Latest / The Right Time with Bomani Jones / DJ Wally Sparks on ATLiens at 30: The Album That Made OutKast Legends | 09.22

Transcript

DJ Wally Sparks on ATLiens at 30: The Album That Made OutKast Legends | 09.22 · The Right Time with Bomani Jones

• 0:05
  Speaker 1: Ladies and gentlemen, welcome to The Right Time, presented by PrizePix.
• 0:09
  Speaker 1: My name is Beaumontie Jones. Thanks for listening wherever you
• 0:11
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• 0:15
  Speaker 1: rate us, review us, give us five stars. You only
• 0:17
  Speaker 1: give us four stars. I'm inclined to believe you are
• 0:20
  Speaker 1: a hater. It is a time machine Tuesday. Got my
• 0:23
  Speaker 1: man DJ Wiley Sparks on. Check him out, twitch.tv slash
• 0:27
  Speaker 1: DJ Wiley Sparks.
• 0:28
  Speaker 2: What's going on, brother?
• 0:30
  Speaker 3: What's happening? What's happening, man?
• 0:32
  Speaker 1: Anytime I have my music talk about guests come on,
• 0:35
  Speaker 1: somebody guaranteed to wear some funny glasses.
• 0:39
  Speaker 4: I mean, I'm wearing them because I actually can't see.
• 0:43
  Speaker 3: I'm trying to be a little expressive here.
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  Speaker 1: I'm going to have to throw it in the towel
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  Speaker 1: at some point, man.
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  Speaker 3: It is amazing.
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  Speaker 1: It's stuff now that I look at it and I
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  Speaker 1: want to call the people that I bought the stuff
• 0:55
  Speaker 1: from and be like, what the fuck is this font size? Yeah.
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  Speaker 3: Right, bro.
• 1:00
  Speaker 4: Bro, I get so much shit from my DJ homies
• 1:05
  Speaker 4: because my Serato, I enlarged the font so I could
• 1:08
  Speaker 4: see in the dark when I'm DJing. Like, bro, why
• 1:12
  Speaker 4: you got all the big letters on your laptop? It's like, hey, man,
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  Speaker 4: I got to be able to see what I'm playing.
• 1:17
  Speaker 1: Don't get me started talking about these fancy restaurants trying
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  Speaker 1: to be sexy with the lights and I can't see shit.
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  Speaker 3: I don't know what I'm ordering.
• 1:25
  Speaker 1: Yeah, man. But hey, We are here to talk about ATLians,
• 1:29
  Speaker 1: 30 years, 30 years. I believe it was August 25th,
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  Speaker 1: 1996 that it.
• 1:36
  Speaker 2: Came out. And where were you in 1996?
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  Speaker 4: I was in Jackson, Tennessee. This was my first semester
• 1:47
  Speaker 4: of my freshman year at Lane College. And I remember
• 1:52
  Speaker 4: vividly the day that I bought this CD.
• 1:55
  Speaker 3: I bought this CD.
• 1:57
  Speaker 4: I bought Hardcore by Lil' Kim, and I bought something
• 2:02
  Speaker 4: that I'm misremembering, but I know I bought those two
• 2:04
  Speaker 4: at the same time.
• 2:06
  Speaker 3: I bought both of those at the same time.
• 2:08
  Speaker 4: And let's just say I popped into ATLians, and it
• 2:12
  Speaker 4: took me about a week to get to Kim.
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  Speaker 2: Man, let me tell you something. That was my senior
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  Speaker 2: year of high.
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  Speaker 3: School, right?
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  Speaker 1: And it was before I got the car, because obviously
• 2:25
  Speaker 1: my birthday was on the 26th, right?
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  Speaker 3: Okay.
• 2:28
  Speaker 1: I had the car, but I remember it coming out.
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  Speaker 2: And it's interesting.
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  Speaker 1: There's like a gap in my real memory of the
• 2:36
  Speaker 1: record because what I really associated with, and I wrote
• 2:39
  Speaker 1: about this many years ago, is I associated with the
• 2:42
  Speaker 1: first car that.
• 2:42
  Speaker 2: I had, which is this.
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  Speaker 1: 1989 Toyota Corolla. My brother had pushed it when he
• 2:48
  Speaker 1: was in college, and then he got a job that
• 2:50
  Speaker 1: had a company car. So when I turned 16, there
• 2:55
  Speaker 1: was a car And then I remember for my birthday,
• 2:59
  Speaker 1: I asked for two 10s and some boxes, right?
• 3:03
  Speaker 3: Okay.
• 3:04
  Speaker 1: And I think somehow I came up with the money
• 3:06
  Speaker 1: to get the amp. So I had 100 watts. two channels,
• 3:10
  Speaker 1: Rockford Fosgate 10s.
• 3:12
  Speaker 3: I was about to ask you what kind. Were they
• 3:14
  Speaker 3: Kiggas or MTAs or Rockford Fosgate?
• 3:15
  Speaker 1: I had the Fosgate joints, right?
• 3:18
  Speaker 2: So, like, they were new.
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  Speaker 1: I think my brother had already had, like, some Boston
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  Speaker 1: Acoustic five and a quarters in the back dash.
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  Speaker 2: Like, I was set for it.
• 3:26
  Speaker 3: And I remember.
• 3:27
  Speaker 1: I just made a bunch of tapes. Because at that time, 96,
• 3:30
  Speaker 1: you was balling.
• 3:31
  Speaker 2: If you had a CD player in your car.
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  Speaker 3: Oh, man.
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  Speaker 1: It wasn't quite a guarantee. And so I made a
• 3:37
  Speaker 1: whole bunch of tapes. And one of the tapes that
• 3:39
  Speaker 1: I made was ATLians. And I remember the ATLians. was
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  Speaker 1: the right length such that I could do the tape
• 3:45
  Speaker 1: basically like they would do the tape. Because otherwise tape
• 3:47
  Speaker 1: lengths could be all kinds of things, right?
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  Speaker 3: Yeah.
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  Speaker 2: And you didn't want to, and you would try to
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  Speaker 2: program the CD player.
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  Speaker 1: Like we had a CD player that was fancy and
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  Speaker 1: it would rearrange the tracks so that it would be
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  Speaker 1: equal sides on the tape depending on the length so
• 4:00
  Speaker 1: you wouldn't have like a song mess up in the
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  Speaker 1: middle or something like that.
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  Speaker 2: But ATLians fit perfectly.
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  Speaker 1: I remember, and I remember just running that in the car,
• 4:08
  Speaker 1: going to schools, Every day had like a 30 minute
• 4:11
  Speaker 1: drive through the country to get out there. And my
• 4:14
  Speaker 1: first thought when I heard it, later people would.
• 4:19
  Speaker 2: Make the argument that people's like, I don't know what happened, man.
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  Speaker 2: Them boys fell off.
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  Speaker 1: I don't know anybody that actually felt that way about
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  Speaker 1: ATL is. This was a completely different record than the
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  Speaker 1: first one though.
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  Speaker 3: That's completely true. So I heard both sides. Like there
• 4:33
  Speaker 3: were the.
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  Speaker 4: People that were music people like me, which is pretty
• 4:36
  Speaker 4: much who I was around the most, at least who
• 4:38
  Speaker 4: I discussed music with back then. And they were like,
• 4:42
  Speaker 4: they were okay with elevators, right? But then once they
• 4:45
  Speaker 4: dug into it and, you know, you got into all
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  Speaker 4: the moody stuff that's on this album, they were like,
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  Speaker 4: I don't know. Because, you know, they got introduced to
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  Speaker 4: Andre and Big Boy as like, you know, some player,
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  Speaker 4: pimpish type dudes, you know what I'm saying? Furry can
• 5:00
  Speaker 4: goals and braids jerseys and flip flops and socks and whatnot.
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  Speaker 4: And all of a sudden, you know, homie wearing a
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  Speaker 4: turban and talking about, you know, terrestrial planes and all
• 5:11
  Speaker 4: kind of other shit.
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  Speaker 3: You know what I mean? So I heard it from
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  Speaker 3: both ends. But me, I thought that was great.
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  Speaker 4: And earlier in that year, before the album came out,
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  Speaker 4: when recording artists do promo runs and they just come
• 5:29
  Speaker 4: from city to city or whatever and they be doing
• 5:31
  Speaker 4: favors for radio stations to make sure they get their
• 5:33
  Speaker 4: song played or in rotation, there was an event in
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  Speaker 4: Chattanooga called a river roast it was like a uh
• 5:39
  Speaker 4: like a smaller version of a larger festival that happens
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  Speaker 4: in chattanooga called river bend the river roast was like
• 5:46
  Speaker 4: a one-day thing river bend is a week long anyway
• 5:49
  Speaker 4: uh they uh were there to perform and bahamadi was
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  Speaker 4: there which was really strange but anyway she was there
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  Speaker 4: too um But they came in and they were like, hey,
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  Speaker 4: this is our new single. It's called Elevators. Our new album, ATL,
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  Speaker 4: is going to come out. And, bro, you know, this
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  Speaker 4: was on a festival-sized sound system. And when I heard
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  Speaker 4: them drums.
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  Speaker 3: I was like, whoa.
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  Speaker 2: And that bass.
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  Speaker 3: Yes.
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  Speaker 4: When it came, I was like, oh, my God. So
• 6:24
  Speaker 4: I was I was already turnt up, you know, about it.
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  Speaker 4: And by the time, you know, school had ended because
• 6:29
  Speaker 4: that happened. River Rose happened around in spring and I
• 6:33
  Speaker 4: just graduated high school in May and I was on
• 6:35
  Speaker 4: my way to college in August. So when I got
• 6:38
  Speaker 4: the lane, got to Jackson, and that album came out
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  Speaker 4: that weekend, I had to figure out a way to
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  Speaker 4: sneak off campus to.
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  Speaker 3: Go buy it.
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  Speaker 4: I had to figure out a way to sneak off campus,
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  Speaker 4: find the mall in Jackson, because I'd never been to Jackson,
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  Speaker 4: Tennessee before. Then find, you know, whatever, Blockbuster Music.
