Dissect - Big Boi: Speakerboxxx + Features | LAST SONG STANDING (E5)

Episode Date: August 6, 2024

Our journey to crown the greatest OutKast song of all time continues with an episode dedicated to Big Boi. First we cover his 2003 album Speakerboxxx and then nominate our favorite Big Boi features and solo album cuts. Hosts: Cole Cuchna & Charles Holmes Guest/Producer: Justin Sayles Audio Editing: Kevin Pooler Theme Music: Birocratic Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome everyone to Last Song Standing. I'm Cole Kushna. And I'm Charles Holmes. And on the third season of Last Song, we're covering the greatest hip hop group of all time. That's right. Cole and I are here to decide the greatest outcast song of all time. On our first four episodes, we tackled Stangonia, A.T. Aliens, and Southern Player, then dedicated an entire episode to Andre 2000, The Love Below, and the features. But now, Cole, it's time for the other side of the coin. That's right. We're dedicating an entire episode to Big Boy. And the second half of this show will be covering Big Boys' features, solo projects.

But let's dive deep into Speakerbox because obviously we talked about the love below. So let's take it away. Speakerbox. Cole, before we dive in to this episode, let's take people back, all right? This has been probably the most contentious season of last song standing. I'm feeling so good about my card. I have B-O-B, elevators, players ball, hey-ya, international plays anthem. Jesus Christ.

You want to tell the audience about your lesser list? I mean, it's outcast. So, my, I have a great list too. I have Miss Jackson, ATLians, Southern Player, Roses, and Life of the Party. Damn, that's actually a good list. It's really good. You just have two of the. songs that I really want and that you have B-O-B and elevators. I won't belabor the

elevator's point, but it's forever fuck you about that pick. And B-O-B is just maybe my favorite outcast song ever. So, but I don't want to diminish my list. It's great. I mean, Charlie's Angels have been, have been reaching out to me on social as being like, damn. Yeah, people are, he hasn't been locked in this season. He is not locked in. Well, okay, one day we'll have a conversation about your bullshit trivia questions, but yeah, have fun with that. You have a great list. I have a great list. I mean, I'm just thinking back to the past seasons, and this, I mean, these lists are just both of them. High quality from top to bottom. There's not a clunker on either of our lists. But to Justin's point from, I think, the previous episode,

I am, it does hurt my heart a little bit that we are so singles heavy. But it just, all right, when the fucking singles are like elevators and ATLians or like players. It's like I don't, what do you want me say, guys? Like, I don't know. Miss Jackson, a B. O'B are good. I think that might change on this episode.

And I think that's definitely going to change on a Qum and I. So. Yes. Yeah. But like I said on the last episode, Outcasts, maybe more than anyone, balances out,

you know, this high quality music that is also accessible, that's innovative. Like, they really balance that line beautifully. So I have no problem. picking the singles. But for those that have forgotten, let's go over the rules for Last Song Standing. Each episode, we cover one album where we are both forced to pick the best song off that album,

a.k.a. The Last Song Standing. Then in our season finale, we have a Royal Rumble. Where will bring the songs we've chosen from each album and duke it out until we can both agree on what is the single greatest outcast track of all time? Before we get into the episode, we've got to go to a little bit of an ad break. Make sure you stay tuned because after that, Cole and I are going to discuss speakerbox. Yo, Cole, so on part one of this episode, or the other half, we're splitting these in two.

We talked about Love Below, and on that, we kind of went over all of the background information, how much it's sold, the singles, so we're not going to belabor that point. But for some folks that don't know, can you tell them about, like, speakerbox and kind of thematically where that sits on this double album?

Yeah, I mean, I didn't prepare too much. It wasn't as a, you know, it's not as much of a conceptual deep dive as Love Below is, where it has this clear narrative. That's not really what Big Boy is doing on Speakerbox. Speakerbox, to me, just feels like a collection of great songs

that don't really have a through line thematically or narratively. I will say this, though, and I would be curious to get your opinion on it. I did return to the project, thinking that the player side of a big boy was going to be more accentuated on this first solo project. And I was pleasantly surprised on the kind of eclecticism of themes that he touches on.

