Talk:ATLiens

Verification
Can someone verify the performers on the chart that I made as the tracklisting. I put Andre 3000 and Big Boi as performers of all songs because my sources list the performers as Outkast on every track.

Andre "3000"?
The album sleeve to this album makes no reference that I'm aware of to Andre as Andre 3000. It refers to him as Bin, Binhamin(i), and Dre, in addition to other aliases, but (I'm pretty sure) not as Andre 3000. Would this mean the album was released before he had adopted his primary stage name? And shouldn't that be noted? —Preceding unsigned comment added by 74.137.217.126 (talk) 00:27, 15 May 2009 (UTC)

Yes, Andre changed his stage name at the whole Y2K thing because he was "tired of all that Y2K bullshit", as I remember. The brave celery (talk) 15:31, 11 January 2019 (UTC)

The Atlanta Journal-Constitution review
Transcription using Google News Advanced News Archive Search. The Atlanta Journal-Constitution (Murray, Sonia. C4. September 5, 1996) review of ATLiens (1996):

"Having squarely placed its talents on the national map with its 1993 million-selling debut, "Southernplayalisticadillacmuzik," Atlanta's Outkast ups the stakes with the more thoughtful "ATLiens." What the second album lacks in adventurous arrangements it more than makes up for in lyrical dominance. The infectiously comical first release, "Elevators (Me and You)," is the exception. "Mainstream," "13th Floor/Growing Old" and "Jazzy Belle" set new rules for rappers out to illustrate a young black man's evolution into a sociopolitical force."

- Sonia Murray

Dan56 (talk) 02:05, 27 November 2009 (UTC)

The Hartford Courant review
Transcription using Google News Advanced News Archive Search. The Hartford Courant (Comer, Andrea. 4. November 7, 1996) review of ATLiens (1996):

"POP / ROCK. ATLIENS. Outkast. LaFace/Arista Records. Outkast's Big Boi and Andre originally had 35 tracks for their sophomore effort. But the album was released with 14 songs, the ones they decided were the best. The final result is "Atliens," which uses music with an extraterrestrial feel, as well as a space story insert involving the two performers. "Atliens" also revisits Organized Noize's planet. Noize produced "Southernplayalisticadillacmuzik," Outkast's debut album. The duo's lyrical acumen shines through on "Atliens," particularly on "Elevators (Me and You)," their first single off the album. "Wheelz of Steel" and the title track are also worth a listen. Outkast can be difficult to understand, with their Heltah-Skeltah mumbling and Southern slang. But once you decipher the words, you'll find that the pair's message is often quite personal. "Elevators" is a good example of this, detailing their rise after the success of "Player's Ball," which put Outkast's name in on the hip-hop map. "Atliens" may seem foreign to some, but after a few rotations, the alien feeling wears away, and it's just out of this world."

- Anrea Comer

Dan56 (talk) 02:05, 27 November 2009 (UTC)

The Washington Post review
Transcription using Google News Advanced News Archive Search. The Washington Post (Harrington, Richard. October 11, 1996) review of ATLiens (1996):

"TWO YEARS ago, OutKast introduced its Southern-fried meld of soul and hip-hop with a mouthful of an album titled "Southernplayalisticaddilacmusic" and built on hypnotically relaxed grooves and a fast-paced lyrical drawl that perfectly captured the regional character of this Atlanta-based duo. On "ATLiens," Big Boi and Dre (no, not that one or the other one -- a third one, without a doctorate) may not be the brothers from another planet the album's title, songs and videos occasionally suggest, but it's clear the Mothership did touch down in Georgia. With the help of ace producers Organized Noize (TLC, Goodie Mob), OutKast revisits the sprawling funk sound that propelled their debut to platinum status, but with a more serious and focused lyrical sensibility.

The first single, "Elevators," offers a sing-song meditation on the cyclical ups and downs of success (and of hip-hop itself) cast against common experience. As Dre puts it, "True, I got more fans than the average man but not enough loot to last me/ till the end of the week I live by the beat like you live check to check/ If it don't move your feet then I don't eat/ so we like neck to neck." But rather than accentuating differences, the group reinforces connections and cultural momentum. Other fine tracks include the churchy "U May Die," "Wheelz of Steel" (with a nod to "Planet Rock"), "Decatur Psalm" and "Mainstream," muddied with a little help from Goodie Mob. The raps are generally inventive, clever without being cloying, more proof (if any were needed) that hip-hop innovation isn't just an East-West thang."

- Richard Harrington

Dan56 (talk) 02:05, 27 November 2009 (UTC)

Sorry, I don't understand how Wikipedia works exactly, but the first part of the Legacy section is strange. Who decided they weren't mainstream until Stankonia? The link is simply to an article about the popularity of Stankonia. And even if that were true, what is the purpose of noting it here? — Preceding unsigned comment added by 24.118.29.68 (talk) 05:45, 9 March 2016 (UTC)