Aquemini
From Wikipedia, the free encyclopedia
| Aquemini | ||
 |
||
| Studio album by OutKast | ||
| Released | September 29, 1998 (US) | |
| Recorded | ??? | |
| Genre | Southern hip hop/soul/funk | |
| Length | 74:47 | |
| Label | LaFace/Arista | |
| Producer(s) | Organized Noize, Babyface and OutKast | |
| Professional reviews | ||
|---|---|---|
|
||
| OutKast chronology | ||
| ATLiens (1996) |
Aquemini (1998) |
Stankonia (2000) |
Aquemini is a 1998 album by hip hop group OutKast (Big Boi, André Benjamin). The album was critically acclaimed virtually across the map for its innovative, natural rhymes and funky, characteristically Southern beats, courtesy of Organized Noize, the record producers. Guest musicians on the album include Witchdoctor, Raekwon, Cee-Lo, Erykah Badu and George Clinton. The album was certified platinum in November 1998, only two months after its release, and was certified double platinum in July 1999. On the Billboard music charts, Aquemini peaked at #2. Producers on the album include Babyface and Organized Noize, as well as André and Big Boi themselves on nine out of the fourteen tracks.
Aquemini (a portmanteau of the two performers' Zodiac signs: Aquarius (Big Boi) and Gemini (André)) is a vaguely futuristic, synthesizer-drenched album punctuated with anthemic choruses and bluesy beats, as well as a memorable spoken word poem in the song "Liberation". In contrast to much of hip hop music in the late 1990s, OutKast refused to tone down the regional qualities, like the harmonica break on "Rosa Parks" and distinctive Atlanta slang and diction throughout. At the time, mainstream rap was almost entirely dominated by Puff Daddy's New York-based Bad Boy label, which was criticized for putting out music hip-hop fans claimed was commercially watered-down both lyrically and in terms of production. OutKast's sound, while outwardly similar to some other Southern rappers like Master P or Goodie Mob, was distinct, yet hook-laden and accessible, and sounded fresh at a time of stagnation in the hip hop community.
Aquemini received critical praise then virtually unheard of for a mainstream hip hop album, who enjoyed the lack of a materialist focus on bling bling like much of mainstream hip hop of the time, and Rolling Stone even declared that the album proved "that you don't have to sell out to sell records"[1], while PopMatters agreed, claiming "(i)n a year where excess was romanticized by nearly everyone, OutKast was one of the few commercial groups concerned with more than just 'the Benjamins'"[2]. Q magazine called Aquemini "(b)reathtaking in its ambition... (Aquemini) makes most rappers seem drab and doltish in comparison" [3], while others have identified the album as alternative hip hop or compared it to progressive rock and bands like Pink Floyd [4]. Nude as the News called "Rosa Parks" "one of the best rap songs ever crafted" [5].
Contents |
[edit] Track listing
| Track listing | |||
| Title | Songwriter(s) | Performers | Samples |
|---|---|---|---|
| "Hold on, Be Strong" | The Four Phonics | ||
| "Return of the 'G'" | André Benjamin Giorgio Morodor Organized Noize Big Boi |
André (first 4 verses) Big Boi (last two verses) |
Giorgio Moroder's soundtrack to Midnight Express |
| "Rosa Parks" | André Benjamin Big Boi |
Big Boi (1st verse) André (2nd verse) | Curtis Mayfield's Superfly |
| "Skew It on the Bar-B" | André (1st verse) Raekwon (2nd verse) Big Boi (3rd verse) |
||
| "Aquemini" | André Benjamin Big Boi |
Big Boi (1st and 3rd verses) André (2nd and 4th verses) |
|
| "Synthesizer" | André (1st verse lead, 4th verse) George Clinton (1st, 3rd and 5th verses) Big Boi (2nd verse) |
Sly & the Family Stone's "Rock Dirge" | |
| "Slump" | Cool Breeze Big Boi Backbone |
Backbone (1st verse) Big Boi (2nd verse) Cool Breeze (3rd verse) |
|
| "West Savannah" | Organized Noize Big Boi |
Big Boi | |
| "Da Art of Storytelling (Part 1)" | André Benjamin Big Boi Mr. DJ Sheats |
Big Boi (1st verse) André (2nd verse) |
|
| "Da Art of Storytelling (Part 2)" | André Benjamin Big Boi Mr. DJ Sheats |
André (1st verse) Big Boi (2nd verse) |
|
| "Mamacita" | Angelic Voices of Faith André Benjamin Masada Hogans Organized Noize Big Boi |
Masada (1st verse) André (2nd verse) Witchdoctor (3rd verse) Big Boi (4th verse) |
|
| "SpottieOttieDopaliscious" | André Benjamin Pat Brown Big Boi |
Pat Brown (1st verse) André (2nd verse) Big Boi (3rd verse) |
|
| "Y'All Scared" | T-Mo (1st verse) Gipp (2nd verse) André (3rd verse) Big Boi (4th verse) Khujo (5th verse) |
||
| "Nathaniel" | |||
| "Liberation" | André (1st verse) Big Boi (2nd verse) Cee Lo (3rd verse) Erykah Badu (4th verse) Big Rube (5th verse) |
||
| "Chonkyfire" | Big Boi (2nd verse) | ||
[edit] Song Descriptions
Hold on, Be Strong is the introduction to the album; it is an ominous and forbidding orchestral chant (if you listen closely, the choir is singing the song title), setting the tone and pace for the rest of the album.
