Outkast Stankonia Zip Rar Converter
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To call 's follow-up to their 2000 masterpiece the most eagerly awaited hip-hop album of the new millennium may be hyperbole, but not by much. In its kaleidoscopic, deep-fried amalgam of Dirty South, dirty funk, techno, and psychedelia, was fearlessly exploratory and giddy with possibilities. It was hard to imagine where the duo was going to go next, but one possibility that few entertained was that and would split apart, each recording an album on his own and then releasing the pair as the fifth album, in the fall of 2003. Although both albums have their own distinct character, the effect is kind of like if issued as one LP of tunes, the other of songs - the individual records may be more coherent, but the illusion that the group can do anything is tarnished. By isolating themselves from each other, and diminish the idea of slightly, since the focus is on the individuals, not the group. Which, of course, is part of the point of releasing solo albums under the group name - it's to prove that the two can exist under the umbrella of the aesthetic while standing as individuals. Thing is, while it would have been a wild, bracing listen to hear these 39 songs mixed up, alternating between and cuts, the two albums do prove that the music can be solo in execution but remain records through and through.
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Both records are visionary, imaginative listens, providing some of the best music of 2003, regardless of genre. If conventional wisdom, based on their public personas and previous music, held that 's record, would be the more conventional of the two and 's the more experimental, that doesn't turn out to be quite true. From the moment kicks into gear with 'GhettoMusick' and its relentless blend of old-school 808s and breakneck breakbeats, it's clear that is ignoring boundaries, and the rest of his album follows suit.
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It's grounded firmly within hip-hop, but the beats bend against the grain and the arrangements are overflowing with ideas and thrilling, unpredictable juxtapositions, such as how 'Bowtie' swings like big-band jazz filtered through, how 'The Way You Move' offsets its hard-driving verses with seductive choruses, or how 'The Rooster' cheerfully rides a threatening minor-key mariachi groove, salted by slippery horns and loose-limbed wah-wah guitars. It's a hell of a ride, reclaiming the adventurous spirit of the golden age and pushing it into a new era. By contrast, isn't so much visionary as it is unapologetically eccentric. And as the cocktail jazz pianos that sparkle through the first few songs indicate, it's not much of a hip-hop album. Instead, has created the great lost album - the platter that the Purple One recorded somewhere between. It's not just that the music and song titles cheekily recall - 'She Lives in My Lap' is a close relation of the B-side 'She's Always in My Hair' - it's that disregards any rules on a quest to create his own interior world, right down to a dialogue with God.
The difference between and is in that dialogue, too: was tortured; is trying to get laid. That cheerfully randy spirit surges through, even on the spooky-serious closer, 'A Life in the Day of Benjamin Andre,' and it gives the freedom to try a little of everything, from mock crooning on 'Love Haters' to a breakbeat jazz interpretation of 'My Favorite Things' to the strange one-man funk of 'Roses' and the incandescent 'Hey Ya!,' where classic soul and electro-funk coexist happily.
So, both records are very different, but the remarkable thing is, they both feel thoroughly like music. And took off in different directions from the same starting point, yet they wind up sounding unified because they share the same freewheeling aesthetic, where everything is alive and everything is possible within their music. That spirit fuels not just the best hip-hop, but the best pop music, and both and are among the best hip-hop and best pop music released this decade. Each is a knockout individually, and paired together, their force is undeniable.