[music]

Alison Stewart: This is All Of It. I'm Alison Stewart live from the WNYC studios in Soho. Thank you for spending part of your day with us. Whether you're listening on the radio, live streaming, or on demand, I am grateful you are here. On today's show, we'll speak with the writer, director, and one of the leads of the new Broadway play, Yaya's, African Hair Braiding, and New York Times restaurant critic, Pete Wells, joins me next hour to talk about, wait for it, where to find the best French fries in town. #yum.

First, an important milestone in music. 25 years ago tomorrow, September 29th was a uniquely big day for hip hop album releases, especially in New York. A Tribe Called Quest released their album The Love Movement, just weeks after announcing their breakup, Mos Def & Talib Kweli released their debut album As Black Star. New Rochelle's Brand Nubian released an album featuring all four original members for the first time since their debut. We'll talk more a bit later this hour about Jay-Z, who dropped his mainstream breakthrough volume two Hard Knock Life, which became a Grammy-winning number-one album.

First, for another installment of our series, Silver Liner Notes, we're going to look outside of New York City at a hip-hop album turning 25 tomorrow that helped prove to the East and West Coast that the South had something to say. This is OutKast's Aquemini.

[MUSIC - OutKast: Aquemini]

As the plot thickens it gives me the dickens

Reminiscent of Charles, a lil' disco-tech nestled in the ghettos

Of Niggaville, USA via Atlanta, Georgia, a lil' spot where

Young men and young women go to experience they first lil'

Taste of nightlife, me? Well, I've never been there, well perhaps once

But I was so engulfed in the "E"

I never made it to the door you speak of hard-core

While the DJ sweating out--

Alison Stewart: OutKast, the pioneering southern hip hop duo of Andre 3000 and Big Boi released their third album, Aquemini on September 29th, 1998. By mid-October, it reached number two on the Billboard 200 chart. If you do a Google search today of OutKast albums ranked, and you'll find Aquemini at number one on virtually every single list. Rolling Stone ranked it at number four on their list of the 500 greatest albums of all time. For context, that lands six spots ahead of Pink Floyd's Dark Side of the Moon. I guess Jann Wenner wasn't in the room that day.

As NPR's Music hip hop writer Rodney Carmichael pointed out in a 2010 oral history of the album Aquemini, "It was the first southern hip hop album to earn the coveted five mic rating from the former Bible of the genre The Source Magazine." Carmichael would know about Southern Hip Hop. He was there around the South's rise to rap dominance and worked for a decade at the Atlanta-based magazine, Creative Loafing. We're glad to have him as our guest for another edition of Silver Liner Notes. Rodney, welcome to All Of It.

Rodney Carmichael: Hey, what's going on? Thanks for having me.

Alison Stewart: Thanks for being with us. Listeners, do you remember where you were when OutKast's Aquemini came out? When did you first hear the album? Did you have a favorite track? Do you have any memories tied to it? Where does it stand among the greatest hip-hop albums of all time? Our phone lines are open to you. You can join us on the air by calling 212-433-9692, 212-433-WNYC. You can join us on air, or you can text to us at that number, 212-433-9692, 212-433-WNYC.

We can branch out a little bit. If you want to weigh in on any of the other September 29, 1998 hip hop releases, A Tribe Called Quest, Black Star, or any other artist that day, call in. Hold onto your Jay-Z calls because we're going to do that in the second half, 212-433-9692. Social media, of course, is also available @AllOfItWNYC. Just think about that day, Rodney, A Tribe Call Quest, Black Star, Jay-Z, OutKast. Some people have called 9/29/98 one of the greatest rap album release days ever. What stands out to you about that day?

Rodney Carmichael: Like you said, it was such a fertile time. It was a time to me before this era where first-week sales were something that was so important, especially in hip hop. I didn't buy any of those albums on that particular day. You know what I mean? They would resonate as your homeboy got one of the albums and you heard them in his car or what have you, and a week or two later, you finally found your way to the record store and picked it up. This OutKast album is incredible. It's definitely one of the greatest hip hop albums of all time. One of the greatest albums of all time. It's one of my favorites for sure.

Alison Stewart: Just for a little bit of context, can you share with our audience a little bit about the regional variations within hip hop in the late '90s?

