What do you after your ground breaking rap-duo sells 11
million copies in a calendar year? You branch out and give back – that’s what. Big
Boi
, one half of the A-T-L supergroup OutKast, has done exactly that
with Big Boi Presents Got Purp? Vol 2.

Got Purp? Vol 2 is a symphony of sound, almost totally unrestricted by
traditional Hip Hop boundaries. Nearly the entire Dungeon Family
represents on this compilation, including its newest addition Bubba Sparxxx,
giving it a diversified and refreshing overall appeal. Woven through it all is
Big Boi’s
vintage touch: clever, staccato rhymes with a smooth touch of
East Point Cool.

“Body Rock” is a familiar
bass-heavy anthem about club life, big cars, and “sippin on that purple”
featuring Killer Mike. “Oh No”
features Bubba Sparxxx crediting the Dungeon Family with
everything from coining the phrase “dirty south” to inventing sliced bread, all
while poking fun at the fact that OutKast’s other half (Andre 3000)
is conspicuously missing from the Got Purp? project. Similarly, “Kryptonite (I’m On It)” features Big
Boi, Killer Mike, Blackowned C-Bone
and Rock-D, and has generated
the most airplay so far. However, it’s tracks like “Me, My Baby & My Cadillac” and “Claremont Lounge” that make
this disc stand out, providing a smooth counterbalance to some of the heavier
production on the album.

“Me, My Baby &
My Cadillac” is a classic Sleepy Brown serenade that makes you
feel like somehow everything is going to be all right. “Claremont Lounge” is a Bubba Sparxxx/ Killer Mike/ Cool
Breeze
collabo that consists of each telling a story about a different
encounter at Atlanta’s
famed nightspot. “808” features
a less-than-trill cameo from Bun B, and is mostly a reservoir of wasted
energy. Along with the silly (yet characteristic) interludes, it constitutes
the “skip-able” tracks on the album.

Quietly, the best part of this album comes from newcomer Janelle Monae,
whose featured vocals on “Lettin’ Go”
and “Time Will Reveal” leave
you wondering where you’ve heard that voice before. Her voice is somehow reminiscent
of every female singer from the ’60s & ’70s: light and carefree, yet full
of conviction. In fact, this album’s major contribution is that it takes you
back – back to when “Southern” was not a synonym for “crunk”, and the music was
just another reflection of one particular way of doin’ thangs.