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  Speaker 3: Or Record Bar. You remember Record Bar? Whatever it was,
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  Speaker 3: Camelot Music, whatever it may be. HMV. Yeah, man. Uh,
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  Speaker 3: and go get it. So I did.
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  Speaker 4: And I went and bought those, I went and bought
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  Speaker 4: those albums that I bought. Uh, and I, I, I
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  Speaker 4: brought it back and man, man, that, that album really
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  Speaker 4: carried me through my freshman year. That, uh, uh, the
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  Speaker 4: Aaliyah one in a million album and, uh, Erica Badu's
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  Speaker 4: first album. And, uh, bro, all that, that, that literally
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  Speaker 4: carried me through my freshman year in college.
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  Speaker 1: So the thing you mentioned, Elevators, and Elevators was the
• 7:34
  Speaker 1: first single in Ego Trip's book of rap lists, which
• 7:39
  Speaker 1: is still a great thing to still go back and
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  Speaker 1: check out if anybody has it.
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  Speaker 3: A.T.
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  Speaker 2: Ellis is the number one single in 1996.
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  Speaker 1: They list that as the best single of what, for
• 7:47
  Speaker 1: my money, is the best year in the history of rap.
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  Speaker 1: And it's interesting because it did catch on immediately, which
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  Speaker 1: I think speaks to the power of a hook, right?
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  Speaker 2: Me and you.
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  Speaker 3: Yo mama and your cousin too, baby.
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  Speaker 2: That's all we needed, right?
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  Speaker 1: It was a 100% perfect hook, but everything that you
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  Speaker 1: describe about the rest of the album that perhaps some
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  Speaker 1: people had a hard time getting with, all.
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  Speaker 2: Those descriptors that you use about the rest of the
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  Speaker 2: album absolutely fit Elevators, right?
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  Speaker 1: Like, it is incredibly moody, right? It is the opposite
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  Speaker 1: of pimps and players. It's about being broke, right? Like,
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  Speaker 1: the whole nine of it, it is truly a reflection
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  Speaker 1: of the album that was ultimately coming.
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  Speaker 2: But as you said, that thing had bass.
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  Speaker 1: The hardest bass that I've ever heard in person is
• 8:38
  Speaker 1: at those 2014 OutKast shows, the base on Elevators and
• 8:43
  Speaker 1: the Elevators remix, where it's got that ba-doop of the
• 8:47
  Speaker 1: Parliament joint.
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  Speaker 3: Yeah. Oh, yeah.
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  Speaker 1: But hey, man, especially in 96, when we was putting
• 8:52
  Speaker 1: our old speakers in the back, the power of some
• 8:55
  Speaker 1: good knock.
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  Speaker 3: Yeah, man.
• 8:58
  Speaker 2: And that boy knocked.
• 8:59
  Speaker 3: Yes, it did. Yes, it did. And I think that
• 9:02
  Speaker 3: was a.
• 9:04
  Speaker 3: That kind of.
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  Speaker 4: Speaks to the brilliance of actually knowing who your core
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  Speaker 4: audience is while actually being brave enough to expand beyond
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  Speaker 4: it also.
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  Speaker 3: Yeah. You know, the beats got a hit and they did.
• 9:21
  Speaker 3: You know, but... I.
• 9:24
  Speaker 2: Mean, also at this point, let's keep it in mind
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  Speaker 2: that they're like 20 and 21 years old.
• 9:28
  Speaker 3: Young, very young.
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  Speaker 1: And what I don't think we properly appreciated at the time,
• 9:33
  Speaker 1: or which you may not have even known unless you
• 9:35
  Speaker 1: were really cracking liner notes at that time, they went
• 9:38
  Speaker 1: from having an incredible production unit kind of shepherd them
• 9:42
  Speaker 1: through the first record to producing half of the second
• 9:45
  Speaker 1: record themselves because of things that were going on with
• 9:48
  Speaker 1: those dudes. So imagine being them at 19, at 20,
• 9:51
  Speaker 1: and being like, shit, Dean, I guess we're going to
• 9:54
  Speaker 1: have to do this ourselves.
• 9:55
  Speaker 3: Yeah, it's a whole new level of responsibility.
• 9:58
  Speaker 1: You know and coming up with a great sound like
• 10:01
  Speaker 1: the sound though you can't just immediately pull what's an
• 10:05
  Speaker 1: organized track and what is an outcast track in terms
• 10:08
  Speaker 1: of production like out of the air at least i
• 10:10
  Speaker 1: can't yeah Like when I try to remember, I'm like, damn,
• 10:13
  Speaker 1: who did what? It's not, there aren't that many of
• 10:15
  Speaker 1: them that have like one of those like obvious, like, oh,
• 10:18
  Speaker 1: that's an organized thing. Okay, I know that they did
• 10:20
  Speaker 1: that one. But like Elevators, OutKast did that one.
• 10:23
  Speaker 4: Yeah, I think the key thing for me that allows
• 10:27
  Speaker 4: me to be able to differentiate from what they did
• 10:30
  Speaker 4: and what O & P did is that the O &
• 10:35
  Speaker 4: P stuff sounds a little bit more lush and the
• 10:38
  Speaker 4: Earth Tone 3 OutKast stuff the drums are hitting way harder.
• 10:43
  Speaker 3: You know what I'm saying?
• 10:44
  Speaker 4: That's, that's kind of how I can, you know, cause
• 10:46
  Speaker 4: you think like two dope boys in the Cadillac, right? That,
• 10:51
  Speaker 4: that sounds lush and full.
• 10:53
  Speaker 1: Yeah.
• 10:53
  Speaker 3: It sounds like O and P right. Yes. And then elevators, uh,
• 10:58
  Speaker 3: you know, sparse. Exactly. You know what I mean?
• 11:02
  Speaker 1: Yeah. And our cats also did, uh, extraterrestrials, which, uh, Literally,
• 11:07
  Speaker 1: it took me something in the neighborhood of 15 years
• 11:10
  Speaker 1: before I realized that song didn't have any drums.
• 11:14
  Speaker 2: Just never came up in my mind. Shout out to
• 11:16
  Speaker 2: the Witch Doctor.
• 11:17
  Speaker 3: Yeah, yeah.
• 11:20
  Speaker 2: They nailed it.
• 11:21
  Speaker 1: But to start with that, you talk about Two Toed
• 11:24
  Speaker 1: Boys and the Cadillac, which, again, it's the ethos of
• 11:31
  Speaker 1: the first album. but this is not the same sound. Sonically,
• 11:35
  Speaker 1: I would say it's probably closer to Call of the Wild,
• 11:37
  Speaker 1: but it's Call of the Wild, but it still doesn't
• 11:39
  Speaker 1: have that Call of the Wild energy.
• 11:41
  Speaker 2: I don't feel like this is it. It's muddier. It's darker.
• 11:46
  Speaker 1: You get a clear handle, I feel like, sonically, but
• 11:48
  Speaker 1: forget about that.
• 11:49
  Speaker 3: My bad.
• 11:49
  Speaker 2: I skipped over the intro.
• 11:51
  Speaker 1: You may die.
• 11:52
  Speaker 3: Yeah.
• 11:53
  Speaker 4: Shout out to our collective friend, Miss Joy Gilliam and
• 11:57
  Speaker 4: Rest in Peace Screechy Peach, a.k.a.
• 12:01
  Speaker 3: Murder Crenshaw.
• 12:02
  Speaker 4: That is a very, very, very moving piece of music.
• 12:07
  Speaker 1: Yeah, dude, I remember the first time I heard it,
• 12:09
  Speaker 1: I'm like, I don't really understand even what's going on here,
• 12:11
  Speaker 1: but I'm prepared for the rest of this record.
• 12:13
  Speaker 3: For the rest of it. I'm in it. I'm in
• 12:14
  Speaker 3: it now. You know what I'm saying?
• 12:15
  Speaker 1: Like the idea that that's the... After you coming off
• 12:17
  Speaker 1: their last record, this is the first thing you hear
• 12:20
  Speaker 1: is that.
• 12:21
  Speaker 3: Yeah. I think that sequencing is.
• 12:26
  Speaker 3: It's kind of what I was saying.
• 12:28
  Speaker 4: Like, about how elevators was kind of like a, we still,
• 12:32
  Speaker 4: which I'll remember, but we trying something different now.
• 12:35
  Speaker 3: Yes.
• 12:36
  Speaker 4: I think you may die going into two doughboys in
• 12:38
  Speaker 4: the Cadillac. It's sort of the same thing. Like, hey,
• 12:42
  Speaker 4: I'm announcing to you right off the top, this is
• 12:44
  Speaker 4: not going.
• 12:45
  Speaker 3: To be sort of playlistic.
• 12:46
  Speaker 4: But here, here's a little piece of Southern Playlist just
• 12:49
  Speaker 4: to satisfy you and satiate your taste to let you
• 12:52
  Speaker 4: know that we are still outcast. We are going in
• 12:56
  Speaker 4: a completely different direction. We're exploring a whole new world here.
• 13:00
  Speaker 1: And I contend, I do not like to get into
• 13:04
  Speaker 1: Big Boy versus Andre discussions because that just doesn't make
• 13:07
  Speaker 1: me feel good inside.
• 13:09
  Speaker 2: No matter where we land, I just don't like that.
• 13:12
  Speaker 1: However, I will say that in real time, it felt
• 13:17
  Speaker 1: to me like in 1996, the competition for most improved player,
• 13:23
  Speaker 1: or like most improved MC, was an incredible three-man race
• 13:27
  Speaker 1: between Black Thought, Odell Duff Half-Life, Bumby on Ridin' Dirty,
• 13:33
  Speaker 1: and Andre Duff.
• 13:34
  Speaker 3: On A.T.
• 13:35
  Speaker 1: Elliott's. There was like, there was a ferocity to the
• 13:37
  Speaker 1: way that he was attacking the tracks at this point.
• 13:39
  Speaker 1: Because again, the last record was a bit more of
• 13:41
  Speaker 1: a laid back sort of joint. But all two dope
• 13:43
  Speaker 1: boys in the Cadillac was softly as if I play
• 13:45
  Speaker 1: piano in the dark.
