Idlewild [Explicit Lyrics]

( 9 )

Editorial Reviews

Barnes & Noble
It's hard to believe that OutKast has been around for more than 12 years -- a virtual eternity in hip-hop circles. But the Atlanta duo remain relevant through constant revolution and reinvention. In 2003, their galvanizing double disc, Speakerboxxx/The Love Below, marked what seemed an insurmountable creative apex for Big Boi and Andre 3000, yet the pair continue to stretch the boundaries of hip-hop with their follow-up, Idlewild. Despite being billed as an official album, the project primarily serves as an admirable musical counterpart to Kast's theatrical release of the same name, set in the jazzy 1930s. Keeping in line with the film's era, Dre kicks his vaudeville-singing act in high gear. Mr. 3000's vocal twang...
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Editorial Reviews

Barnes & Noble
It's hard to believe that OutKast has been around for more than 12 years -- a virtual eternity in hip-hop circles. But the Atlanta duo remain relevant through constant revolution and reinvention. In 2003, their galvanizing double disc, Speakerboxxx/The Love Below, marked what seemed an insurmountable creative apex for Big Boi and Andre 3000, yet the pair continue to stretch the boundaries of hip-hop with their follow-up, Idlewild. Despite being billed as an official album, the project primarily serves as an admirable musical counterpart to Kast's theatrical release of the same name, set in the jazzy 1930s. Keeping in line with the film's era, Dre kicks his vaudeville-singing act in high gear. Mr. 3000's vocal twang and charismatic flair swing best on the juke jointin' "Idlewild Blue Don'tchu Worry About Me" and the Prince-reminiscent "PJ & Rooster." Big, on the other hand, raps with exquisite detail and confidence throughout, and the delectable "Peaches" and the autobiographical "The Train" are lyrical standouts. Although the partners in rhyme spend more mic time apart than not -- continuing to fuel breakup rumors -- whenever they converge on the same track, the results are magical, as on "Hollywood Divorce" and "Mighty 'O'." Idlewild might have resonated even more strongly with more such collaborative moments, but truly, separate but equal never sounded so good. Anslem Samuel
All Music Guide - Andy Kellman
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.
Rolling Stone - Rob Sheffield
...Idlewild mixes up swing, blues, hip-hop and R&B without losing a step. "Morris Brown" is a typical highlight, with Earth, Wind & Fire-style vocals over the marching-band funk -- it's so suave on the surface, it takes a few spins to absorb how radical it is.

...Idlewild mixes up swing, blues, hip-hop and R&B without losing a step. "Morris Brown" is a typical highlight, with Earth, Wind & Fire-style vocals over the marching-band funk -- it's so suave on the surface, it takes a few spins to absorb how radical it is.
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Product Details

  • Release Date: 8/22/2006
  • Label: La Face
  • UPC: 828767579122
  • Catalog Number: 75791
  • Sales rank: 59,092

Tracks

Disc 1
  1. 1 Intro (2:12)
  2. 2 Mighty O (4:16)
  3. 3 Peaches - Scar (3:10)
  4. 4 Idlewild Blue (Don't Chu Worry 'Bout Me) (3:24)
  5. 5 Infatuation (Interlude) (0:48)
  6. 6 N2U - Khujo Goodie (3:40)
  7. 7 Morris Brown - Sleepy Brown (4:24)
  8. 8 Chronomentrophobia (2:12)
  9. 9 The Train - Scar (4:09)
  10. 10 Life Is Like a Musical (2:14)
  11. 11 No Bootleg Dvds (Interlude) (0:50)
  12. 12 Hollywood Divorce - Baby & Lil' Wayne (5:23)
  13. 13 Zora (Interlude) (0:16)
  14. 14 Call the Law - Janelle Monáe (4:51)
  15. 15 Bamboo & Cross (Interlude) (0:54)
  16. 16 Buggface (2:45)
  17. 17 Makes No Sense at All (2:53)
  18. 18 In Your Dreams - Janelle Monáe (3:34)
  19. 19 PJ & Rooster (4:27)
  20. 20 Mutron Angel - Whild Peach (4:18)
  21. 21 Greatest Show on Earth - Macy Gray (3:06)
  22. 22 You're Beautiful (Interlude) (0:29)
  23. 23 When I Look in Your Eyes (2:43)
  24. 24 Dyin' to Live (2:07)
  25. 25 A Bad Note (8:47)
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Album Credits

