Recording
Sir Lucious Left Foot was recorded over a period of three years, beginning on Martin Luther King, Jr. Day in 2007. Big Boi has said that he "always start working on albums on Martin Luther King Day. It's a good luck charm". The album was primarily recorded at Stankonia Recording Studio in Atlanta, Georgia, the studio used by OutKast for their previous albums. Additional recording took place at The Dungeon Recording Studios, The Slumdrum Dreamhouse, and King of Crunk in Atlanta, Dungeon East Studios in Decatur, Georgia, Instrumental Zoo in Miami, Florida, and Kush Studios in Palm Island, Florida. Big Boi discussed the Stankonia studio's environment in an interview for The Guardian, calling it "comfortable but gritty enough to get you in a state of mind of being raw and ready to kill stuff", while noting that the sessions were accompanied by "some candles, a little red light, maybe some crunk juice and a cigar; every now and then perhaps a little 'purple'". While searching for a new record label, he completed recording for the album. The album was mastered on May 27, 2010.
In an August interview, Big Boi said that he planned to co-produce each of the album's tracks, with production also being handled by Organized Noize, Boom Boom Room Productions, Scott Storch, and Lil Jon. Noted for using synthesizers, electric pianos, samplers, and drum machines in his music, musician and frequent OutKast-collaborator Sleepy Brown contributed with production as a member of Organized Noize and with vocals to several tracks. Big Boi has said that he incorporated various musical elements to the album, with "something from every genre, every funk, beat, loop, horn, whistle. We got it all on the record". He has described Sir Lucious Left Foot as "a funk-filled extravaganza! You know, layers and layers of funk with raw lyrics and a lotta honesty".
Big Boi also worked with other guest artists, including Jamie Foxx, T.I., and B.o.B. André 3000 was to appear on three tracks, and produce a track for Yelawolf. Big Boi was introduced to Yelawolf's music through his younger brother and invited him to record after seeing him perform. The track "Follow Us" features Vonnegutt, an act from Big Boi's Purple Ribbon label. He originally proposed a rock-influenced track for Yelawolf, but was persuaded by him to send the instrumental for "You Ain't No DJ". According to Yelawolf, he "wrote like 64 bars and turned in the huge verse", which was edited down to 16 and eight-bar parts of his original verse for the finished song. Big Boi also attempted unsuccessfully to collaborate with singer-songwriter Kate Bush, and managed to work with funk music pioneer George Clinton on "Fo Yo Sorrows", an experience he related to "Dorothy going to see the Wizard of Oz. He is the grandfather of funk; when George speaks, you listen. He's gonna give you that extraterrestrial funk; you gotta be thankful for the way he beams it down to you". In an interview for Blues & Soul, he discussed working with the beat for "Shutterbugg" after producer Scott Storch had presented it, stating " brought my band in – my guitar players, keyboard players, the talkbox – and we just pissed on it! You know, we put the P-Funk on it, and just commenced to lyrically destroy the track".
Read more about this topic: Sir Lucious Left Foot: The Son Of Chico Dusty
Famous quotes containing the word recording:
“Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.”
—Jessie Tarbox Beals (1870–1942)
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)
“Write while the heat is in you.... The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.”
—Henry David Thoreau (1817–1862)