stankonia free download Stankonia free download. Artist: Outkast Album: Stankonia Released: 2020 Style: Hip Hop. Format: MP3 320Kbps. Tracklist: 01 – Intro 02 – Gasoline Dreams (with Khujo Goodie) 03 – I’m Cool (Interlude) 04 – So Fresh, So Clean 05 – Ms. Jackson 06 – Snappin’ & Trappin’ (feat. Killer Mike & J-Sweet) 07 – D.F. (Interlude) 08 – Spaghetti Junction 09 – Kim & Cookie (Interlude) 10 – I’ll Call B4 I Cum (feat. Gangsta Boo & Eco) 11 – B.O.B. (Bombs Over Baghdad) 12 – Xplosion (feat. B-Real) 13 – Good Hair (Interlude) 14 – We Luv Deez Hoez (feat. Backbone & Big Gipp) 15 – Humble Mumble (feat. Erykah Badu) 16 – Drinkin’ Again (Interlude) 17 – 18 – Red Velvet 19 – Cruisin’ In The ATL (Interlude) 20 – Gangsta Sht (feat. Slimm Calhoun, C-Bone & T-Mo) 21 – Toilet Tisha 22 – Slum Beautiful (feat. Cee- Lo) 23 – Pre-Nump (Interlude) 24 – Stankonia (Stanklove) (feat. Big Rube & Sleepy Brown) 25 – Ms. Jackson (Mr. Drunk Remix) 26 – So Fresh, So Clean (feat. Snoop Dogg & Sleepy Brown) (Stankonia Remix) 27 – B.O.B. (Bombs Over Baghdad) (Zack de la Rocha Remix) 28 – Ms. Jackson (Acappella) 29 – So Fresh, So Clean (Acappella) 30 – B.O.B. (Bombs Over Baghdad) (Acappella) DOWNLOAD LINKS: RAPIDGATOR: DOWNLOAD TURBOBIT: DOWNLOAD. Stankonia free download. Tracklist: 01. Intro.mp3 02. Gasoline Dreams (with Khujo Goodie).mp3 03. I'm Cool (Interlude).mp3 04. So Fresh, So Clean.mp3 05. Ms. Jackson.mp3 06. Snappin' & Trappin' (feat. Killer Mike & J-Sweet).mp3 07. D.F. (Interlude).mp3 08. Spaghetti Junction.mp3 09. Kim & Cookie (Interlude).mp3 10. I'll Call B4 I Cum (feat. Gangsta Boo & Eco).mp3 11. B.O.B. (Bombs Over Baghdad).mp3 12. Xplosion (feat. B- Real).mp3 13. Good Hair (Interlude).mp3 14. We Luv Deez Hoez (feat. Backbone & Big Gipp).mp3 15. Humble Mumble (feat. Erykah Badu).mp3 16. Drinkin' Again (Interlude).mp3 17. _.mp3 18. Red Velvet.mp3 19. Cruisin' In The ATL (Interlude).mp3 20. Gangsta Sh_t (feat. Slimm Calhoun, C-Bone & T-Mo).mp3 21. Toilet Tisha.mp3 22. Slum Beautiful (feat. Cee-Lo).mp3 23. Pre-Nump (Interlude).mp3 24. Stankonia (Stanklove) (feat. Big Rube & Sleepy Brown).mp3 25. Ms. Jackson (Mr. Drunk Remix).mp3 26. So Fresh, So Clean (feat. Snoop Dogg & Sleepy Brown) (Stankonia Remix).mp3 27. B.O.B. (Bombs Over Baghdad) (Zack de la Rocha Remix).mp3 28. Ms. Jackson (Acappella).mp3 29. So Fresh, So Clean (Acappella).mp3 30. B.O.B. (Bombs Over Baghdad) (Acappella).mp3. Free Download: OutKast - Stankonia (Deluxe Version) (2020) Mp3 320kbps [PMEDIA] . Stankonia free download. 1) Select a file to send by clicking the "Browse" button. You can then select photos, audio, video, documents or anything else you want to send. The maximum file size is 500 MB. 2) Click the "Start Upload" button to start uploading the file. You will see the progress of the file transfer. Please don't close your browser window while uploading or it will cancel the upload. 3) After a succesfull upload you'll receive a unique link to the download site, which you can place anywhere: on your homepage, blog, forum or send it via IM or e-mail to your friends. OutKast’s ‘Stankonia’ at 20: What We Said About the Masterpiece In 2000. Near the end of a Billboard news piece from Oct. 28, 2000 about OutKast’s then-current single “Ms. Jackson” debuting on the Hot R&B/Hip- Hop Songs chart thanks to strong airplay ahead of Stankonia ’s Oct. 31 release, there’s a revealing line: “[OutKast] is most famous, however, for its controversial track ‘Rosa Parks,’ which climbed to No. 19 on the [aforementioned chart] before legalities raised by the woman for whom the song was named forced the single to stop being played at radio.” As we celebrate the stone-cold classic’s 20th anniversary this weekend, it’s a curious sentence to come across with historical perspective: these days, the legal fight between the Civil Rights pioneer and the duo of Big Boi and André 3000 is more a piece of OutKast trivia than a defining biographical incident for the duo – certainly not what they’re “most famous” for by a long shot. Which isn’t to say the 2000 article was wrong, per se; if anything, it speaks to the sea change in popular success OutKast would enjoy over the next decade, fueled in large part by the critically lauded commercial breakthrough that was their fourth album, Stankonia , a 73-minute odyssey that catapulted their careers to the next level. Hitting No. 2 on the Billboard 200, the album remained on the chart for 46 