2003 2x CD 
🔎
Arista, Arista, Arista
a&r [a&r administrator] Theresa Wilson
a&r [a&r coordination] Regina Davenport
a&r [a&r direction] Regina Davenport
tracks 2-1, 2-2 acoustic guitar Andre 3000
art direction Jeff Schulz
tracks 1-1, 1-2 bass Debra Killings
tracks 1-1, 1-2 bass John "Jubu" Smith
tracks 1-1, 1-2, 2-1, 2-2 coordinator [production coordinator] Regina Davenport
tracks 1-1, 1-2 coordinator [production coordinator] Theresa Wilson
creative director Joe Mama-Nitzberg
design Jeff Schulz
executive-producer Antonio Reid
executive-producer OutKast
tracks 1-1, 1-2 horns Hornz Unlimited
tracks 2-1, 2-2 keyboards Andre 3000
tracks 2-1, 2-2 keyboards Kevin Kendrick
tracks 1-1 lead vocals Big Boi
management Family Tree Entertainment
management Michael "Blue" Williams
tracks 1-1, 1-2 mixed by John Frye
tracks 2-1, 2-2 mixed by Kevin Davis
tracks 2-1, 2-2 mixed by [assistant] Sean Tallman
tracks 1-1, 1-2 mixed by [assistant] Warren Bletcher
tracks 2-1, 2-2 producer Andre 3000
tracks 1-1, 1-2 producer Carl Mo
tracks 2-1, 2-2 programmed by [music programming] Andre 3000
tracks 1-1, 1-2, 2-1, 2-2 recorded by John Frye
tracks 2-1, 2-2 recorded by Pete Novak
tracks 2-1, 2-2 recorded by Robert Hannon
tracks 2-1, 2-2 recorded by [assistant] Josh Monroy
tracks 2-1, 2-2 recorded by [assistant] Rabeka Tunei
tracks 1-1, 1-2, 2-1, 2-2 recorded by [assistant] Warren Bletcher
tracks 1-1 vocals [additional] Sleepy Brown
tracks 2-1, 2-2 vocals [all vocals] Andre 3000
tracks 2-1, 2-2 vocals [female crowd vocals] Rabeka Tunei
tracks 2-1, 2-2 written-by Andre Benjamin
tracks 1-1, 1-2 written-by Antwan Patton
tracks 1-1, 1-2 written-by Carlton Mahone, Jr.
tracks 1-1, 1-2 written-by Patrick Brown
Produced For Slumdrum
Recorded At Stankonia Recording
Recorded At Tree Sound Studios
Recorded At Larrabee Sound Studios
Mixed At Stankonia Recording
Mixed At Larrabee Sound Studios
Published By Gnat Booty Music
Published By Chrysalis Music
Published By Carl Mo Music
Published By Organized Noize Music
Phonographic Copyright (p) Arista Records, Inc.
Copyright (c) Arista Records, Inc.
Manufactured By Arista Records, Inc.
Distributed By Arista Records, Inc.
Glass Mastered At Sonopress USA
Glass Mastered At Sonopress USA
The heart and soul of hip hop culture is deeply rooted in one cardinal principle: originality. With hip hop, originality is a must because it is fundamentally about one’s ability to borrow from previous forms of creative expression and use them to create the most innovative and flamboyant styles possible. And, like other forms of Black music (e.g. blues, jazz, etc.), hip hop dictates that its artists preserve the integrity of the art form by expanding the boundaries of the music beyond the realm of current possibilities, while at the same time keeping the music anchored squarely in its cultural origins. In other words, a true hip hop artist’s mandate is, to paraphrase poet Robert Frost, to make a difference by taking the road less traveled.
For the past ten years, OutKast have been traversing the musical trails blazed by a plethora of creative minds. Inspired by the likes of Curtis Mayfield, Bob Marley, Marley Marl, Afrika Bambaataa, Kraftwerk, The Beatles, Rakim, Sly Stone, George Clinton, Mandrill, Jimi Hendrix, Fela, Brick, Led Zepellin, Earth Wind & Fire and others, Andre 3000 and Big Boi have created their own brand of hip hop, dubbed Southernplayalisticadillacmuzik, that cuts across the generational divide.