He really only leads into the player aspect on a few, like just a couple of the tracks. And otherwise, you know, the other songs are very conceptual in terms of like each song has a very clear premise. It's exploring a single theme. Sometimes that's troubles with relationships. and, you know, carrying over from the Miss Jackson, having trouble with, you know, the baby mother drama. There is a song called War where he's, you know, pretty outright against the Iraq War and, you know, war mongering in general. So there's like the really dynamic rate.

There's, it's existential at times. And so there is this range of themes, although I did have trouble kind of putting it under like any kind of conceptual umbrella. But I'd ask you, like, when you return to the project, were you surprised in the same way that I was? about its themes. I was surprising the way that, like, having done research now on it, I think I under, because to your point, there is not that thematic spine to the record. And it does sound like a film soundtrack. And what we talked about when we were talking about the Love Below is that originally there

was supposed to be an outcast movie. Obviously, Idle Wild came. But Love Below definitely follows a love story and is very cinematic in that way. And to me, Speakerbox almost. reminds me of Idlewild. Like there's a song called Rooster that I'm just like, this is just Idlewild. And the song, the tracks,

that's why I feel like when you were like, it's a collection of just tracks. I'm like, yeah, like a soundtrack, like a film soundtrack. Like it does feel like, all right, this is the scene in the movie where we're talking about war. This is where we're going to church. Rooster sounds like his character from Idlewild.

Right. And that's what me, I think, makes it hard to get your arms around this record. But what I was surprised about is, is love below is obviously the more influential record of these two. But I think speakerbox, I just enjoy it more because the songs, like they have a propulsion to them. They're actually full-fledged songs where Love Below, I think both of us were kind of like,

no, these are very ambitious, but a lot of these seem like sketches. It seems like maybe Andre not being able, his ambitions not necessarily reach. his songwriting talent in terms of like singing um heavily on that producing most of it then kind of rapping where on speakerbox it's much more traditional like outcast big boy i'm going to get sleepy brown i'm going to get killer mike it's just going to kind of be more of the same and that's not a bad thing it was just Justin we were talking before this you said your score for love below went down Henri listen while your score for the speaker's box stayed the same. Yeah, I think over the past 20 years, it's funny because I think at the time when they dropped,

the love below was just felt head and shoulders above speaker box for me. And speaker box was at one level. And over time, my opinion of, and again, this is discovering prints, you know, like hearing artists do similar things that I think were a little more. more sophisticated of the version of what Andre was trying to do with Love Below. My estimation of Love Below has changed where Speakerbox, I've kind of just always felt like it's a 3.5 mic album, 3 and a half mics, where I used to think the Love Below was like four, four and a half. And now I'm probably like, that's a generous three.

Generous Three? You guys have speakerbox over Love Below, generally speaking now? Yeah, definitely. At the time I would not. And like, I was actually prepared to come off of speakerbox is now better than Love Below because I'm like, you know, Love Below does have a few great songs. I think we actually, I was worried that we might be in danger of underrating Love Below, but after sitting with this album for almost a month now, because we were supposed to record this episode a few weeks ago. So I spent a lot of time listening to it then and then a couple, and then a lot of time listening to it this past weekend. I think Speakerbox is actually the better, more realized album than Love Below, where the Love Below

just feels like a little bit of an undercooked experiment. I will say this. I agree with Justin. Speakerbox to me is a better album and a better fully realized project. Love Below is more important and influential. And I think those two can be, those two can coexist. Yeah. I agree.