weeks and earned OutKast two Grammys: best rap album and best rap performance by a duo or group for “Ms. Jackson.” Today, it’s regularly cited as one of the greatest albums of all time. It was hardly an overnight success story, though. The duo had been steadily increasing its profile since the release of its 1994 debut Southernplayalisticadillacmuzik , with follow-up LPs ATLiens (1996) and Aquemini (1998) enjoying critical acclaim and hitting No. 2 on the Billboard 200. But beyond the headlines the Rosa Parks lawsuit garnered, and the No. 12 peak of “Elevators (Me & You)” on the Hot 100, the duo’s pop culture crossover was limited. Yes, they were Southern rap stars after Aquemini , but with Stankonia , OutKast was suddenly thrust into the same pop cultural conversation that included Janet Jackson, *NSYNC and Britney Spears. For an album that would see OutKast vastly expand its audience, Stankonia sure doesn’t sound like a pop crossover album. Its heady mix of ’70s soul, psychedelic funk, Public Enemy-styled aural chaos, drum’n’bass, Funkadelic, Prince and even salsa is engrossing but dizzying, beguiling but befuddling. If anything, the album’s lead single “B.O.B.” — a frenetic, ominous electro-tinged track — seemed like a bellwether that Stankonia might prove too challenging for listeners: “B.O.B” missed the Hot 100 entirely and failed to detonate on Hot R&B/Hip-Hop Songs, only reaching No. 69. Despite fizzling on the charts, “B.O.B.” was an instant success with critics and remains a fan favorite. But “Ms. Jackson” changed everything. With its Brothers Johnson sample (their 1977 cover of Shuggie Otis’ “Strawberry Letter 23″) , laid-back groove, touching sincerity and impish playfulness (“forever-ever?”), “Ms. Jackson” became an early ’00s radio staple, topping the Hot R&B/Hip- Hop Songs chart in December and crowning the Hot 100 for one week in February 2001. In the Nov. 18, 2000-dated issue (after Stankonia’ s release but before “Ms. Jackson” topped the Hot 100), Billboard reviewed the single, focusing on the lyrical content and social implications. “Several musicians have recently addressed the concept (and complications) of having children out of wedlock… ‘Ms. Jackson’ tackles the issue with sincerity over a synthed-out drum track,” reads the review. “The message-oriented single has caught fire across the country at radio.” (The child in question, incidentally, is the son of Erykah Badu and André 3000, who would have been a toddler when “Jackson” hit the airwaves.) Very much a product of the era, parts of the review haven’t aged terribly well: the phrase “children out of wedlock” reads outdated; hell, even referring to two unmarried people having a child as an “issue” to be “tackle[d]” seems a bit quaint these days. Billboard ’s review of the album itself, which ran in the Nov. 4, 2000 issue, reads easier to contemporary eyes. “Time to take a trip, boys and girls — a trip to a land where funk meets hip-hop. A place where words like abstract, complicated, funky, and mind-blowing all find comfort in their normalcy… this album will have heads spinning and then asking for more.” The Billboard review clearly understands that with Stankonia , OutKast had opened up a kaleidoscopic world that was more of a journey than a statement, one that reveals itself in the detours as much as in the singles; it’s an album not just of the moment, but one to let marinate and savor over a lifetime. Speaking of singles, third and final of those was “So Fresh, So Clean,” a playfully funky boast track with a staccato, sing-song chorus. For a follow-up to a No. 1 hit, it arguably underwhelmed at No. 30 on the Hot 100, but reached the top 10 on Hot R&B/Hip-Hop Songs. That chart position doesn’t fully speak to its cultural impact, though, as the song’s title/chorus became an early ’00s catchphrase, even providing the title for a 2005 comedy. Three years after the bar-raising Stankonia , OutKast’s journey to the pinnacle of pop would reach its apex with 2003’s Speakerboxxx/The Love Below , which nabbed them the Grammy for album of the year and produced two Hot 100 chart-toppers (“Hey Ya!,” “The Way You Move”) and another top 10 (“Roses”) for good measure. But Stankonia , arguably their finest hour – certainly the one that pushed them from rap stars to pop stars – celebrates 20 years this weekend, and it still sounds so fresh, so clean-clean. Studio Tales From Stankonia. When Outkast's