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Reseña de álbum

A lot happened to OutKast between the moment they began to think about making a movie and the release of Idlewild. In 1998, no studio would back the movie they were plotting. Fast-forward eight years, past a fourth successive classic album, a double-disc blockbuster, and countless breakup rumors, as well as moonlighting gigs involving supporting actor roles and a successful dog kennel. Along the way, OutKast's first movie took on an entirely different shape, from Aquemini to Idlewild, and the duo attained enough star power to gain the support of HBO and Universal. After a series of delays with its soundtrack, Idlewild reached theaters in August 2006. Set in the prohibition era, Big Boi plays a speakeasy owner, while Dré is the relatively introverted piano-playing son of a mortician. These roles are no stretch, and they cross paths in only a handful of scenes; this all befits the together-but-separate presentation the duo has maintained for a few years. That presentation holds true throughout Idlewild's soundtrack, which doubles as the sixth OutKast album. Big Boi and André 1936 share little space on a disc that's not so much a series of misfires as it's filled with shots that reach their targets, albeit softly and with little trace of impact. Rich with color and energy, mischievous asides, and biting observations, the album presents fresh ideas every couple of minutes. However, at the same time, it just keeps on going, and even its highlights fall short of OutKast's past and fail to transcend its assortment of inspirations. Little of it sticks. The music of the '30s seeps through a handful of tracks, the best of which is led by Big Boi protégé Janelle Monaé, a young vocalist who stomps and sways through her time in the spotlight. Despite Dré's likely position as the driving creative force behind the whole project — and its further strides away from what his detractors think he should be doing — he's far more effective as an MC than a singer. When it comes to rapping, he's "bored" with "no dragon to battle," yet the verse containing that proclamation outstrips just about all the lines he croons. "Hollywood Divorce" is an exception, where he does triple duty (producer, MC, vocalist) and guides Big Boi, Lil Wayne, and Snoop Dogg through a modern-day version of "Burn Hollywood Burn." Big Boi is the album's saving grace, still every bit the undervalued force with scythe-like rhymes and gazelle-like moves. Idlewild is certainly a spectacle, and an occasionally entertaining and enlightening one at that, but it translates into an elaborate diversion when compared to what this duo has done in the past.

Reseñas de usuarios


I'm thoroughly impressed with OutKast's most recent album, "Idlewild". I had yet to see the movie, but the album alone is incredible. OutKast have got to be one of the most unique and original hip-hop acts of our time, never doing the same thing twice, which is why you simply cannot compare one album to the last one; none are the same. They're like the Radiohead of hip-hop. Comparing Southernplayalisticadillacmuzik to Stankonia is like comparing Lord of the Rings to Madea Goes to Jail. OutKast are always striving to improve, and each new release earns them even more respect from me. Not once have they come out with a dull album that didn't inspire everyone around them. This one is just further proof that these two are capable of anything, and I certainly can't wait for their next big release. It's gonna be epic.

This Album is Amazing

I love it!!!!! Now all they need to do is get LAND OF A MILLION DRUMS on I-Tunes!!!!!!! I Want that song!!!!

movie good!! Album ehhh!!

Idlewild is a fantastic movie but the songs in the album are not the same songs in the movie the songs in the movie are far better. The Greatest show on earth should have the heavy brass band behind Macy not a dinky carnival music and it needs Church how it was in the movie!


Se formó en: 1992 en Atlanta, GA

Género: Hip-Hop/Rap

Años de actividad: '90s, '00s, '10s

La mezcla que OutKast hizo del vibrante soul sureño, los raps fluidos, y el rítmico G-funk de su equipo de producción Organized Noize, sirvió para epitomizar el ala de Atlanta de la creciente fuerza de hip-hop, el Dirty South, durante finales de los '90. Junto a Goodie Mob, OutKast tomó el hip-hop sureño con audaces e innovadoras orientaciones: menos confianza en lo agresivo, más optimismo y melodía, arreglos más densos y letras intrincadas. Luego de que Dré y Big Boi treparan a la cima de las listas...
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Idlewild, Outkast
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