Return of the 'G' follows this, which sets the primary lyrical theme of the album, the duality of real-life and fictional celebrity personas. A portentous, booming beat begins the song, and then André begins rapping, criticizing them niggas that's on that blow and hypocrites who claim to be gospel-rapping/but they be steady clappin' when you talk about/bitches and switches and hoes and clothes and weed. The last line is aimed at rappers who claim to be "gospel-rapping" (i.e. imparting positive morals and values) but are seduced by the easy popularity of rapping about "bitches and switches and hoes and clothes and weed", which André opposes, suggesting let's talk about time travelin'/rhyme javelin/somethin' mind unravelin'. The song ends with a skit where a man tries to sell a couple of thugs a bootleg copy of Aquemini. One of the thugs complains (f)irst (Outkast) was some pimps, then some aliens or some genies or something, then they be talking about that black righteous space (this refers to Southernplayalisticadillacmuzak and ATLiens, respectively). The exchange illustrates André's point from the song, namely that mainstream audiences do not want to purchase music that makes them think about issues like Black Power, materialism and environmentalism, preferring simple lyrics devoted to pleasures like love, possessions, sex or drugs.
Rosa Parks, named after the legendary civil rights activist Rosa Parks, is a funky, catchy song rooted in the bluesy chorus:
- Ah ha, hush that fuss/Everybody move to the back of the bus/Do you wanna bump and slump with us/We the type of people make the club get crunk
The song's verses describe a bizarre, psychedelic experience with a Roma woman who gives André advice: she hipped me to some life game/To stimulate then activate the left and right brain/said baby boy you only funky as your last cut/you focus on your past your ass will be a has, what. The song includes a powerful harmonica break. After the song, there is a humorous skit where Raekwon and Big Boi discuss the fundamentals of the hip hop business, in some ways summarizing the Roma woman's advice from the song. Some time after the release of the single, persons representing Rosa Parks sued the group for using her name without permission; the case was dismissed several years later. The song was later nominated for a Grammy Award for Best Rap Performance by a Duo or Group.
Skew It on the Bar-B includes a verse by Raekwon (of The Wu-Tang Clan), concluding with a climactic staccato
- Glocks blows leave 'em baggy and collect spot grows/Keep a watch froze, lean on the yacht and wash clothes/Let the chop blow, bag a half a block plot grows, what?
Aquemini is a slow, mellow beat as the duo of André and Big Boi describe their relationship and timely matters of racial politics.