Rodney Carmichael: Yes, no, that's a good point. This is a time in an era when the South had not necessarily broken through in the way that it dominates today. New York, obviously, the birthplace of hip hop was still standing strong, but the West Coast had emerged in recent years and become dominated and really taken over in a lot of ways. Lo and behold, with OutKast, with other groups in Houston, like the Ghetto Boys, and a lot of what was starting to go on in Memphis, and obviously, in Miami, the South was starting to quietly emerge.

Just a couple of a few years before this album dropped was when OutKast won Source Awards. I think it was their best new artist award, and they got boos in the crowd in New York. New York was not ready for southern rappers to be winning over them. Legendary thing that Andre says during the acceptance speech is, the South got something to say and it ended up being prophetic for sure.

Alison Stewart: You know what? We actually have that clip. Let's hear it from the man himself, Andre 3000 from the Source Awards in 1995.

Andre 3000: It's like this though. I'm tired of folks, you know what I'm saying? Close-minded folks, you know what I'm saying? It's like, we got a demo tape, don't nobody want to hear it, but it's like this, the South got something to say. That's all I got to say.

Alison Stewart: One thing I love about him, he is unique. He was unique then. He is unique now. For folks who don't remember, can you describe why he really stood out?

Rodney Carmichael: Well, I think you have to look at him and Big as a unit for sure. They stood out, first off, because they contrasted in such a unique way. This album in particular was marketed as like the poet and the player. If you look at the album cover, you see Big sitting on a throne pimped out, looking like a blaxploitation-era character or something like that. You see Dre looking transcendental. In a lot of ways, they just fit well together, they meshed well together, but they also provided this balance to each other where Dre could have his head off in the clouds and be real meditative, and Big was going to keep it ground level and keep his ear to the streets and that type of thing. I think, lyrically, they really drove each other. They were very boundless creatively, and they were not scared to do stuff that had never been done in hip hop.

Alison Stewart: My guest is Rodney Carmichael. We are talking about OutKast's Aquemini at 25. Let's take some calls. Benedict is calling in from Harlem. Hey, Benedict. Thanks for calling in.

Benedict: Hi, Alison. I just want to give a recollection of the first time I heard that horn lick from SpottieOttieDopaliscious by OutKast was on a bus chartered by the Pan-African Alliance from my university going to a rally for Mumia Abu-Jamal in Philadelphia. I just thought that was a perfect little snapshot of the late '90s. I can remember just when that horn lick kicked in, just hearing that. They've always been a staple group of mine.

Alison Stewart: Benedict, thank you so much. Rodney, share a little bit about their use of horns. Benedict says that is something that has stuck in his mind and his memory.

Rodney Carmichael: Yes. Also, I think I went to that same Mumia Abu-Jamal rally in Philly on a different bus coming from a different city. That was Hornz Unlimited. OutKast is making these albums in Atlanta at a time when this city is just brimming over with musical innovation. This is the era of LaFace Records. They were, obviously, signed to LaFace and they're part of Organized Noize and Dungeon Family.

This is also the era where alternative R&B in Atlanta is brimming to the hill. People like India.Arie will come out of that scene. Donnie for other people who might go deeper into that era of Atlanta. This was a live scene where you would go into clubs any given night of the week and you would see live music being created and made. It sounds a lot like this album because they use a lot of those players.

Like I said, Hornz Unlimited playing these horn riffs, their percussionist like Omar Phillips, and Tommy Martin on guitar, Preston Crump on bass. All of these are Atlanta kids that were creating this sound that OutKast tapped into and then elevated on this album. It's part of the reason why this album sounds so unique, especially when you think about hip-hop and what hip-hop sounded like at that time. It's something they just tapped into that was really homegrown and didn't sound like anything else.

Alison Stewart: Let's talk to Shawn calling in from Harlem. Shawn, thank you so much for calling All Of It. You're on the air.

Shawn: Hi, thank you for doing this story. I was actually a freelance writer at The Source Magazine at the time. As you all know, that was a very male-dominated atmosphere, but there were a handful of women editors there at that time. When I tell you the excitement that the women editors along with me as a freelancer that we had over the OutKast album, it was sonically something we had not been hearing in terms of the creativity. Also, it featured Erykah Badu and another lesser-known singer named Joy on that album who just brought such power and diversity to the sound. I can't even begin to overstate the level of excitement that we had about this album.