• 13:46
  Speaker 2: Oh, hey, let's go.
• 13:48
  Speaker 1: By the time you get to the end, you're like,
• 13:50
  Speaker 1: oh no, he's freestyling now. Like, we are just destroying tracks.
• 13:54
  Speaker 1: And Big Boy kills it. But it felt there was
• 13:57
  Speaker 1: a jump that you felt from Andre that I don't know.
• 14:00
  Speaker 1: Maybe it's just because Big Boy maybe was a little
• 14:01
  Speaker 1: bit advanced on the first one. And so it may
• 14:03
  Speaker 1: have felt like Andre was catching up sort of thing.
• 14:05
  Speaker 1: I think I came to appreciate Big Boy on his
• 14:07
  Speaker 1: record later in life more so than I did in
• 14:10
  Speaker 1: real time. But I felt like Andre established the tone
• 14:14
  Speaker 1: on track, too.
• 14:16
  Speaker 3: Yeah, I agree.
• 14:17
  Speaker 4: You know, there was a I think I think this
• 14:21
  Speaker 4: album is. where the mythology and the legend of Andre 3000,
• 14:25
  Speaker 4: the rapper, it started here.
• 14:28
  Speaker 3: You know what I mean? It definitely started here.
• 14:30
  Speaker 4: So I'm kind of in lockstep with you and your
• 14:35
  Speaker 4: assessment about the way Andre took a step up.
• 14:40
  Speaker 3: In quality of rhyme. You know what I mean?
• 14:44
  Speaker 4: And even complexity of rhyme, you know, as we go through.
• 14:46
  Speaker 4: You know what I mean? But yeah, man, that was...
• 14:51
  Speaker 4: But even with that, Big Boy, I love to give
• 14:55
  Speaker 4: Big Boy his flowers, man. And, you know, even Andre
• 14:58
  Speaker 4: himself has said this, that he always thought that Big
• 15:01
  Speaker 4: Boy was the better rapper between the two of them, right?
• 15:05
  Speaker 3: That's, you know, a quote from him.
• 15:07
  Speaker 4: But Big Boy is kind of like a– I was
• 15:12
  Speaker 4: trying to think of an athlete comparison, but what I was–
• 15:17
  Speaker 4: what I'm getting at is that he's so good so
• 15:21
  Speaker 4: consistently that you don't realize.
• 15:23
  Speaker 3: That he's as good as he actually is?
• 15:26
  Speaker 2: I think I may have the comp.
• 15:28
  Speaker 3: Who is that?
• 15:29
  Speaker 1: Is there an Emmitt Smith element to what he's got going, right?
• 15:34
  Speaker 1: Because the thing about Emmitt Smith is Emmitt Smith hits
• 15:37
  Speaker 1: you with short, quick movements and the vision to know
• 15:41
  Speaker 1: where to go on the track. And the thing with
• 15:42
  Speaker 1: Big Boy, to me, that always jumps out is recognizing
• 15:46
  Speaker 1: what place that track or that song with this other
• 15:50
  Speaker 1: person needs.
• 15:51
  Speaker 2: Him to get into.
• 15:53
  Speaker 1: Because the space that I think he inhabits so well
• 15:56
  Speaker 1: on ATLians, where we talking about Andre jumps out because
• 15:59
  Speaker 1: there is kind of a complexity leap that he is
• 16:01
  Speaker 1: making at the time. Big Boy's coming on, I think
• 16:04
  Speaker 1: his mama had just died right before this record comes out.
• 16:07
  Speaker 1: Like he is carrying the emotional tone that goes with
• 16:11
  Speaker 1: kind of that moodiness of the sound on this record.
• 16:14
  Speaker 2: It's like to me going.
• 16:16
  Speaker 1: Back on it, it's in hearing 16-year-old me had not
• 16:21
  Speaker 1: lived enough life to properly appreciate, I think, some of
• 16:24
  Speaker 1: what these songs were. And then to get older and
• 16:27
  Speaker 1: be like, damn, how was 21-year-old Andre, I mean, big
• 16:30
  Speaker 1: boy and 20-year-old Andre speaking to this level of depth
• 16:35
  Speaker 1: at that time?
• 16:36
  Speaker 4: Yeah, he was living life through the music. You know,
• 16:42
  Speaker 4: he's putting life into the art.
• 16:43
  Speaker 2: Well, he also becoming somebody's daddy. Mm-hmm.
• 16:47
  Speaker 3: That whole circle of life. That whole circle of life.
• 16:50
  Speaker 4: You know, you you you you lose your tether and
• 16:53
  Speaker 4: you create something brand new, you know, and all within
• 16:57
  Speaker 4: the same amount of time that I can I can
• 16:59
  Speaker 4: I can imagine what what it must have felt like
• 17:05
  Speaker 4: when you you know, you the outlet that you have
• 17:08
  Speaker 4: to express all these emotions is the outlet that is
• 17:11
  Speaker 4: also your, uh, chosen occupation, you know what I'm saying? And,
• 17:15
  Speaker 4: you know, you, you get, you get in all this, uh,
• 17:19
  Speaker 4: all this, uh, adulation from your previous work and, and
• 17:23
  Speaker 4: you are sitting here in the middle of a, uh, existential, emotional,
• 17:30
  Speaker 4: not necessarily crisis, but sea change. And, and you got
• 17:36
  Speaker 4: to put it all out there on wax. And I think,
• 17:38
  Speaker 4: I think the way big boy was rhyming on, uh,
• 17:42
  Speaker 4: on ATL is kind of brought that, brought that out.
• 17:45
  Speaker 4: Like it's, it's, it's clear. And again, like, like you,
• 17:48
  Speaker 4: I didn't really appreciate this album, uh, for real, uh,
• 17:52
  Speaker 4: until I got older, you know, I have, I have
• 17:55
  Speaker 4: a much more fondness for it now than I had before, because,
• 17:58
  Speaker 4: you know, if you know me, this, this, you know,
• 18:00
  Speaker 4: it's not my favorite outcast album, but I appreciate it
• 18:04
  Speaker 4: for what it is. And I do agree that it
• 18:06
  Speaker 4: is a classic, you know, but, but it took me
• 18:09
  Speaker 4: a while to get there. And I think living life,
• 18:13
  Speaker 4: becoming a father myself, you know, my mother passing away,
• 18:17
  Speaker 4: all that kind of stuff, I understand what was happening
• 18:21
  Speaker 4: back then and what he was saying now in a
• 18:24
  Speaker 4: completely different way than I did when I was just,
• 18:27
  Speaker 4: I just wanted something to jam to, you know?
• 18:29
  Speaker 1: And one theme of the record that I want to
• 18:31
  Speaker 1: make sure to get to, and it's the theme of Elevated,
• 18:34
  Speaker 1: sorry about the introduction of it, is we sold all
• 18:37
  Speaker 1: these records and we still don't have any money. yeah
• 18:40
  Speaker 1: this is not what we thought this shit was gonna
• 18:42
  Speaker 1: be i thought we was gonna have some money that's
• 18:46
  Speaker 1: a brutal reality check right right right so like have
• 18:50
  Speaker 1: that going through like somebody rapping like the rents do
• 18:53
  Speaker 1: we did that once and the rent is still due
• 18:56
  Speaker 1: it's still due shit man like what are we supposed
• 18:59
  Speaker 1: to do the rent still due baby Yeah, the Ritz
• 19:02
  Speaker 1: still do, but I tell you this, if there's anything
• 19:04
  Speaker 1: that they learned from Organized, and I think is it
• 19:06
  Speaker 1: a recurring theme and you realize it as soon as
• 19:08
  Speaker 1: ATLians come on, hey man.
• 19:11
  Speaker 2: We're going to give you hooks. Like that is the biggest.
• 19:15
  Speaker 1: Thing about Southern rap that I think was the, they're
• 19:20
  Speaker 1: not the, obviously the only people who got to this,
• 19:22
  Speaker 1: they're people in other regions, but I think Southern rap,
• 19:26
  Speaker 1: once you get kind of like post-Ghetto Boyz, I think
• 19:30
  Speaker 1: had a stronger understanding of the fact that you don't
• 19:33
  Speaker 1: have to, you don't necessarily sacrifice any of the aesthetics
• 19:38
  Speaker 1: of your music being hardcore just because you got a hook.
• 19:43
  Speaker 3: Right?
• 19:43
  Speaker 1: Like, Pimp C made hardcore gangster rap music. Your hook
• 19:47
  Speaker 1: was always going to be strong.
• 19:48
  Speaker 3: The hook was always going to be strong, buddy. Right?
• 19:51
  Speaker 2: 3-6 Mafia in that category.
• 19:53
  Speaker 1: You know, look, the hook would not be subtle, but
• 19:56
  Speaker 1: the hook would be something that.
• 19:57
  Speaker 4: Perhaps you would be able to remember. It'll be direct,
• 20:00
  Speaker 4: for sure. It'll be direct to something that you can
• 20:03
  Speaker 4: remember really easily.
• 20:04
  Speaker 1: 3-6 Mafia. What's the song about? Well, what's the title?
• 20:08
  Speaker 3: Break the Law.
• 20:11
  Speaker 2: Let's plan a robbery.
• 20:12
  Speaker 3: What's that about? Oh, what's another one? Slob on my knob.
• 20:18
  Speaker 3: You know what I'm saying? Tear the club up. It's
• 20:22
  Speaker 3: right there. You know what I mean?
• 20:23
  Speaker 2: Ass and titties. You know what I mean?
• 20:26
  Speaker 1: It's right there.
• 20:26
  Speaker 2: I wonder what that's about.
• 20:27
  Speaker 3: You know what I mean? It's right there, buddy.
• 20:30
  Speaker 1: ATL, it's interesting because also on that tour, they played
• 20:34
  Speaker 1: ATLians earlier, like the single ATLians.
• 20:37
  Speaker 2: That's a like don't love for me.