- Twice upon a time there was a boy who died twice/and lived happily ever after but that's another chapter/live from home of the brave with dirty dollars/and beauty parlors and baby bottles and bowling ball Impalas/and street scholars that's majoring in culinary arts/You know how to work bread, cheese & dough
This is a distinctly OutKast verse, with the endless list of assonating items, some strangely juxtaposed (bowling ball Impalas), or a play on words, as in culinary arts...bread, cheese & dough (all slang terms for money). The song climaxes at a false ending, right before the beginning of the second verse. OutKast's spacey, self-referential lyrics can be exemplified by André's:
- Alien can blend right on in wit' yo' kin/look again 'cause I swear I spot one every now & then/It's happenin' again wish I could tell you when/André this is André y'all just gon' have to make amends
Synthesizer is an apocalyptic, foreboding song with a memorable guest spot from legendary funkster George Clinton. Lyrically, this is one of the album's most well-developed songs. The first verse focuses on André Benjamin, singing about a lonely man in some unnamed city with an aimless life: Life is made of half illusion (illusion)/Forty percent confusion (confusion). The parentheticals here and throughout the verse are George Clinton in the background and seem to be almost sarcastic, pessimistic comments on the subject's extreme poverty, despair and hunger. In the second verse, Big Boi criticizes an ill-tempered thug, warning him:
- ...niggaz think about the trigger before you pull it/on liquor stores and banks/Them folks got more than enough bullets to put that ass/off in the slang, don't claim no gang
Then, a young sounding girl's voice comes on reading, in what seems to be a news report, an advertisement for a special on the dangers of technology, asking Dr. Scholl's, or Dr. Jekyll and Mr. Hyde?/Are we digging into new ground/or digging our own graves? Story at 11. This is followed by an old verse from George Clinton (originally off The Clones of Dr. Funkenstein), where he expresses doubt about the value of modern society's banality and oppression:
- Conceived under the influence of toxic wasted doctors/Computer buggin debuggin device-a and vice versa/and various viruses/Performing with laser-like precision a verbal incision/For a lingustic ballistic lobotomy/Mind-fuckin you, a psycho-sodomy/of the medulla oblongata/Exit your mind down your spine and out your behind/Fuck you
The last rapped verse consists of André expressing his own doubts about a new "synthesized" future where racial and cultural identity mean nothing (My nose ain't right/Think I need a new one/Just take your pick, a yellow, red/A black or a blue one). He is angry at the swiftly-moving and uncontrollable world ruled by an elite that maintains the status quo: Thought provokin' records radio never played dem/Instant, quick grits, new, improved/Hurry hurry, rush rush, world on the move/Marijuana illegal but cigarettes cool. The last sung verse, by George Clinton, is an ode to "Cybersexy Wendy", beginning with Clinton's trademark juxtaposition of two disparate elements: sex and computers, in this case: Ghetto boy horny tonight/SCSI with a booty in a cage/Problem sinkin' down and stretchin' out. After the song is another humorous skit, where Big Boi attempts to buy marijuana off his dealer, haggles over the price and leaves without buying anything.
Slump is an anthemic, sing-along recollection of older and better times, reminisces of a romanticized version of the past by an old-time thug that has forgotten the sadness and remembered only the good times of strength and power at the top of the hill, urban beauty and friendship.
- Picture the scene, these fiends with fire/Ten dollar dreams, scheme, for a sack of that, believe that
- I'm strickly dressin' dirty dirty/Gonna represent it to the t-top/Born and bred up on the street top/Get to the money and the sweet spot/and forever hollerin'/'Hootie Hoo!' when we see cops (hootie hoo warns others in an area that police officers have been sighted)
The second verse is a slightly less romanticized version of thug memories. The beginning showcases OutKast's talent for subtle political content: Cops and robbers niggaz be bound to get them dollars and cents/They get in a slump like baseball players/when they short on they rent ("baseball" being a play on words, referring both to the sport and smoking crack cocaine), subtly equating corrupt law enforcement and criminals, each stealing to feed their habits. The verse ends with a major blow But legislation got this new policy/Three strikes and you're ruined.. now where your crew at? which is again, a subtle political jab at rehabilitation for drug offenders that disrupts the addicts' lives more than the addiction itself. The third verse, then, showcases the depths of thug life, but also the redemption. First, the singer, Cool Breeze, warns And quit re'in-up and standin on this same old block/before our gangsta-ass partna get both of us shot as the old gang has fallen apart and can no longer hold. However, optimism holds out as he decides I think when I finish sellin my last sack/I'ma take some of this money, go and give some back/Cause people won't forget about the time you gave, knowmsayin?/And start thinkin' bout a path to pave and the beat fades out to the song of a newborn baby crying, symbolizing the possible rebirth for ghetto communities.
West Savannah is a biographical song (originally left off of Southernplayalisticadillacmuzak) rapped by Big Boi, describing the singer's teenage mother and broken home, living with his grandmother. Soon he begins using and selling drugs and food stamps, searching for a life in the ghettos. Like in the previous song, the chorus of "West Savannah" is anthemic and nostalgic: Now now now nine in my hand, ounce in my crotch/Diggin the scene with a gangsta slouch, mmmmhmmmm! The last verse then describes life as a southern thug: niggaz in the South wear gold teeth and gold chains/Been doin it for years, so these niggaz ain't gone change and defends the singer's lifestyle: You might call us country, but we's only Southern/And I don't give a fuck, P-Funk spot to spark another. The song ends with a skit where two young men call a girl after teasing each other's "game"; they rudely come onto the girl, who threatens to cut them up.
