to question everything you ever thought you believed and to believe nothing you never thought to question Mr. DJ: On the album before Aquemini, me and Dre grew dreads. We went to Jamaica one time and took our cornrows out and we swam in the ocean, and we decided we were never going to comb our hair again. After having dreads you realize how people discriminate against you just because of the way you look. Towards the end, around the time we got ready to do this album, we just cut our dreads off. So that's what Dre was referring to when he says: 'Is every nigga with dreads for the cause?/Is every nigga with golds for the fall?" He's just explaining that you can't judge a book by its cover. Andre 3000: I was a young man searching, a young black man, so I was looking into Rastafarianism, Islam, whatever. I started to notice that all the stories were similar, it was more about a mutual respect and exchange of energy. When you rap and say anything kinda conscious, all the conscious people approach you. So after ATLiens I got it all - from books on sex to [metaphysics] and religion. But you also get introduced to a lot of fake phony ass people, and I addressed it in the song. You find some of the fakest people with dreads pouring oils on you. And it's really kind of mind-blowing when you're a young person and you start to find out some of this is bullshit, so then you're just out there searching. Big Boi: 'Aquemini' was just the meshing of both worlds, with me being an Aquarius and him being a Gemini. It was subtle on ATLiens, but by the time we got to Aquemini it was like we had two different visions that were [parallel]. So the thing with us was to always show the team. Preston Crump (bass player): Dre was very experimental. He wanted you to bring in all the stuff you've got and I'd be like, "Yo, I ain't bringing all that stuff in the studio." He'd say, "You got some more effects?" But it was cool, I understand where he was trying to go. Andre 3000: My biggest [instrument] is my mouth. I'd just lean over to Preston and say: ba-boom, ba-boom. And he'd just kinda go in on it and freak it and make it his own. There's always some improvisation [involved] 'cause I ask for it. I want them to take my idea and make it better. I can't play it [and] at the time I couldn't create it. They're accomplished musicians so you want them around. They bring good ideas. Mr. DJ: [Me and] Dre started learning how to produce together. We would sit around and watch Rico and Ray all the time, and it was just the coolest shit to see them with the cigarette hanging out one hand and just going in on the beat machine - that was an art in itself, not to mention what came out of the machine. More than knowing what we were doing, we were just imitating what they were doing. We got the same equipment and we were on the road traveling. We eventually learned what we were doing, but for the most part, we were just going through the motions and trying to do what they were doing and finally learned how to start producing. Dre got really into it. Dre doesn't spend a lot of money on a lot of stuff, but Dre spent a lot of money on music equipment. Omar Phillips (percussionist): Of course, back then we had the kind of budgets where we could really just live at Doppler Studios. It was just eat, live, sleep, music. We started recording around 8 p.m. and we would come out of the studio at like 6 or 7 in the morning. We were all set up at the same time, which is another great thing about those tracks. There was very little overdub involved. What you hear is what we were hearing. We all tracked at the same time, old-school. Neal H. Pogue: That was the beauty of making all those records - having musicians come in and out. It was almost like a Motown, that's what we had. Or like a Stax Records thing. That's what I loved about it. It brought back that whole feeling of making records. It was organic. That was one of my favorite mixes because when Dre says, "It's him and I/ Aquemini" and there's a delay, I wanted to make sure that was a statement. So I put that delay on there just to make it bigger. I always wanted it to come across like it was dimensional, like you could actually put your hands through the song.

OutKast is an American hip-hop duo from Atlanta, Georgia, United States. The duo is one of the most successful hip-hop groups of all time, having received six Grammy Awards. Over 25 million copies have been sold of Outkast's seven releases: six studio albums—including one double album—and a greatest hits release. The group's original musical style was a mixture of Dirty South and G-Funk. Since then funk, soul, pop, electronic music, rock, spoken word poetry, jazz, and blues have been added to the group's musical palette. Show more ...

Aquemini - OutKast

Even the sun goes down heroes eventually die
Horoscopes often lie and sometimes "y"
Nothin' is for sure nothin' is for certain nothin' lasts forever
But until they close the curtain
It's him & I Aquemini
[Big Boi]
Now is the time to get on like Spike Lee said
Get on the bus go get your work
And keep your beeper chirpin' is a must
Is you on that dust or cornstarch
Familiar with that smack man
The music is like that green stuff
Provided to you by sack man
Pac man how in the fuck do you think we gon' do that man?
Ridin' round Old National on 18's without no gat man
I'm strapped man & ready to bust on any nigga like that man
Me & my nigga we roll together like Batman & Robin
We prayed together through hard times
And swung hard when it was fitting
But now we tappin' the brakes from all them corners
That we be bending in Volkswagens & Bonnevilles
Chevrolets and Coupe De Villes
If you ain't got no rims nigga don't get no wood grain
Steering wheel for real you can go on chill out & still build
Let your paper stack instead of going into overkill
Pay ya fuckin beeper bill bitch
Twice upon a time there was a boy who died twice
And lived happily ever after but that's another chapter
Live from home of the brave with dirty dollars
& beauty parlors & baby bottles & bowling ball Impalas
& street scholars that's majoring in culinary arts
You know how to work bread cheese & dough
From scratch but see the catch is you can get caught
Know what ya sellin' what ya bought so cut that big talk
Let's walk to the bridge now meet me halfway
Now you may see some children dead off in the pathway
It's them poor babies walkin' slowly to the candy lady
It's lookin' bad need some hope
Like the words maybe, if, or probably more than a hobby
When my turntables get wobbly they don't fall
I'm sorry y'all I often drift I'm talkin' gift
So when it comes you never look the horse inside it's grill
Of course you know I feel like the bearer of bad news
Don't want to be it but it's needed so what have you
Now question is every nigga with dreads for the cause?
Is every nigga with golds for the fall? Naw
So don't get caught in appearance
It's Outkast Aquemini another Black experience Okay
[Big Boi]
The name is Big Boi Daddy Fat Sax
The nigga that like them Cadillacs
I stay down with these streets
'cause these streets is where my folks at
Better know that some say we pro-black boy we professional
We missed a lot of church so the music is our confessional
Get off the testicles & the nut sacks
You bust a rhyme we bust back
Get get back for real niggas that's out here tryin' to spit facts
You hear dat can't come near dat maybe you need to quit
Because Aquemini is Aquarius & Gemini runnin' shit like this
Yea yea yea yea
My mind warps and bends floats the wind count to ten
Meet the twin Andre Ben. Welcome to the lion's den
Original skin many men comprehend
I extend myself so you go out & tell a friend
Sin all depends on what you believing in
Faith is what you make it that's the hardest shit since mc Ren
Alien can blend right on in wit' yo' kin
Look again 'cause I swear I spot one every now & then
It's happenin' again wish I could tell you when
Andre this is Andre y'all just gon' have to make amends