Dre (nee: Andre Benjamin) and Big Boi (Antwan Patton) began their odyssey in the winter of 1993 with their classic single “Player’s Ball”, a slow –riding joint that successfully married hip hop with deep Southern soul, played with live instruments mixed with sparse samples. Originally released as a single from the LaFace Christmas album, “Player’s Ball” exploded on the hip hop scene, establishing both OutKast and their crew, the Dungeon Family, as a major force to be reckoned with, and prompted LaFace to sign them as their inaugural rap act. A few months later, OutKast dropped their classic debut LP, Southernplayalisticadillacmuzik, which continued the musical expedition by blending hip hop with elements of ‘70s soul and jazz into an amazing musical vehicle that took a million people along for the ride (and which featured “Player’s Ball”, “Ain’t No Thang”, “Crumblin’ Erb”, and “Git Up, Git Out”).
Their sophomore LP, ATLiens, found the two dope boys in a Cadillac returning with a space-age twist that solidified in the minds of fans and critics alike that when it comes to making music, these Georgia boys had something special going on. Instead of following the trend that they set with their debut LP, Dre and Big Boi flipped the script entirely by taking the listeners on a grand tour of celestial funk. Embodying the spiritual aesthetic of George Clinton’s monumental funk epics Mothership Connection and Clones of Dr. Funkenstein, Outkast created their own space odyssey for the hip hop generation, beaming us to the new mother ship made of funky beats and tight rhymes to the sounds of “Elevators (Me & You)” and the title track.
With Aquemini, a take on Big Boi’s and Andre’s astrological signs, OutKast struck the balance between their two previous works and turned in a certified classic, earning Source’s coveted five mics rating. Coming off of a three-year hiatus, Dre and Big Boi found themselves older and much wiser. In addition to perfecting a way to blend their expanding musical taste (jazz, funk, reggae, world music), the two also learned how to mix their aesthetic personalities-Andre being the Gemini (the poet/teacher), and Big Boi being the Aquarius (the player/trickster)-into an aural formula that pleased both sides of their personalities without alienating any of their fans. (Check out “Rosa Parks” and “SpottieOttieDopaliscious” featuring Sleepy Brown.)
On their fourth album, Stankonia, named after their recording studio, the duo underwent a metamorphosis once again and emerged with yet another musical gem that totally submerges their fans into a vat of deep funk. On Stankonia, OutKast brought music from the past (funk, soul and rock) with the music of today (hip hop, rave and drum ‘n’ bass) together into a harmonious mix of beats and rhymes that foreshadows the future of popular music for the rest of the 21st century. By taking all of these influences and blending them with their own brand of down-home hip hop. OutKast created one of the decade’s most interesting albums (which included “Ms. Jackson”, “So Fresh, So Clean” and the drum ‘n’ bass-inspired “B.O.B.”).
And in 2001, they collected their (and their fans’) favorites in the Platinum-plus-selling album Big Boi & Dre Present… OutKast, which also featured three new tracks, including the Grammy-winning “The Whole World” featuring Killer Mike and Joi.
According to the history of recorded hip hop, the average rap group is fortunate if they get a chance to land one or two hit records throughout the span of their career, which is generally about five years if they’re lucky. OutKast have been in the game for ten years and have released four Platinum-plus albums. Their catalog sells nearly a thousand pieces a week. When any rap artist sustains such an unprecedented level of success over such a long period of time, even the most die-hard skeptic has to break down and admit that OutKast’s rise to the pinnacle of hip hop superstardom has little to do with luck and more to do with their musical skills. They possess a willingness to take a chance by pushing the boundaries of hip hop a little further each time they step into the recording booth. In a world where some artists are finding fame overnight by simply imitating such a successful formula, it is refreshing, indeed liberating, to see OutKast boldly challenging the musical status quo – which they continue to do with their forthcoming double album, Speakerboxxx/The Love Below.
Sleepy Brown appears courtesy of DreamWorks Records
OutKast Fan Club
P.O. Box 161652
Atlanta, GA 30321
www.outkast.com
www.arista.com
From their forthcoming album, Speakerboxxx/The Love Below.
In Stores 9/23/2003.
Promo Only. Not For Sale.
Printed in U.S.A.
