Tag Archives: big boi

#1410: Big Boi ft. Sam Chris – The Train, Pt. 2 (Sir Lucious Left Foot Saves the Day)

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Well, André 3000 eventually gave us his real debut solo album we were waiting for a few years back. It most likely didn’t turn out the way everyone wanted it to. But it’s now something that exists in the world. I haven’t listened to New Blue Sun, but I’m sure it’s interesting at least. I think I’d have to be in a certain kind of mood or physical space to listen to the whole thing. In the world of respective individual releases by he and Big Boi after the splitting of OutKast in 2006, even though the latter has three albums to his name, I think it’s still Big Boi’s 2010 Sir Lucious Left Foot: The Son of Chico Dusty that’s the best out of the lot of them. I was looking back on some posts for blog maintenance’s sake and saw I gave a whole backstory on my experience with that album in the first Big Boi post I did on here. I did have a good time with it back in those early 2010s. I haven’t listened to it fully in a while. But I have my favourite tracks from there, a few of them I’ve already covered, and ‘The Train, Pt. 2’ is another one.

In name only, the track’s a sequel to “Part One”, which appeared on OutKast’s swansong Idlewild. That saw Big Boi reminiscing on his career up to that point, potentially hinting on leaving the rap game. On ‘Pt. 2’, the ‘train’ theme continues, but here the artist provides a bit of commentary on the music industry, progression in technology, and on rappers constantly faking their wealth on the TV and getting the naive youth to believe in it. “Got them bay-bays believing that bullshit”, is how he puts it. On the choruses, Sam Chris expands on the notion of lying and exaggerating events, singing that these kinds of things happen on a daily basis – a never-ending cycle presumably in the music business – but if no one’s hurts by them and it’s all for a good laugh, then it’s all fine at the day, right? The answer should be no. But it is yes in a way too. A kind of negative action causing a positive reaction? I think it’s the ambivalence about it all that’s the main issue here.

I don’t know who came up with the repeating rhythm guitar line that plays almost throughout, but it’s essentially that element which acts as the foundation beneath everything else that happens in ‘The Train, Pt.2’. Sam Chris delivers the chorus impeccably, I remember being instantly hooked to his vocals, and Big Boi rides the beat with his flows as well as ever, even if it took a little longer to fully digest what he was talking about. What I feel I enjoy most is how Big Boi bounces off Sam Chris during the chorus, I think from the second one onward. “Lying to yourself like it really happened (Really happened)”, “Riding on a never-ending train (Choo choo)”, “Pick a stop (Pick a stop), pick a lie (pick a lie)”. You get the idea. These vocal echoes that create this sense of endless motion on the vocal front. “I think I (I think I, He said, he said, he said) Sometimes I think I love it…” A great part there. Could have ended the album with this song, to be honest, but ‘Back Up Plan’ does do the job in bringing things home. Also, the track’s really 4:43 in length with the remaining time taken by an unrelated samba(?)-inspired interlude, ’cause what’s a hip-hop album without a skit or two?

#1209: Big Boi ft. Cutty – Shutterbugg

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I wish I could say I was there and witnessed all the hype leading up to the release of Big Boi’s Lucious Left Foot album. I would have been 15 at the time, I was a functioning person then and aware of my surroundings to an extent. But, being a teenager, I was a lot more excited by Eminem’s new LP that had been released a couple weeks before. Back in school, Eminem was everyone’s favourite rapper. The music gave us something to talk and rave about. Yeah, Recovery hasn’t aged all that well. I was personally going through a real Beatles phase too. So I mention all of this to say I missed out on the obvious excitement there must have been, leading up to the first solo release by either of the members of OutKast.

But I did see the music video for ‘Shutterbugg’ one day around that time. Where it was, I couldn’t tell you. MTV Base, The Box. I want to say the latter channel. It might have actually been the day it premiered on Big Boi’s YouTube channel. Whatever it was, it was through the video that I heard the song for the first time, and the hyperbolic kid I was then thought, “Wow, we’re really living in the future now.” It was the start of the 2010s, it was an exciting time. The camera quality looked HD before HD was existing. Big Boi was looking clean. There’s a kaleidoscopic Cadillac in there at one point. In general, a wide variation of very cool imagery occurs in the video’s duration. It really holds up today. One of those prime examples where it somehow heightens the listening experience. And even without the video, ‘Shutterbugg’ has always been a hit. Not in the mainstream, commercial way (although if it wasn’t that, it shoulda been), but in the way that it immediately caught my attention ’cause of the musical elements and all.

The track’s an ode to the good times had by the ladies and gentlemen of the nightclubs, with Big Boi calling out to all them to get to dancing, “throw [their] deuces” (make peace signs) for the titular “shutterbuggs” (paparazzi). Big Boi delivers two great verses, the first in which he tells us how he’s the coolest person you know, with the second taking place from his point of view while in the club. Not sure if Cutty ever did anything after this song, but he has a nice little feature for the bridge. But what I always thought was the real highlight of the whole thing was the predominant use of the talkbox. In the 2000s, I don’t think anyone was using the talkbox anywhere in any kind of music. But suddenly here it was and used to great effect. The whole track is a sort of throwback in terms of the instruments used, and yet has always continued to sound so, so fresh.