Stankonia was released 20 years ago, it made an immediate impact on the radio and MTV off of the strength of singles like "B.O.B. (Bombs Over Baghdad)," "Ms. Jackson," and "So Fresh, So Clean." Those who bought the album (525,000 in its first week)—or downloaded the leaked version two months before its official release—were rewarded with an hour-plus of funk, psychedelia, electronica, and rock all combined into a hip-hop classic. It was a rare breed, an instant smash commercially and critically whose allure has only continued to grow. "Stankonia" as a concept was coined by André 3000 to give a name to the group's free-wheeling mindset, a funky utopian headspace where anything and everything is allowed. Stankonia Studios, which André and Big Boi built just before starting work on the record, was where that freedom reigned supreme. For a year, André, Big Boi, and co-producer Mr. DJ were let loose in a studio of their dreams, bringing together all of their influences, tastes, and more than 30 musicians and guest performers. The resulting album was the neon fruit on the vine. Founding Stankonia. Following 1998's Aquemini , André and Big Boi had money in the bank and wanted to make good on their desire to have a large studio of their own. Incidentally, they got a chance to buy one of the first professional studios they'd ever set foot in. Bobby Brown's Bosstown Recording Studios had been a hotbed of recording in Atlanta, with Whitney Houston, TLC, and others making records there after Brown bought the facility in 1991. (Before Brown's time, the building housed the rock-oriented Soundscape Studios.) Outkast got a chance to record there briefly during the creation of their first record, Southernplayalisticadillacmuzik . Having only made music up to that point in the appropriately named Dungeon, the basement studio of production team Organized Noize, Bosstown made an impression. In a mini-documentary on Stankonia , André said: "This was the first, like, real studio we came to. We came in here and our mouths were like, ahh , open, like, 'Oh man, look at this.' We were trippin'." By the late '90s, Brown had lost Bosstown to foreclosure. Most of the equipment that had wowed André and Big Boi was gone. They bought the studio in 1999 and with the help of John Frye—who had met the duo when they were recording a verse at Bosstown for TLC at Bosstown— outfitted the rooms once again. "When we came in there wasn't much left gear-wise. There was the SSL G-series console, and I refurbished it. I put in all new bussing and new EQs. I changed everything here [in the A room]. I redid all the wiring, bought new Studer A827s and an A820 half-inch, and really got Outkast set up with all the gear they needed to have and wouldn't want for anything. I put in Augsperger monitors with TAD components and Bryston amplification, and that seemed to be a great system for us. It's not the most high-fidelity system but it's a good marriage for the power and the drive and volume that we put through it." They recorded Stankonia right on the precipice of the digital takeover. They had one small room set up with a Pro Tools rig, but otherwise it was an analog and tape affair. (By Speakerboxxx/A Love Below the balance shifted toward Pro Tools.) The studio houses a cavernous "warehouse-like space" they'd use for a live room, according to SOS , "so large, in fact, that huge pieces of stage gear from previous Outkast shows share the space." More than the physical space itself, owning the studio gave the group the freedom to record whenever inspiration struck. As Big Boi said in MTV News' Stankonia doc, "When you own the joint, you can stay here all day. Because you never know when the vibe's gonna come. It could be seven in the morning. It could be seven at night. It could be midnight, you know what I mean. So I was sleeping with the music." And like other artists before them who got or fashioned their own keys to the sonic kingdom—Hendrix at his own Electric Lady or Sly Stone's mobile rig for There's a Riot Goin' On —having their own studio let Outkast lean into their creativity. Stankonia 's Sonic Stew. The production team that had first taken Outkast under their wings, Organized Noize, developed a signature sound by blending live instruments and drum machines. While they still appeared on Stankonia , producing three of its 16 songs, the rest of the record is the sound of their proteges taking the