Alison Stewart: Shawn, thank you for calling in. Jason is joining us from Brooklyn. Hi, Jason. Thank you for calling All Of It. You're on the air.

Jason: I think about that day a lot when Aquemini came out, just remember. I lived in Savannah, Georgia at the time. My boys Sam and I were riding around in the car and was like the heat had finally chilled out just a little bit in town. Riding around, the windows down, just listen to the new record. I guess Big Boi had connection to Savannah. Actually the time like India, y'all mentioned her a minute ago, she was in university with her, so we would see her around all the time. She was just like doing a thing in Savannah, but just a beautiful time, a fantastic record. This bright memory back in my head, just dig it. Like that y'all talking about it.

Alison Stewart: Jason, thank you so much for calling in. We are having another edition of Silver Liner Notes where we celebrate the 25th anniversary of meaningful albums. We're talking about Aquemini from OutKast. our guest is Rodney Carmichael, NPR music's hip-hop staff writer and host. You are our guests as well. If you want to weigh in on OutKast's Aquemini. Give us a call. 212-433-9692, 212-433-WNYC.

Maybe you remember where you were the first time you heard it. Maybe you have a favorite track, we want to hear from you. 212-433-9692, 212-433-WNYC. You can call in and join us on air like a few folks have, or you can text to us. Our social media is available as well @AllOfItWNYC. Rodney, let's play some music. The album starts out with a very short track, barely over a minute long called Hold On, Be Strong. In your oral history, you described it as an old Negro Spiritual-meets a Sun Ra vibe. Let's take a listen.

Rodney Carmichael: Okay.

[MUSIC - OutKast: Hold On, Be Strong]

Hold on, be strong

Hold on, be strong

Alison Stewart: From there, Hold On, Be Strong, we go straight into Return of the “G” which you wrote in the [unintelligible 00:13:45] oral history. contains one of the hardest verses committed to tape. Let's listen.

[MUSIC - OutKast: Return of the “G”]

It's the return of the gangsta, thanks ta'

Them niggas that's on that blow

That run-up in your crib

Which contains your lady and an eight-month-old

Child to raise plus you true blue 'bout this music but

They do not want to hear it

Because they'd rather be bouncin' and shootin'

And killin' and bouncin' and shit, get down

Return of the gangsta, thanks ta'

Them niggas that think y'all soft

And say, "Y'all be Gospel rappin'"

But they be steady clappin' when you talk about

Bitches, and switches, and hoes, and clothes, and weed

Let's talk about time travelin', rhyme javelin

Somethin' mind unravelin', get down

Return of the gangsta thanks ta'

Them niggas that got them, kids,

That got enough to buy an ounce

But not enough to bounce them kids to the zoo

Or to the park so they grow up in the dark never

Seein' light 'til they end up bein' like yo' sorry ass

Robbin' niggas in broad-ass daylight get down

Return of the gangsta, thanks ta'

Them niggas who get the wrong impression of expression

Then the question is, "Big Boi what's up with André?

Is he in a cult? Is he on drugs? Is he gay?

When y'all gon' break up? When y'all gon' wake up?"

Nigga, I'm feelin' better than ever

What's wrong with you, you?

Get down

Ganster

Alison Stewart: It is so good. How did those two tracks in combination, in tandem get us situated for the album?

Rodney Carmichael: First of all, I still get chills when I hit that verse. It's very meditative beginning. You're not necessarily sure what you're going to get when you hear that really meditative thing. He's playing the kalimba. André is playing the kalimba on Hold On, Be Strong, which he had gotten from listening Earth, Wind & Fire albums back in the day. Then right out the gate with Return of the “G”, they answer all of the critics and criticisms that they might have been hearing from the street or from whatever that had doubts about how OutKast was changing.

The thing you have to understand about OutKast is they never been beholden to any kind of expectation, not even from fans. They only had two albums before Aquemini, but both of those albums, Southernplayalistic and ATLiens, they were so different, that nobody really knew what to expect from Aquemini. In a lot of ways, OutKasts was changing in ways that their original fans were becoming skeptical about. ATLiens, they went from being players to be extraterrestrial ATLiens.

I think it had spawned a lot of doubt from certain diehard fans about their stylistic choices. André was dressing in ways that people feel weird for hip-hop. It wasn't just the same old, same old. Out the gate, he comes swinging, shooting down to the detractors and in answering all of those questions and really letting you know like, "Hey, we for real we here, but we are not going to be bound by your limited expectations and all of that backward thinking." It's just killer. It just takes you off, sets you up for this album so well.