#1202: Big Boi ft. B.o.B & Wavves – Shoes for Running

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Thinking about how to approach today’s song, I questioned for a moment, “How did I actually come to know this one?” Thankfully, I laid the backstory out in the first post I wrote for a song from Big Boi’s Vicious Lies and Dangerous Rumors way, way back in this blog’s early days. It’s been more than a decade since that LP was released. It doesn’t get talked about all that much. I remember it wasn’t that widely praised when it first came out too. I’m sure Wikipedia has sources to reviews of the time. I want to say I recall one in particular that put a highlight on the numerous collaborations with indie acts on there. Whether it was spun in a negative or positive way, that’s where you lose me. But one track on there which comes under that collaborative label is ‘Shoes for Running’, the 11th number in the running, featuring B.o.B and Nathan Williams of indie rock band Wavves.

Again I’m speaking more than a decade on, but when I inadvertently found the album on Spotify and played through it that first time, ‘Shoes for Running’ was one of the few on there that stuck out to me. The instrumental, produced by Williams, is quite cheerful and upbeat in nature. People are whistling and a group of children are included in the proceedings. But it runs against the downbeat lyrical content that focuses on the inevitability of death and the poor revolting against the rich. The track has a catchy chorus, one that I witnessed people slating on various YouTube comments and other forum-like places, but to me it was always good. B.o.B might be an artist whose relevance was left behind in the 2010s, but he had his time and he does a fine job on his verse here. And well, I don’t have to say much about Big Boi because we all know. For the longest time I thought B.o.B was singing the verse before the final chorus. I found out it’s Big Boi just recently. The guy could sing too, jack of all trades.

Well, I don’t have much else to say about the tune itself. I can tell you that this’ll be the last track from Vicious Lies… that I’ll be writing about on here. I revisited it relatively recently, and found it was very enjoyable to listen to. I think the dominance of features by indie acts over other hip-hop artists is what may have turned some people away. There’s also the very obvious attempt at the radio-hit song with ‘Mama Told Me’ with Kelly Rowland. You could probably miss me with that one. But all in all, Big Boi doesn’t disappoint in the slightest. Fine hooks in every tracks. I wouldn’t say it beats Sir Lucious Left Foot…. But I think its due time that people at least gave Vicious Lies… another go if it’s been a while.

#921: Big Boi ft. B.o.B & Joi – Night Night

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Who would wanna go back to 2010? In some ways I wouldn’t mind, in others the answer would be a big nope. But it wasn’t such a bad time to be alive. I think there was some optimism going into what was a new decade. Plus there was all the new music to look forward to. That year saw the release of Big Boi’s debut album, Sir Lucious Left Foot: The Son of Chico Dusty, his first since OutKast fizzled out about four years prior. Had it not been overshadowed by My Beautiful Dark Twisted Fantasy a few months later, it was probably bound to go down as the greatest hip-hop album of that year. It’s an album where Big Boi’s flexing on almost every track, telling the listener how good he is at his craft, how other rappers should just stop when they come up against him. No surprise he does it here on the album’s 12th track, ‘Night Night’.

My first experience with the track would have been in 2010 when a friend of mine from school told me I’d be into it. He was always obsessed with finding the newest hip-hop/R&B music, and he knew I was into that stuff to, so just passed on the word. Went to YouTube and ‘Night Night’ was there, but was uploaded with a higher pitch so it could get past copyright laws. You could get away with that back in those days. In fact, it was very similar to this. So for a few years I thought that’s how the song was recorded. But even then I thought the track sounded good. B.o.B came in clutch on the hook. This was when it was cool to listen to B.o.B, before he went on about how he believed the world was flat and had beef with Neil deGrasse Tyson. The instrumental slapped, still does I believe, carried by that driving rhythm and those horn-like synthesizers. The general gist of the entire track is that Big Boi’s going to put his competition to sleep with his bars and flows, hence the song title. Not in the way that they’ll be bored. More in the stunned-into-submission-that-they-lie-down-and-never-try-again kind of way.

It wasn’t for a couple years that I listened to the album in full and was surprised by how it really sounded. GCSEs and exams got in the way. Either way, the song still holds up as it did 12 years ago. I use Spotify, do with that information what you will, and I’m really surprised to see that the track has the least amount of listens on the album. Even less than the minute and a half intro song that starts it off. I’ve always thought the track was potentially single worthy. I can only put it down to the skit at the beginning. Probably should have been tacked onto the end of the preceding song. It lasts only ten seconds though. I guess people don’t have the patience anymore.

My iPod #380: Big Boi ft. Vonnegutt – Follow Us

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Honestly, I got nothing to say about this track. I heard it when I was listening through “Sir Lucious” for the first time, and it sounded like a highlight to me.

On a lot of tracks on the album, Big Boi is very boastful and is always eager to tell you just how sick he is. It is no different on this one, going on to compare his rhymes and rapping to a vicious pitbull attack and sending a message to those who thought he wouldn’t do so well solo without his Outkast partner André 3000. Well he proved them wrong, and along with fellow label act Vonnegutt (or at least that group’s lead singer) he calls to you to follow him and listen to this song and other good music in general, because that is the only way you will learn.

This is a good hip-hop song, from a great hip-hop album. Admittedly, I don’t know all the words to the verses and only sing along to the chorus…. but I still know good music when I hear it. This qualifies.