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felt like Out Kast cuts as sketches, devoid of proggy flourishes and mired in spare P-Funk-tinged boogie.

“Ghettomusick” jumped from gnarly Miami Bass pulses to a blunted Patti Labelle sample and back again, giving everybody getting down a breather; “Flip Flop Rock,” featuring Killer Mike and Jay-Z, ties Eddie Hazel guitar meandering around spare Timbaland-like bounce.

It was the kind of composition that should’ve never escaped the studio, but that’s exactly why it was so exciting.

What makes so exciting now is what made it so frustrating at the time: There’s not even one proper Out Kast record spread across these two discs.

Then, people like Roberta, James, Sonia, Jon, and yours truly will provide guidance and suggestions.

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And of course, the attack was led by the impossibly alluring head Doll Nicole Scherzinger, wearing a hoodie with the lyrics to the song's coolly evil chorus emblazoned across the top.

), though it is the most successful (it has sold more than 11 million copies, won the Grammy for Album of the Year), and perhaps most importantly, the hardest one to unpack.

It’s a weird project, all right — one whose success hangs on two absolutely perfect singles (Andre 3000’s “Hey Ya,” an acoustic-soul sing-along, and Big Boi’s “The Way You Move,” a grown-and-sexy, fast-rap slow jam); and one whose reputation is fueled by its obnoxious, unmatched ambition (more than two hours of music, which delivered everything split Out Kast in half: On one disc, Big Boi, the greasy funkdafied street dude with his ears a little more open than most; and on the second, Andre, eccentric, ethical hip-hop dandy, not being all that “hip-hop” anymore.

Big Boi’s disc is more focused than , holding tight to Dirty South 808 skitters and merging them with psychedelic rap.

It was safer (relatively speaking) and had less lows (and maybe more highs), yet it still wasn’t in-the-pocket Out Kast, either.

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