Idlewild [Clean] [Edited] (CD - 2006)

Personnel: André 3000 (vocals, guitar, piano, keyboards, programming, keyboard programming, drum programming, background vocals); Debra Killings, Skreechy Peachy, Joi Gilliam, Sleepy Brown, Janelle Monáe (vocals, background vocals); Melissa Zampatti, Dookieblossumgame, Myrna "Peach" Brown, Lil Wayne, Macy Gray, André Benjamin, Snoop Dogg, Bamboo (vocals); David Whild (guitar, background vocals); Mike Hardnett, Mike Patterson (guitar); Albey Scholl (harmonica); Jerry Freeman (cornet, horns); Jason Freeman (horns); Kevin Kendrix (piano, keyboards, synthesizer); Marvin "Chanz" Parkman, Jeff Bowden, Kevin Kendricks, Dave Robbins (keyboards); Victor Alexander, Steven Boos (drums); Tuesday Henderson (percussion); Organized Noize (programming, drum programming); Cutmaster Swift (scratches); Uncoolgirlz Choir, Terry Smith, David "Whild" Brown , Hot Tub Tony (background vocals).

Additional personnel: Khujo Goodie, Killer Mike, Lil Wayne, Macy Gray, Sleepy Brown, Snoop Dogg, Whild Peach, Scar, Janelle Monáe.

Audio Mixers: Chris Carmouche; John Frye; Neil Pogue; Phil Tan; Leslie Brathwaite.

Recording information: Allgood Productions, Marietta, GA; Camp David, Atlanta, GA; Doppler Studios, Atlanta, GA; North Star Studios, Wilmington, NC; Stankonia Recording Studios, Atlanta, GA; The Cathedral, Hollywood, CA; The Dungeon; Treesound Studios, Norcross, GA; Wonderland Recording, Atlanta, GA; Zeltec Studios, Alpharetta, GA.

Arrangers: André 3000; Janelle Monáe; Chuck Lightning.

Coming off the enormous success of their double album SPEARBOXXX/THE LOVE BELOW, Outkast continue to prove themselves to be one of the most unusual acts in hip-hop with IDLEWILD, the album companion to the movie-musical of the same name. On this, their seventh full-length release, Andre 3000 and Big Boi break new ground, expanding their repertoire of musical experimentation by putting together 25 unconventional hip-hop tracks with twists of soul, gospel, and ragtime in line with the 1930s era represented in the film.

The more traditional playalistic Cadillac-centered rhymes that characterized the duo's debut album make a few appearances here on tracks like "Morris Brown," but overall Big Boi's gangsta lyricism takes a back seat on this one, with Andre's crossover-pop sound dominating with the tracks "Life Is Like A Musical," "Makes No Sense At All," and "When I Look Into Your Eyes." Unfortunately, the most rewarding songs that are able to combine the talents of each member, like "N2U" and "Peaches," are few and far between and perhaps an early indicator of Outkast's last gasps. Guest appearances from Snoop Dogg, Li'l Wayne, Sleepy Brown, Scar, Killer Mike, Khujo Goodie, Janelle Monáe, and Macy Gray help to make IDLEWILD that much more interesting.

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. [A clean version of the album was also released.] ~ Andy Kellman minimize