Da Art of Storytellin' (Pt. 1) is one of the most memorable songs, with a unique, thin and ominous beat and a vaguely menacing tone of voice. The first verse describes a mixed-up encounter where the singer finds his girlfriend at the mall. Jealous, he ends up with a different girl but is also in need of contacting a third girl, the mother of his child. The second verse describes a tragic young girl called "Sasha Thumper", a childhood friend of the singer. As youngsters, the pair played together all night:
- Three in the morning yawnin dancin under street lights/We chillin' like a villain and a nigga feelin right/in the middle of the ghetto on the curb, but in spite/all of the bullshit we on our back starin at the stars above/Talkin bout what we gonna be when we grow up/I said what you wanna be, she said, 'Alive'/It made me think for a minute, then looked in her eyes
After the singer grew up and became a rapper, he looked for her at his shows, hoping one day I would see her standing in the front row. Instead, she is found in the back of a school/needle in her arm/baby two months due. The song ends with a skit, where a young girl is frightened of a thunderstorm and calmed by her grandmother, who tells her it is just the Lord doing His work.
Da Art of Storytellin' (Pt. 2) tells the tale of a world on the brink of apocalyptic change. In the first verse, Andre warns the listener of the impending demise of "Mamma Earth." He prepares to meet his family at the Dungeon, seemingly for the protection provided by the unity of his friends and family, as well as to work on making some music. He ends the verse with a very graphic analogy of how humanity's mishandling of the planet compares to a man raping and sexually humiliating a woman.
Verse 2 follows with a similar lyrical tirade by Big Boi, who has also has a warning for the listener. He states that the majority of the populous has become complacent to the changes in the world. He however, has not and is still prepared to protect his family. In the light of this impending danger, he has rejected materialism and is now more concerned with the immediate safety and well-being of his family. He and his family are also on their way to the Dungeon. Although the he knows the end is near, he admits that we will never know when it will happen until it actually does happen. As the general state of things in the world declines, he and his family stay strong and are even able to continue to express themselves through their music. He then reveals that this "last recording" that he is working on is in fact the track itself, by describing it in the last line:
- The beat was very dirty and the vocals had distortion.
Mamacita takes a somewhat different turn, focusing on romantic and sexual affairs. The chorus is a male and female verse exchanging pet names with alternating lust, love and hatred: Mamacita! Pappadonna! Mamacita! Pappadonna!. The first verse, by female rapper Masada, is a strong woman extolling her own virtues and abilities to distinguish a good lover from a bad. She brags about her own ability to defend herself: I'm from the Bricks we get kicks, offa loud gun shot licks/Fuck stones and sticks, loudmouths get nixed. The second verse is André criticizing women he views as being hypocrites: Niggaz all dogs? If niggaz all dogs, then what you call broads?/Felines in heat, meowin for some yawn balls and complaining about unreasonably critical women: But she's back at you like a pit/mixed with a chihuahua how much meaner can you get?/Don't let her have her way with you she's gonna have a fit/You're the candy apple of her eye and bout to get bit. Though the end of this verse seems to advocate domestic violence, a close look at the lyrics reveals the inherent negative judgment of spousal abuse.
- grab her by her neck, throw her on the wall/Say, 'Bitch don't ever disrespect me never not at all'/These simple words can put a pause to half of the applause/Them black ball laws of balance at all cost
The third verse is overtly sexual, as the lovers now make passionate intercourse: I got somebody's daughter in the Doctor headquarters, chillin/Prepare for this sex drillin, she said somethin' in Spanish/Got me feelin' mannish, ending with a climactic couplet: Never been a lame, horny, ever since I been a tiny/Fuckin with niggaz with ageless bodies/Talkin to me, while I squeeze it bare/Let me talk to you while I run my fingers through your hair.