• 20:39
  Speaker 3: The song? Yeah. Like, it's cool. It's fun. I really,
• 20:43
  Speaker 3: really like the beat on that song.
• 20:46
  Speaker 4: But it is, you know, I think it's that little
• 20:50
  Speaker 4: rolling snare that sounds like somebody crushing popcorn in your hand.
• 20:57
  Speaker 3: Yeah. You know what I'm saying?
• 20:59
  Speaker 4: I don't know what itching scratches on my brain, but
• 21:04
  Speaker 4: that one little sonic note makes me really, really like
• 21:08
  Speaker 4: that song.
• 21:09
  Speaker 1: Yeah.
• 21:09
  Speaker 2: Because you know what it is, though?
• 21:11
  Speaker 1: I find when I say things about individual tracks on this,
• 21:13
  Speaker 1: it's kind of how it used to be with ATLians,
• 21:15
  Speaker 1: where I would tell people, this is after four albums.
• 21:20
  Speaker 1: I was like, I like it better than Stankonia, but
• 21:23
  Speaker 1: after three, ATLians was my least favorite Outkast record.
• 21:27
  Speaker 2: Because something had to be third.
• 21:29
  Speaker 4: Yeah, just because something had to be third.
• 21:32
  Speaker 1: It was not an indication of anything else. It's just
• 21:35
  Speaker 1: something had to be third. Like, this run to A.T. Elliott's,
• 21:39
  Speaker 1: Wheels of Steel, Jazzy Bell, they're all jams. But something's
• 21:44
  Speaker 1: got to be not your favorite. And that run is
• 21:48
  Speaker 1: kind of, like, in there.
• 21:49
  Speaker 2: I like Wheels of Steel a lot. Jazzy Bell, even young,
• 21:52
  Speaker 2: I'm kind of like, hey, fellas.
• 21:54
  Speaker 3: Like, come on.
• 21:57
  Speaker 4: Knowing what I know about you, I am very, very,
• 22:02
  Speaker 4: very curious to know How do you feel about the
• 22:06
  Speaker 4: Jazzy Bear remix with Kenneth Edmonds singing on the hook?
• 22:10
  Speaker 1: Yeah, like, honestly, the Jazzy Bear remix with Babyface on
• 22:15
  Speaker 1: the hook, I, I, and I want, this is what,
• 22:18
  Speaker 1: we need to be very clear about my Babyface criticism.
• 22:23
  Speaker 1: My criticism of Babyface is that he is the single most.
• 22:28
  Speaker 2: Overrated songwriter who ever lived. He got beats. He has
• 22:36
  Speaker 2: a good set. Like, his melody game is strong. All
• 22:39
  Speaker 2: of that.
• 22:40
  Speaker 1: Them words he be writing down is some old simple
• 22:45
  Speaker 1: Simon nonsense. And when you point it out to people,
• 22:48
  Speaker 1: it be hiding right in plain sight.
• 22:51
  Speaker 2: It be right there in front of them.
• 22:53
  Speaker 3: I mean, that's why he got them numbers on the board, man.
• 22:55
  Speaker 1: He does have.
• 22:56
  Speaker 3: That's what I'm saying. He got the numbers on the board.
• 22:57
  Speaker 1: But, like, when he did the versus against Teddy Riley,
• 23:00
  Speaker 1: I'm like, oh, this isn't even close. What are we
• 23:01
  Speaker 1: talking about, guys? What?
• 23:03
  Speaker 2: Babyface couldn't dream of doing My Prerogative. Could not. He
• 23:07
  Speaker 2: did the rest of that album.
• 23:09
  Speaker 1: And when you go back and listen to some of
• 23:10
  Speaker 1: that stuff, you'd be like, oh, damn. Yeah.
• 23:13
  Speaker 2: Babyface shit all sound like he was in a hurry. Like, oh, man.
• 23:19
  Speaker 2: Like one draft only. Like he don't revise.
• 23:22
  Speaker 1: He don't think back. Yeah.
• 23:25
  Speaker 2: All of that's to say, sure, you can come sing
• 23:27
  Speaker 2: a hook.
• 23:28
  Speaker 4: You know, you just kind of made the Tyler Perry
• 23:31
  Speaker 4: comparison to Babyface where, you know, I write and go.
• 23:35
  Speaker 3: I am.
• 23:36
  Speaker 2: And look, that's what I'm saying. But he can come
• 23:37
  Speaker 2: sing the hook, right?
• 23:39
  Speaker 3: Right?
• 23:39
  Speaker 1: Like, Jazzy Bell is so funny because Jazzy Bell, like, on.
• 23:42
  Speaker 2: The list of rap misogyny is very low.
• 23:45
  Speaker 1: But it is velvet gloved.
• 23:48
  Speaker 3: Mm-hmm. Right? Mm-hmm. You know? It's there. It's a jam. Yeah.
• 23:54
  Speaker 1: I don't want to say that it's not a jam.
• 23:56
  Speaker 4: There's definitely a lot of respectability politics going on. Yes.
• 24:00
  Speaker 1: But not at the like insane level of respectability politics
• 24:04
  Speaker 1: of like Goody Mob respectability politics. Anytime you hear somebody
• 24:10
  Speaker 1: from the Goody Mob has said something crazy in real time,
• 24:12
  Speaker 1: it's like, oh, no, no. You just weren't paying attention.
• 24:17
  Speaker 3: For sure. For sure.
• 24:19
  Speaker 1: They've been on this since.
• 24:20
  Speaker 3: Day one. Yeah. Very beginning. It wasn't hiding it either.
• 24:26
  Speaker 3: You know what I'm saying?
• 24:28
  Speaker 1: Yep. No. One thing I would say right fast before
• 24:30
  Speaker 1: we go to break. I was thinking about this as
• 24:33
  Speaker 1: I was like playing some vinyl at the house. And
• 24:35
  Speaker 1: it's a very interesting to think about, like really, as
• 24:38
  Speaker 1: you start getting into the early nineties, when the CD
• 24:40
  Speaker 1: becomes the dominant form of music, it is very interesting
• 24:43
  Speaker 1: how the sequencing of records changes where it's no longer,
• 24:46
  Speaker 1: you're basically sequencing two records together.
• 24:48
  Speaker 2: Like the one on the top, one on the bottom.
• 24:50
  Speaker 1: Now it's like a straight line from start to finish
• 24:53
  Speaker 1: in terms of the way.
• 24:54
  Speaker 2: To the record and sequence.
• 24:55
  Speaker 1: So you don't have like an emotional jump in the
• 24:59
  Speaker 1: middle where like the energy gets back up. Yeah. That
• 25:02
  Speaker 1: doesn't happen like this. This gets the elevators in the
• 25:05
  Speaker 1: moody space and it stays there until the end.
• 25:09
  Speaker 3: Until the end, buddy. You know what I'm saying?
• 25:11
  Speaker 2: You're going to sit in these feelings.
• 25:13
  Speaker 3: You know what I mean?
• 25:14
  Speaker 2: And we're going to talk about that and more coming
• 25:15
  Speaker 2: up next.
• 25:16
  Speaker 1: Football is finally back and PrizePix is bringing out their
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  Speaker 1: Well, America's team has decided defense is optional this year,
• 25:48
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  Speaker 2: PrizePix is going crazy.
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• 26:44
  Speaker 1: All right, we are back with DJ Wally Sparks talking
• 26:47
  Speaker 1: about ATL aliens. And, yeah, we talk about once you
• 26:49
  Speaker 1: get into, like, over the woods.
• 26:53
  Speaker 3: Mm-hmm. You're over the woods, baby. Yes. You're over the
• 26:56
  Speaker 3: woods now.
• 26:57
  Speaker 2: Over the woods and through the hills I go.
• 27:00
  Speaker 3: Yeah, man.
• 27:01
  Speaker 1: That's the over the woods is a power, power. I come,
• 27:04
  Speaker 1: give me some.
• 27:05
  Speaker 3: Yep. This is when it starts to get hefty. Yes, yes, yes.
• 27:08
  Speaker 3: You know what I mean?
• 27:09
  Speaker 2: And then Babylon where it's like we're dropping the whole
• 27:11
  Speaker 2: weight on you right now.
• 27:13
  Speaker 1: Mm-hmm.
• 27:14
  Speaker 3: Bro.
• 27:15
  Speaker 1: Babylon was the hardest thing I had ever heard when
• 27:18
  Speaker 1: it came out. I.
• 27:22
  Speaker 3: When did.
• 27:23
  Speaker 4: Was this album sort of like the introduction to Witch
• 27:29
  Speaker 4: Doctor for us?
• 27:30
  Speaker 2: I think so.
• 27:31
  Speaker 3: Because, you know, he a moody artist himself. Yes. An
• 27:38
  Speaker 3: artist that makes moody music, I should say, or made
• 27:40
  Speaker 3: moody music.
• 27:40
  Speaker 1: Yes.
• 27:42
  Speaker 4: I feel like he was kind of like the unsung
• 27:45
  Speaker 4: hero of this album because he, he added a, he
• 27:48
  Speaker 4: added some, some depth that might not have been there between, uh,
• 27:53
  Speaker 4: and not to say that, that, that Dre and.
• 27:55
  Speaker 3: Big weren't, uh, you know, doing what they needed to do.
• 27:59
  Speaker 4: We, we discussed that in detail earlier, but he added
• 28:03
  Speaker 4: something that added to the heaviness of the entire thing.
• 28:10
  Speaker 4: When he showed up, maybe it's his voice or whatever,
• 28:14
  Speaker 4: but it kind of made you like listen to this.
• 28:19
  Speaker 3: A little closer. You know what I mean?
• 28:22
  Speaker 1: Well, let me ask you this about the heaviness and
• 28:25
  Speaker 1: the darkness of the record. I wonder if you felt
• 28:28
  Speaker 1: the way that I felt, because you and I had
• 28:29
  Speaker 1: similar musical tastes at the time, where This felt like
• 28:32
  Speaker 1: more of an East Coast record to me because I
• 28:34
  Speaker 1: think it felt similar to kind of the darkness that
• 28:36
  Speaker 1: you were getting out of like Wu-Tang and other like
• 28:39
  Speaker 1: basement New York rap.