Performance Credits
OutKast Primary Artist
Bamboo Vocals
Snoop Dogg Vocals
Preston Crump Bass
Kevin Kendricks Keyboards
Debra Killings Bass, Vocals, Background Vocals
Dave Robbins Bass, Keyboards
Albey Scholl Harmonica
Mike Patterson Bass, Guitar
Joi Gilliam Vocals, Background Vocals
Terry Smith Background Vocals
André Benjamin Vocals
Jerry Freeman Cornet, Horn
David Whild Guitar, Background Vocals
Macy Gray Vocals
Victor Alexander Drums
Cutmaster Swift scratching
Lil Wayne Vocals
Mike Hardnett Guitar
Marvin "Chanz" Parkman Keyboards
Sleepy Brown Vocals, Background Vocals
André 3000 Guitar, Piano, Keyboards, Vocals, Background Vocals
Eddie Ellis Conductor
David "Whild" Brown Background Vocals
Janelle Monáe Vocals, Background Vocals
Jason Freeman Horn
Steven Boos Drums
Jeff Bowden Keyboards
Myrna "Peach" Brown Vocals
Dookieblossumgame Vocals
Tuesday Henderson Percussion
Hot Tub Tony Background Vocals
Kevin Kendrix Synthesizer, Piano, Keyboards
Skreechy Peachy Vocals, Background Vocals
Uncoolgirlz Choir Background Vocals
Melissa Zampatti Vocals
Technical Credits
John Fry Audio Production
John Frye Engineer
Bernie Grundman Mastering
Kevin Kendricks Producer
Organized Noize Programming, Producer, drum programming
D.P. "Dad" Carter Composer
Chris Jackson Engineer
Matt Still Audio Production
Vernon Mungo Engineer
Ralph Cacciurri Engineer
Sean Davis Engineer, Audio Production
André Benjamin Executive Producer
Jerry Freeman Horn Arrangements
Antwan Patton Executive Producer
P. Brown Composer
Robert Hannon Engineer
Denise Trorman Art Direction
Malik Albert Engineer, Audio Production
André 3000 Arranger, Programming, Producer, drum programming
John Holmes Engineer, Audio Production
Chris Carmouche Engineer, Audio Production
Morris Brown College Gospel Choir Instrumentation
Kori Anders Engineer
Gary Fly Engineer
Johnny Vulture Producer
Janelle Monáe Arranger, Producer
Chuck Lightning Arranger, Producer
Kevin Kendrix Horn Arrangements
Matthew Still Engineer
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Customer Reviews

Average Rating 4.5
( 9 )
Rating Distribution

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(6)

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(2)

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Sort by: Showing all of 9 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Idlewild is not wild enough.

    Idlewild * 1/2 Stars Outkast is known for making good albums, maybe has gone in the well once two often, this is something like idlewild for the ridiculousness, the singing is terrible, the lyrical content is not good, the music is the only thing more interesting then the rest of the albums. This is a very predicable album So Thumbs Down.

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  • Anonymous

    Posted October 1, 2010

    Idlewild one of the Outkast's best work

    This album is the bomb. Production is unlike anything availible. Kast has set the bar pretty high. True Kast fans will appreciate this album. Like Outkast been warming us up to this sound, previous albums like STANKONIA & Speakerbox/Lovebelow. I'm really enjoying this, plus my kids can listen with-out having to skip due to explicitness. GO GET IT.

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  • Anonymous

    Posted October 1, 2010

    Fun Effort From Rap's Favorite Innovators

    I've always admired Outkast's originality: their music never sounds like anything anyone else has made or is making. "Idlewild", the musical companion to their movie of the same name, is no different. On their latest effort, they blend blues, funk, soul, and hip-hop in a way that works well. Some of the songs take a few listens to get used to ("Chronometrophobia, "Makes No Sense At All", and "Life Is Like A Musical, to name a few), but the majority of them are a joy to behold ("Mighty O", "Idlewild Blue", "Morris Brown", "In Your Dreams", and "PJ & Rooster" are my favorites). The 1930's sound, which is the time period of the film, is felt throughout, making it consistent. Overall, I'd recommend to the most-open minded of listeners.