Alison Stewart: I was thinking of him as being very postmodern.

Rodney Carmichael: Okay, yes, definitely postmodern, post-hip-hop in some ways when you think about where he's going with it.

Alison Stewart: Let's talk to Lacey from Bed Stuy. Hey, Lacey, thank you for calling in.

Lacey: Hi. Oh, my god, I can't state what a huge mega fan I am of OutKast. First, Rodney, shout out, Louder Than A Riot was an amazing podcast, I just have to say that.

Rodney Carmichael: Thank you.

Lacey: When OutKast's Aquemini first came out, I was already a fan since ATLiens, and so I was super excited. I have been in New York for about 20 years now, but at the time, I was living in Maine, and the local record store was dropping the album at midnight. I waited in line, got there at midnight, got the CD, went home, listened to it for hours, begged the store manager to give me the poster that they were advertising for it, which I still have. I've never been to their shows. I listened to them all the time. There's just nobody more unique than OutKast. Aquemini was truly, for me, such a pivotal album. Every song spoke to me in so many different ways. There's just nobody liked them. They broke the mold.

Alison Stewart: Lacey, thank you for calling in. We're going to continue our conversation, our silver Lining Notes conversations about Aquemini with Rodney Carmichael, NPR music, hip-hop staff writer. We'll talk about the title, play the title track, and take more of your calls and reflections after a quick break. This is All Of It.

[music]

This is All Of It on WNYC. I'm Alison Stewart. My guest this hour is Rodney Carmichael, NPR music, hip-hop staff writer, and host. We are going through another edition of our Silver Liner Notes. That's when we celebrate album, celebrating a 25th anniversary, the silver anniversary. We are talking about OutKast's Aquemini right now. Okay, the title, it is a portmanteau. Explain the title for us, Rodney.

Rodney Carmichael: I would like you to say it's one of those things, portmanteau. It's basically a combination of André and Big Boi's astrological signs. André is a Gemini, Big is an Aquarius, they put them together, and again, it speaks to this otherworldly connection that they have and how they bring different worlds together when they unify in a way that they do. It's really like superheroes/ I don't know. It's in the stellar. In a lot of ways, it really sets you up for what this album, because this album is very multi-dimensional, and they talk about space and that kind of stuff in ways that isn't just--

This isn't Star Wars. This is very spiritual. They get very elevated with it and hard minded at times conceptually, but they also are very grounded. I think the combination of that just made this such an expansive album. One of the other things amongst all of that is that this album is just unapologetically Black and Southern at a time when really that was still very alien in hip-hop. With the transcendental stuff that's going on and expansive mind stuff, it's very grounded in this Black Southern reality that hip-hop was just beginning to make room for. They were really busting down the gates at that time.

Alison Stewart: I want to play a piece of Aquemini. It's the part that you request we pull from about the third minute. It starts with Big Boi's verse. What did you want to highlight?

Rodney Carmichael: What did I want to highlight? I think it starts with Big's verse and then it goes into Dre's verse, which I think this particular verse is the best verse on the album. It just shows a lot of, conceptually, how elevated they were in terms of how they were thinking. The way it's engineered, the sonics, which was Neal Pogue, who was the engineer, he gives this song so much space. He said he wanted you to feel like you could stick your hand into it. It's just very multi-dimensional. I think it's mind-blowing.

Alison Stewart: Here's Aquemini from Outkast.

[MUSIC - OutKast: Aquemini]

The name is Big Boi Daddy fat sax the nigga that like them Cadillacs

I stay down with these streets

'Cause these streets is where my folks at

Better know that some say we pro-Black, boy we professional

We missed a lot of church so the music is our confessional

Get off the testicles and the nut sacks

You bust a rhyme we must bust back

Get get back for reals niggas that's out here trying to spit facts

You hear dat you can't come near dat maybe you need quit (quit)

'Cause Aquemini is Aquarius and Gemini

Runnin' shit like this (yeah, yeah, yeah)

