To call 's follow-up to their 2000 masterpiece the most eagerly awaited hip-hop album of the new millennium may be hyperbole, but not by much. In its kaleidoscopic, deep-fried amalgam of Dirty South, dirty funk, techno, and psychedelia, was fearlessly exploratory and giddy with possibilities. It was hard to imagine where the duo was going to go next, but one possibility that few entertained was that and would split apart, each recording an album on his own and then releasing the pair as the fifth album,, in the fall of 2003. Musixmatch Plugin For Poweramp Download Free there. Although both albums have their own distinct character, the effect is kind of like if issued as one LP of tunes, the other of songs -- the individual records may be more coherent, but the illusion that the group can do anything is tarnished.

By isolating themselves from each other, and diminish the idea of slightly, since the focus is on the individuals, not the group. Which, of course, is part of the point of releasing solo albums under the group name -- it's to prove that the two can exist under the umbrella of the aesthetic while standing as individuals. Thing is, while it would have been a wild, bracing listen to hear these 39 songs mixed up, alternating between and cuts, the two albums do prove that the music can be solo in execution but remain records through and through. Both records are visionary, imaginative listens, providing some of the best music of 2003, regardless of genre. If conventional wisdom, based on their public personas and previous music, held that 's record,, would be the more conventional of the two and 's the more experimental, that doesn't turn out to be quite true. From the moment kicks into gear with 'GhettoMusick' and its relentless blend of old-school 808s and breakneck breakbeats, it's clear that is ignoring boundaries, and the rest of his album follows suit.

It's grounded firmly within hip-hop, but the beats bend against the grain and the arrangements are overflowing with ideas and thrilling, unpredictable juxtapositions, such as how 'Bowtie' swings like big-band jazz filtered through, how 'The Way You Move' offsets its hard-driving verses with seductive choruses, or how 'The Rooster' cheerfully rides a threatening minor-key mariachi groove, salted by slippery horns and loose-limbed wah-wah guitars. It's a hell of a ride, reclaiming the adventurous spirit of the golden age and pushing it into a new era. By contrast, isn't so much visionary as it is unapologetically eccentric. And as the cocktail jazz pianos that sparkle through the first few songs indicate, it's not much of a hip-hop album. Instead, has created the great lost album -- the platter that the Purple One recorded somewhere between and.

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