Bluesy Idlewild brings rap back to roots

By Doug Phelan
Collegian Reporter
September 13, 2006

As a fan of Outkast’s previous work and a jazz aficionado since my later grade school years, I have been anticipating the release of both the film Idlewild and its soundtrack for quite some time. Outkast has proven from previous releases that its style of hip-hop can be refreshingly exciting while still referencing the genres of music which many of its rapping contemporaries have forgotten made the era of rap possible. Funk, soul, jazz and the blues all find a gracious sampling and remodeling in the music of Andre 3000 and Big Boi.

The southern rap duo has chosen a perfect time to step up the presence of their influences. Their previous albums have garnered a loyal audience. Hits like “Hey Ya!” and “The Way You Move” have become proven DJ standards, and many other songs such as “Ms. Jackson” remain fan favorites. Elaboration on the classic roots which run through their progressive style of hip-hop was the next logical step.

The soundtrack starts out with the humorous “Intro,” which fits well with Outkast’s style. It sets the album back into a style of old jazz suites, most notably those of Duke Ellington. Introductions and interludes offer a welcome pause and excursion from the densely rhythmic music which makes up most of the album.

However, just so you don’t think they went soft, the following song, “The Mighty O” makes up for the classic flavor some Outkast fans may not prefer. The first half of the album, on average, follows the same modern track. These songs are quality, and many of them are repeat-worthy; however (as usual for me with Outkast), I find the songs that are “different” much more interesting. “Idlewild Blues” quickly became one of my favorites. Following the Southern blues style, Dre and Big Boi design a strong bridge between hip-hop vocals and blues backbeat rhythm.

On the title track, Darnielle comes close to something like determination (albeit to “get lonely and gasp for air”). The somber vibe continues on “Maybe Sprout Wings” and “Moon Over Goldsboro.” String arrangements add a dramatic framing to match Darnielle’s soft delivery, especially on “In the Hidden Places.”

The middle of the CD provides solid tracks, all infused with the piano-heavy style characteristic of the bluesy Idlewild movie. Yet, while they are all well done, the middle of the album is fairly unremarkable.

The next piece of notable quality comes in “Makes No Sense At All.” Starting with a great bass lick and comedic talk, the album is well infused with a jazz spirit, and yet it has that almost-snide tone to the vocals that brings it into the current era. The fun thing is that if you take out the vocals you have a solid jazz track, but the lyrics make it new.

The CD finishes with many strong tracks. You’ll notice “PJ & Rooster” from the commercial for the film. The track is pure genius. Trumpet work is provided by Arturo Sandoval, of current fame in the West Coast big band scene, most notably in Gordon Goodwin’s Big Phat Band. While I like this song, what I perhaps like more is the idea to follow it up with “Mutron Angel.”

“Mutron Angel” is a soulful synth track with heavy Hammond B-3 Organ in the background. I have not heard a more pleasant, peaceful hip-hop/R&B track in quite some time. There is a very ethereal charm to it.

“When I Look In Your Eyes” is a great comedic/vaudevillian track, yet again pulling a new aspect of Outkast’s roots into the album. Really, the appropriate descriptor for this track is “cute.” It’s just plain fun to listen to.

“Dyin’ to Live” has a smattering of bluesy improvisational excellence that recalls an old-style “lamentation” tune. The final song, “A Bad Note,” moves into the avant-garde. It starts with discordant guitar and piano. The notes you hear are those ones all the way on the bottom of the keyboard most of us piano players forgot existed. Eerie vocals top the song off. I find it an odd way to end such a fast-paced CD, but it shows a definite progression from the old jazz style to the avant-garde, just as history has provided us.

All tracks considered, this CD is worth picking up and should become a classic for a long time coming. Outkast is one of the signature artists of the time. Q102 may play its pop-rap crap, and continue “Ridin’ Dirty,” but the true legacy of hip-hop is continued in the southern style of Andre and Big Boi. You won’t be sorry if you pick up the CD, or go to see the film. This is how music has progressed through the ages: take something old and bring it forward to make it culturally relevant. In the fight to bring great music into the modern era, Outkast lands a TKO.

pheland1@lasalle.edu