Latest / The Right Time with Bomani Jones / 1996 Hip Hop Series: DJ Wally Sparks on How Outkast, UGK & Master P Took Southern Hip-Hop From Regional to Global | 03.03

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1996 Hip Hop Series: DJ Wally Sparks on How Outkast, UGK & Master P Took Southern Hip-Hop From Regional to Global | 03.03 · The Right Time with Bomani Jones

• 0:05
  Speaker 1: Ladies and gentlemen, welcome to the right time, A Wave Original.
• 0:09
  Speaker 1: My name is Beaumont Jones. Thanks for listening wherever you
• 0:11
  Speaker 1: get your podcasts. Thanks for watching us on YouTube. Subscribe, like,
• 0:16
  Speaker 1: rate us, review us, give us five stars. You only
• 0:18
  Speaker 1: give us four stars. I'm inclined to believe you are
• 0:20
  Speaker 1: a hater. It is Time Machine Tuesday. We are back
• 0:24
  Speaker 1: with episode four on our series of the year 1996
• 0:28
  Speaker 1: in rap music. Joining us now, check him out on Twitch, twitch.tv,
• 0:34
  Speaker 1: DJ Wally Sparks. That is DJ Wally Sparks wearing that
• 0:37
  Speaker 1: horrendous orange. if you're watching on the video.
• 0:42
  Speaker 2: Hey, chill out, bro. You know what I'm saying? Big
• 0:45
  Speaker 2: one's better than burnt horns is all I got to say, baby.
• 0:47
  Speaker 1: Hey, look, man. I don't even really engage in that
• 0:49
  Speaker 1: burnt orange activity so much, but I'm just saying, like,
• 0:52
  Speaker 1: looking at it on the screen, I popped up. I
• 0:54
  Speaker 1: was like, oh, I wonder what shirt Wally gonna be wearing.
• 0:56
  Speaker 1: And I had to start going like this and getting
• 0:58
  Speaker 1: my eyes right because he got that traffic urge.
• 1:01
  Speaker 2: Yeah, man. Shout out to the poverty, baby. So bald.
• 1:05
  Speaker 2: I got... You know what?
• 1:06
  Speaker 3: I wonder what it's like.
• 1:08
  Speaker 2: Like.
• 1:09
  Speaker 3: Think about this. Like, if you're a Lauryn Hill fan, right?
• 1:12
  Speaker 2: Mm-hmm.
• 1:12
  Speaker 1: Lauryn Hill was really cracking in 98, and it ain't
• 1:15
  Speaker 1: really been shit popping since then, but you always got 98, and, like...
• 1:19
  Speaker 1: You got the score. Yeah, but it's not like she
• 1:22
  Speaker 1: keeps popping up. Like, she pops up since 98, but
• 1:25
  Speaker 1: she don't pop up and give you, like, mediocrity post-98.
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  Speaker 3: She just don't give you nothing, right? And so you
• 1:30
  Speaker 3: always got 98.
• 1:31
  Speaker 1: That's kind of like Tennessee football, except they be popping
• 1:35
  Speaker 1: up mediocre.
• 1:36
  Speaker 2: Mm-hmm.
• 1:38
  Speaker 4: Yeah, the struggle of being a Tennessee Volunteer football fan
• 1:42
  Speaker 4: is quite real. We always have, as you so succinctly put, 1998.
• 1:47
  Speaker 4: You know what I'm saying? Y'all like Nebraska. Y'all used
• 1:54
  Speaker 4: to be that. I mean, I think we still, you know,
• 1:58
  Speaker 4: we being us as fans still have faith that the
• 2:03
  Speaker 4: ship can be turned around.
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  Speaker 2: I mean, Josh Heupel's doing what he... you know, what
• 2:07
  Speaker 2: he came and what he got. You know what I'm saying?
• 2:08
  Speaker 4: So, but you know, I'm, I'm still, I'm still, you know,
• 2:12
  Speaker 4: still there rooting for, for all the guys getting in
• 2:14
  Speaker 4: that checkerboard end zone, man.
• 2:15
  Speaker 2: You know what I'm saying?
• 2:16
  Speaker 1: I remember Tennessee had four touchdowns in one game. Um,
• 2:20
  Speaker 1: uh speaking speaking of nostalgia we've been talking about the
• 2:23
  Speaker 1: year 1996 now the first episode me and my man
• 2:27
  Speaker 1: jason england we talked about the year of tupac uh
• 2:30
  Speaker 1: then i talked to wally about the like a look
• 2:33
  Speaker 1: at some hit singles from 1996 came back with jason
• 2:37
  Speaker 1: where we talked about the east coast like the more
• 2:39
  Speaker 1: commercial end of the east coast in 96 and now
• 2:41
  Speaker 1: me and wally gonna talk about what was going on
• 2:44
  Speaker 1: in the south and It is a time where to
• 2:48
  Speaker 1: truly discuss this, Wally, you had to be in the
• 2:50
  Speaker 1: South because otherwise you really wouldn't be getting a hold
• 2:54
  Speaker 1: of these records.
• 2:55
  Speaker 2: Yeah, you wouldn't know. You know, it was back to,
• 2:58
  Speaker 2: you know, our previous conversation, man. It was all about
• 3:02
  Speaker 2: retail was like a real big part of what was
• 3:05
  Speaker 2: going on.
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  Speaker 4: You know, really the only option you had if you
• 3:08
  Speaker 4: were in the South making records was to be independent because,
• 3:11
  Speaker 4: you know, major labels weren't coming down here checking for
• 3:13
  Speaker 4: anything at all.
• 3:15
  Speaker 2: At all. You know?
• 3:17
  Speaker 4: So yeah, man, it was definitely a different time period.
• 3:23
  Speaker 4: And you really, really, really had to be in the
• 3:27
  Speaker 4: region to kind of understand the music that was being made, produced,
• 3:33
  Speaker 4: and distributed throughout the region that ultimately built a foundation
• 3:37
  Speaker 4: for what happened 10, 20 years later, where the South
• 3:41
  Speaker 4: became the dominant force in hip-hop culture. I'd say probably
• 3:48
  Speaker 4: from the late, late 90s, from like 99 and through
• 3:54
  Speaker 4: maybe up until probably about 2010. But all of that
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  Speaker 4: happened because of people like Rap-A-Lot Records, their whole roster,
• 4:08
  Speaker 4: and you had Luke down in Miami doing his thing,
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  Speaker 4: but All that was just, all that was, those were
• 4:14
  Speaker 4: like the two real options until, until we got into
• 4:16
  Speaker 4: the mid nineties, you know, especially for Southern rap music,
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  Speaker 4: you know, it was basically get up boys in a
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  Speaker 4: two lot crew.
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  Speaker 2: Yeah.
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  Speaker 1: Well also, and I try to explain this to people,
• 4:27
  Speaker 1: rap also had to get popular in the South. Like
• 4:32
  Speaker 1: this was not, to me, rap by and large was
• 4:36
  Speaker 1: urban music. And most of the South at that point
• 4:38
  Speaker 1: was not urban or even places. Like I always say,
• 4:41
  Speaker 1: New Orleans is a hip hop city. Atlanta is a
• 4:44
  Speaker 1: hip hop city. Houston had to get there, right? And
• 4:47
  Speaker 1: the rap in Houston that people were really into, obviously
• 4:49
  Speaker 1: with West Coast, was big too but it was stuff
• 4:51
  Speaker 1: that was generated from there but like in the last
• 4:53
  Speaker 1: dance when you think about michael jordan michael jordan on
• 4:55
  Speaker 1: the bus listening to kenny and like everything that we
• 4:59
  Speaker 1: know about michael jordan's taste in music it is clear
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  Speaker 1: michael jordan wasn't listening to no rap no michael jordan
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  Speaker 1: is from wilmington north carolina it was not that was
• 5:09
  Speaker 1: not the jam around there. I always see Charles Barkley,
• 5:13
  Speaker 1: he'll talk about how Public Enemy was his favorite rap group,
• 5:15
  Speaker 1: because they the one that name-checked you, right? I'll throw
• 5:19
  Speaker 1: it down your throat like Barkley. Chuck, what, you think
• 5:21
  Speaker 1: Chuck was out here in Leeds, Alabama?
• 5:24
  Speaker 2: B-boying?
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  Speaker 1: Breaking?
• 5:25
  Speaker 2: No, not at all. No! No!
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  Speaker 4: He didn't care about layering samples, he didn't care about
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  Speaker 4: the Bomb Squad, nothing, you know what I'm saying?
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  Speaker 2: No! No!
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  Speaker 3: Like, this was not.
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  Speaker 1: Rap did not hit everywhere. Chicago, we talked about, that's
• 5:37
  Speaker 1: another place. That was a city where, like... rap did
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  Speaker 1: not just come and take over in the way that
• 5:43
  Speaker 1: it did. Like, Planet Rock hit Atlanta, and okay, now
• 5:46
  Speaker 1: everything is different here, right? That didn't happen all across
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  Speaker 1: the country. So there was an absolute building action of
• 5:55
  Speaker 1: rap in the South that also included the building of
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  Speaker 1: what was the rap industry around the South. And so
• 6:02
  Speaker 1: prior to 96, I guess, what, 91 is my mind's
• 6:05
  Speaker 1: playing tricks on me, which... For my money. Like, I
• 6:08
  Speaker 1: say that Bob's Over Baghdad is like, it's the greatest
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  Speaker 1: rap single that's ever made. But My Mind's Playing Tricks
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  Speaker 1: On Me is the best southern rap single, if that
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  Speaker 1: makes sense.
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  Speaker 2: I get where you're going.
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  Speaker 1: Yeah, like that one, that one means something. And it was,
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  Speaker 1: Houston was ridiculous, man. Like, that was the number one
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  Speaker 1: and the only song.
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  Speaker 4: I can only imagine, bro. I can only imagine what
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  Speaker 4: that was like, you know, during that time period in Houston.
• 6:31
  Speaker 2: Yes. I know what it was like for me.
• 6:33
  Speaker 4: You know, that was, to your point, like, back in
• 6:36
  Speaker 4: the day during those times, um, I, I, we, you know,
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  Speaker 4: you were saying that rap music had to, you know,
• 6:44
  Speaker 4: be kind of ushered in, you know, like radio at
• 6:47
  Speaker 4: that time, especially urban radio, a lot of urban radio
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  Speaker 4: stations wouldn't even play rap records. A lot of people,
• 6:54
  Speaker 4: you know, it wasn't that long ago that rap music
• 6:56
  Speaker 4: was not being played. It was, was not being played
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  Speaker 4: on the radio in the place where it should have
• 7:00
  Speaker 4: been being played on the radio. I remember there was a,
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  Speaker 4: There was this really popular radio DJ who was in
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  Speaker 4: syndication named Walt Baby Love, right?
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  Speaker 2: He wouldn't play any rap.
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  Speaker 4: He had this show called some kind of weekend countdown
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  Speaker 4: or whatever. But he would notoriously not play rap songs.
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  Speaker 4: And then it got to a point where rap music
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  Speaker 4: was getting so popular that he was kind of backed
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  Speaker 4: into a corner and kind of forced to play some
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  Speaker 4: rap music.
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  Speaker 2: And even then, he still resisted. He would only play
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  Speaker 2: the instrumentals. Yeah.
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  Speaker 1: Well, it was like the demise of Soul Train.
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  Speaker 2: Yeah.
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  Speaker 1: It's largely tied to the fact that Don Cornelius wasn't
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  Speaker 1: here for rap.
• 7:39
  Speaker 2: He wasn't here for the rap music, man. You know?
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  Speaker 4: But that in and of itself is just a... It
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  Speaker 4: was a weird time because, you know, you want to
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  Speaker 4: get the respect and admiration of those people who made
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  Speaker 4: the music or who you were inspired by. And to
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  Speaker 4: have some of those people be like, that shit y'all
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  Speaker 4: doing ain't no music.
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  Speaker 2: You know what I'm saying?
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  Speaker 4: It had to, they had to be, I think that,
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  Speaker 4: I think it was part of, in one part demoralizing
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  Speaker 4: for the artists that were making the music and also
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  Speaker 4: motivating because of the music, because the music that came
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  Speaker 4: that started to come after that and the, the angst
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  Speaker 4: and all the resistance and, and, you know, aggressiveness of,
• 8:22
  Speaker 4: of rap music of that time period was probably born
• 8:25
  Speaker 4: out of that, you know?