• 28:40
  Speaker 2: But it's still just as Southern as it ever was.
• 28:43
  Speaker 1: Just darker.
• 28:44
  Speaker 3: Yeah.
• 28:45
  Speaker 1: Yeah.
• 28:45
  Speaker 3: I kind of feel that way. This is this.
• 28:47
  Speaker 4: If this was like a sort of like had the
• 28:54
  Speaker 4: same sort of the darkness is like the infamous. you
• 28:58
  Speaker 4: know what i'm saying yes like where you know we
• 29:01
  Speaker 4: we talking we talking about fly shit we talking about
• 29:04
  Speaker 4: shit that's actually happening in our lives in the space
• 29:06
  Speaker 4: that we uh that we're occupying but we're talking about
• 29:09
  Speaker 4: it in a way uh that's a little bit more
• 29:14
  Speaker 4: i mean real seems like a a reductive term but
• 29:18
  Speaker 4: you know um That's heavier than what we would normally do.
• 29:23
  Speaker 4: And it's not as playful as or this this this
• 29:27
  Speaker 4: ain't fun. This shouldn't be fun for you to listen to.
• 29:30
  Speaker 4: And it wasn't fun for us to make.
• 29:31
  Speaker 1: Right.
• 29:32
  Speaker 3: You know what I'm saying? But we needed to get
• 29:34
  Speaker 3: this out.
• 29:35
  Speaker 4: This was this was necessary for all of us, for
• 29:38
  Speaker 4: you to hear and for us to.
• 29:40
  Speaker 3: Create.
• 29:41
  Speaker 1: Yeah, I mean, it's in a almost archetypal space of
• 29:45
  Speaker 1: second records.
• 29:47
  Speaker 3: Right?
• 29:47
  Speaker 1: Where I think part of it also, Prince talked about
• 29:51
  Speaker 1: with his first two records and then Dirty Mind, which
• 29:53
  Speaker 1: sounds completely different than those. And The first two records,
• 29:57
  Speaker 1: he was like, I was basically doing impressions of what
• 30:01
  Speaker 1: I was hearing on the radio. Like I was making
• 30:03
  Speaker 1: what I thought a song was supposed to be. And
• 30:06
  Speaker 1: then with Dirty Mind, he goes completely into his own
• 30:09
  Speaker 1: sort of space, right? Like there are very few people
• 30:13
  Speaker 1: who at 17 years old have both the temerity, but
• 30:18
  Speaker 1: also the permission to just make whatever the record is
• 30:23
  Speaker 1: that you want to make, right? For whatever reason, It
• 30:27
  Speaker 1: is very clear that on this one, in part, again, again, remember,
• 30:30
  Speaker 1: there was a lot of detachment from Organized Noise at
• 30:32
  Speaker 1: the time, but they had the absolute permission to make
• 30:35
  Speaker 1: the record that they felt like they had to make,
• 30:37
  Speaker 1: they wanted to make. And it's interesting to me that
• 30:39
  Speaker 1: they that everybody involved would look at them and say,
• 30:43
  Speaker 1: all right, well, we just going to do this then,
• 30:44
  Speaker 1: I guess.
• 30:45
  Speaker 3: So I have a. I've had the privilege to be
• 30:49
  Speaker 3: around Ray Murray a few times.
• 30:52
  Speaker 1: The Wizard Ray of Organized Noise.
• 30:55
  Speaker 3: Yes, yes.
• 30:55
  Speaker 4: Ray Murray or Yoda as he's fondly referred to.
• 31:00
  Speaker 3: And he.
• 31:02
  Speaker 4: Is pretty much of the Dungeon family. He is, you know,
• 31:06
  Speaker 4: top of the food chain, right? And just in conversation,
• 31:12
  Speaker 4: it's very, very, very brief conversation. Causal conversation, nothing really deep.
• 31:19
  Speaker 4: I could pick up on a sense that he probably,
• 31:24
  Speaker 4: back then, he probably pushed them in this direction.
• 31:28
  Speaker 3: You know what I'm saying?
• 31:29
  Speaker 4: Like, it's time, you know, we did what was necessary
• 31:34
  Speaker 4: to get y'all to the door. It's time for y'all
• 31:35
  Speaker 4: to open the door and walk through it now. And
• 31:37
  Speaker 4: y'all can do, y'all, you know, we will be here
• 31:40
  Speaker 4: to help you if help is required. But y'all need
• 31:46
  Speaker 4: to go figure this out.
• 31:47
  Speaker 3: You know what I'm saying? Y'all need to go figure
• 31:48
  Speaker 3: out who y'all are.
• 31:50
  Speaker 4: Not the 17-year-old kids that came to us rapping over
• 31:54
  Speaker 4: Trial Call Quest instrumentals that we turned into OutKast, right?
• 31:59
  Speaker 4: We need to go figure out who Antoine and Andre
• 32:01
  Speaker 4: are now. This is on y'all. But you have a
• 32:04
  Speaker 4: safety net.
• 32:05
  Speaker 3: We're here, right? But it's y'all turn now. I get
• 32:10
  Speaker 3: a feeling that.
• 32:12
  Speaker 4: that may have been what happened and that may have
• 32:16
  Speaker 4: been what caused this album to be such a distinct
• 32:22
  Speaker 4: and sharp left turn from the debut.
• 32:26
  Speaker 1: So this spurred a thought for me and it's not perfect.
• 32:30
  Speaker 1: It's not a perfect comparison in terms of the respective timelines,
• 32:34
  Speaker 1: but is ATLians to them kind of what Midnight Marauders
• 32:40
  Speaker 1: was to Tribe?
• 32:42
  Speaker 3: Right?
• 32:42
  Speaker 1: Like, the sound kind of goes into a bit of
• 32:45
  Speaker 1: a darker space. The lyrics get to be a different
• 32:49
  Speaker 1: kind of introspection because, like, Low End Theory is a
• 32:52
  Speaker 1: lot of, like, rapper as instrument. It's incredible, right? But, like,
• 32:59
  Speaker 1: I felt like Midnight Marauders pulls you in a little
• 33:01
  Speaker 1: closer to hear what it is that we're talking about
• 33:03
  Speaker 1: and hear what's going on with the beats and things
• 33:05
  Speaker 1: like that. It's a more subtle record to me than
• 33:09
  Speaker 1: Low End Theory is. In a way, I think ATL
• 33:11
  Speaker 1: is a more subtle record. than Southern Playalistic was.
• 33:14
  Speaker 4: And like ATL Eons, as we have discussed, was sort
• 33:19
  Speaker 4: of like the Andre show. Midnight Marauders was the Fife show,
• 33:23
  Speaker 4: for sure.
• 33:24
  Speaker 3: You know what I'm saying? Rest in peace, Fife dog.
• 33:27
  Speaker 4: Uh yeah i think i think that's a pretty apt
• 33:29
  Speaker 4: comparison you know what i mean uh just the difference
• 33:32
  Speaker 4: between you know midnight marauders being the third album and
• 33:34
  Speaker 4: this being exactly a sophomore you know what i mean
• 33:37
  Speaker 4: that's the only that's the only difference but but i
• 33:39
  Speaker 4: think i think that i think the comparison is pretty
• 33:41
  Speaker 4: spot on but you know i think uh especially knowing
• 33:44
  Speaker 4: that you know uh tribe was one of the groups
• 33:47
  Speaker 4: that they uh that they treated as sort of their
• 33:50
  Speaker 4: north star as as far as like you know being
• 33:53
  Speaker 4: emcees and making records goes. And they also self-contained, self-contained
• 33:58
  Speaker 4: produce unit. Same, you know, they, they kind of followed
• 34:01
  Speaker 4: in the, the, in similar footsteps. So yeah, I think that,
• 34:03
  Speaker 4: I think that's pretty, that's pretty, uh, pretty spot on there.
• 34:06
  Speaker 1: Yeah. I was still thinking, we talked about Babylon at
• 34:09
  Speaker 1: first time and he made them guess they got some
• 34:11
  Speaker 1: shit that'll blow out our backs for where they stay at.
• 34:15
  Speaker 3: Yep.
• 34:17
  Speaker 2: It's keeping it pretty simple.
• 34:18
  Speaker 1: Babylon, when you think about it, like, That's a pretty
• 34:22
  Speaker 1: strong stand on what's going on in the industry right
• 34:25
  Speaker 1: there by the 20-year-olds.
• 34:26
  Speaker 2: Like, it's one thing for De La Soul to do that.
• 34:31
  Speaker 1: Mm-hmm. Right? These cats out here, like, man, y'all out
• 34:35
  Speaker 1: here sounding ridiculous right now.
• 34:36
  Speaker 2: Did y'all know that?
• 34:37
  Speaker 3: Yeah.
• 34:39
  Speaker 4: Y'all, I mean, it's all over the place. What kind
• 34:42
  Speaker 4: of shit are y'all on for real? You know what
• 34:46
  Speaker 4: I mean? Like, what is going on? That's a compliment
• 34:50
  Speaker 4: to them, though. you know, as artists, that being so
• 34:54
  Speaker 4: young and having that wide of a grasp of what
• 34:59
  Speaker 4: was going on in time and space at that time
• 35:03
  Speaker 4: and just in everyone's reality, it was just, that was a,
• 35:08
  Speaker 4: that was a, it was pleasant to hear, but it
• 35:11
  Speaker 4: was also, again, like, this album stirs up so many.
• 35:14
  Speaker 3: Emotions, you know? Like, one, you like, man, You know what?
• 35:20
  Speaker 3: You're right.
• 35:21
  Speaker 4: And then as soon as you say, as soon as
• 35:22
  Speaker 4: you come to that realization, you're like, man, that's kind
• 35:24
  Speaker 4: of fucked up.
• 35:27
  Speaker 3: I mean, it all happens in like in a matter
• 35:30
  Speaker 3: of five seconds, you know?
• 35:31
  Speaker 1: Right.
