For every Batman there is a Robin; for every Conan O’Brien an Andy Richter, for every George Michael there’s that other guy from Wham. For André Benjamin there was Antwan Patton, and together they made the dynamic duo of Outkast.

In the early ‘00s there was no better hip-hop group than Outkast. Their album “Stankonia” is arguably one of the best albums of the decade, and the song “Hey Ya” is still in near constant rotation in bars and on radio stations across the country.

However, since the demise of Outkast it has been André 3000, as he is more commonly known, who has been the more familiar creative voice to the masses. Big Boi’s (Patton) new album is a statement from the silent member of the group that he will not fall the way of Andrew Ridgeley (that other guy in Wham), and “Sir Lucious Left Foot: The Son of Chico Dusty” is a remarkable statement at that.

There is a creativity to “Sir Lucious” that is not common among hip-hop albums anymore. This year B.O.B. and Drake have dominated with their self-indulgent brand of hip-hop; their choruses bemoaning rap as an industry have been played out, and Big Boi is turning the tide with a return to creative and smart rap.

There is more substance in one song on “Sir Lucious” than any other song from 2010. Of course, Big Boi cannot avoid the hackneyed rap references to “bitches and hoes” and “Ricky Bobby” (whose ‘in vogue’ status is questionable at best).

However, when these tired references are employed it is few and far between, not so much as to detract from the quality of the album, or any song, as a whole.

Big Boi also balances his rap verses with those of his guest rappers very well on this album. Where B.O.B. and Drake have failed is in the overuse of the “featured rapper.” At times on “The Adventures of Bobby Ray” B.O.B. appears to be a guest rapper on his own album. “Sir Lucious” succeeds in establishing the album as Patton’s own, rather than his guest’s.

The best cameo on “Sir Lucious” is that of Janelle Monáe, whose smooth vocals give the R&B groove “Be Still” a truly charming aesthetic. Even B.O.B.’s verse on “Night Night” is endearing and smart, and his rap really adds to the song.

A big part of the charm “Sir Lucious” exudes comes from the sticky sweet synthesizers and original beats. Nothing on this album seems contrived to follow a trend – a bold statement in today’s hip-hop climate.

The production of the album has a lot to do with that, and the production certainly enhances the album. It seems no album today could be released without auto-tune, but it has never been less of a gimmick than when Big Boi uses it.

Producer Salaam Remi also incorporates several skits (à la Kayne’s “Late Registration”) into the beginning or end of certain songs. These add a certain unexpected quirky aesthetic to the album. Their offbeat nature make the strangest things (like the description of the sexual act called the “David Blaine”) much less off-putting, and even engaging.

All of these little factors combine to make “Sir Lucious” one of the best hip-hop albums, not only of the year, but of the past few years. Big Boi has made a bold statement with this album, and he has put the hip-hop world on notice that he will not go away quietly.