I might have speaker box. I mean, they're pretty even to me. I kind of went through a similar experience where I liked it at the time. Then I revisited it. a few years later, didn't really like it, returned to it again for this exercise, and I thought it was a really solid album. And that's the same experience I had for Love Below. But I do feel like, yeah, Charles, you're right on the money in terms of Love Below's influence. And I think it's just more interesting for me, especially maybe when I put on my like musician ears, there's just more

interesting things happening sonically in Love Below. And that's not to undermine speakerbox in any way because you do have songs like rooster that's really really kind of sonically interesting ghetto music structurally we'll probably talk about it later is pretty ambitious even a song like war which i really enjoy is you know has two beats and and you know weird sonics and stuff so not to sell speakerbox attempts at innovation i don't want to short change them but if i'm if i was forced to give my opinion i would probably land on somewhere where we did last episode where my favorite album of the two

is probably one that combines the best of both of these albums together. We're actually, and we're going to actually compare our fantasy outcast album constructed from these two albums later in this episode. But I think my, maybe my biggest takeaway from

listening to both is like, there's a great outcast album in here. Yep. And that's kind of what I want. Ghetto music is the perfect example. It's just like... I know. Yeah. I'm like, guys, I don't know. So this is it. sake. You guys are way better together. I don't know what to tell you. Exactly. Yeah. All right. So it's time for one of the most, this, this is a very contentious podcast, but this, inside that contention is more

contention because it's time for, Smarty-a-h-h-e- It's delicious. Which is where Cole and I attempt to stump each other with little-known facts about the album. Whoever gets the most questions correct we'll get first pick in the last song standing segment at the end of the episode. Cole, who do you want to go? Who should go first? One of mine is really weak and you're going to get it. One of them I don't think you're going to get. Okay.

You go first. You go first. All right. This is the hard one. I'll start with the hard one. Okay. All right. So who did L.A.

Reed want to replace Sleepy Brown with what artists on the way you move? I'll give you three guesses. Damn. Okay, I don't know. I didn't read that. That's a really good question. Do you remember your source for this? It was a video.

It's a video interview from GQ with Big Boy. Oh, and damn, I watched that video too. Okay, he wanted to replace Sleepy Brown. This is kind of bringing back. I remember watching this now, but I don't remember the artist. Male artist? Mail artist. That's your one hint.

Usher? Damn! You did. Oh, fuck yes. It was, Hell yeah. Like here's the thing. Big boy,

because like Sleepy Brown in the videos, he's like, yo, like Big boy had my back. He's like, no, it's keep Sleepy on this. I cannot imagine, like I'm an Usher fan.

I love Usher. I cannot imagine Usher on the way you move. That would be terrible. I'm sorry. I can actually can kind of hear it. I can't. Like, because it's like,

I think Sleepy has like just a different, like, textural voice. Like you, you understand the type of like soul influences that's, like Sleepy is going for. To me,

Usher at that point is like a pop artist. I think he would have taken the record in the wrong direction. And once again, Usher is one of my favorite artists. It's just, I can't on this record. I guess maybe I'm just thinking like the vocal part's not difficult and it's just one melodic line over and over.

So I'm like, how much would it really change it? It's the mood. It's the like Sleepy is, Sleepy Brown is a lot older than Usher. It's just like, right. Yeah, that's a good point.

Like classic feel. Yeah. Usher is a great singer. It's just like, it wouldn't be difficult for him to sing, but I think it would be difficult for him to sell. Yeah, I think you need someone that kind of like blends into that track too. I think you need someone who isn't going to be the star of that hook. You know, no shots at Sleepy.

That's not like I'm not like questioning his talents as a singer. But like, you know, Sleepy Brown has never broken out as a solo artist where Usher is one of the biggest artists of the past 30 years. So I think Usher just kind of would have swel. followed that song in a way that I don't think necessarily would have worked. It might have actually made it feel a little more dated today, too, if that had come out at the same time. Right. That's a good point.