Spottieottiedopaliscious is a jazzy and funky song, largely instrumental in the beginning. This song is unusual in that it uses live instrumentation, including drums, guitars and trumpet. With silky R&B vocals, this song is most reminiscent of early 1970s crooners like Marvin Gaye and Curtis Mayfield, with a powerful, triumphant trumpet break. The second and third verses are potent, witty spoken-word pieces. Some highlights of the psychedelic spoken poetry, a distinctive characteristic of OutKast:
- I was so engulfed in the Old 'E'/I never made it to the door you speak of hard core (Old E refers to Olde English 800, a brand of very cheap malt liquor)
- this fine bow-legged girl fine as all outdoors/lulls lukewarm lullabies in your left ear/competing with "Set it Off," in the right/But it all blends perfectly let the liquor tell it (notice another OutKast characteristic: the alliteration of "lulls lukewarm lullabies")
- eyes beaming like four karats apiece just blindin' a nigga/felt like I/chiefed a whole O of that Presidential/My heart was beating so damn fast/never knowing this moment would bring another/life into this world
- Can't gamble feeding baby on that dope money/might not always be sufficient but the/United Parcel Service & the people at the Post Office/didn't call you back because you had cloudy piss/So now you back in the trap just that, trapped/Go on and marinate on that for a minute
Y'All Scared is about the inherently frightening dangers of changing one's set habits. The first verse focuses on a gangsta, trying to break away from the violence of his old life:
- To come in packs, to feed, takin what we need/to succeed, you know what we gon' do, on this road/We gon' explode, now are you ready for this territory/Makin our life one big story to tell/Reality amongst the youth, long as, breath is in my body/I got proof, I'm not scared
The second verse is an outcast or drifter, having fallen from grace and in need of redemption:
- went from clean to muddy/Polished to shine, the season to rhyme/Been down like brown, like dirt to the ground/Been lookin for love, now I bubble like suds/Others flew sky high, while others were duds/Live high up on the hills, to escape the floods
The third verse begins with an interesting device, paragraph indent is spoken in an onomotapoetic fashion, as though the singer is describing the actions of writing the words. This is followed by a denunciation of racial politics in America, criticizing the white mainstream for ignoring crack cocaine when it was only killing African-Americans, then panicking over the "crack epidemic" when white teens started using it. The fourth verse is a frightened rapper (Big Boi), unsure if he will be able to live up to the expectations caused by his last albums, mentioned by name as OutKast's previous two albums: Southernplayalisticadillacmuzak and ATLiens. The last verse is again a condemnation of joyless, gangsta lives, with time spent imprisoned, in dire poverty and in fear of death.
Nathaniel is apparently a man rapping, a cappella, over a telephone while busy sounds of movement occur in the background. The lyrics indicate that he is either in prison or in the military, or perhaps a military prison. He is frustrated, not used to the conditions (I'm used to smokin chronic movin pounds) and getting away from people who are not his caliber: These niggaz called ballers sellin dimes and nicks/I can't wait til the day they let me go/So I can eat some steak and shrimp/grab a mic, and bust a flow.
Liberation is perhaps the most beloved song on the album among OutKast fans, both for the innovative music and groundbreaking lyrics. Divided into three parts, each drawn together by a piano-driven, haunting melody, the song is unusual (for most rappers, though less so for OutKast) for using live instruments instead of samples and synthesizers. The first section is sung in an ominous yet harmonic fashion, describing, in three verses, a man, tired from age and depression and boredom, unable to gain the energy or courage to make the difficult choices he once took for granted. He feels himself sinking into middle-aged obscurity: And I done took so much, not givin' my glory/Now have a choice to be who you wants to be. Erykah's Badu's (note: she was dating André) verse, the fourth, and the second movement of the piece, begins after a climactic break to the repeated line (s)hake that load off. She sings in a silky, soulful voice, about a successful singer, dealing with the pressures of fame. Contrasted with the lack of success of the first section, the character described here seems to be a hero, but evidently, he does not enjoy his rich and famed life. In spite of his success:
- First class broad treat you like a nigga po/You wanna say "Wait!" but you're scared to ask/as your world starts spinning and it's moving fast
Unable to control his life, the subject of this verse apparently gives up, sinking into the same banal, everyday and humdrum existence of the first verse. There is a more overt sense of condemnation in this verse, particularly in the last two lines: You shake that load off and sing your song/Liberate the minds, then you go on home.., which seems to be implying that music can have a tremendous power on its audience, and musicians are capable of using that power to awaken the masses to the possibilities of life, or use it enforce the status quo. The subject of the verse chooses the latter.