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  Speaker 1: Yeah, eventually it reached a place, like my man said
• 8:29
  Speaker 1: on Sherbet Showcase that time, rap's a lot like condoms.
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  Speaker 3: I hate it, but I guess it's here to stay.
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  Speaker 2: It's here to stay, baby. Like, this.
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  Speaker 1: Is where we go. So as we talked about this out,
• 8:44
  Speaker 1: the Ghetto Boys are the kind of foundational act. And look,
• 8:47
  Speaker 1: a very important part of the Ghetto Boys getting so big,
• 8:51
  Speaker 1: I mean, you can't forget this part where rap is,
• 8:54
  Speaker 1: you often need some reasonable white folks to pay a
• 8:56
  Speaker 1: measure of attention. And the ghetto boys did a song
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  Speaker 1: called mind of a lunatic that got them dropped from
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  Speaker 1: their label because it was just so ridiculous and over
• 9:06
  Speaker 1: the top. At which point Rick Rubin shows up like, Ooh, controversy,
• 9:10
  Speaker 1: you say, right.
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  Speaker 3: Size them to the label. And, but that now, now
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  Speaker 3: they are known.
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  Speaker 1: Like it became very cool to say that you like
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  Speaker 1: the ghetto boys, even within rap, because they were a
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  Speaker 1: bit of a counter-cultural force.
• 9:20
  Speaker 2: Right.
• 9:21
  Speaker 1: Rappalot built itself up by the time 96 comes with
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  Speaker 1: three Scarface albums deep into this. You got the Willie
• 9:28
  Speaker 1: D catalog. You've got a little big man by Bush, right?
• 9:32
  Speaker 1: You know, they've got their things going. New Orleans has
• 9:35
  Speaker 1: its own scene that's going. Atlanta has a scene that
• 9:38
  Speaker 1: was largely based up until Outkast came around. Miami had one.
• 9:42
  Speaker 1: Memphis had one. So all these things were kind of
• 9:45
  Speaker 1: going around, but it was not yet to a point
• 9:48
  Speaker 1: where you could reasonably expect that you were going to
• 9:52
  Speaker 1: hear a Southern record outside of the South.
• 9:56
  Speaker 2: Yes.
• 9:56
  Speaker 3: As 96 comes.
• 9:58
  Speaker 1: And I also think underrated in this is the role
• 10:01
  Speaker 1: that the source and just the general hip hop press
• 10:05
  Speaker 1: also played in this. We learned a lot about what
• 10:08
  Speaker 1: was going on in rap in other places, truly by reading, right?
• 10:11
  Speaker 1: Between that- and Rap City, right? You know, and having
• 10:14
  Speaker 1: people who covered like, you know, unsigned hype column in
• 10:16
  Speaker 1: the source.
• 10:16
  Speaker 3: And things like that that got you a hit.
• 10:18
  Speaker 1: People who worked in record stores who might be able
• 10:21
  Speaker 1: to put you on the game or something that you
• 10:23
  Speaker 1: would go hear. But 96 comes around and we'll talk
• 10:26
  Speaker 1: more about the records that come out in that year.
• 10:29
  Speaker 1: But it's not like it was just a bunch of
• 10:31
  Speaker 1: people that dropped for the first time. It was a
• 10:35
  Speaker 1: lot of cats or a lot of acts that were
• 10:37
  Speaker 1: putting out. It's the second OutKast album that year. It's
• 10:40
  Speaker 1: the third UGK album.
• 10:42
  Speaker 2: Third A-Ball and MJG album too.
• 10:44
  Speaker 1: Right, third A-Ball and MJG album. A-Ball and MJG by
• 10:47
  Speaker 1: now has classic songs and classic album already in the South.
• 10:52
  Speaker 1: But even for A-Ball and MJG, like they got radio
• 10:55
  Speaker 1: play in Houston. with that third album that they weren't
• 10:58
  Speaker 1: getting necessarily before.
• 11:00
  Speaker 3: Like it's all a slow build.
• 11:02
  Speaker 1: And to me, when we go through the acts, what
• 11:04
  Speaker 1: we're going to talk about is what the future became.
• 11:07
  Speaker 1: Once 1997 comes, I think the door really gets kicked
• 11:10
  Speaker 1: down on what rap is, but like, we've already had
• 11:12
  Speaker 1: the goodie mob come out nationally. We've already had outcasts
• 11:15
  Speaker 1: break through nationally and have videos that were a thing.
• 11:18
  Speaker 1: But to me, and I'm curious your thoughts about this,
• 11:20
  Speaker 1: as you look at what the albums were that came
• 11:22
  Speaker 1: out that year, it's still largely by the South for
• 11:26
  Speaker 1: the South, but people would tap it in.
• 11:30
  Speaker 2: Yeah, man.
• 11:31
  Speaker 4: Um, I think outcast was probably the most palatable of
• 11:35
  Speaker 4: all those, of all those acts.
• 11:37
  Speaker 2: That came out at that time. And I think they were,
• 11:40
  Speaker 2: I think.
• 11:41
  Speaker 4: They were palatable because they reminded people of they, they,
• 11:49
  Speaker 4: felt like an East Coast act, like a De La
• 11:53
  Speaker 4: or a Try a Call Quest or whatever, but they
• 11:58
  Speaker 4: also felt authentically Southern to Southerners.
• 12:01
  Speaker 2: You know what I'm saying?
• 12:02
  Speaker 4: Like, musically, they had, you could tell they had real,
• 12:07
  Speaker 4: just by the music that Organized Noise was making for
• 12:11
  Speaker 4: Outkast at that time and the way that Big and
• 12:14
  Speaker 4: Dre were rhyming, you could tell clearly that they were
• 12:19
  Speaker 4: influenced by the hip-hop that.
• 12:21
  Speaker 2: Was coming out of New York.
• 12:22
  Speaker 1: Trap called Quest in particular.
• 12:24
  Speaker 2: In particular. In particular.
• 12:28
  Speaker 4: But the thing that made them different, and I'll be
• 12:35
  Speaker 4: completely forthcoming here. When I was, like I told you,
• 12:40
  Speaker 4: I graduated high school in 96. All through my high
• 12:42
  Speaker 4: school years, when I was at my purest peak hip-hop
• 12:46
  Speaker 4: head form, I used to front like I was from
• 12:48
  Speaker 4: New York. Walking around with a fake New York accent
• 12:52
  Speaker 4: and all that kind of stuff. Only listening to main
• 12:58
  Speaker 4: source and all that. Thinking that was the way to go.
• 13:01
  Speaker 4: When Timbaland's in the summer, all kind of dumb shit
• 13:03
  Speaker 4: like that. But when OutKast came out and they were
• 13:09
  Speaker 4: rhyming the way I like to hear people rhyme and
• 13:13
  Speaker 4: they were rhyming over music that.
• 13:15
  Speaker 2: Was still sort of jazzy, but it was musical.
• 13:20
  Speaker 4: The music was, the music had, you know, real musicality
• 13:24
  Speaker 4: to it instead of just a sample and a drum loop,
• 13:26
  Speaker 4: you know?
• 13:27
  Speaker 5: Right.
• 13:28
  Speaker 2: And, and then I heard them speak and, uh, and
• 13:32
  Speaker 2: I was like, Oh, they got Braves jerseys on. I
• 13:34
  Speaker 2: ain't got to wear a New York hat.
• 13:36
  Speaker 1: Oh.
• 13:37
  Speaker 4: And I was like, Oh man, they sound, they sound
• 13:39
  Speaker 4: like I actually talk for real when I'm around my cousins.
• 13:43
  Speaker 2: Right.
• 13:44
  Speaker 4: It was like, it was like a, it was almost
• 13:46
  Speaker 4: like a liberating experience for me to see somebody like
• 13:49
  Speaker 4: that do the thing that I loved, you know? And
• 13:55
  Speaker 4: that's why I say OutKast is probably the most palatable
• 13:58
  Speaker 4: act of all the, of all those that to come through.
• 14:02
  Speaker 4: And I think that kind of opened a wide range
• 14:05
  Speaker 4: of possibilities for other people to come through. Like, you know,
• 14:08
  Speaker 4: you got, you know, you, like you said, Goody Mob
• 14:10
  Speaker 4: came right after it. It was like, okay, okay.
• 14:13
  Speaker 2: Goody Mob. Oh, they're, uh, they're all brand new here.
• 14:18
  Speaker 4: The, the, the, the dudes that are really street dudes,
• 14:22
  Speaker 4: but are, that have some up here in their head
• 14:25
  Speaker 4: too also.
• 14:26
  Speaker 2: And they want to, they want to make sure that
• 14:27
  Speaker 2: all of us are all right. You know what I'm saying?
• 14:30
  Speaker 4: And you know, those, those kind of acts and, uh, even, even,
• 14:37
  Speaker 4: and it wasn't, they were different because they weren't just the, the, the, uh,
• 14:46
  Speaker 4: of like the booty shaking bass acts where it was,
• 14:49
  Speaker 4: that music was all about partying.
• 14:51
  Speaker 2: It was nothing, it was only, that's what it was about. Right.
• 14:55
  Speaker 4: And they, that outcast, Goody Mob, that era gave us
• 14:59
  Speaker 4: a little bit of substance. You know, and Ballin' G
• 15:01
  Speaker 4: and UGK, you know, that was like, you know, I
• 15:06
  Speaker 4: liked what I heard, but I didn't, I couldn't really
• 15:08
  Speaker 4: relate because, you know, I was, I was a kid.
• 15:10
  Speaker 2: I wasn't selling drugs. You know what I'm saying? You know?
• 15:14
  Speaker 4: Yeah.
• 15:14
  Speaker 2: Well, yeah.
• 15:15
  Speaker 1: Especially when we start talking about the 94 point of this, right?
• 15:19
  Speaker 1: Because you raised an interesting point there that I had
• 15:22
  Speaker 1: not really thought about. And I've seen people talk about
• 15:24
  Speaker 1: this with relation to the Godfather and mobsters that, there
• 15:28
  Speaker 1: was no, there was.
• 15:30
  Speaker 2: Not a look.
• 15:31
  Speaker 1: Like cats didn't know how they, like the cats that
• 15:33
  Speaker 1: in the game, in that game, didn't know how they
• 15:35
  Speaker 1: were supposed to look or how they were supposed to sound.
• 15:37
  Speaker 1: Like they were presented now with a template that came
• 15:39
  Speaker 1: from this movie that had a bit of a like
• 15:41
  Speaker 1: sartorial and cultural influence down on that game, right? there
• 15:46
  Speaker 1: was not a, there wasn't a look or necessarily a
• 15:51
  Speaker 1: like hip hop.
• 15:52
  Speaker 3: If you were a hip hopper.
• 15:53
  Speaker 1: From the South, there wasn't a style that matched up
• 15:57
  Speaker 1: with it. You had to really go borrow. You either
• 15:59
  Speaker 1: had to go borrow from what they was doing up
• 16:01
  Speaker 1: North or you had to go borrow over from that
• 16:03
  Speaker 1: West Coast stuff that may or may not have you
• 16:06
  Speaker 1: out here looking like you gang bag.
• 16:08
  Speaker 2: Right.
• 16:09
  Speaker 1: Which also for some places in the South, like Roy
• 16:12
  Speaker 1: Wood talks about, he became a big fan of the
• 16:14
  Speaker 1: dolphins and the Charlotte Hornets because no gangs were affiliated
• 16:18
  Speaker 1: with their colors.
• 16:20
  Speaker 2: Yeah. That's a real thing, bro.
• 16:22
  Speaker 3: Yeah. Like that was the thing that cats go to Chicago.
• 16:24
  Speaker 1: You know what I'm saying? Coming back, learning some, you know,
• 16:27
  Speaker 1: with some things that they learned or whatever, but the
• 16:29
  Speaker 1: South didn't, there wasn't a template so much for what
• 16:32
  Speaker 1: it's supposed to be at that time. And for me,
• 16:34
  Speaker 1: I think every teenager to a degree has this feeling
• 16:38
  Speaker 1: of like ostracism from the world, right? It's just naturally.
• 16:43
  Speaker 3: And so for me, it was like, I was born
• 16:44
  Speaker 3: in Atlanta.
