Big Boi
Sir Lucious Left Foot: The Son Of Chico Dusty
(Def Jam Recordings)

Though they both effectively released a pair of solo albums under the OutKast moniker with 2003’s Speakerboxx/The Love Below, Atlanta-based rapper Big Boi steps away from his songwriting partnership with André 3000 for the first time to deliver nothing less than a monster album in Sir Lucious Left Foot. The title refers to one of Boi’s numerous alter-egos; two more, ‘Daddy Fat Sax’ and ‘General Patton’, are name-checked as song titles in the album’s first half. The key to this album’s thrilling ride lies within this approach: by taking advantage of the freedom to flit between several personas, the rapper can both shrink and exaggerate his true self. It’s less a schizophrenic episode than a tactic to unlock new songwriting ideas and it's one that works beautifully.

In a decision seemingly born from label-related frustrations - this album was first due out in 2008 - Big Boi leaked two tracks of originally intended for Sir Lucious Left Foot prior to the album's release, in 'Royal Flush' (featuring Raekwon and Andre 3000) and 'Sumthin's Gotta Give' (featuring Mary J. Blige). A slew of pre-release singles would follow, including 'Shine Blockas' (featuring Gucci Mane), 'For Yo Sorrows' (featuring George Clinton and Too $hort), and 'General Patton' (featuring Big Rube). All of which might seem like overkill  if it weren't for the monster lead single proper 'Shutterbug' (featuring Cutty). Built around a compact backbeat and unique usage of the talkbox, Boi’s chorus hook in ‘Shutterbugg’ - “Now party people in the club, it's time to cut a rug / And throw your deuce up in the sky just for the shutterbuggs” - is irresistible. It’s one of the best singles of the 2010, regardless of genre. Unfortunately, André 3000’s only role on this release - despite supposedly recording vocals on a number of tracks before them being removed, another product of label-related interjection - is a production credit on ‘You Ain’t No DJ’, a track driven by a deep backbeat, pinging electronic echoes and clattering percussion samples.

Lyrically, Sir Lucious Left Foot veers between playful braggadocio (as evidenced in Boi’s multiple personalities) and overt sexuality (‘Tangerine’, ‘Turns Me On’). Earlier this year, the rapper guested on another of 2010’s hip-hop highlights: ‘Tightrope’, the lead single from Janelle Monáe’s excellent debut, The ArchAndroid: here, Monáe repays the favour by singing the hook to ‘Be Still’. Jamie Foxx lends his soaring voice to ‘Hustle Blood’, one of the album’s most laidback tracks. It’s not all self-aggrandising, though, nor navel-gazing: Boi touches on Hurricane Katrina (“Yeah, I'm still speakin’ about it 'cause New Orleans ain't clean”) and youth trends (“Why are 75% of our youth readin’ magazines? / Call it fiction addiction 'cause the truth is a heavy thing”) in ‘Fo’ Yo’ Sorrows’, which features smoky guest vocals from funk legend George Clinton.

Big Boi’s self-leaking tactics are understood upon hearing these songs: this is hip-hop of a staggeringly consistent high quality. There are no weaknesses here; they’ve all been written out during a long gestation process, which seems to have worked in the rapper’s favour despite such protestations. Ultimately, Sir Lucious Left Foot belongs in clubs, cars and earphones across the world, not tied up in tedious label negotiations. Thankfully, it’s seen the light of day, and it’s a strong contender for album of the year.

Andrew McMillen


Big Boi - 'Shutterbug'