What it would even have been a hit is my question? If you get usher on that, it's like, you think like, oh, this is going to be, this is going to be a hit. But almost it feels like to me, if people saw usher on it, is like, yo, big boy's reaching. He's reaching for the hit where it's like with Sleepy Brown, it's just like, oh, this is a hit and it's a bop. And to Justin's point, the hook is.

is almost like the Hulk is the star of that, but big, we still remember it as a big boy song. You know what I'm saying? Nobody says, oh, that's the sleepy brown song. People are like, no, it's still a big boy song.

Yeah, good point. Good point. Okay, so my first question, may be kind of easy because I'm giving you a true fall. So either way you got 50%. All right. So big boy revealed in a 2000, in 2003,

that along with referring to an actual speaker box, the album title was a double entendre referring to a woman's box or vagina. which conceptually ties into the level below, which, you know, is also doubles as a woman's vagina. Is this true or false? Hmm.

I feel like this is a true question because Big Boy is a very horny rapper. So I want to say true. Like I, like I really, really want to say true. But I'm going to go with false. God, yeah. Okay, you're right. Hell yeah.

I knew you were trying to trick me. I knew you're fucking trying to trick me. That was actually good because it was just like, like that is weirdly some corny shit that big boy would do i know well like does it could still be a thing it's my theory but like no no cold speaker box okay think about it speaker box and trunks also vibrate you know what i mean i can't i can't this one man i'm not letting you though i almost had you this one is so my next one is so easy you're gonna get it but i was like i'm running out of facts about speakerbox and the love below but big boy compared the same

out of unhappy to what 97's cartoon? What was the inspiration? What 97's cart? Wait, what? What 1970s cartoon? Sorry. Unhappy. Shit, I don't know.

I don't read this. In an XXL interview, he said Unhappy was one of his favorite records. Yeah. And he compared Sleepy Brown's Hulk to the Muppets, where it's like, oh, would you like hear the Muppets thing of like, well, might as well, have fun. It does sound very like cartoonish and everything.

So I was like, oh, Muppets, interesting, Big Boy. All right. Yeah, I don't remember reading that at all. So you got me on the easy one. Okay, so that means my next one needs to be hard. I had two questions prepared in a 2010 article for us weekly. Big Boy stated that he always starts recording his albums on what national holiday? Ooh.

Including Speakerbox. this is a good ass question now i want to say it's a summer holiday because i do know that big boy likes to cookouts he likes growing meats i'm in between july fourth and labor day no july fourth okay i'm not yeah i was gonna i was thinking about giving you some hints and i said no i thought hell no um no it is martin luther king martin luther king day that's such a what what i'm okay day why i don't know he says I always start working on albums on Martin Luther King Day. It's just a good luck charm.

Jeez. Big boy, this is what I was saying, just doing research, going back into this album. Big boy is way weirder of an artist than I ever give him credit for because I feel like Andre, because he's so like out there and like alien-esque and all that fucking shit that comes with being Andre, you're just like, well, he's the weird one. And Big Boy is more of like the gangster pimp persona. And I'm like, Ashley, No, you motherfuckers are both weird.

I know, yeah. I think that, yeah, those two boxes don't really fit. No. They really don't. I don't think Andre is as much as a poet that we make him out to be in terms of, like, subject matter. Maybe in, like, lyricism and, and his writing style. Yeah, I can see that.

But also, Andre is not just a play. Like, I admittedly came into this season with that in mind and kind of made him one dimensional in my head. But exploring his work. work throughout the Outcast catalog. And then even in this in speaker box, it's like, he's way more dynamic than we give him credit for. And I will also say this, what this season has illuminated to me as well about both of them

is that when the other one is not around, I do feel like both of them fall into shit that the other wouldn't let them get away with, if that makes sense. Where it was like listening to speakerbox, I was almost very, very surprised. how saccharine of a record it is, how very, like, sweet almost in parts and cartoonish in ways where I was just like, oh, I always thought that was kind of like an Andre 3000 thing. And I'm like, maybe Andre was the one who was just like, let's make this a little less poppy. Let's make this a little bit, like, not but darker. Where I was like, a lot of speakerbox was like, I didn't remember this album being as goofy.