• 16:45
  Speaker 1: I grew up in Houston and I grew up way
• 16:49
  Speaker 1: out in Houston to where like what the ghetto boys
• 16:51
  Speaker 1: is rapping about did not relate to me at all.
• 16:53
  Speaker 1: Like I didn't, I didn't know that.
• 16:55
  Speaker 2: You wasn't in the fifth ward like that. No, no.
• 16:57
  Speaker 3: But I did know where Campbellton road was.
• 17:00
  Speaker 2: Okay.
• 17:01
  Speaker 1: I did know, although the OutKast records were like, oh, wow, right?
• 17:05
  Speaker 1: Then I went to college and you started hearing stuff.
• 17:07
  Speaker 1: So like off ATL, it was Drops in 96. You know,
• 17:11
  Speaker 1: we wrote the 86 Lithonia. Hey, I just saw that
• 17:13
  Speaker 1: go by. That's a bus.
• 17:14
  Speaker 3: Oh, okay, right? Like the code was cracked to a
• 17:18
  Speaker 3: degree on what it was.
• 17:20
  Speaker 1: And so I thought Southern Playlist was interesting because to me,
• 17:23
  Speaker 1: that is kind of sort of like, atlanticronic right in
• 17:27
  Speaker 1: terms of the sound the live instrumentation it is as
• 17:30
  Speaker 1: perfectly produced a record as there has ever been um
• 17:35
  Speaker 1: you know a couple more things right there's a heavy
• 17:36
  Speaker 1: tribe influence and look man they said they're also 17
• 17:39
  Speaker 1: years old which i don't think we give them enough
• 17:41
  Speaker 1: credit for in terms of like yeah the greatness of
• 17:43
  Speaker 1: the record like they're really young teenagers yeah and that
• 17:47
  Speaker 1: is not a teenage record right it's a by any
• 17:49
  Speaker 1: means no like they nailed it but at aliens dropped
• 17:55
  Speaker 1: And to me, I don't know if you felt this
• 17:57
  Speaker 1: way when it came out, but the sound to me
• 17:59
  Speaker 1: felt more like what I would have considered to be
• 18:02
  Speaker 1: an East Coast record. And it wasn't really so much
• 18:04
  Speaker 1: that it was an East Coast record as much as
• 18:06
  Speaker 1: it was.
• 18:06
  Speaker 2: A dark record. You know why I think that is?
• 18:09
  Speaker 4: It's because a lot of people, and I was talking
• 18:12
  Speaker 4: about this to someone last night, people don't realize that Outkast,
• 18:17
  Speaker 4: that they were actually making that music themselves.
• 18:20
  Speaker 2: And A.T.
• 18:21
  Speaker 4: Ellen's was their first time where they handle the majority
• 18:26
  Speaker 4: of production and not, and it wasn't completely like, Southern Playalistic,
• 18:30
  Speaker 4: that's an organized noise record, right? ATL is probably the
• 18:33
  Speaker 4: first fully formed, straight up outcast record where they're getting
• 18:37
  Speaker 4: their complete vision off, musically and lyrically, you know?
• 18:42
  Speaker 2: So I think the.
• 18:43
  Speaker 4: Shift and the reason that that album is so moody
• 18:47
  Speaker 4: and dark is because they got their chance to express
• 18:51
  Speaker 4: themselves the way that they wanted to express themselves without
• 18:55
  Speaker 4: a complete direction from organized noise.
• 18:58
  Speaker 1: Right. Well, and a big part of that mood was
• 19:01
  Speaker 1: we are Baroque.
• 19:04
  Speaker 2: Yep. Right. Even after that album.
• 19:07
  Speaker 1: To me, this is a record that I don't think
• 19:09
  Speaker 1: anybody would make if it came out now because you
• 19:12
  Speaker 1: can't admit to being broke anymore.
• 19:14
  Speaker 2: Right.
• 19:15
  Speaker 1: Jay-Z made it impossible for you to rap about, like
• 19:19
  Speaker 1: really rap about like, Hey man, we really ain't got
• 19:21
  Speaker 1: no money. Right. Like why am I listening to somebody
• 19:23
  Speaker 1: who doesn't have any money? Like Jay-Z and Ronald Reagan
• 19:26
  Speaker 1: combined one out. This record was like, yo, we went platinum.
• 19:30
  Speaker 1: Everything was jamming.
• 19:32
  Speaker 2: All I got is enough cash to last me to
• 19:34
  Speaker 2: the end of the week. Right. I live by the
• 19:36
  Speaker 2: beat like you live.
• 19:37
  Speaker 3: Check, check, check.
• 19:39
  Speaker 1: We ain't got no money.
• 19:40
  Speaker 2: Big boys.
• 19:41
  Speaker 1: Mama died.
• 19:42
  Speaker 2: Yep.
• 19:42
  Speaker 1: Like the whole through. And so when you.
• 19:44
  Speaker 2: Go and he's about to have a son.
• 19:46
  Speaker 1: Yes. daughter no that was no the daughter was born
• 19:50
  Speaker 1: right before this record came out okay okay that's what
• 19:52
  Speaker 1: it was but no but this was like i did
• 19:55
  Speaker 1: not have a concept at the time that it came
• 19:57
  Speaker 1: out of just how young they were and i really
• 20:00
  Speaker 1: had the idea now like big boy's 19 years old.
• 20:05
  Speaker 3: With ATLians.
• 20:07
  Speaker 1: That means Andre's like 18 going on 19 or just
• 20:10
  Speaker 1: gets around there when this comes out.
• 20:12
  Speaker 3: They are super young and these.
• 20:14
  Speaker 1: Are some like for real deal adult themes from top
• 20:17
  Speaker 1: to bottom in all of this.
• 20:19
  Speaker 2: All through that record.
• 20:21
  Speaker 5: Right.
• 20:21
  Speaker 1: And it's musically great, but it's not.
• 20:25
  Speaker 1: It don't jam the way Southern Playalistic did. Like, it
• 20:28
  Speaker 1: felt very similar to a lot of second albums that
• 20:31
  Speaker 1: you have from people, right? Like, there's the youthful energy
• 20:34
  Speaker 1: that comes in album number one, and now this is
• 20:36
  Speaker 1: real life in.
• 20:37
  Speaker 2: Album number two. Yeah, it's grounded.
• 20:38
  Speaker 4: The next one is grounded because you got thrust into
• 20:41
  Speaker 4: real life because of the success of the youthful exuberance.
• 20:44
  Speaker 2: You know what I mean?
• 20:47
  Speaker 4: That record, man, like, stuff like 13th Floor and Decatur Song, bro,
• 20:53
  Speaker 4: those records are Deep.
• 20:55
  Speaker 2: You know what I mean? Yes.
• 20:58
  Speaker 1: I mean, millennium.
• 21:00
  Speaker 2: Yeah, man, bro.
• 21:02
  Speaker 4: And it's not just, and it's not just them. Like,
• 21:04
  Speaker 4: you know, you got people like cool breeze, like telling
• 21:07
  Speaker 4: these vivid tales about how he's trying to keep himself
• 21:12
  Speaker 4: safe while, while actively being, you.
• 21:16
  Speaker 2: Know, in the dope game, you know what I'm saying?
• 21:18
  Speaker 4: And he giving you these vivid pictures of all these,
• 21:20
  Speaker 4: all these other players that came that he saw, you know, uh,
• 21:25
  Speaker 4: get caught up and it's, it's, it's like, bro, I mean,
• 21:30
  Speaker 4: I just, I just want to be crumbling nerve again.
• 21:33
  Speaker 1: Yeah.
• 21:36
  Speaker 4: But, but, but it didn't, it wasn't, it was, I mean,
• 21:39
  Speaker 4: that stuff was awesome. It was just, it was a
• 21:41
  Speaker 4: completely different theme, but, but it worked though. It worked
• 21:46
  Speaker 4: for the time. I think, I think for the time
• 21:48
  Speaker 4: and for them, And it worked so well because I
• 21:51
  Speaker 4: believe that they were, you know, like I said, they
• 21:53
  Speaker 4: were given the opportunity to present themselves with complete authenticity.
• 21:59
  Speaker 5: Yeah.
• 21:59
  Speaker 1: Well, there are also some incredibly creative records on here, right?
• 22:05
  Speaker 1: And I want to be clear for everybody, the songs
• 22:07
  Speaker 1: that were produced by Outkast versus the Organized Noise Joins,
• 22:11
  Speaker 1: the ones that Outkast did, A.T.
• 22:13
  Speaker 3: Aliens, Wheels of Steel, Elevator, and E.T.
• 22:17
  Speaker 1: And E.T.
• 22:17
  Speaker 3: 's so wild, it was years before it hit me
• 22:20
  Speaker 3: that there are no drums.
• 22:24
  Speaker 2: Right? Like, E.T.
• 22:25
  Speaker 3: Has no drums. The hook on Millennium is just humming.
• 22:30
  Speaker 1: Right?
• 22:30
  Speaker 3: The idea that Elevators was a hit single.
• 22:34
  Speaker 2: The first single. That's what they led me.
• 22:36
  Speaker 1: The first single.
• 22:37
  Speaker 3: And it was, I mean, look, it's a great hook, right? Like,
• 22:40
  Speaker 3: me and you.
• 22:41
  Speaker 1: Yeah. Your mama and your cousin, too.
• 22:44
  Speaker 2: But also. Oh, my God. It's, it's.
• 22:47
  Speaker 1: It's so wally and i got to share in one
• 22:49
  Speaker 1: of the greatest days of my life which is uh
• 22:52
  Speaker 1: september 2014 the outcast shows in atlanta and i had
• 22:57
  Speaker 1: just bought up a zillion tickets and i was just
• 22:59
  Speaker 1: like anybody who needed a ticket you could any of
• 23:00
  Speaker 1: the homies need a ticket you could buy one for
• 23:02
  Speaker 1: me i had one left i called wally that day
• 23:04
  Speaker 1: i'm like hey man what you all today they ain't
• 23:05
  Speaker 1: doing nothing you try to come to this outcast show.
• 23:08
  Speaker 4: Bro hell yeah i was sad that day too because
• 23:10
  Speaker 4: i was like i was like man I was like,
• 23:13
  Speaker 4: how is it that I live in Atlanta, and OutKast
• 23:15
  Speaker 4: finally is doing a show in Atlanta, and I ain't
• 23:18
  Speaker 4: going to be able to go.
• 23:18
  Speaker 2: You can't do it in the clutch, man.
• 23:19
  Speaker 4: That was like, bro, man, I was in the worst mood.
• 23:25
  Speaker 4: I'm like, oh, I'm about to miss it. And then
• 23:26
  Speaker 4: you call. You're like, hey, man, what's happening? And he
• 23:29
  Speaker 4: was like, you trying to go see Kaz? I'm like,
• 23:31
  Speaker 4: hell yeah, I'm trying to go see Kaz.
• 23:33
  Speaker 1: It never dawned on me, A, that you wouldn't be there,
• 23:35
  Speaker 1: but B, I didn't just have seats.
• 23:37
  Speaker 3: I had the great seats.
• 23:38
  Speaker 2: The great seats, bro. That was a fantastic day.
• 23:42
  Speaker 3: Oh my God, that was so good.
• 23:43
  Speaker 1: I still look at the pictures, but I will always remember,
• 23:46
  Speaker 1: because I never loved the Elevators remix.
• 23:50
  Speaker 2: Oh, with the... With the part of his sample.
• 23:53
  Speaker 1: Oh. Until I went to those shows and they would
• 23:55
  Speaker 1: play it and the bass hit harder on that coming
• 24:00
  Speaker 1: out of the rain sample. It was the hardest bass
• 24:02
  Speaker 1: that I had ever heard. But like top to bottom,
• 24:04
  Speaker 1: there's so much going on on this record. First two
• 24:06
  Speaker 1: Outkast records do not have a song that you can say,
• 24:08
  Speaker 1: I don't really fuck with. Nah. They don't have a
• 24:11
  Speaker 1: single one.
• 24:11
  Speaker 2: Nah, they're all good. They're all good. You know what
• 24:15
  Speaker 2: I mean?
• 24:15
  Speaker 1: No, it is. It was.
• 24:19
  Speaker 1: I could go, we could have done a whole hour
• 24:21
  Speaker 1: on this one. The intro. The You May Die intro. Just, like,
• 24:27
  Speaker 1: why did you think this was a good idea?
• 24:29
  Speaker 3: I might want to be clear.