• 35:31
  Speaker 2: I mean, look, you come after that into Waylon, right?
• 35:34
  Speaker 1: Where this is one of a couple of these on
• 35:39
  Speaker 1: this record.
• 35:40
  Speaker 2: Hooks that are just noise.
• 35:42
  Speaker 1: Mm-hmm. Right? Waylon's just CeeLo humming on the hook, basically. Mm-hmm.
• 35:47
  Speaker 3: Dope record.
• 35:48
  Speaker 2: It's a quick one, too.
• 35:48
  Speaker 1: Two minutes long.
• 35:49
  Speaker 2: They get in and get out.
• 35:51
  Speaker 3: The next two songs are my two favorite songs on
• 35:54
  Speaker 3: this album.
• 35:55
  Speaker 2: Mainstream and Decatur.
• 35:56
  Speaker 3: Yeah.
• 35:57
  Speaker 1: I love Mainstream. The intro into Mainstream with that bass roller.
• 36:01
  Speaker 2: Before the beat drops.
• 36:03
  Speaker 3: Yeah.
• 36:05
  Speaker 2: Y'all know what it is. I am a G.I.P.
• 36:08
  Speaker 3: Guy. Like, G.I.P.
• 36:09
  Speaker 1: At his best?
• 36:10
  Speaker 3: Yeah. G.I.P.
• 36:11
  Speaker 2: Is so cool.
• 36:12
  Speaker 1: G.I.P.
• 36:12
  Speaker 2: Is so cold. And nobody sounds like G.I.P.
• 36:15
  Speaker 3: Nobody does, bro.
• 36:17
  Speaker 4: I remember, uh, uh, the year that they did, uh,
• 36:21
  Speaker 4: the dungeon family reunion here in Atlanta at one music fest. Uh,
• 36:24
  Speaker 4: I was fortunate enough to DJ that, um, I was,
• 36:27
  Speaker 4: I was DJ, I was the DJ before they got
• 36:30
  Speaker 4: on stage. So I was like the crowd, the woman
• 36:32
  Speaker 4: up the crowd. And, um, that's literally, that's probably the
• 36:35
  Speaker 4: best show I've never seen. Uh, because it hit me
• 36:39
  Speaker 4: in so many different ways, but so they were going through, uh,
• 36:43
  Speaker 4: they were going through all the hits, uh, and, uh,
• 36:48
  Speaker 4: Big Bo and Dre came out because I think they
• 36:50
  Speaker 4: kind of had a brain in my first to let
• 36:52
  Speaker 4: the crowd know.
• 36:52
  Speaker 3: That they was actually there or whatever.
• 36:55
  Speaker 4: But they were going through songs and they got to
• 36:57
  Speaker 4: they got the Black Ice.
• 36:58
  Speaker 3: Right.
• 36:59
  Speaker 4: And you know how that song starts or whatever, you know.
• 37:02
  Speaker 4: And then, you know, beat drop.
• 37:05
  Speaker 3: Crowd goes crazy.
• 37:06
  Speaker 4: And I'm telling you, even even bigger than when Andre
• 37:10
  Speaker 4: showed up on the stage the first time and Outkast
• 37:14
  Speaker 4: was like leading the charge for that show. the biggest
• 37:18
  Speaker 4: pop of the night, the biggest pop of the night
• 37:21
  Speaker 4: is when they started doing Black Ice and Gip ran
• 37:24
  Speaker 4: out on the stage and started rhyming his verse. And
• 37:28
  Speaker 4: I'm telling you, man, I've never heard a place come
• 37:31
  Speaker 4: so unglued so fast. And, like, the dude had the
• 37:36
  Speaker 4: craziest amount of charisma that I'd ever seen. Like, I
• 37:40
  Speaker 4: was blown away by what I was seeing. And I
• 37:43
  Speaker 4: was like, bro, man, it's crazy that.
• 37:48
  Speaker 4: That Gip isn't spoken about like the Redmans and the
• 37:53
  Speaker 4: Busta Rhymes of the world because he has that level
• 37:57
  Speaker 4: of charisma.
• 37:58
  Speaker 3: You know what I mean? And it's evident in these songs.
• 38:02
  Speaker 3: Do you know what that is?
• 38:04
  Speaker 1: That is simply a statement on the other worldliness of
• 38:08
  Speaker 1: CeeLo Green.
• 38:10
  Speaker 3: Yeah, true. That's it.
• 38:12
  Speaker 2: Gip is so cold.
• 38:14
  Speaker 3: Yeah.
• 38:15
  Speaker 2: And has always been seen as the clear number two, which.
• 38:20
  Speaker 1: By the way, it's always made it very clear why
• 38:22
  Speaker 1: that group could only stay together for so long.
• 38:25
  Speaker 3: Yeah.
• 38:26
  Speaker 1: They came to Clark for the writer's workshop in 98.
• 38:29
  Speaker 1: The day still standing came out. They're like, they are,
• 38:31
  Speaker 1: they're on stage. It's kind of talk, you know, doing
• 38:33
  Speaker 1: a talk or whatever. Outcast came later in the week. Um,
• 38:38
  Speaker 1: and it was very clear watching them. Oh, this group
• 38:40
  Speaker 1: cannot stay together.
• 38:41
  Speaker 3: Yeah.
• 38:43
  Speaker 1: There's no way this guy can stay with those guys. Like,
• 38:45
  Speaker 1: it's just not, it's not truly an option. But, like,
• 38:49
  Speaker 1: Gip on Decatur Psalm is so good. And, like, the
• 38:53
  Speaker 1: way Cool Breeze sets that up with, like, just classic
• 38:56
  Speaker 1: Cool Breeze. Like, Cool Breeze, Cool Breeze with the dungeon,
• 38:59
  Speaker 1: to me, is like a bunch of them dudes with Dr.
• 39:01
  Speaker 2: Dre, where I compare Dr. Dre to Bill Belichick, where
• 39:03
  Speaker 2: he got a team full of dudes that only he
• 39:05
  Speaker 2: can use.
• 39:06
  Speaker 1: Yeah.
• 39:06
  Speaker 2: Like it don't work with nobody else. I feel like Cool.
• 39:09
  Speaker 3: Breeze is kind of like that.
• 39:10
  Speaker 1: There are these particular pockets that you can put him in.
• 39:13
  Speaker 1: You can only take him so many places, but they
• 39:14
  Speaker 1: can always get him right where he needed to be.
• 39:17
  Speaker 4: Man, that verse that Cool Breeze kicked is one of
• 39:20
  Speaker 4: the most vivid. Every time I listen to that song,
• 39:23
  Speaker 4: I feel like I'm right there with him.
• 39:26
  Speaker 3: You know what I'm saying?
• 39:27
  Speaker 4: Just going just and I appreciate that in that verse
• 39:31
  Speaker 4: that and I know he's not the first person to
• 39:33
  Speaker 4: do this but he was he did it in such
• 39:36
  Speaker 4: a way that was so visually appealing to me or
• 39:41
  Speaker 4: imaginatively appealing to me where he breaking down the trials
• 39:45
  Speaker 4: and tribulations of actually being a drug dealer you know
• 39:49
  Speaker 4: what i'm saying like this is what i go y'all
• 39:53
  Speaker 4: y'all see the shiny things you know what i'm saying
• 39:57
  Speaker 4: but this is what i this is what i go
• 39:58
  Speaker 4: through on day to day i have to i have
• 40:01
  Speaker 4: to literally watch my back like this every day 24
• 40:06
  Speaker 4: hours a day and man that's oh man everything that's
• 40:10
  Speaker 4: probably why that song's such a favorite of mine man
• 40:12
  Speaker 4: like i and then and to be hard too but
• 40:15
  Speaker 4: yes uh-oh the way in which he describes his lifestyle
• 40:20
  Speaker 4: and not just his lifestyle. It's like, hey, man, I'm
• 40:23
  Speaker 4: telling you this about me, but if you do this
• 40:25
  Speaker 4: for real, like I do this for real, this is
• 40:28
  Speaker 4: your life.
• 40:28
  Speaker 3: You know what I'm saying?
• 40:30
  Speaker 4: And, bro, it's such a crazy verse, man.
• 40:33
  Speaker 3: I love that song so much.
• 40:35
  Speaker 1: We get at the end, talking about years and years,
• 40:39
  Speaker 1: riding past funeral fields, holding bodies of my peers.
• 40:42
  Speaker 2: And this is what it is looking at you.
• 40:46
  Speaker 3: Yep.
• 40:47
  Speaker 1: By the way, we haven't talked about the Outkast guys
• 40:50
  Speaker 1: on that track. Who kill it?
• 40:55
  Speaker 3: Yeah, man. I'm definitely going to listen to this album
• 40:57
  Speaker 3: when we get done. You know what I'm saying? And
• 40:59
  Speaker 3: hold up.
• 41:00
  Speaker 1: And we skipped over Mainstream.
• 41:01
  Speaker 3: Mainstream goes hard, boy.
• 41:04
  Speaker 2: Let me tell you.
• 41:06
  Speaker 1: Cujo Goody is a hit or miss situation for me
• 41:09
  Speaker 1: from track to track. But when he is on, because
• 41:11
  Speaker 1: Cujo is on that list of he means every word.
• 41:14
  Speaker 3: Yeah, 100%.
• 41:15
  Speaker 4: Every word that comes out of his mouth, he mean it.
• 41:17
  Speaker 2: Every single word.
• 41:18
  Speaker 3: He mean everything you say he mean.
• 41:21
  Speaker 1: You know what I'm saying? That man said, your bad
• 41:23
  Speaker 1: girl at the club showing pink for 10.
• 41:25
  Speaker 2: Oh, whoa, whoa, whoa. That sounds harsh. That sounds bad.
• 41:30
  Speaker 4: And he has a very unique way with words that
• 41:35
  Speaker 4: he will say what he needs to say without really
• 41:38
  Speaker 4: saying it and make you understand it completely.
• 41:41
  Speaker 3: Yes. You know what I mean?
• 41:41
  Speaker 1: Yes. Yes.
• 41:43
  Speaker 2: And was that Timo off the top?