Like bow tie. As it is. Yeah, like bow tie is a perfect example of that. But it's just like, bowtie is a perfect Like church, I like church as a record, but church is kind of a corny record. And I was like, oh, maybe it was Andre. I know, yeah. It's interesting.

Yeah. But yo, since we're done with our quiz segment, it's now time to move on to the nominations. And the Grammy goes to the love below outcast. Speakerbox, the love below. All right. Remember the goal of each episode of Last Song, is for Cole and I to determine the single best song from an Outcast album. The songs we select over the course of the season will then duke it out in a season finale

Royal Rumble where we'll be forced to agree on the last song standing, aka the greatest outcast song of all time. Right now, we're each nominating what songs from Speakerbott should be in contention. We both have two picks. Cole, why don't you lead us off? All right, happy to do that, but do you want me to go, I'm just looking at my list to see if I have a curveball or not. And here's the thing. I don't think either of us are going to have curve balls because the good songs off this record are the good songs. And honestly, I can go

first because I already started talking about one of my picks. Okay. I think I want to go with Unhapp. I've grown into a man and like my nixon said, we executed the game plan because we got that. This is on my list. It's probably my favorite song on the record. So, Marty and Grients. So unhappy to me, I think that one of Big Boy's strengths, truthfully as an artist,

is how much he can kind of seed the floor to another artist without ever feeling like that artist is kind of like taking over. And obviously, I think that the Debra Killings and Sleepy Brown hook is really what anchors this song. And this is, I think,

the perfect, I think this is the perfect, Veld, we were talking earlier about maybe how like poppy and saccharine this can be. Unhappy gets to that level, but never crosses over. It never, to me, ends up in the corny area. I just think unhappy makes me just honestly very happy, ironically so. Why, like, why were you going to pick this? Because to me, I'm already revealing this.

You need to pick ghetto music because ghetto, it was between ghetto music and this for my pick, where I think these are, those are both two of the strongest on this by far. Yeah, I, unhappy was a bit of a revelation for me. I don't remember this song, to be honest,

from my past listening of it. It was only until this exercise that I was like, man, this song is like, it kind of sneaks up on you because there's nothing crazy, really about the production. It's a great groove,

but it's not like hitting you in the face of like, this is amazing. But once you kind of sink into the world of it, it's just, it's just got a really, of addictive groove there's a great guitar track like to your point the sleepy brown chorus is really addictive and short and sweet but like still kind of giving the underlying premise of the song very in a

very precise way so sonically i just i like it i just like the sound of it even though i know it's not the most complex maybe compared to a speaker box right before it and then i think once i started digging into the lyrics and kind of like seeing where he was going with He has three verses that kind of shorter verses and each of them are kind of about a different thing, but still under this umbrella of like of what the hook says, which is might as well have fun because your happiness is done when your goose is cooked. So it's essentially saying like the kind of cliche of like we're going to die and enjoy a time here type of thing. But each of these, each of the verses he kind of gives kind of these realizations that he only

came to discover as an adult. You know, the first one he's talking about, I believe he's talking about advising people to kind of avoid a lifestyle that will put them in prison, that will get their goose cooked. The second verse, I think maybe the most interesting,

where he kind of uses this analogy of like Santa, realizing that Santa Claus is fake, realizing that his parents are the ones that spent all this money for these gifts that they got at Christmas and how the financial stress of those spending, that spending put on the parents and they ultimately separated. And then the third verse being

about, I think, I think it's his father kind of turning to alcohol and how that affected the home. And so it's kind of these more negative verses, but the end kind of message is, yeah, there is, all of our goose is cooked. We all struggle within this life and we're all ultimately going to die. But then he uses this great analogy of hot sauce in both the second and third verse where he's using hot sauce of like here's something small that you can put on whatever mundane meal or snack and make it better and that's kind of like the metaphor of the song which is like knowing that there's struggle knowing there's death we could still make this a good time while we're here just add a little hot soft that and that can be perspective that could be a number of things but so i think along with the production along with

just the great sonics of the song. I really fell in love with it once I, like, dug into the themes. And it's just like a very mature song, something like only an adult could have made. And, you know, throughout this exercise of the season, we've been experiencing outcasts kind of grow up in front of our eyes from Southern Player, teenagers in high school, all the way to their last album, Love Below, and Speakerbox. And like this one, this unhappy really represents that trajectory of like an adult, wise or big boy kind of giving us these gems within the song.