Matrix / Runout: 82876558832A1 [Sonopress logo] + + C9095-01 (A1)
Mastering SID Code: IFPI L028 (A1)
Mould SID Code: IFPI 1080 (A1, A2)
Matrix / Runout: 82876558832ARE1 [Sonopress logo] + + A01 C9178-01 (A2)
Mastering SID Code: IFPI LB41 (A2)
a&r [a&r coordination] Regina Davenport
a&r [a&r direction] Regina Davenport
tracks 2-1, 2-2 acoustic guitar Andre 3000
art direction Jeff Schulz
tracks 1-1, 1-2 bass Debra Killings
tracks 1-1, 1-2 bass John "Jubu" Smith
tracks 1-1, 1-2, 2-1, 2-2 coordinator [production coordinator] Regina Davenport
tracks 1-1, 1-2 coordinator [production coordinator] Theresa Wilson
creative director Joe Mama-Nitzberg
design Jeff Schulz
executive-producer Antonio Reid
executive-producer OutKast
tracks 1-1, 1-2 horns Hornz Unlimited
tracks 2-1, 2-2 keyboards Andre 3000
tracks 2-1, 2-2 keyboards Kevin Kendrick
tracks 1-1 lead vocals Big Boi
management Family Tree Entertainment
management Michael "Blue" Williams
tracks 1-1, 1-2 mixed by John Frye
tracks 2-1, 2-2 mixed by Kevin Davis
tracks 2-1, 2-2 mixed by [assistant] Sean Tallman
tracks 1-1, 1-2 mixed by [assistant] Warren Bletcher
tracks 2-1, 2-2 producer Andre 3000
tracks 1-1, 1-2 producer Carl Mo
tracks 2-1, 2-2 programmed by [music programming] Andre 3000
tracks 1-1, 1-2, 2-1, 2-2 recorded by John Frye
tracks 2-1, 2-2 recorded by Pete Novak
tracks 2-1, 2-2 recorded by Robert Hannon
tracks 2-1, 2-2 recorded by [assistant] Josh Monroy
tracks 2-1, 2-2 recorded by [assistant] Rabeka Tunei
tracks 1-1, 1-2, 2-1, 2-2 recorded by [assistant] Warren Bletcher
tracks 1-1 vocals [additional] Sleepy Brown
tracks 2-1, 2-2 vocals [all vocals] Andre 3000
tracks 2-1, 2-2 vocals [female crowd vocals] Rabeka Tunei
tracks 2-1, 2-2 written-by Andre Benjamin
tracks 1-1, 1-2 written-by Antwan Patton
tracks 1-1, 1-2 written-by Carlton Mahone, Jr.
tracks 1-1, 1-2 written-by Patrick Brown
Produced For Slumdrum
Recorded At Stankonia Recording
Recorded At Tree Sound Studios
Recorded At Larrabee Sound Studios
Mixed At Stankonia Recording
Mixed At Larrabee Sound Studios
Published By Gnat Booty Music
Published By Chrysalis Music
Published By Carl Mo Music
Published By Organized Noize Music
Phonographic Copyright (p) Arista Records, Inc.
Copyright (c) Arista Records, Inc.
Manufactured By Arista Records, Inc.
Distributed By Arista Records, Inc.
Glass Mastered At Sonopress USA
Glass Mastered At Sonopress USA
The heart and soul of hip hop culture is deeply rooted in one cardinal principle: originality. With hip hop, originality is a must because it is fundamentally about one’s ability to borrow from previous forms of creative expression and use them to create the most innovative and flamboyant styles possible. And, like other forms of Black music (e.g. blues, jazz, etc.), hip hop dictates that its artists preserve the integrity of the art form by expanding the boundaries of the music beyond the realm of current possibilities, while at the same time keeping the music anchored squarely in its cultural origins. In other words, a true hip hop artist’s mandate is, to paraphrase poet Robert Frost, to make a difference by taking the road less traveled.
For the past ten years, OutKast have been traversing the musical trails blazed by a plethora of creative minds. Inspired by the likes of Curtis Mayfield, Bob Marley, Marley Marl, Afrika Bambaataa, Kraftwerk, The Beatles, Rakim, Sly Stone, George Clinton, Mandrill, Jimi Hendrix, Fela, Brick, Led Zepellin, Earth Wind & Fire and others, Andre 3000 and Big Boi have created their own brand of hip hop, dubbed Southernplayalisticadillacmuzik, that cuts across the generational divide.
