NPR Music, Paste Magazine, Gorilla vs. Bear and MySpace Music recognize Big Boi on their Best of 2010 lists
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Label machinations kept André’s voice from even appearing on Sir Lucious Left Foot– heartbreaking when you think about André’s jaw-dropping display on the early advance single “Royal Flush”. But instead of letting these setbacks infect his music, Big Boi’s made an album that explodes with ideas at every turn, that glides and twitches and mutates with delirious urgency. Pitchfork
Creatively, the album, which features production from Scott Storch and Lil Jon, proves that Big Boi is still at the top of his game: clobbering electro tracks like “Shutterbug” are punctuated by his inimitably slick and speedy flow. ”This album is like a graduation,” says Big Boi. “It’s basically like when Luke Skywalker became a Jedi, so I’m in Jedi mode right now. I’m so into my craft, I feel unstoppable.” Rolling Stone
Unsurprisingly, Big Boi has recorded the rap album of the year… “The object of the game is to never follow the trends. You make music that’s true to you. The music that I make is very experimental. A lot of the stuff is put together in ways that are very non-traditional and they’re just very different grooves. From the rhyme cadences down to the beat patterns, it’s all about a new sound.” Blackbook Magazine
Three long years of label wrangling and abortive lead singles later, Sir Lucious Left Foot: The Son of Chico Dusty has arrived, and it is apparent from the opening strands of intro “Feel Me” through the closing chants of “Back Up Plan” that Big Boi took the adversity in stride. He hunkered down to make the best album he could possibly make. Prefix
Whether the mood is cosmic, as when George Clinton stops by, or bright, sparkled up by vocals from Janelle Monáe, Big Boi represents himself as both sophisticated and grounded. L.A. Times
The album’s lead single, “Shutterbugg,” shows that Big Boi has learned all he needs to know from André  about being unpredictable. Working with co-producer Scott Storch, he creates a track around a stuttering series of “ba-bup-bup” sounds fed through an electronic talk box, accompanied by bright keyboards and live guitar. The song is sparkly and irresistible, much like OutKast’s work from the past decade. The New Yorker