• 41:46
  Speaker 1: Yep.
• 41:47
  Speaker 3: Timo Goody. Yeah.
• 41:51
  Speaker 1: They killed.
• 41:51
  Speaker 2: We have a neat look.
• 41:52
  Speaker 1: We still have more tracks to go. Like, that's the thing. Like,
• 41:55
  Speaker 1: we talked about getting into this mood, into this place.
• 41:57
  Speaker 1: It's just a vibe for, like, eight tracks in a row. Like,
• 42:02
  Speaker 1: the closest thing to a pickup is Millennium, but the
• 42:05
  Speaker 1: first line of that is me and everything around me
• 42:08
  Speaker 1: is exploding like Chernobyl. Yes. Yes.
• 42:13
  Speaker 2: Ready to go at any moment.
• 42:15
  Speaker 1: Oh, hey, whoa, whoa.
• 42:16
  Speaker 2: We're still bummed out.
• 42:18
  Speaker 3: Yeah. The world is a very, very bad place at
• 42:22
  Speaker 3: this time.
• 42:24
  Speaker 2: I want to know what other hooks, by the way,
• 42:25
  Speaker 2: they tried before they just said, fuck it.
• 42:27
  Speaker 1: Uh-uh, uh-uh, uh-uh, uh-uh, uh-uh, uh-uh.
• 42:32
  Speaker 3: Man, you know how cold you got to be to
• 42:35
  Speaker 3: get away with that? I mean, really, bro. Like, you can't.
• 42:43
  Speaker 4: I feel like they probably didn't try anything. I feel like,
• 42:46
  Speaker 4: you know, probably somebody was in there while it was
• 42:49
  Speaker 4: being made and somebody was just doing that, just humming
• 42:53
  Speaker 4: along to the music as it was playing, and they
• 42:56
  Speaker 4: was like, that's it.
• 42:59
  Speaker 3: Or you sent the tape.
• 43:00
  Speaker 2: In with it like that, and they were like, well,
• 43:02
  Speaker 2: we still working on the hook.
• 43:03
  Speaker 3: No, no, no, no, no. You got it. You got it.
• 43:06
  Speaker 3: That's it. You know what I'm saying? But, hey, that...
• 43:10
  Speaker 3: Just to be able to.
• 43:12
  Speaker 4: When you can create memorable hooks like that, really catch
• 43:17
  Speaker 4: you without literally not saying a word, you've earned your
• 43:24
  Speaker 4: place in high level artistry as a musician and MC
• 43:28
  Speaker 4: and songwriter.
• 43:29
  Speaker 1: And like to me, in terms of the catalog, I
• 43:33
  Speaker 1: think Extraterrestrial for this record, in a way it might
• 43:36
  Speaker 1: be the most important song because to me, it is
• 43:39
  Speaker 1: the signal of what mind blowing expansion is possible coming
• 43:43
  Speaker 1: up next.
• 43:44
  Speaker 3: Right.
• 43:44
  Speaker 2: Like again, we don't even have drums here.
• 43:48
  Speaker 1: Cause look, when the time comes to talk about equipment, I,
• 43:51
  Speaker 1: That first listen of Equipment Eye, I was like, dude,
• 43:52
  Speaker 1: I've never heard anything like this before in my life. Like,
• 43:54
  Speaker 1: that's not how ATLians felt. It was different, but it
• 43:57
  Speaker 1: didn't feel like, whoa, what are we.
• 44:00
  Speaker 3: Where.
• 44:00
  Speaker 2: Did you just take me?
• 44:01
  Speaker 3: Right?
• 44:02
  Speaker 2: You just took me.
• 44:02
  Speaker 1: You took me somewhere I didn't expect to go, but
• 44:04
  Speaker 1: I kind of understand where I am.
• 44:06
  Speaker 2: When you get to that next record, you're like, yo, yo, yo, yo, yo,
• 44:08
  Speaker 2: wait a minute, wait.
• 44:09
  Speaker 1: A minute, wait a minute. Like, I don't... Give me
• 44:11
  Speaker 1: a minute here. I need to figure this shit out.
• 44:13
  Speaker 1: They came out here.
• 44:14
  Speaker 2: With no drums.
• 44:15
  Speaker 1: And that, I mean, that big boy verse off the top,
• 44:18
  Speaker 1: he just flames the track.
• 44:22
  Speaker 2: Flames it.
• 44:24
  Speaker 3: Yeah.
• 44:25
  Speaker 4: Again, you know, when big boy, when big boy, you know,
• 44:30
  Speaker 4: does what he does, you know, he's that, that whole
• 44:33
  Speaker 4: Emma Smith comparison. Like people say Emma Smith is Emma
• 44:37
  Speaker 4: Smith because of the offensive line that he had.
• 44:40
  Speaker 3: Right.
• 44:40
  Speaker 1: Right.
• 44:41
  Speaker 4: But they don't realize that Emma Smith was Emma Smith
• 44:43
  Speaker 4: because he Emma Smith. And this is a clear example
• 44:47
  Speaker 4: of big boy being cold.
• 44:49
  Speaker 3: Do you know what I'm saying? Like just going, just
• 44:52
  Speaker 3: going off and going crazy.
• 44:53
  Speaker 4: And, and, and, and in a way where I don't
• 44:56
  Speaker 4: think he's necessarily trying to like be super MC here.
• 45:01
  Speaker 3: Right.
• 45:01
  Speaker 4: I think he's just in service of the song, but
• 45:05
  Speaker 4: doing what he does in service of the song gives
• 45:08
  Speaker 4: you an example.
• 45:08
  Speaker 3: Of why he actually is super MC.
• 45:12
  Speaker 2: My hot take, I would have stopped the record there.
• 45:16
  Speaker 3: You just left it like that?
• 45:18
  Speaker 2: I would have ended with Extraterrestrial.
• 45:20
  Speaker 3: Oh, stop the album. Okay. All right.
• 45:22
  Speaker 2: I'd have stopped it there. I think that did what
• 45:26
  Speaker 2: we needed.
• 45:29
  Speaker 1: I think growing old was a tab. Hey, growing old
• 45:31
  Speaker 1: is too long. I will say that flatly. Seven minutes,
• 45:34
  Speaker 1: and I know part of that is because we had
• 45:36
  Speaker 1: to get the Big Rude moment in there. But to me,
• 45:41
  Speaker 1: And I know this is going to be the hottest take. Again,
• 45:43
  Speaker 1: something had to come in last. It's the weakest song
• 45:46
  Speaker 1: on the album.
• 45:47
  Speaker 3: Which one? Growing Old?
• 45:49
  Speaker 2: Growing Old.
• 45:49
  Speaker 3: Yeah.
• 45:50
  Speaker 4: I mean, I can see that. That's not an opinion
• 45:54
  Speaker 4: I hadn't heard before.
• 45:55
  Speaker 3: Yeah, yeah.
• 45:56
  Speaker 2: It's the one. If we had wrapped that.
• 45:58
  Speaker 3: Like.
• 45:59
  Speaker 2: I think you have two ways of wrapping a record.
• 46:01
  Speaker 1: One of them is to, like, bring people down, give
• 46:04
  Speaker 1: them a chance to, like, ease into whatever the rest
• 46:06
  Speaker 1: is they've been doing. But you could also end a
• 46:08
  Speaker 1: record just leaving people slack-jawed. For example, Suicidal Thoughts on
• 46:12
  Speaker 1: Ready to Die ends in a way that just leaves
• 46:15
  Speaker 1: you slack-jawed.
• 46:16
  Speaker 3: Mm-hmm. Like, whoa! Like, it's over now?
• 46:22
  Speaker 2: ET could have done that.
• 46:23
  Speaker 1: It could have just left you like, oh my God,
• 46:25
  Speaker 1: I can't believe this is what we got. Instead, we
• 46:28
  Speaker 1: kind of, like, I feel like we lose some energy.
• 46:30
  Speaker 1: And it's not a bad song. It's not like them
• 46:32
  Speaker 1: cats ain't rapping on there. But I felt like I
• 46:36
  Speaker 1: understood that y'all was growing old. And I listened to
• 46:38
  Speaker 1: all the rest of this sad shit you've been talking about.
• 46:40
  Speaker 3: You're literally telling us the whole time. Yes.
• 46:43
  Speaker 4: Man, I'm in my early 20s, man, but I feel
• 46:46
  Speaker 4: like everything is about to end. Everything is closing in
• 46:50
  Speaker 4: on me. You know what I'm saying?
• 46:52
  Speaker 1: Yo, it got me to thinking about how on.
• 46:57
  Speaker 2: Thought process, Goody Mob.
• 46:59
  Speaker 3: Mm-hmm.
• 47:00
  Speaker 2: Where CeeLo's like, you.
• 47:01
  Speaker 1: Know, sometimes I don't even know how I'm going to
• 47:03
  Speaker 1: eat by $ 20 away.
• 47:05
  Speaker 3: From being on the street.
• 47:06
  Speaker 1: But we need to talk about that little money be gone.
• 47:09
  Speaker 1: God damn it, I'm grown. God help keep the heat
• 47:11
  Speaker 1: and the lights on. He's like 19.
• 47:13
  Speaker 3: Yep.
• 47:15
  Speaker 2: He never seemed 19.
• 47:16
  Speaker 3: But he's like 18, 19.
• 47:17
  Speaker 2: And it sounds like, no, but it do sound like
• 47:19
  Speaker 2: you're going through.
• 47:20
  Speaker 3: It, brother. Yeah, sounds like it, bro. You know what
• 47:22
  Speaker 3: I'm saying? Yeah.
• 47:25
  Speaker 1: But I still think, though, like growing old, that beat,
• 47:28
  Speaker 1: that thing does knock, though. Like, I feel like sometimes
• 47:30
  Speaker 1: somebody was just like, look, we're going.
• 47:31
  Speaker 3: To do something with these drums. Something. You know what
• 47:34
  Speaker 3: I'm saying? This would be too good not to use.
• 47:36
  Speaker 3: So we're going to put it to use in some
• 47:39
  Speaker 3: sort of way. You know? And it knocks.