Dre (nee: Andre Benjamin) and Big Boi (Antwan Patton) began their odyssey in the winter of 1993 with their classic single “Player’s Ball”, a slow –riding joint that successfully married hip hop with deep Southern soul, played with live instruments mixed with sparse samples. Originally released as a single from the LaFace Christmas album, “Player’s Ball” exploded on the hip hop scene, establishing both OutKast and their crew, the Dungeon Family, as a major force to be reckoned with, and prompted LaFace to sign them as their inaugural rap act. A few months later, OutKast dropped their classic debut LP, Southernplayalisticadillacmuzik, which continued the musical expedition by blending hip hop with elements of ‘70s soul and jazz into an amazing musical vehicle that took a million people along for the ride (and which featured “Player’s Ball”, “Ain’t No Thang”, “Crumblin’ Erb”, and “Git Up, Git Out”).
Their sophomore LP, ATLiens, found the two dope boys in a Cadillac returning with a space-age twist that solidified in the minds of fans and critics alike that when it comes to making music, these Georgia boys had something special going on. Instead of following the trend that they set with their debut LP, Dre and Big Boi flipped the script entirely by taking the listeners on a grand tour of celestial funk. Embodying the spiritual aesthetic of George Clinton’s monumental funk epics Mothership Connection and Clones of Dr. Funkenstein, Outkast created their own space odyssey for the hip hop generation, beaming us to the new mother ship made of funky beats and tight rhymes to the sounds of “Elevators (Me & You)” and the title track.
With Aquemini, a take on Big Boi’s and Andre’s astrological signs, OutKast struck the balance between their two previous works and turned in a certified classic, earning Source’s coveted five mics rating. Coming off of a three-year hiatus, Dre and Big Boi found themselves older and much wiser. In addition to perfecting a way to blend their expanding musical taste (jazz, funk, reggae, world music), the two also learned how to mix their aesthetic personalities-Andre being the Gemini (the poet/teacher), and Big Boi being the Aquarius (the player/trickster)-into an aural formula that pleased both sides of their personalities without alienating any of their fans. (Check out “Rosa Parks” and “SpottieOttieDopaliscious” featuring Sleepy Brown.)
On their fourth album, Stankonia, named after their recording studio, the duo underwent a metamorphosis once again and emerged with yet another musical gem that totally submerges their fans into a vat of deep funk. On Stankonia, OutKast brought music from the past (funk, soul and rock) with the music of today (hip hop, rave and drum ‘n’ bass) together into a harmonious mix of beats and rhymes that foreshadows the future of popular music for the rest of the 21st century. By taking all of these influences and blending them with their own brand of down-home hip hop. OutKast created one of the decade’s most interesting albums (which included “Ms. Jackson”, “So Fresh, So Clean” and the drum ‘n’ bass-inspired “B.O.B.”).
And in 2001, they collected their (and their fans’) favorites in the Platinum-plus-selling album Big Boi & Dre Present… OutKast, which also featured three new tracks, including the Grammy-winning “The Whole World” featuring Killer Mike and Joi.
According to the history of recorded hip hop, the average rap group is fortunate if they get a chance to land one or two hit records throughout the span of their career, which is generally about five years if they’re lucky. OutKast have been in the game for ten years and have released four Platinum-plus albums. Their catalog sells nearly a thousand pieces a week. When any rap artist sustains such an unprecedented level of success over such a long period of time, even the most die-hard skeptic has to break down and admit that OutKast’s rise to the pinnacle of hip hop superstardom has little to do with luck and more to do with their musical skills. They possess a willingness to take a chance by pushing the boundaries of hip hop a little further each time they step into the recording booth. In a world where some artists are finding fame overnight by simply imitating such a successful formula, it is refreshing, indeed liberating, to see OutKast boldly challenging the musical status quo – which they continue to do with their forthcoming double album, Speakerboxxx/The Love Below.
Sleepy Brown appears courtesy of DreamWorks Records
OutKast Fan Club
P.O. Box 161652
Atlanta, GA 30321
www.outkast.com
www.arista.com
From their forthcoming album, Speakerboxxx/The Love Below.
In Stores 9/23/2003.
Promo Only. Not For Sale.
Printed in U.S.A.
Matrix / Runout: 82876558832A1 [Sonopress logo] + + C9095-01 (A1)
Mastering SID Code: IFPI L028 (A1)
Mould SID Code: IFPI 1080 (A1, A2)
Matrix / Runout: 82876558832ARE1 [Sonopress logo] + + A01 C9178-01 (A2)
Mastering SID Code: IFPI LB41 (A2)