My mind warps and bends floats the wind count to ten

Meet the twin Andre Ben welcome to the lion's den

Original skin many men comprehend

I extend myself so you go out and tell a friend

Sin all depends on what you believing in and

Faith is what you make it, that's the hardest shit since MC Ren

Alien can blend right on in with yo kin

Look again 'cause I swear I spot one every now and then

It's happening again wish I could tell you when

Andre this is Andre y'all just gon' have to make amends

Even the sun goes down, heroes eventually die

Horoscopes often lie and sometimes "Y"

Nothing is for sure, nothing is for certain, nothing lasts forever

But until they close the curtain,

Alison Stewart: This track leads nicely into a text we got. "Having learned more about hip-hop during the 50th anniversary, even though I was alive when it was born, Outkast's use of horns and live musicians feels full circle back to hip-hop's origins, which started with live backup bands." Let's talk to Tracy, calling in from West New York, New Jersey. Hi, Tracy. Thanks for calling All Of It. You're on the air.

Tracy: Hello. I'm so excited that you guys are celebrating. I feel like they're family. I worked with Organized Noize. I'm really close with Rico, Ray and Pat, and love Andre and Big Boi, and just excited that we're celebrating this album today. Atlanta is not my birthplace, but it is my forever home. Everything about this music and what these guys do is woo and will always be a part of me and my hip-hop hop just life experience.

Alison Stewart: Tracy, thanks for calling in. Carl is calling in from Erie, Pennsylvania. Hi, Carl. Thank you for calling All Of It.

Carl: Oh, thanks for having me on. Just giving you a call. When I was 18, 19, running around doing not the good things in Erie, Pennsylvania, that album came out in the wintertime. I just remember carrying it to every party, every underage house party we'd go to. It always got first play. There was a backdrop against Wu-Tang, Tupac, Biggie. It was pretty much the strength of that time being a teenager, again, in Northern Pennsylvania. I still listen to the album this day. I use it as a reference for pretty much against things like, "Well, this is the best." "No, this is the best." Thank you for taking my call, and much love after 25 years for the album. Absolutely.

Alison Stewart: Carl, thanks for calling in. Rodney. I feel like Carl has stories. That's another episode.

Rodney Carmichael: It sounds like it.

Alison Stewart: Let's talk a little bit about, there was some controversy around this album around the track called Rosa Parks. What was the controversy, Rodney?

Rodney Carmichael: Well, the Controversy was the album title. It was one of those things where it's just a hip-hop ironic sensibility. They got this track where the hook says, "Aha, hushed that fuss everybody moved to the back of the bus." In a lot of ways, they meant it as a tribute and a celebration about where they come from and where they were as Black folks, as Southern folks. They put Rosa Parks as the title, and Rosa Parks sues Outkast and the record label. There's a story about a nephew of Rosa Parks meeting Outkast at one of their concerts back in the day, and basically explaining to them like, "Hey these are just the lawyers. My auntie doesn't even really understand or know what's going on." For them it was always a tribute. It was definitely not meant to be derogatory in the way that the lawsuit alleged at the time.

Alison Stewart: Let's hear Rosa Parks from Outkast.

[MUSIC - OutKast: Rosa Parks]

Ah-ha, hush that fuss

Everybody move to the back of the bus

Do you wanna bump and slump wit' us?

We the type of people make the club get crunk

Ah-ha, hush that fuss

Everybody move to the back of the bus

Do you wanna bump and slump wit' us?

We the type of people make the club get crunk

Many a day has passed, the night has gone by

But still I find the time to put that bump off in yo' eye

Total chaos, for these playas, thought we was absent

We taking another route to represent the Dungeon Family

Like Great Day, me and and my nigga decide to take the back way

We stabbin' every city when we headed to that bat cave

A-T-L, Georgia, what do we do for ya?

Bull doggin' hoes like them Georgetown Hoyas

Boy you soundin' silly, thank my Brougham ain't sittin' pretty

Doin' doughnuts 'round you suckers like them circles around titties

Damn, we the committee, gon' burn it down

But us gone bust you in the mouth with the chorus now, say

Alison Stewart: Rodney, my producer, Simon, went to Spotify and he found that all of Outkast's top five most streamed tracks are from other albums. What's interesting to you about the way this album legacy has evolved over time?

Rodney Carmichael: That's interesting. It's really hard to pick a favorite Outkast album. Most really, diehard fans tend to have different favorites. Actually, I think that in terms of album crafting, they really peak at Stankonia, the album that comes after this one. In some ways, you could argue their last album together with that level of cohesion. This album, it's not about album crafting peak as much as it is content and intent and creativity. This album is the apex of all of that for Outkast. This is the album where you knew for sure as a fan at this point that you were never going to be able to put any expectation on Outkast.