• 47:42
  Speaker 2: And then, by the way, where are you on the
• 47:44
  Speaker 2: Elevators remix?
• 47:45
  Speaker 3: I love it.
• 47:47
  Speaker 4: I always loved it. I like the original more, but
• 47:49
  Speaker 4: I love the remix because the remix, again, what elevators
• 47:54
  Speaker 4: was what i had mentioned like hey this is still
• 47:56
  Speaker 4: outcast this is still outcast you familiar with or whatever
• 47:59
  Speaker 4: but we going in a different direction i think the
• 48:02
  Speaker 4: the omp 86 remix is uh is also them saying
• 48:06
  Speaker 4: is that that's organized noise saying hey uh that's that's
• 48:11
  Speaker 4: right that's the the proverbial safety net that i was
• 48:14
  Speaker 4: saying that ray might may have given them.
• 48:16
  Speaker 3: Where we'll be here to help you.
• 48:18
  Speaker 4: If this doesn't go the way that we think it
• 48:21
  Speaker 4: might go or we hope it to go and our
• 48:25
  Speaker 4: core audience rejects it, here's what you like.
• 48:28
  Speaker 3: You know what I'm saying? Here it is right here.
• 48:32
  Speaker 1: I think part of it for me is that it's
• 48:34
  Speaker 1: on the back end of that seven-minute song that I
• 48:36
  Speaker 1: was just saying I could have done without. So I
• 48:39
  Speaker 1: didn't really, really, really lean in on it until I
• 48:42
  Speaker 1: started seeing it in concert.
• 48:45
  Speaker 3: And I was like, oh, my bad.
• 48:46
  Speaker 2: Misunderstood.
• 48:47
  Speaker 1: This is a speaker destroyer.
• 48:50
  Speaker 3: Yes, it is.
• 48:51
  Speaker 1: Sorry about that.
• 48:53
  Speaker 4: I know a lot of the people who were not
• 49:02
  Speaker 4: as receptive to this album at first, DJs, I should say,
• 49:07
  Speaker 4: because this is right when I began. This is like
• 49:11
  Speaker 4: right at the genesis of my start as a DJ.
• 49:15
  Speaker 4: So some of the DJs I would, I would listen to, uh, they,
• 49:19
  Speaker 4: a lot of them prefer the OMP remix to the original,
• 49:23
  Speaker 4: you know? And I, that's what I would hear being
• 49:25
  Speaker 4: played out. Cause I think, I think they thought, uh,
• 49:31
  Speaker 4: that yeah, man, people ain't going to really.
• 49:33
  Speaker 3: Be into all this change.
• 49:35
  Speaker 4: They like the first album, Outkast, so this sounds more
• 49:39
  Speaker 4: like the first album, Outkast, so this is why I'm
• 49:40
  Speaker 4: going to play it. And this shit with Thumpin'. You
• 49:44
  Speaker 4: know what I'm saying?
• 49:46
  Speaker 3: So that always helps.
• 49:47
  Speaker 1: It was funny, and maybe Outkast helped bridge the gap
• 49:50
  Speaker 1: on this, but I feel like Goody Mob's still standing
• 49:53
  Speaker 1: sounds completely different than the first Goody Mob record.
• 49:56
  Speaker 3: I agree.
• 49:56
  Speaker 2: And nobody was like, damn, they done changed.
• 49:58
  Speaker 3: Yeah, I agree. I agree on both fronts.
• 50:01
  Speaker 1: And their first record, it's an anti-dance record, but it's
• 50:04
  Speaker 1: a dance record.
• 50:06
  Speaker 3: What, Soul Food?
• 50:07
  Speaker 1: The first one off of Steel Standing.
• 50:10
  Speaker 3: Oh, they don't dance no more.
• 50:11
  Speaker 1: Yeah, yeah.
• 50:13
  Speaker 3: Mm-hmm. They made an anti-club club record.
• 50:18
  Speaker 1: I remember the first time I heard that drop in
• 50:20
  Speaker 1: the club, the roof blew off.
• 50:26
  Speaker 4: And they knew what they was doing because you could
• 50:29
  Speaker 4: rag-top to it.
• 50:29
  Speaker 3: You know what I'm saying?
• 50:31
  Speaker 1: Yep.
• 50:31
  Speaker 3: They made it easy to rag-top to, so.
• 50:34
  Speaker 1: Because this is the thing about Atlanta, man. And I
• 50:37
  Speaker 1: don't know how things work in Chattanooga, but I can
• 50:39
  Speaker 1: tell you how things work in Houston. You get to
• 50:42
  Speaker 1: Atlanta and the first thing you realize is, man, these
• 50:45
  Speaker 1: some old dancity dance motherfuckers out here, man. We don't
• 50:48
  Speaker 1: engage in that sort of behavior. Dancing is not for us.
• 50:51
  Speaker 1: Dancing is for them.
• 50:53
  Speaker 3: It was definitely like that.
• 50:54
  Speaker 1: Funny color shoes.
• 50:55
  Speaker 2: And everything else. They out there doing all the dances
• 50:58
  Speaker 2: and practicing in the mirror.
• 50:59
  Speaker 1: And I'm like, what are y'all doing?
• 51:00
  Speaker 4: Oh, yeah, we was we was all about that. At
• 51:02
  Speaker 4: least I was. And I think that, you know, being
• 51:05
  Speaker 4: in close proximity to Atlanta probably helped that.
• 51:07
  Speaker 3: But we were especially me.
• 51:10
  Speaker 4: If anybody knows anything about Wally, not Wally Sparks, just
• 51:13
  Speaker 4: regular Wally. that used to be dancing around the National
• 51:18
  Speaker 4: Guard Armory and the Park Avenue YMCA right off MLK.
• 51:24
  Speaker 3: They know that I was one of them dancey dance.
• 51:28
  Speaker 1: Yeah, we weren't dancing, dog, at all. Ever.
• 51:33
  Speaker 3: Ever.
• 51:34
  Speaker 1: They were like, people don't dance no more.
• 51:35
  Speaker 2: I'm like, yeah, you're right.
• 51:37
  Speaker 1: So what? What's your point?
• 51:39
  Speaker 3: All they do is this.
• 51:40
  Speaker 2: Yeah, yeah, yeah, yeah.
• 51:42
  Speaker 3: We ain't even doing that.
• 51:43
  Speaker 2: All we doing was this. It's hard to say.
• 51:46
  Speaker 3: We're here for you.
• 51:48
  Speaker 1: What are you talking about?
• 51:51
  Speaker 3: It took a lot of drinking for.
• 51:54
  Speaker 1: Me to be able to be out there dancing, and
• 51:55
  Speaker 1: I quit drinking 20 years ago, so you know what
• 51:57
  Speaker 1: time it is with my boy Bo Jones.
• 52:00
  Speaker 3: That's so funny, bro.
• 52:02
  Speaker 1: That was just what it is, man. This one, this
• 52:06
  Speaker 1: was a great record. For me, it's such a time
• 52:09
  Speaker 1: and place record. I can so vividly put myself in
• 52:12
  Speaker 1: where I was when it came out, even though I
• 52:16
  Speaker 1: didn't really understand what was going on until much later.
• 52:20
  Speaker 3: Same.
• 52:20
  Speaker 4: Yeah, I definitely, I remember exactly where I was and
• 52:26
  Speaker 4: where I went to go buy this album.
• 52:28
  Speaker 3: You know what I'm saying?
• 52:30
  Speaker 4: It's definitely a timestamp for me at a turning point
• 52:34
  Speaker 4: in my life.
• 52:35
  Speaker 3: You know what I mean?
• 52:37
  Speaker 4: This was the first time I was going to be
• 52:39
  Speaker 4: on my own and having to, uh, uh, enter in
• 52:43
  Speaker 4: to a world where I was going to have to
• 52:45
  Speaker 4: make some, some, uh, adult decisions, you know, uh, figuring
• 52:51
  Speaker 4: out how to navigate all that. And, uh, and hearing,
• 52:55
  Speaker 4: hearing the album where, you know, two young men were
• 52:58
  Speaker 4: probably going through the same sort of thing.
• 53:01
  Speaker 3: Uh, it would, you know, was, was helpful to me.
• 53:06
  Speaker 4: In ways that I probably didn't realize at the time
• 53:08
  Speaker 4: when I was listening to it. Because again, when I
• 53:10
  Speaker 4: bought it, I bought it strictly because I just wanted
• 53:12
  Speaker 4: to hear some music to jam to.
• 53:15
  Speaker 3: I didn't realize what I was getting.
• 53:16
  Speaker 4: I didn't realize the medicine I was going to be
• 53:20
  Speaker 4: getting from this album that was going to serve me
• 53:22
  Speaker 4: later on in life 30 years later.
• 53:26
  Speaker 2: DJ Wally Sparks, check him out.
• 53:28
  Speaker 1: You can just Google up his name, but I tell
• 53:30
  Speaker 1: you now, twitch.tv slash DJ Wally Sparks.
• 53:33
  Speaker 2: If he's spinning, you need to check that out. My brother,
• 53:35
  Speaker 2: I appreciate you.
• 53:36
  Speaker 3: Thank you. Thank you. I appreciate you having me on, man.
• 53:37
  Speaker 3: All right, man.
• 53:39
  Speaker 1: And ladies and gentlemen, thanks so much for joining us
• 53:40
  Speaker 1: here on The Right Time.
• 53:41
  Speaker 2: We do this four days a week. Ryan Brumley handles
• 53:44
  Speaker 2: everything behind the scenes. Thank you, sir.
• 53:45
  Speaker 1: Hit the voicemail line 323-596-7767. Remember, follow The Right Time. Subscribe, like,
• 53:52
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• 53:54
  Speaker 1: give us four stars. I'm inclined to believe you are
• 53:57
  Speaker 1: a hater. We'll talk to you guys in a couple
• 53:58
  Speaker 1: of days.
• 53:59
  Speaker 2: Take it easy.
• 54:11
  Speaker 3: This has been a Playmaker Production.