Aquemini - Musique
Aquemini by Outkast
Outkast
Biographie de l'artiste pour Outkast
OutKast Est Un Duo Américain De Hip-Hop Venu D'Atlanta En Géorgie. Son Style Musical Original Était Un Mélange De Dirty South Et De G-Funk Depuis Lors Le Funk La Soul La Musique Electronique Le Rock La Poésie Le Crunk Le Jazz Ont Été Rajoutés Au Mélange. Le Duo Se Compose D'André « André 3000 » Benjamin Autrefois Connu Sous Le Nom De « Dre » Et D'Antwan « Big Boi » Patton.
OutKast Est L'un Des Groupes De Hip Hop Ayant Le Plus De Succès En Ayant Vendu Plus De 20 Millions De Copies De Ses Six Albums Dont Le Fameux Speakerboxxx/The Love Below Un Double Album Contenant Un Album Solo De Chacun Des Membres Du Duo. Speakerboxxx/The Love Below Est L'un Des Quatre Albums De Hip-Hop À Avoir Jamais Été Certifiés Disque De Diamant Aux USA Soit Plus De 10 Millions D'unités . En Dépit De Leur Succès Commercial Ils Ont Maintenu Une Approche Expérimentale Dans Leur Musique Et Sont Largement Félicités Pour Leur Originalité. Benjamin Et Patton Sont Allés Au Lycée De Tri-Cities Ensemble À East Point Géorgie Et Sont Devenus Des Rivaux Musicaux Se Provocants Dans Des Batailles De MC Régulièrement. Ils Se Sont Par La Suite Associés Et Ont Été Approchés Par Organized Noize Un Groupe De Producteurs Locaux Qui Feraient Plus Tard Des Hits Pour La TLC Et Xscape. C'est En Recherchant Un Mot Dans Le Dictionnaire Que Big Boi Et Andre 3000 Trouvent Le Nom De Leur Groupe "Outkast" En Français "banni" Car Le Rap Game Était Dominé Par Les MC Des Côtes Est Et Ouest Des USA Ce Qui Provoquait Chez Les MC D'autres Région À Se Sentir Banni. OutKast Organized Noize Et Goodie Mob Formèrent Le Noyau Dur De La Dungeon Family.
Par La Suite OutKast A Signé Un Contrat Pour LaFace Records En 1992 Devenant Les Premiers Artistes Hip-Hop Du Label. En 1993 Ils Sortent Leur Premier Single "Player's Ball" Qui Sera Numéro Un Des Charts Rap Américaines.
Frogtoon Musique - Informations sur la chanson: Aquemini
Outkast - Aquemini
Produced By OutKast For Earthtone A Three-Dimensional Aural Massage With A Mystical Hook That Gave Cause To Question Everything You Ever Thought You Believed And To Believe Nothing You Never Thought To Question Mr. DJ On The Album Before Aquemini Me And Dre Grew Dreads. We Went To Jamaica One Time And Took Our Cornrows Out And We Swam In The Ocean And We Decided We Were Never Going To Comb Our Hair Again. After Having Dreads You Realize How People Discriminate Against You Just Because Of The Way You Look. Towards The End Around The Time We Got Ready To Do This Album We Just Cut Our Dreads Off. So That's What Dre Was Referring To When He Says 'Is Every Nigga With Dreads For The Cause?/Is Every Nigga With Golds For The Fall?" He's Just Explaining That You Can't Judge A Book By Its Cover. Andre 3000 I Was A Young Man Searching A Young Black Man So I Was Looking Into Rastafarianism Islam Whatever. I Started To Notice That All The Stories Were Similar It Was More About A Mutual Respect And Exchange Of Energy. When You Rap And Say Anything Kinda Conscious All The Conscious People Approach You. So After ATLiens I Got It All - From Books On Sex To Metaphysics And Religion. But You Also Get Introduced To A Lot Of Fake Phony Ass People And I Addressed It In The Song. You Find Some Of The Fakest People With Dreads Pouring Oils On You. And It's Really Kind Of Mind-Blowing When You're A Young Person And You Start To Find Out Some Of This Is Bullshit So Then You're Just Out There Searching. Big Boi 'Aquemini' Was Just The Meshing Of Both Worlds With Me Being An Aquarius And Him Being A Gemini. It Was Subtle On ATLiens But By The Time We Got To Aquemini It Was Like We Had Two Different Visions That Were Parallel . So The Thing With Us Was To Always Show The Team. Preston Crump Bass Player Dre Was Very Experimental. He Wanted You To Bring In All The Stuff You've Got And I'd Be Like "Yo I Ain't Bringing All That Stuff In The Studio." He'd Say "You Got Some More Effects?" But It Was Cool I Understand Where He Was Trying To Go. Andre 