Sir Lucious Left Foot: The Son of Chico Dusty (2010)
Let’s just be clear. The whole idea of recording this solo album came from Dre. It did not come from Big Boi. If it were me we would have done another Outkast record [laughs]. But Dre had just started doing movies and his clothing line and he wanted to focus on that. So he was like, ‘If we do the solo albums, it will make the Outkast albums mean that much more to the fans.’ And I was cool with that. I started Sir Lucious on Martin Luther King Jr.’s birthday in 2007. I was camped out in the studio with Khujo and Backbone. I wanted to bring the essence of how we made Southernplayalistic back at the Dungeon. It was all of us in one house. We asked Big Rube to come down there and fuck with us and he did what he had to do like it was yesterday. I finished mastering this record on May 27 of this year, which just happens to be Dre’s birthday.
I could have been done with Sir Lucious two years ago. The same songs “Fo Yo Sorrows,” “Shutterbugg,” “Turns Me On,” and “Back Up Plan”…all that shit is two years old plus. But Jive was sitting on this album, telling me, We don’t get it; can you go back in and make songs like Lil Wayne? It was crazy. Now that I look back on it, it seems like they were just trying to stall me out to get Dre to get in the studio. They wanted another Speakerboxxx/The Love Below. But at the end of the day, they didn’t understand the music and I didn’t want my music coming out without it being released on a proper platform. I just kept cutting records. Every now and then I would ask Jive for my release. I never thought it was going to happen, but it finally played out this year when Peter Thea from Jive was like, ‘You put out the song with Andre 3000 or you can take your album and go elsewhere.’ So I called L.A. Reid and he said, Come on home, son.
I’m proud of this album. Organized Noize brought me the song “Fo Yo Sorrows” and I was like, ‘Damn, this shit is jamming like hell.’ Sam Chris had already added the hook on it, but I was like, ‘Cool, but what else can I do to it?’ I added more music like synth keyboards and guitars and the shit was becoming a funk extravaganza. I knew I needed to piss on it some more, so I called Uncle George (George Clinton) and told him I had a jam. I emailed it to him and two days later he sent it back and there was so much great stuff he was saying on it that we had to format it. I wrote another part that I thought would be perfect for Short Dog (Too Short). I wanted him to spit that shit. So I came out to California, we hooked up at the studio, and he did that shit in five minutes! It’s things like that that make a song special.
Andre would stop by the studio and I’d play him some stuff and he’d be like, ‘Hey man, I want to get on that.’ So I let him get on “Royal Flush.” He’s come back again and like, ‘I want to get on that one, too.’ [laughs]. Weeks past by and I’m still trying to close the album out. I meet up with Dre again and he’s like, ‘You still need one more hard song.’ He pressed play on some of [the newer stuff] he was working on and I was like, ‘That’s the one!’ We recorded “Lookin For Ya,” which featured two verses from each of us. Yelawolf was around and I asked him to put a hook on it. But his regular verse was crazier than the hook, so I decided to keep that instead. I also have my new group Vonnegutt on the album. They are on my new single “Follow Us.” We have a whole album done on them and they are jamming. I just want to keep good music going.
People have been telling me that the [positive] reviews I’ve been receiving [for Sir Lucious] is unheard of. I have one of the highest rated albums of all time on Metacritic. Just to have that acclaim at this stage in my career is great, man. People have to understand who they are dealing with. There are two of us and we love making music. It’s Outkast for life.