• 24:31
  Speaker 2: It is.
• 24:32
  Speaker 1: It's a perfect idea.
• 24:34
  Speaker 4: Yo, man, shout out to Deborah Killings, man, who they
• 24:38
  Speaker 4: kind of made a lot of those, these records that
• 24:41
  Speaker 4: we're talking about. Her vocals, and then, you know, she's
• 24:45
  Speaker 4: like a a virtuous virtuoso bassist she plays she's a
• 24:51
  Speaker 4: great bass player and her contribution to these records man
• 24:54
  Speaker 4: are made them what they are and you know the
• 24:58
  Speaker 4: reason the reason why we love them so much is
• 25:00
  Speaker 4: is uh and doing large part to her contributions to
• 25:03
  Speaker 4: these records man because like that you made that intro
• 25:06
  Speaker 4: like her her vocal her vocal is like so piercing
• 25:10
  Speaker 4: just letting you like who is that singing?
• 25:13
  Speaker 2: You know what I'm saying?
• 25:14
  Speaker 1: Yeah, don't forget Joy on that one, too.
• 25:15
  Speaker 2: Yes, yes.
• 25:16
  Speaker 4: Yeah, shout out to the Hall girl, Joy. We love
• 25:19
  Speaker 4: Joy over here, man. That's, you know, another Tennessee legend.
• 25:25
  Speaker 1: I hope she ain't never wear that orange.
• 25:27
  Speaker 4: Oh, man, probably not. Not in black Nashville. I don't
• 25:31
  Speaker 4: know if they.
• 25:32
  Speaker 1: That's what I was about to say. That's Joe Gilliam's daughter.
• 25:34
  Speaker 2: That's a different.
• 25:35
  Speaker 1: Joe Gilliam's daughter and Joe Gilliam's daddy's granddaughter.
• 25:38
  Speaker 3: That's a different set of loyalties.
• 25:39
  Speaker 2: Yeah, 100%.
• 25:41
  Speaker 1: That go on over there. But man, no, no, no.
• 25:43
  Speaker 1: Like this one, it was so wild about 96. 96
• 25:45
  Speaker 1: is so cold. Like when we get to the whole year,
• 25:49
  Speaker 1: that may be my favorite of them Southern records, but
• 25:52
  Speaker 1: it is not my favorite record of 96. I do know, though,
• 25:56
  Speaker 1: that definitely of them Southern records, my top two are
• 25:58
  Speaker 1: that one and UGK Ridin' Dirty, which....
• 26:04
  Speaker 2: Oh, man.
• 26:05
  Speaker 1: Ridin' Dirty... I remember hearing Bud on the radio that
• 26:09
  Speaker 1: summer when Brian Dirty had come out. I think he
• 26:12
  Speaker 1: was on with Mad Hatter. And it was like, what
• 26:14
  Speaker 1: does Brian Dirty mean? He's like, hey, man, you know,
• 26:16
  Speaker 1: you in your car? Got a little something you're not
• 26:17
  Speaker 1: supposed to have? Baby, you Brian Dirty. Like, he was
• 26:20
  Speaker 1: just trying to give all the explanation of Brian Dirty.
• 26:23
  Speaker 3: And so UGK.
• 26:25
  Speaker 1: They always make a point, or Bud always made a
• 26:27
  Speaker 1: point that UGK had Houston in a different way because
• 26:30
  Speaker 1: Houston is two cities in one. It's the north side
• 26:32
  Speaker 1: and it's the south side. But since they were from
• 26:34
  Speaker 1: Port Arthur, they could traffic in both. There was no
• 26:38
  Speaker 1: antagonism toward them on either side. So they were like
• 26:41
  Speaker 1: the thing that everybody could agree on. And especially at
• 26:44
  Speaker 1: a time where like north side rap, like Swisher House
• 26:47
  Speaker 1: has not come around, right?
• 26:48
  Speaker 3: It's not exactly the same thing.
• 26:51
  Speaker 1: Ridin' Dirty is the one, like that's one of Jay-Z's
• 26:53
  Speaker 1: favorite records, for example.
• 26:55
  Speaker 3: Ridin' Dirty went gold with no.
• 26:58
  Speaker 1: Singles and no videos.
• 26:59
  Speaker 2: Nope.
• 27:00
  Speaker 3: It was purely on the basis of the heat that
• 27:03
  Speaker 3: they had.
• 27:04
  Speaker 1: I was talking to Bud about this the other day,
• 27:05
  Speaker 1: that that was like, that's the Pimp C.N.O. Joe record,
• 27:07
  Speaker 1: because Pimp was always so good at collaborating with people.
• 27:10
  Speaker 1: And he was like, Joe had the sound that Pimp
• 27:13
  Speaker 1: was trying to get, right? And so this is the
• 27:15
  Speaker 1: one where, if I'm not mistaken, Pimp's got the guitar
• 27:17
  Speaker 1: player from The Meters showing up to play in his
• 27:20
  Speaker 1: living room, you know, to get them jams off. But look,
• 27:24
  Speaker 1: that record is what it is. And not just saying
• 27:27
  Speaker 1: this because it's the homie. We alluded to this a
• 27:29
  Speaker 1: little bit earlier. Bun B decided, I am going to
• 27:35
  Speaker 1: set everything on a fire.
• 27:37
  Speaker 2: On fire.
• 27:38
  Speaker 1: On this album. Like, one man being better, song for
• 27:43
  Speaker 1: song for song for song for song.
• 27:45
  Speaker 3: On one album.
• 27:47
  Speaker 1: It is hard to find anybody that ever smoked an album. Like,
• 27:50
  Speaker 1: Bun smoked that album start to finish. And Murder, like,
• 27:54
  Speaker 1: the first, alright, so the first full track is One
• 27:56
  Speaker 1: Day You Here, Next Day You Gone, right?
• 27:58
  Speaker 3: That was appropriate for the situation.
• 28:01
  Speaker 1: That was not a time for your rappity-rappity to go crazy.
• 28:05
  Speaker 3: Murder was specifically designed for him.
• 28:08
  Speaker 1: To go crazy, and murder has an argument for greatest
• 28:12
  Speaker 1: rap verse of all time.
• 28:13
  Speaker 3: Murder verse is on the level of Biggie victory verses.
• 28:18
  Speaker 2: Yeah.
• 28:19
  Speaker 4: That is a quintessential rap verse that I believe if
• 28:23
  Speaker 4: you are going to study as an MC, if you
• 28:27
  Speaker 4: care at all at being good at rapping, that is
• 28:32
  Speaker 4: a verse that you should study.
• 28:34
  Speaker 5: Yes.
• 28:34
  Speaker 2: You know what I'm saying? Because there's so much, there's
• 28:37
  Speaker 2: so much, so much going on.
• 28:40
  Speaker 4: The way he, the way he weaves in and out
• 28:44
  Speaker 4: and the way he, it's like building blocks. It's like
• 28:46
  Speaker 4: he's building, like he keeps building steps and going a
• 28:48
  Speaker 4: level higher and a level higher and a level higher.
• 28:52
  Speaker 2: You know what I mean?
• 28:53
  Speaker 4: Bro, it's so amazing. And, and, it starts, and it
• 28:58
  Speaker 4: starts like, you know, it kind of starts at the
• 29:00
  Speaker 4: ground floor.
• 29:01
  Speaker 1: Yeah.
• 29:01
  Speaker 2: You know?
• 29:02
  Speaker 1: Because I'm the king of moving chickens, not the finger licking.
• 29:05
  Speaker 2: As soon as he says chicken, it starts. And it
• 29:07
  Speaker 2: just keeps going. It just keeps ascending and ascending.
• 29:10
  Speaker 4: And, you know, I've had the, I have the fortune,
• 29:13
  Speaker 4: the pleasure to DJ.
• 29:16
  Speaker 2: And open up for Bun numerous times.
• 29:19
  Speaker 4: And every time I see him perform that verse, even now,
• 29:23
  Speaker 4: in 2026 or 2025 or whenever that sounds, I saw
• 29:26
  Speaker 4: him do it. It's still mind-blowing that he was able
• 29:31
  Speaker 4: to stack words in that way.
• 29:34
  Speaker 1: It's so good, bro. Yeah, and it's the beginning of
• 29:38
  Speaker 1: a 10-year run. of flat-out excellence from this dude, right?
• 29:45
  Speaker 1: I mean, he blazed every track on there, and when
• 29:51
  Speaker 1: it was time to slow it down or chill it
• 29:53
  Speaker 1: out and make it something more introspective, because the genius
• 29:55
  Speaker 1: of Pimp C is recognizing the need of that emotional resonance,
• 29:59
  Speaker 1: and that level of introspection. Like, you had to balance
• 30:02
  Speaker 1: off the gangster shit with some measure of regret, right? Like,
• 30:05
  Speaker 1: something over the other side of it. That was, like,
• 30:07
  Speaker 1: the big Pimp C thing. Man, Bun kills all of it,
• 30:10
  Speaker 1: and then Pimp C, the brilliance of Pimp C, and
• 30:14
  Speaker 1: Bun has said this on this show, was clarity.
• 30:17
  Speaker 2: Yeah.
• 30:17
  Speaker 1: And what no mystery as to what that dude was
• 30:19
  Speaker 1: talking about. You can say you did, like, one of
• 30:21
  Speaker 1: my New York partners always be like, I don't understand
• 30:23
  Speaker 1: what he talking about. I'm like, okay.
• 30:25
  Speaker 2: I mean, English.
• 30:26
  Speaker 3: I thought that we all... We're speaking it, but maybe
• 30:29
  Speaker 3: you don't.
• 30:30
  Speaker 1: Okay, cool. But every Pepsi line he hits, nobody ever
• 30:34
  Speaker 1: meant every word they said.
• 30:36
  Speaker 2: More than Pepsi, bro. He meant every single thing he
• 30:39
  Speaker 2: ever said. You know what I'm saying?
• 30:42
  Speaker 4: And that balance you speak of, man, it's on display
• 30:44
  Speaker 4: just in these first two songs we talk about. Literally
• 30:47
  Speaker 4: the first song is mourning the loss of being in
• 30:53
  Speaker 4: the business that you're in. And the next song is
• 30:56
  Speaker 4: talking about killing somebody. Yes.
• 30:59
  Speaker 2: Figuratively.
• 31:00
  Speaker 4: Not, not, not literally, but you know what I mean? So,
• 31:03
  Speaker 4: Hey bro, that, that record. And you know, I know the,
• 31:08
  Speaker 4: the only, the only promo 12 is from that record
• 31:11
  Speaker 4: that I ever saw. And the only, the only clean
• 31:14
  Speaker 4: version of, uh, like a proper clean version that was, uh,
• 31:18
  Speaker 4: released on 12 is that I've ever seen is, um,
• 31:22
  Speaker 4: where they had to change the name to Ride My Car.
• 31:25
  Speaker 2: Yes.
• 31:26
  Speaker 4: But that's literally the only promo single that I've ever
• 31:29
  Speaker 4: seen from that album.
• 31:30
  Speaker 5: Ever.
• 31:31
  Speaker 2: I don't know if there's any more, but that's the
• 31:32
  Speaker 2: only one that I've ever seen. So, yeah.
• 31:35
  Speaker 1: My underrated jam on there is Good Stuff.
• 31:39
  Speaker 2: That one's good. Pinky Ring might be the one for me, man.
• 31:43
  Speaker 1: Man, see, I feel like I don't even, it's hard
• 31:45
  Speaker 1: for me to even think of Pinky Ring as underrated
• 31:47
  Speaker 1: because I feel like Pinky Ring and Murder feel like
• 31:49
  Speaker 1: the same song because they run together.
• 31:51
  Speaker 2: Yeah.
• 31:51
  Speaker 1: So so and bun buns flow on that is so
• 31:55
  Speaker 1: easy like he's still killing it like he did on
• 31:57
  Speaker 1: murder but it's just so easy so way that he
• 32:01
  Speaker 1: hit it.
• 32:02
  Speaker 4: If murder if murder is the bun b song i
• 32:05
  Speaker 4: think pinky ring is the pimp c song yes you
• 32:08
  Speaker 4: know what i mean for for that album you know
• 32:10
  Speaker 4: where you know i mean they're both obviously on all
• 32:13
  Speaker 4: the records together but I think Pinky Ring is the
• 32:15
  Speaker 4: most Pepsi-ish song.
