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Antwan André Patton (born February 1, 1975 in Savannah, Georgia), better known by his stage name Big Boi, is an American Grammy Award winning rapper, producer, actor and half of the critically and commercially successful hip hop duo OutKast. Big Boi met André 3000 while attending high school in the 1980s and the two eventually joined forces as OutKast and signed with LaFace Records. After six successful albums as a duo they both decided to work on solo projects Read more on Last.fm
Demands repeated listens. The collaborations with Phantogram clearly stand out. Those songs are the move inventive and original sounding.
It’s hard to go wrong with Ludacris and TI on the track, “In The A.” Luda shows us he still has the verbal wordplay skills and trademark humor.
What stands out more than anything is the joy on this record. You can just hear the fun Big Boi had with his collaborators.
One of the best of 2012.
It’s albums like this that make me proud to be from the A.
Definitely a solid follow-up to “Sir Lucious…”, Antwan has continuously shown the hip-hop community what it is to be on top of your game. There’s several hits from this record that I’m sure will find their way on the charts, but not without a slight initial reluctance from the general public.
On his last solo outing, Antwan placed himself firmly on equal footing with Andre as a lyricist (though it’s still apples and oranges). On this one, he proved that his musical mind deserves the very same reckoning. It’s not as wild as The Love Below, but General Patton has always seemed a purist in comparison to his shoulderpads-and-shag-carpet-pants-donning partner in crime. Here, the last of my remaining preconceived notions about Big Boi have melted away. He’s light years ahead and deserves to be recognized as such. Twenty years into my career, I hope I, too, am better than I’ve ever been.
I think Big Boi just claimed his place as a hip-hop Godfather.
This record will probably take some time for the general public to digest. It alternates between—and even blends—party hip-hop anthems and ethereal electronica. In finding a way to make these transitions, ‘Vicious Lies…’ begins to make you wonder why other efforts in the genre are just 14 variations of the same hook/verse/hook pattern with some speaking tracks in-between.
Is this for everyone? Absolutely not. But, that’s what makes great music.