3000 My Biggest Instrument Is My Mouth. I'd Just Lean Over To Preston And Say Ba-Boom Ba-Boom. And He'd Just Kinda Go In On It And Freak It And Make It His Own. There's Always Some Improvisation Involved 'cause I Ask For It. I Want Them To Take My Idea And Make It Better. I Can't Play It And At The Time I Couldn't Create It. They're Accomplished Musicians So You Want Them Around. They Bring Good Ideas. Mr. DJ Me And Dre Started Learning How To Produce Together. We Would Sit Around And Watch Rico And Ray All The Time And It Was Just The Coolest Shit To See Them With The Cigarette Hanging Out One Hand And Just Going In On The Beat Machine - That Was An Art In Itself Not To Mention What Came Out Of The Machine. More Than Knowing What We Were Doing We Were Just Imitating What They Were Doing. We Got The Same Equipment And We Were On The Road Traveling. We Eventually Learned What We Were Doing But For The Most Part We Were Just Going Through The Motions And Trying To Do What They Were Doing And Finally Learned How To Start Producing. Dre Got Really Into It. Dre Doesn't Spend A Lot Of Money On A Lot Of Stuff But Dre Spent A Lot Of Money On Music Equipment. Omar Phillips Percussionist Of Course Back Then We Had The Kind Of Budgets Where We Could Really Just Live At Doppler Studios. It Was Just Eat Live Sleep Music. We Started Recording Around 8 P.M. And We Would Come Out Of The Studio At Like 6 Or 7 In The Morning. We Were All Set Up At The Same Time Which Is Another Great Thing About Those Tracks. There Was Very Little Overdub Involved. What You Hear Is What We Were Hearing. We All Tracked At The Same Time Old-School. Neal H. Pogue That Was The Beauty Of Making All Those Records - Having Musicians Come In And Out. It Was Almost Like A Motown That's What We Had. Or Like A Stax Records Thing. That's What I Loved About It. It Brought Back That Whole Feeling Of Making Records. It Was Organic. That Was One Of My Favorite Mixes Because When Dre Says "It's Him And I/ Aquemini" And There's A Delay I Wanted To Make Sure That Was A Statement. So I Put That Delay On There Just To Make It Bigger. I Always Wanted It To Come Across Like It Was Dimensional Like You Could Actually Put Your Hands Through The Song.
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POPULAIRES
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MIXES
ALBUMS
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Biography - Outkast
OutKast Est Un Duo Américain De Hip-Hop Venu D'Atlanta En Géorgie. Son Style Musical Original Était Un Mélange De Dirty South Et De G-Funk Depuis Lors Le Funk La Soul La Musique Electronique Le Rock La Poésie Le Crunk Le Jazz Ont Été Rajoutés Au Mélange. Le Duo Se Compose D'André « André 3000 » Benjamin Autrefois Connu Sous Le Nom De « Dre » Et D'Antwan « Big Boi » Patton.
OutKast Est L'un Des Groupes De Hip Hop Ayant Le Plus De Succès En Ayant Vendu Plus De 20 Millions De Copies De Ses Six Albums Dont Le Fameux Speakerboxxx/The Love Below Un Double Album Contenant Un Album Solo De Chacun Des Membres Du Duo. Speakerboxxx/The Love Below Est L'un Des Quatre Albums De Hip-Hop À Avoir Jamais Été Certifiés Disque De Diamant Aux USA Soit Plus De 10 Millions D'unités . En Dépit De Leur Succès Commercial Ils Ont Maintenu Une Approche Expérimentale Dans Leur Musique Et Sont Largement Félicités Pour Leur Originalité. Benjamin Et Patton Sont Allés Au Lycée De Tri-Cities Ensemble À East Point Géorgie Et Sont Devenus Des Rivaux Musicaux Se Provocants Dans Des Batailles De MC Régulièrement. Ils Se Sont Par La Suite Associés Et Ont Été Approchés Par Organized Noize Un Groupe De Producteurs Locaux Qui Feraient Plus Tard Des Hits Pour La TLC Et Xscape. C'est En Recherchant Un Mot Dans Le Dictionnaire Que Big Boi Et Andre 3000 Trouvent Le Nom De Leur Groupe "Outkast" En Français "banni" Car Le Rap Game Était Dominé Par Les MC Des Côtes Est Et Ouest Des USA Ce Qui Provoquait Chez Les MC D'autres Région À Se Sentir Banni. OutKast Organized Noize Et Goodie Mob Formèrent Le Noyau Dur De La Dungeon Family.