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  • Anonymous

    Posted October 1, 2010

    MY VOTE FOR MOST CREATIVE ALBUM

    Big Boi and Dre did a fantastic job with this album. They didn't dissapoint any of their fans. They really put together a CD I think is way ahead of the game. Instead of following the new script of making a whole CD about guns, naked women bouncing up and down, diamonds, and candy painted cars, they concentrated on real music and if you ask me (a fan of good quality music) they did the damn thing.

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  • Anonymous

    Posted October 1, 2010

    Classic

    This is classic OutKast. Anybody that doesn't feel this CD its because its not about drugs, bitches, and guns. This is proof that OutKast is more than Hip Hop its music. They are pushing boundaries and thats always going to make some people think they betrayed there following. This CD doesn't miss a beat!

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  • Anonymous

    Posted October 1, 2010

    Amazing

    Never cease to amaze, they are on a whole other planet, well worth the listen

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  • Anonymous

    Posted October 1, 2010

    Outkast has done it again!!

    Song by song: Mighty O -- Classic boom bap. Greatest opener to an Outkast album since Return of the G on Aquemini. Peaches -- Playful funny tune. Big Boi and Sleepy teaming up like Stockton and Malone. Idlewild Blue -- Dre3000 is the only dude on the planet who can pull this song off. N2U -- I love it! "I'm just joshing wit ya hon!" Classic. Morris Brown -- The melody alone is beyond anything they've done in the past. Really stepped their game up with this one. Chronomentrophobia -- Quirky in a Dre3000 way. The Train -- Wow! Daddy Fat Sax put it down. What a chorus. Like a Musical -- Wish this song had been longer. Syncopated rhythm and funky piano. Hollywood Divorce -- Nice song. Lil Wayne with a show stealing verse. Very underappreciated MC. Great song concept describing the destruction of various Black art forms as a result of the assimilation by the larger culture. Call the Law -- That girl can blow! Great blend of Lindyhop and Hip Hop. Buggface -- Jiggy Jiggy Jam! Nice. Makes No Sense at All -- Curious to see how this one plays on the big screen. Humorous tune. In Your Dreams -- Killa Mike! What can you say about this guy? He also comes through in the clutch. Great one. PJ & Rooster -- Nice blend of swing, rag time, and jazz. Instrumentation here is nice. Mutron Angel -- Beautiful song. Another interesting concept. Greatest Show on Earth -- Macy Gray is hilarious. Everytime you think her voice won't work she manages to pull out something that sounds awesome. When I look in Your Eyes -- I love it. Sounds like a Love Below jam. Great swinging tune Dyin to Live -- Another song that will play interestingly in the movie. Bad Note -- A bad note ain't a bad note if it's a good note. 'Kast has always had a way of ending their albums. The tradition continues. You must be a true fan to really appreciate this album. Not one of those fans who just got into 'Kast after they blew up. You have to be down from the very beginning, seeing these brothas rock at free concerts in the park to really understand what is going on here. This is the culmination of years of hard work and dedication to their craft. This album represents all that is right in the world of Hip Hop. Experimental, edgy, soulful, bluesy, moody, playful. Pick your superlative, Kast brought that fiiyah one mo' 'gain. I'm excited to see the movie and I'm anxious to see what they come up with next. Peace and love!

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  • Anonymous

    Posted October 1, 2010

    Could have been better, but is a good Outkast album

    In My opinion, this album was amazing. A good outkast album, however, probably not as good as Speakerboxx/The Love Below. But it is still a very good album. Dre and Big Boi only share about 3 songs in the whole album, and those 3 songs are amazing. I think they should stop making their own individual music, and make more songs together like they used to back in the day. Although their individual songs aren't bad at all, they arent as good as they could be if they are both in it. I thought a few of Andre's songs were good, like "Idlewild Blue", "Life is a Musical", and "Chronomentrophobia", but i thought they were a bit too short. Ill probably get bored of those songs since they are so short.And on Big Boi's songs, his rapping was okay, and the lyrics were pretty good, but the people he chose to sing in some of the songs were not really good choices at all. Aside from all this, i thought the album was good.

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  • Anonymous

    Posted December 17, 2012

    No text was provided for this review.

Sort by: Showing all of 9 Customer Reviews