The third section is the most interesting. A spoken word poem with rhymes at a dizzying rate, this is perhaps the most memorable verse of the album. It seems to be about both the first two characters (who are, also, perhaps the same person), criticizing them ever more harshly with each line. Some memorable lines:
- I must admit, they planted a lot of things/in the brains and the veins of my strain/Makes it hard to refrain, from the host of cocaine
- get beheaded when you falsely dreaded/Melanin silicon and collagen injected
- you lookin at the canvas of life/and not through the peephole of mortality/Single-minded mentality/Gettin over on loopholes/Gettin paid two-fold on technicalities/Clickin your heels, scared to bust how you feel/Packin' steel/Pickin cotton from the killing fields with no toe
- your cowardly lies never defyin the jackals who babble/Runnin' with they pack, tail between your legs/Though the man on your head say the story/As you downplay your glory/Cacklin, helpin the shacklin of your brethern happen/Just by rappin'.../Libertad
This song is truly one of the most well-respected songs on the album with most critics mentioning it by name. According to an Internet rumor, the early demos of this song were so intriguing that all of the guests on the album wanted to take part in it. Supposedly, Erykah Badu even asked to use it on her next album instead.
Chonkyfire, beginning with a blistering guitar and an infectious, solid beat, is an appropriate ending to the album. A funky rock and roll song with some psychedelic and macho lyrics, bragging about nonsense. Both lyrically and musically, this song shows clearly the influence of P Funk on the development of OutKast's sound: Do you know what brings rats, mice, snakes up out of they hole/Chonkyfire, spliced with rock & roll/You are now entering the fifth dimension of ascension/Our only intention is to take you high, high.
[edit] Personnel
| Contributors | |
| Producers | |
|---|---|
| Producers | OutKast, Organized Noize, Mr. DJ Sheats |
| Executive Producers | OutKast, Babyface, Organized Noize |
| Performers | |
| Lead vocals and rapping | Big Boi, André Benjamin, Raekwon, Erykah Badu, Cee-Lo, Whild Peach, Witchdoctor, Khujo, Joi Gilliam, Jamahr "Backbone" Williams, Big Rube |
| Background vocals | George Clinton, Debra Killings, Jim Smith, Jermaine Smith and Pat "Sleepy" Brown |
| Guitar | Craig Love, Tomi Martin, Martin Terry (electric guitar) |
| Bass guitar | Skinny Miracles, LaMarquis Mark Jefferson |
| Synthesizer | Kenneth Wright, Marvin "Chanz" Parkman (also piano, moog bass) |
| Scratching | Mr. DJ |
| Strings and Woodwinds | South Central Chamber Orchestra |
| Horns | Darian Emory |
| Percussion | Omar Phillips, Victor Alexander (drums) |
| Other performers | Big Gipp |
| Technicians | |
| Programming | Organized Noize |
| Concert Master and Orchestral Arrangements | Charles Veal |
| Engineers | John Frye, Bernasky Wall, Ryan Williams, Jean B. Smit |
| Assistant Engineers | Alberto Perez, Rico Lumpkins, Ralph Cacciurri, Jason Rome, Jason Stokes, Kenny Stallworth, Katy Teasdale |
| Mastering | Brian Gardner |
| Mixing | Josh Butler, Mr. DJ Sheats |
| Mixing Assistant | Claudine Pontier, Shawn Grove |
| Art Direction, Design | D.L. Warfield |
| Design Assistant, Assistant Art Director | Nigel Sawyer |
| Photography | Tom Smugala |
| Coordination | Courtney Taylor |
| Arranger | Mr. DJ Sheats |
[edit] Album singles
| Single cover | Single information |
|---|---|
 |
"Rosa Parks" |
 |
"Da Art of Storytellin' (Pt. 1)" |
[edit] Album chart positions
| Year | Album | Chart positions | ||
| Billboard 200 | Top R&B/Hip Hop Albums | Top Canadian Albums | ||
| 1998 | Aquemini | #2 | #2 | #17 |
[edit] Singles chart positions
| Year | Song | Chart positions | |||
| Billboard Hot 100 | Hot R&B/Hip-Hop Singles & Tracks | Hot Rap Singles | Rhythmic Top 40 | ||
| 1998 | "Rosa Parks" | #55 | #19 | - | #9 |
| 1999 | "Da Art Of Storytellin' (Pt. 1)" | - | #67 | - | - |
