aquemini song meaning

I was just trying to make the impossible out of music, make people rise in some kind of way. When y'all gon break up? It just gave you that whole vibe. I just began to pray, I said, "Lord, I need timely words for what we need now." 'Cause I just remember us having a lot of work going on where we were like, "Yo man, OutKast just needs to come to the studio and we're just going to play ya'll some stuff. Mr. DJ: The song started out with a sample of a lady just saying 'No, no, no, no.'

But this writer’s peak Aquemini moment comes at the onset. To call it a concept album would be derivative because that would ultimately limit the scope of what OutKast attempted to do.

I remember that snare and that kick, we kept wanting to use it over and over again. So 'Return of the Gangsta' was trying to give them a sense of, 'Hey, I'm still a regular person. The thugs emphatically decline: "Man, fuck them. Big Boi was the family man.

That was his smokin' word. Andre 3000: Every story that I've ever told is either triggered by something that I've been through or something that someone I know has experienced. I think I was vibing on some end-of-the-world, last-recorded-song shit. Harris has earned some very respectable stripes as an emcee for his successful rap career, the self-proclaimed “King of the South” moniker really began to take true form once he stepped into his community activism calling. It was like 3 in the morning. It wasn't ego; it was like everybody was really passionate about it. We were all set up at the same time, which is another great thing about those tracks.

By collaborating with some of Atlanta's finest instrumentalists on record, they created one of their most experimental and musical releases to date. It was almost like a Motown, that's what we had.

The Montgomery, Ala. protest lasted from December 1, 1955 to December 20, 1956. © 2020 The DJ Booth LLC.

So then, you know how we use these metaphors, [so we named it] Rosa Parks.

But they really brought that song out, they really did.

Go ahead, imagine it.

The work must continue at maximum effort after elections regardless of the outcome."

I'm like, "What?!" That was a really good time because we'd found our sound. It was done during Southernplayalisticadillacmuzik.

Maybe I'm not transmitting it right but this is cool. Neal H. Pogue: Joi and Peach were big friends then. It was subtle on ATLiens, but by the time we got to Aquemini it was like we had two different visions that were [parallel]. Together, these two dimensions, along with some very special guest voices from abroad (Raekwon represents OutKast's first non-Dungeon Family rap collaboration) made one message louder and clearer to the greater hip-hop landscape than ever before: The South got something to say. As the name suggests, this lyrically advanced masterpiece is a mystical listen that juxtaposes two distinct personas sprouted from the same ATL soil. As the eldest son of the Robert Nesta Marley aka the King of Reggae, Ziggy is part of a mighty musical legacy, but his father is more than a musical legend. If you’ve never listened to Aquemini—which celebrates its sweet 16th birthday on Monday (Sept. 29)—you’ve probably caught its influence in today’s generation of musicians. Too much of this has been going on, and not another one shall we see with this police brutality. Towards the end, around the time we got ready to do this album, we just cut our dreads off. Here's a clue: If you want to know where the ever-evolving OutKast will go on a subsequent release, peep the last track from the previous album. They'd gone from red clay players to extraterrestrials - down-to-earth to out-of-this-world - in the span of two albums.

Selling point (in one sentence): The most important (if not best) rap album to come out of the Dirty South, the classic Aquemini LP was perhaps the first major wrecking ball to begin destroying the wall of elitism erected by stubborn New York rap purists. When that record came to New York City, it opened up the floodgates for the South to emerge and do their thing. During this recent conversation, Tip talks about his upcoming Verzuz battle with Jeezy, politics, the Trap Music Museum, and his desire to make his TV/film directorial debut. It was only on Aquemini, however, the group’s third album, that OutKast reached for something emotionally uncomfortable and challenging to the very notion of their immortality as a group. Big Boi: That was the first time I had ever been in the booth with a nigga when he was rapping. To me that's part of the reason why music today is not as heartfelt and not as deep, because it's starting with a beat that your heart hasn't been put into. > “Horoscopes often lie” —(“Aquemini”) The eventuality of change weighed heavily on the verses of both men, with an entire hook laced with ideas about keeping the faith in one another no matter how inevitable things like death and fate may seem.

It was just eat, live, sleep, music. Like I always wonder what's the last song recorded in the world going to sound like? That's the real story. We all tracked at the same time, old-school.

In the second half of his verse, André raps: “All of the bullshit we on our back staring at the stars above / Talking 'bout what we gonna be when we grow up / I said, 'What you wanna be?

Goodie Mob's albums were talking about New World Order and that type thing, so it was kinda touching on that. ", "To be clear voting is not the end-all," Ziggy Marley added.

I was vibing on reggae stuff at the time, listening to a lot of Bob Marley.

It was the “impression of expression” that André found so important on “Return of The 'G',” and self-imposed questions like, “Big Boi what’s up with André? And, of course, to be liberal and to be liberated was an artistic aspiration and a personal aspiration of mine, too, so it was just all relative. They are the albums that paint the world as flawed and chaotic, leaving us with ideas and concepts we may not be able to reconcile with on an initial listen. "Then I thought about those who came before, the price they paid. People just couldn't understand how we were making the type of music we were making.


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