• 32:18
  Speaker 3: Ooh, see, that's Fuck My Car feels like that one.
• 32:23
  Speaker 1: Maybe.
• 32:24
  Speaker 2: Yeah, because he was, man. He was talking crazy reckless.
• 32:27
  Speaker 3: The only way you ever seen my passenger seat.
• 32:30
  Speaker 2: Like, oh my.
• 32:31
  Speaker 3: God, man.
• 32:34
  Speaker 2: Hey, man, he laid it all out there, man. He did.
• 32:37
  Speaker 1: But I'm coming down candy. I'm putting in the work.
• 32:39
  Speaker 1: Got my $ 10, 000 link medallion hanging off my $ 2, 000 shirt.
• 32:45
  Speaker 1: The game being good.
• 32:46
  Speaker 3: All the girls want to ride on leather and the wood.
• 32:50
  Speaker 2: Leather and wood, baby. Oh, my God.
• 32:53
  Speaker 1: That's the problem with this one. We'll just sit up
• 32:55
  Speaker 1: here and just do verses off of this.
• 32:56
  Speaker 3: One the whole day.
• 32:57
  Speaker 2: The whole day. You know what I'm saying?
• 32:59
  Speaker 1: Like, that's the one. Like, how many people, when Jay-Z,
• 33:02
  Speaker 1: what was that, off a touch with Jay-Z on the
• 33:03
  Speaker 1: Black Album?
• 33:04
  Speaker 3: Like, he wasn't jacking it. It was obviously an homage, right?
• 33:08
  Speaker 3: But this was.
• 33:10
  Speaker 1: One that, like, if you heard it, you knew.
• 33:13
  Speaker 2: Yeah, you knew.
• 33:14
  Speaker 3: And then Pimp goes to jail for a stretch, as
• 33:16
  Speaker 3: I recall.
• 33:17
  Speaker 1: It was like, no, this is the record label stretch
• 33:19
  Speaker 1: where they didn't come out for five years.
• 33:20
  Speaker 2: Mm-hmm.
• 33:21
  Speaker 1: This was the beef with Jive.
• 33:25
  Speaker 2: Man.
• 33:25
  Speaker 4: I got a homie, Jeff Sledge, that was at Jive
• 33:29
  Speaker 4: at the time. I need to ask him about that.
• 33:32
  Speaker 4: You know what I mean?
• 33:33
  Speaker 1: You know, they tell the story about, I've seen an
• 33:35
  Speaker 1: interview where they first signed with Jive. They went to
• 33:38
  Speaker 1: the offices and they saw KRS-One. You know, Bum B
• 33:41
  Speaker 1: is an absolute KRS-One disciple. And they were so excited
• 33:45
  Speaker 1: that KRS-One was like, I don't know, dog. Can you
• 33:50
  Speaker 1: imagine that?
• 33:51
  Speaker 5: Yeah.
• 33:51
  Speaker 4: I can only imagine, man. You know, just that never
• 33:55
  Speaker 4: meet your heroes type thing.
• 33:56
  Speaker 1: No, but it wasn't that never meet your heroes. It
• 33:58
  Speaker 1: was your hero was telling you this record label ain't shit.
• 34:01
  Speaker 2: Oh, yeah, yeah, yeah.
• 34:02
  Speaker 4: Yeah, I misunderstood what you were saying. No, no, I
• 34:04
  Speaker 4: got you. I'm following now. Well, I mean, Chris would know.
• 34:08
  Speaker 2: Yeah, yeah.
• 34:09
  Speaker 1: But no, this is a record that felt like something.
• 34:13
  Speaker 1: At every turn, this is a record that felt like something.
• 34:15
  Speaker 1: And I will clarify this right now because some of
• 34:18
  Speaker 1: y'all really don't know this. No, that is not Ron
• 34:23
  Speaker 1: Isley singing.
• 34:24
  Speaker 2: The hook on one day.
• 34:27
  Speaker 1: They did not have that kind of budget to make
• 34:30
  Speaker 1: that record. But shout out, I think my man's name
• 34:32
  Speaker 1: was Roddy Spencer. Great, great, great impression.
• 34:36
  Speaker 4: Yeah, you did your job well, buddy.
• 34:40
  Speaker 3: I'll put it like this.
• 34:41
  Speaker 1: He sound as much like Ron Isley on that song
• 34:44
  Speaker 1: as Ron Isley sound like Ron Isley on Project Window
• 34:48
  Speaker 1: by Nas.
• 34:51
  Speaker 2: That's pretty accurate. Yeah.
• 34:53
  Speaker 1: To me, the side that it wasn't Rod Isley is
• 34:55
  Speaker 1: that his first word was fool. There's nothing more Houston
• 35:00
  Speaker 1: that you can do to call somebody fool.
• 35:02
  Speaker 2: Hey, fool. Hey, man.
• 35:05
  Speaker 1: My brother, who is not from Houston.
• 35:06
  Speaker 5: Hey, man.
• 35:07
  Speaker 3: You're going to get enough of calling me a fool.
• 35:09
  Speaker 1: I'm like, that's what we do.
• 35:12
  Speaker 2: That's what we do, man. It's like people from New Orleans,
• 35:15
  Speaker 2: how they call each other bitch. Yes.
• 35:17
  Speaker 4: I was around, you know, I spent a lot of
• 35:19
  Speaker 4: time around Currency and Fiend probably about 10 or so
• 35:23
  Speaker 4: years ago when I was touring on the road.
• 35:26
  Speaker 2: And all of them, like their whole crew is from
• 35:29
  Speaker 2: New Orleans.
• 35:30
  Speaker 4: And, you know, you build camaraderie when you're amongst, you know,
• 35:35
  Speaker 4: your tour mates or whatever. And they were throwing that
• 35:37
  Speaker 4: bitch word around like it wasn't nothing. And I was like,
• 35:41
  Speaker 4: I didn't understand it. And it had to be explained
• 35:44
  Speaker 4: to me.
• 35:45
  Speaker 2: You know what I mean? I was like, I was like, yo,
• 35:48
  Speaker 2: I was like, they're just like, he's just going to
• 35:50
  Speaker 2: call you, he's just going to let people call.
• 35:52
  Speaker 1: You bitch like that.
• 35:53
  Speaker 3: Yo, it's like on number one stunner. I was like, damn,
• 35:55
  Speaker 3: what my guy ever do to you?
• 35:56
  Speaker 1: I don't even understand. But hey, coming up next, we
• 36:01
  Speaker 1: got more to get to, including a whole lot was
• 36:04
  Speaker 1: going on in Tennessee in the South in 1996.
• 36:07
  Speaker 2: All right.
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  Speaker 1: It's the biggest time of year for college basketball. Great moments,
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• 38:41
  Speaker 1: on ZipRecruiter. All right, we are back with DJ Wiley
• 38:45
  Speaker 1: Sparks talking about Southern rap in the year 1996. We
• 38:48
  Speaker 1: talked a little bit about this on a previous episode,
• 38:51
  Speaker 1: but this is also the year that Masterpiece Ice Cream
• 38:54
  Speaker 1: Man comes out. And to me, the idea of No
• 38:59
  Speaker 1: Limit as a Southern operation is... a little tricky and
• 39:06
  Speaker 1: reason the reason i say it's a little tricky is
• 39:08
  Speaker 1: this is also very much like midwestern west coast music
• 39:12
  Speaker 1: like in this record in particular with the ice with
• 39:15
  Speaker 1: the video with the ice cream truck on dayton's wisdom
• 39:18
  Speaker 1: boys from the bay will quickly tell you master p
• 39:22
  Speaker 1: did not come up with by himself but it almost
• 39:25
  Speaker 1: feels like a semantic argument because it hit in the
• 39:28
  Speaker 1: south he was talking about New Orleans very much, so
• 39:31
  Speaker 1: it landed in the South. The best song on there
• 39:34
  Speaker 1: is a Pimp C beat, and it is the first
• 39:37
  Speaker 1: sign that No Limit is going to have staying power.
• 39:40
  Speaker 2: Yeah.
• 39:41
  Speaker 4: I think Ice Cream Man was kind of like the
• 39:43
  Speaker 4: last Bay Area-influenced No Limit record, and also the first
• 39:48
  Speaker 4: No Limit album that signified that it was about to be,
• 39:53
  Speaker 4: you know, that we need to take this guy serious,
• 39:57
  Speaker 4: you know? Because it was, you know, it's got all
• 40:00
  Speaker 4: the shine and gloss of like a, for what a
• 40:04
  Speaker 4: major label rap album was in 1996, that it had
• 40:08
  Speaker 4: not been previously there. Like, you know, if you know
• 40:11
  Speaker 4: anything about No Limits Catalog, like their first, like their
• 40:15
  Speaker 4: stuff from the early 90s when P was operating in Richmond, California,
• 40:18
  Speaker 4: like the graphic design, left a lot to be desired.
• 40:23
  Speaker 4: You feel what I'm saying? And Ice Cream, man, looked
• 40:26
  Speaker 4: like there was some effort put into it.
• 40:27
  Speaker 2: You know?
• 40:30
  Speaker 4: It had all the sheen that indicated that we about
• 40:34
  Speaker 4: to try and sell some records for real now. And
• 40:39
  Speaker 4: using outside production like Pimp C and creating a record
• 40:44
  Speaker 4: like Break Em Off was also an indicator that.
• 40:50
  Speaker 2: Yeah, man. We about to really, really try and sell
• 40:53
  Speaker 2: some records here. Yeah.
• 40:54
  Speaker 1: And I imagine this happens to you sometimes as a DJ.
• 40:59
  Speaker 1: I played this song that was jamming earlier, but it
• 41:02
  Speaker 1: wasn't enough people in this party to really set it
• 41:04
  Speaker 1: off when I played it. But now it's a few
• 41:06
  Speaker 1: more people here. So I'm going to play it again
• 41:09
  Speaker 1: and watch what we do. And that's what happened with
• 41:11
  Speaker 1: Body Body. Like Body Body part two.
• 41:14
  Speaker 2: Yeah.
• 41:14
  Speaker 1: Came out. Like I actually realized there's a lot of
• 41:17
  Speaker 1: people I think that have never heard about it, about it.
• 41:19
  Speaker 2: Part one. Yeah.
• 41:21
  Speaker 1: Cause by the, by the part two is the one
• 41:22
  Speaker 1: where people like, Hey, wait a minute. Also heavy marketing
• 41:26
  Speaker 1: in the source.
• 41:27
  Speaker 2: Yeah. Yep. Nobody pushed their records. Yeah.
• 41:31
  Speaker 1: Nobody pushed their records harder. And it was also the
• 41:34
  Speaker 1: beginning of PR. And this is a very for better
• 41:37
  Speaker 1: or worse situation to me, man. This song got 78
• 41:39
  Speaker 1: minutes worth of music, man. He was just dropping everything
• 41:42
  Speaker 1: off on the records that he possibly could, hoping that
• 41:45
  Speaker 1: you would come across something that you liked.
• 41:48
  Speaker 3: And if you got something that you liked, okay, cool.
• 41:51
  Speaker 3: Now we got a chance here.
• 41:53
  Speaker 4: Oh, fun fact about Boutta Boutta Part 2. Mia X
• 41:55
  Speaker 4: is on that one, right? If you listen to that
• 41:58
  Speaker 4: song really closely, she's rapping two completely different verses at
• 42:00
  Speaker 4: the same time.
• 42:04
  Speaker 2: Say more.
• 42:04
  Speaker 4: I mean, that's it. When we rap, you should go
• 42:10
  Speaker 4: listen to that song. She's literally rapping. It sounds like
• 42:13
  Speaker 4: she's doing ad-libs to the verse that's coming through clearer,
• 42:17
  Speaker 4: but she's.
• 42:17
  Speaker 2: Actually rapping completely different verses. She's rapping two verses at
• 42:20
  Speaker 2: the same time.
• 42:21
  Speaker 1: So two verses are laid down on top of each
• 42:23
  Speaker 1: other is what you're telling me.
• 42:26
  Speaker 2: But it worked. It worked. Wow. Wow.
• 42:31
  Speaker 4: It's actually kind of creative, man, to not think about it.
• 42:34
  Speaker 4: I have a fun Mia X story I'll share with
• 42:36
  Speaker 4: you offline, but it's a real fun story. She's a wonderful,
• 42:42
  Speaker 4: wonderful woman.
