ATLiens [Clean] [Edited]

Performer: OutKast
Artist: Goodie Mob; Joi; Cool Breeze; Debra Killings; Jazzy Phat Nastees
Distributor: BMG (distributor)

Notes: Outkast: Dre, Big Boi (vocals, programming). Additional personnel includes: EJ Tha Witch Doctor, Joi, Whild Peach, Trina, Andrea Martin, Goodie Mob, Cool Breeze, ShaJuanna Edghill (vocals); Tomi Martin, Carlos Glover (acoustic guitar); Craig Love, Martin Terry, Ed Stroud (guitar); Kerren Berz (violin); Skinny Miracles (piano); Chanz (keyboards, organ, piano); Kenny Wright (keyboards); Moog, Preston Crump, James "Jay" Nicholas, Marq Jefferson (bass); Dee Simmons (drums); Organized Noize Productions (programming); Mr. DJ (scratches); Debra Killings, Dawn, Tracy, Arlynn, Sleepy Brown, Tamara, Peaches (background vocals). Producers: Organized Noize Productions, Outkast. Engineers: Jarvis Blackshear, Derrick Williams, John Frye. Outkast: Dre, Big Boi (vocals, programming). Additional personnel: EJ Tha Witch Doctor, Joi, Whild Peach, Trina, Andrea Martin, Goodie Mob, Cool Breeze, ShaJuanna Edghill, Cee-Lo Green, Big Gipp (vocals); Tomi Martin, Carlos Glover (acoustic guitar); Craig Love, Martin Terry, Ed Stroud (guitar); Kerren Berz (violin); Skinny Miracles (piano); Chanz (keyboards, organ, piano); Kenny Wright (keyboards); Moog, Preston Crump, James "Jay" Nicholas, Marq Jefferson (bass); Dee Simmons (drums); Organized Noize Productions (programming); Mr. DJ (scratches); Debra Killings, Dawn, Tracy, Arlynn, Sleepy Brown, Tamara, Peaches (background vocals). Producers: Organized Noize Productions, OutKast. Engineers: Brian Frye, John Frye, John "Bernasky" Wall, Dexter Simmons, John Wydrycs, Jarvis Blackshear, Derrick Williams, Blake Eiseman, Mike Wilson. Personnel: OutKast (drums, keyboard programming); Whild Peach (vocals, background vocals); T-Bu, Shajuanna Edghill, Khujo, Andrea Martin , Big Gipp, Cee-Lo Green (vocals); Craig Love, Edward Stroud (guitar); Tomi Martin, Carlos Glover (acoustic guitar); Martin Terry (wah-wah guitar); Kerren Berz (violin); Skinny Miracles (piano); Marvin "Chanz" Parkman, Kenny Wright (keyboards); Organized Noize (drums, keyboard programming); Dee Simmons (drums); Mr. DJ (scratches); Debra Killings, Sleepy Brown (background vocals). Audio Mixers: Dexter Simmons; Alvin Speights; Organized Noize; OutKast. Recording information: Bosstown Recording Studios, Atlanta, GA; Chung King, New York, NY; Doppler Recordings Studios, Atlanta, GA; PatchWerk, Atlanta, GA; Purple Dragon Recording Studios, Atlanta, GA; Sound On Sound Recording, New York, NY; Studio LaCoCo. Illustrator: Vince Robinson. Photographer: John Halpern. OutKast has almost singlehandedly defined the sound of Atlanta rap. Tongue-flippin', rhyme-spittin' and Cadillac-ridin', all with a Southern accent, Big Boi and Dre have proved to be the South's ideal MCs. ATLIENS continues in the same vein as Outkast's 1994 debut, SOUTHERNPLAYALISTICADILLACMUZIK, with producers Organized Noize back to accompany the duo's laid-back flow. Big Boi and Dre proclaim to prove a point with every rhyme, never wasting a line. They like to think of themselves as outcasts from the hip-hop community--aliens, so to speak. Their tracks have an outer-space feeling to them--a feeling that, ironically, has warmed the community right up to them. They're so out, they're in. Though they were likely lost on casual hip-hop fans, Southernplayalisticadillacmuzik was full of subtle indications that OutKast were a lot more inventive than your average Southern playas. Their idiosyncrasies bubbled to the surface on their sophomore effort, ATLiens, an album of spacy sci-fi funk performed on live instruments. Largely abandoning the hard-partying playa characters of their debut, Dre and Big Boi develop a startlingly fresh, original sound to go along with their futuristic new personas. George Clinton's space obsessions might seem to make P-Funk obvious musical source material, but ATLiens ignores the hard funk in favor of a smooth, laid-back vibe that perfectly suits the duo's sense of melody. The album's chief musical foundation is still soul, especially the early-'70s variety, but other influences begin to pop up as well. Some tracks have a spiritual, almost gospel feel (though only in tone, not lyrical content), and the Organized Noize production team frequently employs the spacious mixes and echo effects of dub reggae in creating the album's alien soundscapes. In addition to the striking musical leap forward, Dre and Big Boi continue to grow as rappers; their flows are getting more tongue-twistingly complex, and their lyrics more free-associative. Despite a couple of overly sleepy moments during the second half, ATLiens is overall a smashing success thanks to its highly distinctive style, and stands as probably OutKast's most focused work (though it isn't as wildly varied as subsequent efforts). The album may have alienated (pun recognized, but not intended) the more conservative wing of the group's fans, but it broke new ground for Southern hip-hop and marked OutKast as one of the most creatively restless and ambitious hip-hop groups of the '90s. [ATLiens was also released in a "clean" edition, containing no profanities or vulgarities.] ~ Steve Huey

Rolling Stone (10/31/96, pp.66-68) - 3-1/2 Stars - Good/Excellent - "...Andre and Big Boi display a unique ability to describe ghetto life while offering up life-affirming possibilities, something all too rare in today's hip-hop nation." The Source (10/96, p.118) - 4 Mics - Slammin' - "...OutKast and their producers Organized Noize understand that without growth, audiences do mature beyond the artists....Big Boi and Dre have gone out of this world into a new dimension of sight, sound and mind..." Rap Pages (11/96, p.31) - "...Flashes of brilliance dominate the duration of ATLIENS....a rare and pleasing discovery. If Mars needs Hip-Hop, this should be the first launching."

Atlanta-based hip-hop duo Outkast succeeded in bringing an unorthodox rhyme style and quirky, P-Funk-influenced sound and presentation into the rap mainstream. Successful since their 1994 debut, Outkast have gotten progressively more idiosyncratic. Their sophomore release, ATLIENS, took musical and lyrical risks which were reflected in Outkast's video output, such as the Mars-meets-Egyptology production for the album's hit "Elevators." STANKONIA, released in 2000, cemented the duo's reputation as influential hip-hop innovators, while its ambitious follow-up, 2003's SPEAKERBOXXX/THE LOVE BELOW, made Outkast masterminds Andre 3000 and Big Boi international superstars.

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