Par La Suite OutKast A Signé Un Contrat Pour LaFace Records En 1992 Devenant Les Premiers Artistes Hip-Hop Du Label. En 1993 Ils Sortent Leur Premier Single "Player's Ball" Qui Sera Numéro Un Des Charts Rap Américaines. read less
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OutKast Est L'un Des Groupes De Hip Hop Ayant Le Plus De Succès En Ayant Vendu Plus De 20 Millions De Copies De Ses Six Albums Dont Le Fameux Speakerboxxx/The Love Below Un Double Album Contenant Un Album Solo De Chacun Des Membres Du Duo. Speakerboxxx/The Love Below Est L'un Des Quatre Albums De Hip-Hop À Avoir Jamais Été Certifiés Disque De Diamant Aux USA Soit Plus De 10 Millions D'unités . En Dépit De Leur Succès Commercial Ils Ont Maintenu Une Approche Expérimentale Dans Leur Musique Et Sont Largement Félicités Pour Leur Originalité. Benjamin Et Patton Sont Allés Au Lycée De Tri-Cities Ensemble À East Point Géorgie Et Sont Devenus Des Rivaux Musicaux Se Provocants Dans Des Batailles De MC Régulièrement. Ils Se Sont Par La Suite Associés Et Ont Été Approchés Par Organized Noize Un Groupe De Producteurs Locaux Qui Feraient Plus Tard Des Hits Pour La TLC Et Xscape. C'est En Recherchant Un Mot Dans Le Dictionnaire Que Big Boi Et Andre 3000 Trouvent Le Nom De Leur Groupe "Outkast" En Français "banni" Car Le Rap Game Était Dominé Par Les MC Des Côtes Est Et Ouest Des USA Ce Qui Provoquait Chez Les MC D'autres Région À Se Sentir Banni. OutKast Organized Noize Et Goodie Mob Formèrent Le Noyau Dur De La Dungeon Family.
Par La Suite OutKast A Signé Un Contrat Pour LaFace Records En 1992 Devenant Les Premiers Artistes Hip-Hop Du Label. En 1993 Ils Sortent Leur Premier Single "Player's Ball" Qui Sera Numéro Un Des Charts Rap Américaines. read less
16 Artistes Similaires à Outkast - Frogtoon Musique
A Tribe Called Quest Jay-Z Mos Def The Roots Common Danny Brown Clipse Nas Goodie Mob GZA/Genius Ghostface Killah Big Boi Dr. Dre The Notorious B.I.G. Pusha T Anderson .Paak.
Produced by OutKast for Earthtone
A three-dimensional aural massage with a mystical hook that gave cause to question everything you ever thought you believed and to believe nothing you never thought to question
Mr. DJ: On the album before Aquemini, me and Dre grew dreads. We went to Jamaica one time and took our cornrows out and we swam in the ocean, and we decided we were never going to comb our hair again.
After having dreads you realize how people discriminate against you just because of the way you look. Towards the end, around the time we got ready to do this album, we just cut our dreads off. So that's what Dre was referring to when he says: 'Is every nigga with dreads for the cause?/Is every nigga with golds for the fall?" He's just explaining that you can't judge a book by its cover.
Andre 3000: I was a young man searching, a young black man, so I was looking into Rastafarianism, Islam, whatever. I started to notice that all the stories were similar, it was more about a mutual respect and exchange of energy. When you rap and say anything kinda conscious, all the conscious people approach you. So after ATLiens I got it all - from books on sex to [metaphysics] and religion. But you also get introduced to a lot of fake phony ass people, and I addressed it in the song. You find some of the fakest people with dreads pouring oils on you. And it's really kind of mind-blowing when you're a young person and you start to find out some of this is bullshit, so then you're just out there searching.
Big Boi: 'Aquemini' was just the meshing of both worlds, with me being an Aquarius and him being a Gemini. It was subtle on ATLiens, but by the time we got to Aquemini it was like we had two different visions that were [parallel]. So the thing with us was to always show the team.
Preston Crump (bass player): Dre was very experimental. He wanted you to bring in all the stuff you've got and I'd be like, "Yo, I ain't bringing all that stuff in the studio." He'd say, "You got some more effects?" But it was cool, I understand where he was trying to go.
Andre 3000: My biggest [instrument] is my mouth. I'd just lean over to Preston and say: ba-boom, ba-boom. And he'd just kinda go in on it and freak it and make it his own. There's always some improvisation [involved] 'cause I ask for it. I want them to take my idea and make it better. I can't play it [and] at the time I couldn't create it. They're accomplished musicians so you want them around. They bring good ideas.
Mr. DJ: [Me and] Dre started learning how to produce together. We would sit around and watch Rico and Ray all the time, and it was just the coolest shit to see them with the cigarette hanging out one hand and just going in on the beat machine - that was an art in itself, not to mention what came out of the machine.
More than knowing what we were doing, we were just imitating what they were doing. We got the same equipment and we were on the road traveling. We eventually learned what we were doing, but for the most part, we were just going through the motions and trying to do what they were doing and finally learned how to start producing. Dre got really into it. Dre doesn't spend a lot of money on a lot of stuff, but Dre spent a lot of money on music equipment.
Omar Phillips (percussionist): Of course, back then we had the kind of budgets where we could really just live at Doppler Studios. It was just eat, live, sleep, music. We started recording around 8 p.m. and we would come out of the studio at like 6 or 7 in the morning. We were all set up at the same time, which is another great thing about those tracks. There was very little overdub involved. What you hear is what we were hearing. We all tracked at the same time, old-school.
Neal H. Pogue: That was the beauty of making all those records - having musicians come in and out. It was almost like a Motown, that's what we had. Or like a Stax Records thing. That's what I loved about it. It brought back that whole feeling of making records. It was organic.
That was one of my favorite mixes because when Dre says, "It's him and I/ Aquemini" and there's a delay, I wanted to make sure that was a statement. So I put that delay on there just to make it bigger. I always wanted it to come across like it was dimensional, like you could actually put your hands through the song. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.