I mean, something that I, like, I didn't think about until you kind of started talking about the second verse. But I do find it's interesting that now probably big boys in is like early 30s, if just turned 30s. And he has that verse kind of about finding out that Santa Claus is fake and how much his work his parents put into it,

put into, you know, just getting gifts for him. And I do find it interesting that, what's their first big single players ball. And that song very much, we already broke down. It's like, that's a teenager's view of just like, Christmas is no different.

It's the same as just every other day. And now on speakerbox, he's a father now. He has this different view on Christmas. It's like if this is going to be one of the last outcast albums, I guess you could count idle wild, it is kind of like a nice, just kind of seeing the last 15, or like 15, 14 years. of an artist's career and even just seeing in one verse,

how kind of their outlook on life just kind of changes just a tab. Yeah, no, definitely. I mean, not to get too philosophical, but I mean, that's like one of the entryways into adulthood is just realizing that your parents are fallible and human beings like the rest of us and kind of learning to have empathy for them, especially when you have your own kids and kind of going through what they went through. It really changes your perspective.

And yeah, to your point, it is a nice through line from players ball to this moment and kind of expressing that realization. So I'm glad we're on the same page. I didn't know. Justin, how do you feel about unhappy? Do you like it as much as we do? Yeah. I mean, I think a lot of what this album comes out to me. I mean, like, look, I haven't said this directly, but I, by this phase of Outcast's career, at least, I much prefer Andre as a rapper to Big Boy, like by a time.

time we hit this stretch. I look at these songs a lot through the prism of the production, and I think unhappy is great. I think it's one of the better produced songs on the record. I mean, I don't know. I don't feel the same affinity for it that you guys do, but I really enjoy it. I don't have a particularly hot take here to say other than great production. Right. Cool. Great, good song. What's your first pick, Cole? My first pick would have been unhappy actually but I gotta go with ghetto music. Oh yeah, ghetto music is fucking fire. Dude, the song is so good.

I mean, we're gonna talk about Andre a lot, which I don't feel bad in this exercise doing. I know we want to give love to Big Boy in this episode. But Andre kind of makes this song. He produces this song and it represents, I think, more than any other song on Love Below or speaker box like what could have been because this is an outcast song to me there's more andre than there is big boy again andre produced the song but it has everything that at least i want in the outcast song we get i'll just start with the production incredible production like yeah insane like you could you could argue this is kind of peak outcast production if you like this kind of

more experimental side of the production because it has the energy of a bob you know it's 129 BPMs, which is on the faster side for sure, not as fast as B-O-B, but it has that kind of pulsating energy that I love, and especially in late Outcast, the synthesizer, I don't know if you've listened to this song in headphones, but the synthesizers and the organs and all these different keyboards, like, there's that breakdown where they're all, like the synthesizer of the organ, they're all going at the same time. It's like, I will ask you, this is Cole before you continue, part of me when Andre, when like, I figured, I was like, I was like, oh, Andre produced this too.

I was like, where was this production of love? You know what I'm saying? I was just like, where was this type of shit on your own record, bro? Yeah. I mean, it's definitely, it feels to me like the most realized, fully fleshed out production on either of the double disc. This sounds like a stanchonia. Like this sounds like this could have been on stanchonia, to be honest.