• 42:43
  Speaker 1: She could rap her ass off, too.
• 42:44
  Speaker 2: Yes, she can. Yes, she can.
• 42:46
  Speaker 1: Like, it's really easy to.
• 42:47
  Speaker 2: No, no, no.
• 42:48
  Speaker 3: She could rap her ass off.
• 42:51
  Speaker 4: She probably top three, for sure top five in the
• 42:56
  Speaker 4: No Limit, you know, as far as all the No
• 42:59
  Speaker 4: Limit artists.
• 43:00
  Speaker 2: But she might be top three in No Limit. You
• 43:02
  Speaker 2: know what I mean?
• 43:03
  Speaker 1: I have a lot of criticisms of the No Limit catalog,
• 43:07
  Speaker 1: but No Limit had this weird thing where the more
• 43:10
  Speaker 1: famous you were, the less good at rapping. You probably were,
• 43:17
  Speaker 1: but they had a lot of dudes on there that
• 43:19
  Speaker 1: could really rap.
• 43:20
  Speaker 3: They just weren't nearly as big.
• 43:22
  Speaker 1: I mean, Mystical's eyes, because Mystical was somebody before he
• 43:26
  Speaker 1: got there, and Mystical was somebody after he left.
• 43:28
  Speaker 4: That's the greatest free agent acquisition in the history of rap.
• 43:31
  Speaker 2: Yes.
• 43:33
  Speaker 3: A better free agent acquisition for them.
• 43:34
  Speaker 1: Than Snoop was.
• 43:35
  Speaker 2: Yep, 100%.
• 43:37
  Speaker 1: But Fiend?
• 43:38
  Speaker 2: Yep.
• 43:39
  Speaker 5: Mack? Mack?
• 43:40
  Speaker 1: That's where I was going next.
• 43:42
  Speaker 2: Soul Slim?
• 43:44
  Speaker 1: Damn it's still messed up what happened to matt.
• 43:47
  Speaker 4: Yeah i'm glad he out though man he out he's
• 43:50
  Speaker 4: back making music you know i saw him playing the
• 43:52
  Speaker 4: piano the other day a video i'm playing the piano
• 43:54
  Speaker 4: i was like i had no idea you had that
• 43:56
  Speaker 4: in you brother yeah.
• 43:57
  Speaker 3: But like even serval like serval could go.
• 43:59
  Speaker 1: He could rhyme yeah skullduggery could go yeah the millers they.
• 44:06
  Speaker 2: The brothers C-Murda wasn't that bad. He wasn't that bad
• 44:09
  Speaker 2: of a rapper.
• 44:10
  Speaker 4: Out of the three Miller brothers, I think C-Murda was
• 44:13
  Speaker 4: the best rapper.
• 44:14
  Speaker 1: Yes. However, what was he doing? I'm going to just
• 44:18
  Speaker 1: rap like Pac again. What y'all think?
• 44:21
  Speaker 2: Hey, hey, whatever works, buddy.
• 44:23
  Speaker 1: Hey, look, with Pimp C, it all fell down because
• 44:27
  Speaker 1: y'all was biting too much Pac. You know, keep it
• 44:32
  Speaker 1: in mind they had some other beef.
• 44:34
  Speaker 2: Right.
• 44:36
  Speaker 5: Hey!
• 44:37
  Speaker 3: Man might have had an argument.
• 44:39
  Speaker 2: They might have.
• 44:40
  Speaker 1: But that's still, hey man, regardless of what I might
• 44:43
  Speaker 1: think about some of that, that record was hugely important
• 44:46
  Speaker 1: because I know cats I went to school with, they
• 44:48
  Speaker 1: loved it. They loved every bit of it. Like the
• 44:52
  Speaker 1: real jump off is 97, right? True to the Game
• 44:54
  Speaker 1: comes out. And to me, that's the one where it's like, oh, okay.
• 44:58
  Speaker 1: Now this is the thing.
• 45:00
  Speaker 2: Yeah.
• 45:01
  Speaker 4: That is quintessential Ice Cream Man, True to the Game,
• 45:05
  Speaker 4: Ghetto Dope. and uh charge you the gay yeah those
• 45:09
  Speaker 4: probably the those probably the most quintessential no limit albums
• 45:14
  Speaker 4: you know those those those are the ones where you
• 45:17
  Speaker 4: know if you if you if you need like a
• 45:19
  Speaker 4: crash course on no limit and why they were what
• 45:24
  Speaker 4: they were and what they you know what they meant
• 45:26
  Speaker 4: to southern rap overall those would be the the albums
• 45:30
  Speaker 4: i suggested you know people would get into.
• 45:32
  Speaker 1: Yeah, well, I'll also tell you this, because we had
• 45:34
  Speaker 1: put together, you had kindly put together a spreadsheet of
• 45:36
  Speaker 1: records from that year. You specified the UNLV Uptown for
• 45:40
  Speaker 1: Life record, which is cash money before people knew cash
• 45:43
  Speaker 1: money was a thing.
• 45:44
  Speaker 2: Yep.
• 45:44
  Speaker 4: That's why, though, because that's the, you know, that's like
• 45:50
  Speaker 4: the genesis of the cash money movement that was forthcoming.
• 45:55
  Speaker 2: You know what I mean?
• 45:56
  Speaker 4: And, you know, that's also one of those ones where,
• 46:01
  Speaker 4: you know, I remember being, uh, uh, working at the,
• 46:05
  Speaker 4: the music shop that I was working in and that,
• 46:07
  Speaker 4: that record used to fly off the shelves, bro.
• 46:10
  Speaker 2: Used to fly off the shelves, but you could.
• 46:12
  Speaker 4: Tell that it was also a step up from their
• 46:15
  Speaker 4: previous output where people were starting to get serious. Like,
• 46:19
  Speaker 4: I think, I think what was, what was happening. Cause
• 46:22
  Speaker 4: you know, sound scan didn't become a thing until like
• 46:25
  Speaker 4: the nineties. And then, you know, people started to understand
• 46:27
  Speaker 4: what sound scan was and, and how you could track
• 46:30
  Speaker 4: and how you could leverage the numbers that you, uh,
• 46:32
  Speaker 4: the numbers that you, uh, getting through via sound scan
• 46:35
  Speaker 4: reports and realize that they can make some real bread
• 46:39
  Speaker 4: and was like, yeah, we about to sell these records
• 46:42
  Speaker 4: for real.
• 46:42
  Speaker 2: We about, we got to take this really, really serious.
• 46:44
  Speaker 2: And we gotta, we have to take.
• 46:47
  Speaker 4: Some, uh, greater initiative into stepping up the quality of
• 46:49
  Speaker 4: our product. And I think uptown for life was like that.
• 46:53
  Speaker 2: You know what I'm saying?
• 46:54
  Speaker 4: Uh, as far as the, you know, the, how the
• 46:56
  Speaker 4: cash money moving was going. you know, the, you know,
• 46:59
  Speaker 4: the guys, you and LV, they would, they would still
• 47:01
  Speaker 4: be in who they were and the records were who
• 47:03
  Speaker 4: they were. The records are awesome. You know, drag them
• 47:05
  Speaker 4: in the rivers, obviously the standout from that album.
• 47:08
  Speaker 1: All time. That, and a bad-ass yellow boy. If you
• 47:11
  Speaker 1: don't know this by the.
• 47:11
  Speaker 2: Actual title, you know what I'm saying?
• 47:15
  Speaker 4: And, um, bro, uh, that record, that album and that
• 47:22
  Speaker 4: record being on that album is what kind of pushed
• 47:25
  Speaker 4: cash money forward as a, uh, as sort of a,
• 47:31
  Speaker 4: at that time.
• 47:32
  Speaker 1: A.
• 47:34
  Speaker 4: New player, sort of like an intermediate player in what
• 47:37
  Speaker 4: was going on in national rap music at the time. Like,
• 47:42
  Speaker 4: they had already been solidified regionally for quite some time,
• 47:46
  Speaker 4: you know, with the early BG stuff and, you know,
• 47:51
  Speaker 4: the early juvie stuff and Miss T and all that
• 47:55
  Speaker 4: kind of stuff, all those records. But, That UNLV record, man,
• 48:00
  Speaker 4: that was a legitimate step forward and for what became
• 48:06
  Speaker 4: cash money as we know it today.
• 48:09
  Speaker 5: Right.
• 48:10
  Speaker 1: And then 96 was a crazy year for Memphis. And
• 48:15
  Speaker 1: I hadn't really thought about it until you had pointed
• 48:17
  Speaker 1: out all these records that come out. Three Six Mafia
• 48:20
  Speaker 1: Chapter One comes out that year. Tila Peace of Mind
• 48:23
  Speaker 1: comes out that year. A-Ball and MJG on Top of
• 48:26
  Speaker 1: the World comes out that year. Now, it's interesting because
• 48:29
  Speaker 1: With A-Ball and MJG and 3-6 Mafia, who I think
• 48:33
  Speaker 1: we'd all agree, those are like Hall of Fame acts
• 48:35
  Speaker 1: at this point. These are not their best records. It's
• 48:39
  Speaker 1: got some singles, but these are not their best records.
• 48:42
  Speaker 1: 3-6 Mafia, though, and what I think is so interesting
• 48:44
  Speaker 1: about them is there's no way that we would have
• 48:46
  Speaker 1: known 30 years ago that you could make an argument
• 48:49
  Speaker 1: that DJ Paul and Juicy J have been... As influential,
• 48:54
  Speaker 1: if not more, than anybody else on what the sound
• 48:57
  Speaker 1: of rap music has become in the 21st century.
• 49:00
  Speaker 4: I made a post on Twitter years ago, back when
• 49:02
  Speaker 4: I used to engage in rap discussion on Twitter. I
• 49:05
  Speaker 4: don't do that anymore because I like my life. But
• 49:08
  Speaker 4: I made the point that Three 6 Mafia, I just
• 49:13
  Speaker 4: blurted this out and tweeted it for the reaction. I
• 49:16
  Speaker 4: said Three 6 Mafia is the most influential rap group
• 49:19
  Speaker 4: of all time. And man, the, the pushback that I
• 49:24
  Speaker 4: got from that. But then I, you know, as, as
• 49:27
  Speaker 4: time went on, people start, you know, I started listing
• 49:31
  Speaker 4: all these things that were happening right then at the time.
• 49:33
  Speaker 2: This is, I made two or three years ago.
• 49:35
  Speaker 4: That would, that had a direct line, a direct line,
• 49:40
  Speaker 4: to 3-6 Mafia, they were like, oh, well, maybe this
• 49:44
  Speaker 4: isn't as far-fetched as I thought.
• 49:46
  Speaker 1: I mean, you can start with the whole, you know,
• 49:51
  Speaker 1: Bone might have jacked our style situation.
• 49:55
  Speaker 4: Hey, man, hey, that's been a long-standing debate in hip-hop.
• 50:00
  Speaker 4: You know, who did that type of style first? They
• 50:04
  Speaker 4: are adamant it was them.
• 50:06
  Speaker 2: I know.
• 50:06
  Speaker 4: Both sides. Both sides of Adam in the day were
• 50:09
  Speaker 4: the beginning.
• 50:10
  Speaker 1: Live by your rep. It's still out there.
• 50:14
  Speaker 2: Would you name an album?
• 50:16
  Speaker 4: Live by your rep, and then in the album title,
• 50:19
  Speaker 4: you put in parentheses, bone this.
• 50:22
  Speaker 1: Yeah, just, there's nothing more Memphis, Dad. I can't leave
• 50:26
  Speaker 1: this for you to figure out. I need to tell
• 50:29
  Speaker 1: you exactly, because there is no more straightforward catalog than
• 50:33
  Speaker 1: the 3-6 Mafia. There are no more straightforward song titles. Like,
• 50:37
  Speaker 1: what is that 3-6 Mafia song about? It says it.
• 50:42
  Speaker 1: What's Let's Plan a Robbery about?
• 50:44
  Speaker 5: Well.
• 50:45
  Speaker 1: They're going to plan a robbery.
• 50:47
  Speaker 2: Oh, man.
• 50:48
  Speaker 4: One of my favorite Three Six Mafia songs is on
• 50:50
  Speaker 4: the Chapter One album, Where's the Bud?
• 50:53
  Speaker 2: You know what I'm saying?
• 50:54
  Speaker 5: Yes.