lead. André, Big Boi, and Mr. DJ (who had DJ'd with the band while they were still teens before moving into production), started with the same sonic template: an SP-1200 and MPC3000 for beats, and a revolving array of synths, guitars, and other instruments. As they had on previous records, Outkast sampled very rarely, preferring instead to craft their own sounds. "There’s a closed-mindedness in hip-hop; once people get a set formula, and it works for ‘em…. It’s like being in school: If you’re passing with a B, then why try to get an A?," Big Boi told Spin in 2000. "Everybody samples, but there’s a lot of not-so-creative sampling out there. When we sample, we sample for the sounds, not for the structure of the whole damn song. It’s about being creative." For Stankonia , they used the wealth of local Atlanta musicians, inviting them into the studio for extended jam sessions. In an interview with Alpha & Omega around the album's release, Mr. DJ said: "We really go out and get the old school live players from all the city. Sometimes we go to clubs and watch the bands play and we'll pick out who we want to play for us. Of course we got people that we always use. And we just all hookup and have big vibe sessions. We use beat machines just to get the rhythm going.. then we sit around, smoke a few, drink a few.. Is this for the kids. (laughter). We just basically get a vibe going.. Sometimes it's good and sometimes it ain't so good. Whatever sounds the best." In a separate profile with Spin , Big Boi listed the artists he was taking inspiration from at the time: "Gil Scott-Heron, Minnie Riperton, James Brown, Parliament-Funkadelic, Led Zeppelin, the Doors, Kate Bush—I go deep into her music." What was new to them was rave music, but that too got thrown into the mix. Mr. DJ said, "Me and Dré went to a rave and we were listening to the music that people were dancing to and we were amazed how many people were in there. It was inside a big church and there were like thousands of people. A lot of white kids.. and they were out there jammin'. We noticed that there was a whole crowd of people that we were not reaching.. While we were there, a lot of people new who Dré was and knew what it was going.. So we were like, 'We gotta make some music for them.'" So definitely, we listen to all types of music." Dré explained his own take on it to Spin : "I like the tempo more than anything. Some of the music be wack; most of the music be wack—they be in there trippin’. (Laughs) It’s just too repetitious for me. When you’re on that dope, it just feels good, I guess." All the same, they took a drum and bass rhythm for the album's lead single. Stankonia's Glowing Rooms. Recalling the creation of the song to The Boston Globe , Big Boi said he came back to the studio to find André putting synths on top of a 154 bpm beat. "I walked into the room, and it’s like the room was glowing. It was crazy," Big Boi said. Lift-off was achieved. Big Boi added a verse to the one André had already made, then took it back to his kids to see what they thought. "They were going crazy," he said. "So I called Dré and I said, 'I think we got one.'" "Bombs Over Baghdad" blew up as soon as it was released. With its technicolor video and relentless rhythm, it was unlike anything else at the time. The followup, "Ms. Jackson," was an even bigger hit. It too was the result of a glowing session, according to Big Boi. "It was storming raining," Big Boi told The Boston Globe . They invited bassist Aaron Mills to add to the track. "And he got to thumping that bass, man. The room started glowing again. After that moment, I knew that this was the place where I was going to always record at." For Speakerboxxx/The Love Below , Outkast updated Stankonia, but thanks to their growing fame and busy schedules, it was a more fractured affair: André recorded portions at his home in LA, and eventually spread to other places, including Stankonia. The much-discussed fracturing of the duo's creative partnership eventually hit the studio too. Though André sold his share of the studio to Big Boi in 2015, Stankonia has remained his home base, and has been used by T.I., Ludacris, Lil’ John, and plenty of other artists over the last two decades. As Big Boi told The Boston Globe , "A lot of good music came out of there. A lot of good music is still coming out of there. It’s our home, and it’s the place where all the funky things come from."