Outkast sets new rap standard

The mark of true greatness is the ability to always raise the standard in one's arena. Outkast has done exactly that since it arrived on the music scene in 1994. Its classic debut was followed up by a ground-breaking sophomore album, and as Big Boi and Andre' release its third effort "Aquemeni," Outkast fans and hip-hop fans in general all wonder if the southernplayalistic ones can continue to stay two steps ahead of the rap game.

From the intro, Outkast makes it clear that its message hasn't changed one bit. It's still showing the pain of everyday life in the Dirty South on songs like the angry "Return of the G," as well as the hardships of being artists trapped in the rat's maze that is the music business. But instead of merely talking about the problems, Outkast also offers ways to cope, like on the anthemic "Slump." Just like on its second album, Andre' plays the abstract intellectual, with Big Boi being the fast-talking hustler. The two complement perfectly, with Dre providing the theory and Big Boi bringing the examples.

While Outkast's message is the same as on its last album, the music hearkens back to the group's debut. Still rapping over cutting edge tracks by Organized Noize, Outkast has also taken an active role in production, and just about every groove on the album is guaranteed to either make your head nod or your feet move. Whether it be upbeat jam sessions such as "Rosa Parks" and "Da Art of Storytellin (pt.1)," or slower cruising songs like "West Savannah" and the title track, the production definitely meets the lofty standards the group has set for themselves. Some of the songs even surpass them.

Of course, "Aquemeni" isn't a private party. The album is blessed by the guest vocals of Raekwon on the funky "Skew it on the Bar-B," The Goodie Mob on the haunting "Y'all Scared," Erykah Badu on the soulful "Liberation" and the president of Funk, George Clinton on the edgy "Synthesizer."

This album isn't perfect. It has minor flaws. There are a lot of skits on "Aquemeni," and even though they are entertaining, most of them aren't really necessary. Also, after getting listeners open with its traditional Outkast formula, it makes experimental songs like the solid, but too-long "Mamasita," and "SpottieOttieDopalicious" rather hard to listen to. At this point, the album begins to loses its steam. This hardly matters because by the time this happens, you'll have already been convinced that Outkast is barnone one of the greatest rap groups of all time. With "Aquemeni," The A.T.L-iens have secured a place among hip-hop's elite artists, and have set a new standard for hip-hop's future.

09-29-98