• 50:54
  Speaker 4: Where's the Bud. That's one of my favorite, favorite Three
• 50:57
  Speaker 4: Six Mafia albums. But in line with what you're saying, man,
• 51:02
  Speaker 4: you know exactly what that song's about.
• 51:06
  Speaker 3: Tear the club up. What do you think, guys?
• 51:11
  Speaker 2: You know exactly what these records are about. Break the law.
• 51:18
  Speaker 1: But I don't think there was any way to know
• 51:20
  Speaker 1: where this was going. Cause like the next year is,
• 51:22
  Speaker 1: is when Ted club up comes out and then they
• 51:25
  Speaker 1: just consistently put something out about once a year had,
• 51:28
  Speaker 1: you know, club songs at a time where what it,
• 51:30
  Speaker 1: what a song was for the club was completely changing.
• 51:33
  Speaker 1: My brother always said, cause you know, it was all
• 51:34
  Speaker 1: in places that couldn't play Ted a club up. because
• 51:37
  Speaker 1: it became a liability issue. My brother was like, yeah,
• 51:40
  Speaker 1: how about you play a song called Tell Your Own
• 51:44
  Speaker 1: Shit Up? Right? Because we're not playing that in my establishment.
• 51:51
  Speaker 4: I got threatened with a citation for playing that record
• 51:54
  Speaker 4: once by a Chattanooga police officer. I was in this
• 51:58
  Speaker 4: club called Hole Note. uh this is early in my
• 52:01
  Speaker 4: career um and i i would you know some something
• 52:04
  Speaker 4: happened it was you know fights in the club were
• 52:06
  Speaker 4: just kind of normal this but what have for whatever
• 52:09
  Speaker 4: reason this fight was was a little bit you know
• 52:12
  Speaker 4: a little bit extra and then it did the cop
• 52:15
  Speaker 4: came in cleared everybody out and you know i'm still
• 52:18
  Speaker 4: i still got like a record on the turntables or
• 52:21
  Speaker 4: whatever and the dude came up there and you know
• 52:23
  Speaker 4: He wrote something on a notepad and was like, I'm
• 52:25
  Speaker 4: going to give you a ticket if you want to
• 52:27
  Speaker 4: tour this business.
• 52:28
  Speaker 2: And I'm like, yes, sir, officer. You know what I'm saying?
• 52:32
  Speaker 3: And we believed them.
• 52:33
  Speaker 2: Yeah. Yeah, man. It was great.
• 52:35
  Speaker 3: Let's start a ride in the club.
• 52:37
  Speaker 1: Hey, hey, hey, hey, hey.
• 52:41
  Speaker 2: I mean, it would happen sometimes. You know what I mean?
• 52:43
  Speaker 5: Yes.
• 52:44
  Speaker 3: That was the thing.
• 52:45
  Speaker 1: It was on the board.
• 52:46
  Speaker 4: That's the beauty of saying exactly what you mean and
• 52:49
  Speaker 4: meaning exactly what you say.
• 52:51
  Speaker 2: Yeah.
• 52:52
  Speaker 4: You might get the repercussions of what you're talking about
• 52:56
  Speaker 4: right in front of your face.
• 52:57
  Speaker 1: Now, say it in Tennessee. On top of the world,
• 53:00
  Speaker 1: 8-Ball MJG came out that year. I don't really love
• 53:03
  Speaker 1: that record, but it don't, I mean, like, it's not
• 53:05
  Speaker 1: a bad album, right?
• 53:06
  Speaker 2: It's got Freddie Paul on it.
• 53:07
  Speaker 1: But it's got Space Age Pippin on it. That was
• 53:10
  Speaker 1: all I was going to say. But it's got Space
• 53:12
  Speaker 1: Age Pippin.
• 53:13
  Speaker 3: On the list of flawless, perfect records, it's right there.
• 53:17
  Speaker 2: Mm-hmm.
• 53:19
  Speaker 3: Underrated T-Mix also. Underrated producer.
• 53:21
  Speaker 2: Yes. More 100%. I agree.
• 53:24
  Speaker 3: You had Space Age Pippin at your wedding, right?
• 53:26
  Speaker 2: Yes, I did. Yes, I did.
• 53:29
  Speaker 4: Those were fun times.
• 53:34
  Speaker 1: While it's so hip-hop, was it Shook Ones too?
• 53:37
  Speaker 2: Nah, Give Up The Goods. Give Up The Goods, okay.
• 53:43
  Speaker 4: The woman that I married at the time, she's a super, super,
• 53:51
  Speaker 4: super Mobb Deep fan. and you know me i had
• 53:54
  Speaker 4: to keep playing so you know it was one for
• 53:56
  Speaker 4: one for me.
• 53:58
  Speaker 1: I mean i gotta say man give up the goods
• 54:00
  Speaker 1: it's kind of an ominous record.
• 54:01
  Speaker 3: To play uh all the way into that.
• 54:03
  Speaker 1: That's that that's that nd.
• 54:05
  Speaker 4: Yeah yeah but hey it worked out you know we
• 54:11
  Speaker 4: still we still cool you know we we have we
• 54:14
  Speaker 4: have a really good co-parenting relationship man and i i
• 54:16
  Speaker 4: i do enjoy having uh a hardcore hip-hop head, and
• 54:20
  Speaker 4: also an incredible DJ as a co-parent and partner.
• 54:24
  Speaker 1: I just remember the first time I heard Space Age Pimpin',
• 54:26
  Speaker 1: I was like, oh, hold on, y'all made a slow jam. Like,
• 54:29
  Speaker 1: not just anybody.
• 54:31
  Speaker 2: That's a love song.
• 54:32
  Speaker 1: Yeah, you two made a full-on slow jam love song,
• 54:38
  Speaker 1: and it's perfect.
• 54:40
  Speaker 4: Dog, man, what's more romantic than saying, you know, would
• 54:43
  Speaker 4: you steal from me?
• 54:45
  Speaker 1: If that shit belong to you. I'm saying.
• 54:49
  Speaker 2: Can't get no more romantic than that, dog.
• 54:51
  Speaker 1: I'd be obliged if you step aside. Because my ride
• 54:55
  Speaker 1: is waiting.
• 54:57
  Speaker 3: To tell how well we raise hell on the Disney.
• 55:00
  Speaker 2: Hey, man.
• 55:01
  Speaker 1: MJG. I was floored to find out that there were
• 55:06
  Speaker 1: people who did not think that MJG was the best rapper.
• 55:09
  Speaker 1: in 8-Ball and MJG. Because, look, the solo catalog, 8-Ball's
• 55:14
  Speaker 1: got that, right? Like, 8-Ball makes really good records. But
• 55:18
  Speaker 1: when he's old, people better at rapping than MJG.
• 55:22
  Speaker 4: Not too many. You know, it's not too many. You know,
• 55:26
  Speaker 4: he be getting busy. Like, for real, for real. And,
• 55:29
  Speaker 4: you know, that's the thing about the hip-hop influence from, like,
• 55:34
  Speaker 4: the originators, the people in New York on the East
• 55:36
  Speaker 4: Coast and how they influenced people like us down south,
• 55:42
  Speaker 4: it's clear that Ball and G care about being good rappers.
• 55:48
  Speaker 4: You know what I mean? And the way that they
• 55:51
  Speaker 4: rhyme is evident if you just listen to it.
• 55:57
  Speaker 2: You know? And I just don't.
• 55:58
  Speaker 4: Think the music that they was rapping on was suitable
• 56:03
  Speaker 4: to the people that had the ink pens that could
• 56:06
  Speaker 4: put words in magazines at the time. But if you
• 56:10
  Speaker 4: took the time to listen to MJG rhyme, there's no
• 56:16
  Speaker 4: way you can come away from that saying that he's
• 56:18
  Speaker 4: not a high-level MC.
• 56:21
  Speaker 5: Yeah.
• 56:22
  Speaker 3: You can't listen to our robbery and lay it down.
• 56:27
  Speaker 2: I mean, those verses are incredible. They're incredible.
• 56:33
  Speaker 1: Get your head swole bringing me checks. Bring me cats.
• 56:38
  Speaker 1: I was like, oh.
• 56:41
  Speaker 2: Bro. Man.
• 56:43
  Speaker 4: And another cat from Memphis, Tila, who he's talking about,
• 56:49
  Speaker 4: he's like that.
• 56:50
  Speaker 2: Tila's a fantastic rapper.
• 56:53
  Speaker 5: Yeah.
• 56:54
  Speaker 4: I don't think he gets credit enough for how good
• 56:56
  Speaker 4: of a rapper he actually is.
• 56:58
  Speaker 3: Well, I mean, he got one of the greatest songs ever.
• 57:00
  Speaker 3: Show Enough is one of the greatest songs ever, right?
• 57:02
  Speaker 1: Tired of Ballin' is one verse too long, but Tired
• 57:04
  Speaker 1: of Ballin', like, goes hard. I think it got tricky
• 57:08
  Speaker 1: for him because of, you know, he had that little
• 57:10
  Speaker 1: label dispute that involved him getting chased out of his
• 57:14
  Speaker 1: own house through his garage.
• 57:17
  Speaker 2: Oh, you know what? I know that happened, but I
• 57:19
  Speaker 2: don't recall the story.
• 57:22
  Speaker 1: Well, it's in a song. They came in my garage.
• 57:26
  Speaker 1: I think... He was having a problem with Suave House.
• 57:30
  Speaker 1: He wound up on Rap-A-Lot. And as the song puts it, basically,
• 57:35
  Speaker 1: he pulled up in his garage. Them cats pulled up
• 57:37
  Speaker 1: behind him, and he just kept going. It drove through
• 57:39
  Speaker 1: the garage.
• 57:40
  Speaker 2: I got to get up out of here. Yeah, yeah.
• 57:42
  Speaker 3: I can't stay. Reverse is not going to work here.
• 57:46
  Speaker 2: All right. I got to go forward, baby.
• 57:49
  Speaker 1: Yeah, yeah, yeah. Because that second record, that's the one
• 57:52
  Speaker 1: that's got Table Dance on it. Mm hmm. Which somehow
• 57:56
  Speaker 1: underrated joint. But again, a ball pop up again. We
• 58:00
  Speaker 1: start talking about showing off.
• 58:02
  Speaker 2: Yeah.
• 58:03
  Speaker 4: The table is going to be showing up part two. Basically,
• 58:06
  Speaker 4: I see what they were going for.
• 58:08
  Speaker 2: But yeah. There's always sometimes it's hard to beat the original.
• 58:13
  Speaker 1: But what I think is interesting in looking back on it,
• 58:16
  Speaker 1: and maybe it's just because 96 was so crowded and
• 58:18
  Speaker 1: so much stuff had come out. There were all these
• 58:20
  Speaker 1: different years at points where like a city breaks out
• 58:23
  Speaker 1: for whatever reason, right? So I think like 04, I
• 58:26
  Speaker 1: can't remember if it was 04 or 05. I think
• 58:28
  Speaker 1: it was 04. It's like the Houston breakout, right? With
• 58:30
  Speaker 1: Slim Thug. Paul Wall, Millionaire, like all these cats now,
• 58:34
  Speaker 1: you know, there's an emergence of like that screw sound
• 58:36
  Speaker 1: comes out. Atlanta, 94, 95, it's like, oh, it's their time.
• 58:41
  Speaker 1: It did not, it never felt like Memphis got the
• 58:43
  Speaker 1: props for 96 really being the time that they were
• 58:46
  Speaker 1: coming out. Or maybe it's because those albums didn't get
• 58:48
  Speaker 1: as big in that time and it was more of
• 58:49
  Speaker 1: a slow burn. But that's really the emergence of one
• 58:52
  Speaker 1: of the truly important sounds in the history of the genre. Because, look,
• 58:56
  Speaker 1: Memphis influences Atlanta sound so much. Right. Like not just
• 59:00
  Speaker 1: that straight three six mafia to Gucci man line that,
• 59:03
  Speaker 1: you know, in that line to the Migos and all
• 59:05
  Speaker 1: of that stuff. It's not just simply that, but that
• 59:08
  Speaker 1: kind of aggressive mid-tempo music is the foundation of Lil Jon.
• 59:13
  Speaker 2: Yeah, 100%.
• 59:14
  Speaker 4: You know, the 70 BPM to 80 BPM range that
• 59:18
  Speaker 4: kind of Lil Jon lived in.
