Retrospective Review: Speakerboxxx/The Love Below by OutKast

One thing about OutKast is they always stretch beyond the boundaries of hip-hop. This daring double-disc album is no different.

André 3000 and Big Boi are strikingly different, which has driven their thriving union. Though separate entities, they melded into a dynamic duo, OutKast—a pair that rose to the top of musical genius. Rooted in a deep-seated childhood bond, their friendship remained steadfast through contrasting personality traits and artistic aspirations, buoying them in the turbulent early years of their shared career. Their debut album, Southernplayalisticcadillacmuzik, was a streak of triumph. However, the tumultuous world of rap that they found themselves in was riddled with challenges.

The Source Awards ceremony held at the Paramount Theater in New York on the 3rd of August, 1995, occurred amidst tangible friction between the West and East Coast rap communities. A brief look at the event’s Wikipedia page reveals a heavy spotlight on the later adverse chain of events sparked by escalated, hollow bravado in the music arena. Unjustly, OutKast’s contribution is scarcely mentioned, underscoring the prevailing inclination to accentuate the adverse elements in rap music instead of capturing a balanced picture.

Despite being awarded Newcomer of The Year, OutKast’s ascendance to the stage was overshadowed by the overpowering display of Suge Knight and Puff Daddy’s arrogance. Genuinely perplexed by the trivial yet damaging East versus West conflict, André 3000 received the award and, in a statement that demolished the divide and ushered a new conversation about rap music, declared, “The South got something to say.”

Years following the massive reception of Stankonia, André 3000 sought new ventures outside of music. His stint in the film industry didn’t yield a significant impact, prompting an eventual return to his first love – music. Meanwhile, Big Boi had invested his energies into crafting a solo album. André 3000, though delayed, embarked on a similar journey.

Management resisted the idea of independent albums. However, an innovative thought emerged—the two albums would be presented concurrently. Essentially representing different aspects of the same entity, the union was still OutKast but with a twist.

Naturally, critiques and evaluations started pouring in, analyzing one record against the other. André 3000’s The Love Below sparked intrigue, revealing a path that astounded despite the latent aspiration to expand that was inherent to OutKast’s collective approach. However, Big Boi’s substantial contribution to Speakerboxxx often got overlooked amidst praises for André 3000’s avant-garde ventures. Interestingly, both creations were phenomenal if one had an affinity for OutKast’s previous works.

Both albums seamlessly encapsulated varied aspects of OutKast’s unique sound(s). Their debut was critical for obvious reasons, yet they dared to experiment, including an extensive range of unconventional influences. From Big Boi’s admiration for Kate Bush to their shared tendency to avoid sampling—their bold, adventurous spirit reigned.

Both artists sought new avenues of expression—Big Boi within the traditional boundaries of hip-hop, André 3000 into jazz, funk, and soul. Consequently, the albums were met with significant critical acclaim and commercial success, marking #1 on the Billboard charts after three consecutive #2 albums. Initially, it sold over 510,000 copies, with estimates exceeding 11 million.

Central pillars of their rocketing success were the unforgettable first two singles. “Hey Ya” was a sensation, climbing the charts to grace #1 on the Hot 100 for nine weeks. It was later overtaken by “The Way You Move”, marking a rare instance of a band replacing its hit with another at the chart’s apex.

Despite my bafflement at the success of “The Way You Move,” “Hey Ya,” even across continents in overseas, pierced the public’s psyche with its irresistible charm and memorable melody. Impacted by the phenomenal success, André 3000 looked beyond traditional rap spheres in crafting his work, an endeavor fraught with obstacles that left a lasting impression.

After OutKast’s final album, Idlewild, he mostly stepped back from the industry, only appearing occasionally for guest verses. On the other hand, Big Boi marched on, releasing more music. Whether they’ll reemerge as a collective unit remains uncertain. But their impressive legacy in music, particularly this album, provides a compelling argument for their unparalleled influence.