For years now, Outkast has been releasing one hip-hop classic after the other. When the last blockbuster Speakerboxxx/The Love Below  was released, it was clear that the group was going through it's own creative seperation. Dre's Prince like qualities seemed on a completely different spectrum then Big Boi's more traditional (yet still innovative) Hip-Hop based disc. Rumors of a break up have been floating around for years, saying that both artists insisted on using their own studios, not talking. The Outkast movie had been on the backburner since 98's Aquemini, with the mega success of their last album, Outkast was finally given the chance to make the movie they had always dreamed. So the clear choice was there, stick together and make this movie, or continue to go our separate ways. The result is Outkast's only misstep in their 12+ year carrer.

     The problem with Idlewild starts with it's concept. Passing a movie soundtrack as an album is not easy to do. Luckily, the album is not filled with film clips like so many other soundtracks. Instead most of the 77 minutes we spend with Big Boi and Dre is all new music. Just too much of it. Millions of ideas flow throughout the twenty-five tracks, but very few of them actually contain much substance. One things for sure, their is no "instant" single on this record (at least not to these ears). Instead we have several good songs with a few stand outs. Most, if not all of the best tracks on the album are found within the first 10. After the track 11 interlude, the album completely falls off. The album takes more and more of a R&B based turn then Outkast has ever done before. Now I havent seen the movie, and it's possible a lot of these songs are essential to the film. Regardless it makes for a broken listening experience. Only a few tracks toward the end like "In Your Dreams" and "Hollywood Divorce" make any difference.

    The first 10 tracks aren't all roses either. "Chronomentrophobia", for example, is an exercise in funk boredom. "The Mighty O", the album's first real single feels a little to generic for Outkast's standards. It has a slight catch that never really takes off. On the positive side, tracks like "Peaches", "The Train" and "N2U" mix the new soul based Outkast with their old school rap style. "Idlewild Blue" is like the blues version of Hey Yeah, just not quite as effective or danceable in the least. The best song on the album isn't exactly the most single worthy, but is filled with Outkast's well-known and expected creativity. "Morris Brown" has both rappers spitting out lyrics to the backing of a marching band. The results are nothing short of incredible, and is easily the must hear on the album.

    Overall, the excellent production and style of Outkast is still here. They still have plenty of ideas, but maybe just too many for their own good. Will Outkast survive this? I can't say for sure, but maybe it's time for the union to take a break for awhile. The creative freedom could even pave the way for even better records. We could always hope for a reunion tour. If Idlewild teaches us anything, it's that the pair can still produce memorable music, but a lot of it gets lost in the abundance of Dre and Big Boi's limitations on each other, and most importantly under the legendary moniker Outkast.

 7.1/10.0