• 59:20
  Speaker 2: Who also, you know, he got his start in 96 too.
• 59:24
  Speaker 2: And then what?
• 59:25
  Speaker 1: Sosso Def Bass All-Stars.
• 59:27
  Speaker 2: Yeah, well, just him. Just Lil Jon, the Eastside Boys too.
• 59:29
  Speaker 2: That was all 96.
• 59:30
  Speaker 4: And to think about you going from like who you with,
• 59:34
  Speaker 4: who you with, get crunk, who you with, to literally
• 59:37
  Speaker 4: producing Usher's biggest record within a six-year time frame.
• 59:41
  Speaker 2: You know what I mean?
• 59:43
  Speaker 4: You know, that goes to show the kind of influence
• 59:48
  Speaker 4: that the Memphis sound it goes, you know, you have
• 59:52
  Speaker 4: that Memphis sound, you have Lil Jon's version of it
• 59:55
  Speaker 4: that becomes the Lil Jon sound, and then the Lil
• 59:58
  Speaker 4: Jon sound becomes the dominant sound, not just on urban radio,
• 1:00:03
  Speaker 4: but in pop radio, too.
• 1:00:04
  Speaker 2: You know what I mean?
• 1:00:06
  Speaker 4: So, that's that, you know, that's that through line that,
• 1:00:09
  Speaker 4: you know, even, you can, you know, direct it kind
• 1:00:13
  Speaker 4: of back to Three 6 Mafia, kind of, but just
• 1:00:17
  Speaker 4: the sound of Memphis music from the mid nineties and
• 1:00:21
  Speaker 4: all the way until the early two thousands to get
• 1:00:23
  Speaker 4: it from that point to that point. Hey man, it's,
• 1:00:27
  Speaker 4: you know, that, that shows the type of the real
• 1:00:29
  Speaker 4: level of influence that was going on.
• 1:00:31
  Speaker 1: Hey man, let me tell you why I appreciate the,
• 1:00:34
  Speaker 1: the emergence of Memphis in that way and why I
• 1:00:38
  Speaker 1: find them to be very, very important. Cause as a
• 1:00:42
  Speaker 1: brother that can't dance, I don't know if you can dance.
• 1:00:44
  Speaker 2: I can get busy.
• 1:00:45
  Speaker 5: Okay.
• 1:00:46
  Speaker 1: Okay.
• 1:00:46
  Speaker 4: I mean, I'm a little older now, so my joints
• 1:00:48
  Speaker 4: don't work like they used to, but I get busy.
• 1:00:50
  Speaker 1: Yeah, and man, your synapses and nerve endings ain't as
• 1:00:54
  Speaker 1: long as mine. You know what I'm saying? Like, it's
• 1:00:57
  Speaker 1: a lot.
• 1:00:57
  Speaker 3: It's like big and lanky, man.
• 1:00:59
  Speaker 1: That ain't, like, we got a lot going on.
• 1:01:01
  Speaker 3: Like, I fuck around and start dancing.
• 1:01:02
  Speaker 1: I look like the end of Good Times or like
• 1:01:04
  Speaker 1: the motherfucker at the Get Your Taxes Done shit in
• 1:01:07
  Speaker 1: the wind. You know what I'm saying?
• 1:01:09
  Speaker 3: Yeah, yeah, yeah. Like, you know, like, it's not, I don't,
• 1:01:14
  Speaker 3: it's not really what I do. It's not great.
• 1:01:16
  Speaker 1: That Memphis thing allowed, hey, rather than dance, I can
• 1:01:19
  Speaker 1: aggressively mimic fighting with my friends. Number one, that was helpful.
• 1:01:23
  Speaker 3: But number two, kept it at a BPM that I
• 1:01:26
  Speaker 3: could traffic in.
• 1:01:27
  Speaker 2: Right on.
• 1:01:28
  Speaker 1: Kept it in a space where like, oh, I can
• 1:01:29
  Speaker 1: do this.
• 1:01:31
  Speaker 3: I ain't really got to move my feet.
• 1:01:33
  Speaker 2: All right.
• 1:01:33
  Speaker 3: This is perfect. This is it.
• 1:01:35
  Speaker 1: So once the fellas started getting rowdy with each other,
• 1:01:37
  Speaker 1: they still wanted to dance two and two.
• 1:01:39
  Speaker 3: So you can just slide over and, you know, make.
• 1:01:41
  Speaker 1: A little something happen. Memphis did that for us.
• 1:01:44
  Speaker 3: Because, look, man, them Atlantic cats, man, they some dancing
• 1:01:46
  Speaker 3: motherfuckers over there, man.
• 1:01:47
  Speaker 2: Oh, yeah.
• 1:01:48
  Speaker 1: They be in there practicing in the mirror with their homeboys,
• 1:01:50
  Speaker 1: getting ready for the party and stuff.
• 1:01:52
  Speaker 2: And I'm from Houston. We don't.
• 1:01:54
  Speaker 3: That's not for us.
• 1:01:56
  Speaker 5: Yeah, man.
• 1:01:57
  Speaker 2: That is.
• 1:01:58
  Speaker 3: No, that's not for us.
• 1:02:00
  Speaker 2: Everything's slowed down in Houston, man.
• 1:02:02
  Speaker 1: Yes.
• 1:02:03
  Speaker 5: Yes.
• 1:02:04
  Speaker 1: Like, I can't fully explain the point that I'm making
• 1:02:06
  Speaker 1: until we get off of here.
• 1:02:07
  Speaker 5: But.
• 1:02:09
  Speaker 1: We ain't the ones that's supposed to be out here dancing.
• 1:02:13
  Speaker 1: That's the ethos of that one right there. Like, I
• 1:02:17
  Speaker 1: am not here to amuse you. That's the context in
• 1:02:23
  Speaker 1: which we view dancing. I'm not here to amuse you people.
• 1:02:28
  Speaker 2: I get it.
• 1:02:29
  Speaker 1: But that's what it was, man. Look, south of 96,
• 1:02:32
  Speaker 1: and again, 97, it really goes. Like, I was in
• 1:02:34
  Speaker 1: Atlanta in college in 97, and it was like, now
• 1:02:38
  Speaker 1: the New Yorkers are starting to put, you know, like,
• 1:02:41
  Speaker 1: Master P is on the 4-3-2-1 remix, for example. They
• 1:02:44
  Speaker 1: are having to acknowledge that what we had going down
• 1:02:48
  Speaker 1: there was actually real. You know, they started moving so
• 1:02:51
  Speaker 1: many records, because that was the part that nobody could
• 1:02:54
  Speaker 1: ignore or deny. Master P makes the cover of The Source,
• 1:02:56
  Speaker 1: I want to say, September or October. of 97 make
• 1:03:00
  Speaker 1: him say uh becomes.
• 1:03:02
  Speaker 3: A hit they at the the the video music awards.
• 1:03:06
  Speaker 1: The tank performing it was impossible to see that coming
• 1:03:10
  Speaker 1: one year before.
• 1:03:11
  Speaker 4: Bro you know i'm a big wrestling fan master p
• 1:03:13
  Speaker 4: was was literally on wcw television wrestling kurt henning and
• 1:03:18
  Speaker 4: barry windham.
• 1:03:19
  Speaker 1: With the soldiers with his whole with a stable of
• 1:03:22
  Speaker 1: no limit soldiers yep That was out there. Like, no,
• 1:03:25
  Speaker 1: all of it, everything changed in terms of how we, Jay-Z,
• 1:03:29
  Speaker 1: you needed I got it shit.
• 1:03:31
  Speaker 3: That down south masterpiece body shit. You know what I'm saying?
• 1:03:34
  Speaker 1: Like, look, man, the secret sauce for Jay-Z was showing
• 1:03:38
  Speaker 1: us a little love. Yep.
• 1:03:39
  Speaker 2: Acknowledging. That was, the acknowledgement has always been Jay-Z.
• 1:03:43
  Speaker 1: And we repaid it.
• 1:03:45
  Speaker 5: Yep.
• 1:03:45
  Speaker 1: We repaid it.
• 1:03:46
  Speaker 3: He even brought that terrible verse on the Ha remix.
• 1:03:51
  Speaker 2: Oh, yeah.
• 1:03:52
  Speaker 3: Just to show us that he cared.
• 1:03:54
  Speaker 2: Yep.
• 1:03:55
  Speaker 5: Right?
• 1:03:55
  Speaker 4: That verse sounds like it got flew in, bro. It
• 1:03:58
  Speaker 4: sounded like you just recorded something.
• 1:04:01
  Speaker 3: It sounded like he was doing it without a beat.
• 1:04:03
  Speaker 2: Yeah, that is what it sounded like, to be honest
• 1:04:05
  Speaker 2: with you.
• 1:04:06
  Speaker 1: Yeah, like, hey, hey, hear that?
• 1:04:07
  Speaker 2: Those are drums.
• 1:04:08
  Speaker 1: Like, you can't, you know, I thought they said she
• 1:04:11
  Speaker 1: was the best.
• 1:04:12
  Speaker 4: You might not have understood them Manifest drums right then,
• 1:04:14
  Speaker 4: because you know them drums, that record was like unlike
• 1:04:18
  Speaker 4: anything ever.
• 1:04:19
  Speaker 1: There's nothing like it is underrated how nothing else sounds
• 1:04:22
  Speaker 1: like that.
• 1:04:23
  Speaker 2: Nothing. Like nothing.
• 1:04:25
  Speaker 1: Like it is. It is a truly I mean, it's
• 1:04:27
  Speaker 1: a different year, different discussion. That is a truly revolutionary
• 1:04:30
  Speaker 1: single that like everything has changed now because I will
• 1:04:33
  Speaker 1: say this. I don't think any Southern rap act off
• 1:04:37
  Speaker 1: the rip. And look, it's not the first juvenile anything.
• 1:04:40
  Speaker 2: Right.
• 1:04:40
  Speaker 1: But for purposes of this discussion, they they didn't have
• 1:04:43
  Speaker 1: to earn being taken seriously. in spite of how out
• 1:04:47
  Speaker 1: there that video seemed to people and gold teeth and
• 1:04:50
  Speaker 1: everything else, they immediately got taken seriously. And it is
• 1:04:53
  Speaker 1: really because of the framework that had been built by
• 1:04:57
  Speaker 1: all these records. that we're talking about getting us to
• 1:05:00
  Speaker 1: this time. And hey, man, that is my man, DJ
• 1:05:03
  Speaker 1: Wally Sparks. Twitch.tv slash DJ Wally Sparks. Wally is an
• 1:05:08
  Speaker 1: incredible DJ. On top of having all this knowledge, he
• 1:05:10
  Speaker 1: put that into action with his hands. Go check him
• 1:05:12
  Speaker 1: out anytime he's out there spinning. If he's in your
• 1:05:15
  Speaker 1: city spinning, check out Art Beats and Lyric, whatever it is.
• 1:05:18
  Speaker 1: Go check him out. We got one more episode coming
• 1:05:20
  Speaker 1: with him later where we're going to talk about the
• 1:05:22
  Speaker 1: West Coast.
• 1:05:23
  Speaker 3: My brother, I appreciate you.
• 1:05:24
  Speaker 2: Right on.
• 1:05:25
  Speaker 4: Thank you for having me, man. Like I said, man,
• 1:05:28
  Speaker 4: I enjoy this. I'm glad we get to do it
• 1:05:29
  Speaker 4: in this kind of form now.
• 1:05:30
  Speaker 2: Yeah, man. We're going to do it anyway.
• 1:05:33
  Speaker 1: Right, right, right, right. We might as well let the
• 1:05:34
  Speaker 1: people share with us. And ladies and gentlemen, thanks so
• 1:05:37
  Speaker 1: much for joining us here on The Right Time. We
• 1:05:39
  Speaker 1: do this four times a week. Ryan Brumley handles everything
• 1:05:42
  Speaker 1: behind the scenes.
• 1:05:42
  Speaker 2: Thank you, sir.
• 1:05:43
  Speaker 1: Hit the voicemail line 323-596-7767. Remember, follow the right time. Subscribe, like,
• 1:05:51
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• 1:05:53
  Speaker 1: give us four stars. I'm inclined to believe you are
• 1:05:55
  Speaker 1: a hater. We'll talk to you guys in a couple
• 1:05:57
  Speaker 1: of days. Take it easy.