Because at this point, with three albums in and on every album, they took a huge detour from the prior release. You just saw that they were growing at such a tremendous rate between albums that-- They were taking us for a ride every time. I think in a lot of ways that's a big difference between hip-hop now and then is that we tend to know what to expect from artists, even our favorite artists nowadays. They tend to not veer too far off track. Outkast was not scared of losing fans or negative critique. They were going to experiment to the hilt and go off the rails. The level of experimentation that they take on this album it's mind-blowing. That's how I think about the legacy of Aquemini. It's just the experimentation, the creativity, and the collaboration is just at all-time high.

Alison Stewart: We're going to go move on to Jay-Z in a moment, but I definitely want to touch on two other releases, new York hip-hop releases that came out 25 years ago tomorrow. One was a debut, one was a swan song, the debut with the title Mos Def & Talib Kweli Are Black Star. Two New York rappers who are entering hip-hop landscape. It's so funny to think of them entering, those names. How would you describe this debut?

Rodney Carmichael: Oh, man, this debut, it was what hip-hop was missing at the time. This was one of those releases that really let you know that the underground was not going to be relegated to the underground anymore. This level of social consciousness and commentary that we had really missed in hip-hop for maybe a decade or more, if you go back to the late '80s and early '90s, was very much ever-present. This collaboration between these two cats really took it there.

They named the album after Marcus Garvey's line of ships that was going to take Black Americans and Black folks back to Africa. It just says so much about Black self-reliance and independence, and the fact that they were these two indie at a time when we didn't really even use that word, indie underground artists who were really about to put all of that back into hip hop. It was an incredible debut, and is equally as celebrated today.

Alison Stewart: Let's listen to a little bit of Mos Def & Talib Kweli Are Black Star. This is astronomy.

[MUSIC - OutKast: Mos Def & Talib Kweli Are Black Star]

What is the Black Star?

Is it the cat with the Black shades, the Black car?

Is it shining from very far, to where you are?

It is commonplace and different

Intimate and distant

Fresher than an infant

Black, my family thick, like they're striped molasses

Star, on the rise, in the eyes of the masses

Black is the color of my true love's hair

Star's are bright, shining, hot balls of air

Alison Stewart: Real quick, let's talk about the love movement from A Tribe Called Quest, the fifth album eight years after they debut, just weeks before the group announced they were breaking up. My heart broke that day a little bit. How does this album work as a swan song? What did it mean for a group like Tribe to disband?

Rodney Carmichael: Men, it meant everything. This was very personal for me, too. This was and remains my favorite hip-hop group of all time. Very instrumental and influential on Outcasts as a matter of fact. The Love Movement is one of those swan songs that just made you appreciate but also hate the fact that they were breaking up that much more, because it didn't necessarily hit the same chords that all three of the previous releases did. It made you yarn for what had been A Tribe Called Quest, and it helped you appear into some maybe the creative differences or other differences they might have been having at the time. It was clear that they were not able to work them out on The Love Movement.

I don't know. I think some people might look back at that album. I think you can look back at that album, and here's some greatness, and here's some great songs, but it's nothing compared to what they had been before that. It really wasn't until their release following the passing of the Phife Dawg that I feel like it helped alleviate some of that feeling that we as Tribe fans had that this was their last testament. That last album was so great after he passed. It was like, "Finally, we have real closure now."

Alison Stewart: Huge thanks to Rodney Carmichael, NPR music hip hop staff, writer, and host for being our guide on this Silver Liner Notes edition. We've been talking about Outcasts, we have been talking about Black Star, and Tribe Called Quest. We'll go out on Tribe and The Love. Rodney, thank you so much for your time.

Rodney Carmichael: Thanks so much, Alison. I appreciate y'all having me.

[MUSIC - A Tribe Called Quest: The Love]

We do it all for the love y'all

Yeah, we do it all for the love y'all

Whether white, black, Spanish, ain't a thug y'all

We do it, we give it all for the love y'all

We just givin' it all for the love y'all

We do it, we do it all for the love y'all

We in the party, put your hands up

Yeah y'all, we do it all for the love y'all (we do it, we do it)

Love getting down and I love

 

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