Yeah, for sure. And I think it's better than most of the songs on stankonia, just in terms of production. There's like, I think there's three choruses on this song. Like there's the find a way to get out without a hit. Dig in, you dig out the ghetto music part. Then the second chorus is the, the, the, the, like, spelling, more melodic part. Yeah. And then the, like, the beat switch to me into the bat, Patty LaBelle sample feels like a chorus and that's where Big Boy gets his shine, saying, feeling good, feeling great. So it feels like, and there's only one verse, like the structure of it is weird, but it works.

So that's just a really unique feature of like, I think, three legitimate choruses. I guess you can label one bridge. But in any other song, any of those three parts could work as a chorus and a great chorus. And they're all led by Andre, except for the beat switch one. And just the beat switch itself is like, that is something, if I was to give one critique of hip hop as a genre, it's that beat switches are not utilized enough within the genre, generally speak and I don't mean right no no no no and I don't mean

paste two different songs together which are what is what most beat switches are I mean within the same song dynamically having two or more parts like legitimate parts not just dropping out the drums or adding a different layer for the chorus two legitimate

parts together is just underutilized and I think it could really I just that's a personal thing but anyways Cole just be careful what you wish for because the beat switch apocalypse whether it's done well or bad I think I'm on the

other side of this I'm like no more beat switches no more like you guys don't know how to use them I get what Cole is saying Cole is talking about it being like more organic to the song I wish I would love if more artists could pull off I will just say though again when we are on like season 34 of this and we're all

in our 60s and we're doing the Travis Scott season. Cole is going to be like, I, I, I never want to hear a beat switch as long as I live ever again. Travis Scott, baby Keem, I feel like is like a real, like I'm just like, all right, bro, like stop, stop. Beat switch shit is just, to your point, Cole, I do think like what you're saying in a vacuum is correct. If they could do it in a creative way where it was just like, oh, no, this is still the same song. There is an actual beat switch that thematically makes sense versus I had two kind of okay songs and I'm just pasting them together. That is my biggest pet peeve in modern rap. I hate it every single time. Yeah, that's what I mean. And that's why I'm using this song as

I think one of the few examples of where the beat switch actually works to make the song dynamically more interesting. And it goes back and forth between the two parts, which is very rare in beat switches. Usually you get a beat switch and you never hear the first part again. And again, it is to your point, just splicing a couple of other sketches together. But anyways, to bring it back to, well, I'll pause there before I get into the lyrics and stuff, but this was on your list or was this on your list? So it was, I was between ghetto music and unhappy, but I was just like, I kind of had a feeling that you might pick it as well.

So I kind of wanted to make sure we cover as much of speaker box as we could. But to your point, it's like, I think we had the same opinion about Love Beloved. where when big boy comes on roses, immediately it just injects a different type of level to the song of having these two artists be together. And I feel the same way about ghetto music where it's like it almost to me is a failing of the project to have put this first.

I know. I was going to say the exact same thing. Yeah. It's like nothing ever reaches this high again. you know, especially on speakerbox, arguably, it's just from the energy to the collaboration. You can just feel the chemistry is so palpable. It's like you can feel how great they go together. And when he comes in, like in the same way that he comes in on roses, you know, Andre dominates the first half of the song.

Big Boy doesn't even come into his own album essentially until a minute and 40 seconds into this song. And essentially the album is if you exclude the intro. track and so but it works and it infuses the song with that same kind of energy his he has one verse but it's really good he again he sounds great on these uptempo tracks this one thing i realized about big boy there's a certain tempo that i really think big boy shines and i'm going to it's a part a key part of one of my features that i'm going to select later in the episode but this big boy at a fast tempo is so good same with andre but because big boy has that our already kind of weaves in and out of that double time flow a lot of the times.

When he's forced to do it on a fast song, that double time flow is so quick, but he's so staccato and accurate with the rhythms that it just, it really shot. I think it just showcases his, his just technical rapping ability so much. And we get that on his single verse on this song, which is a standout moment on the track that has multiple standout moments. There's some really clever operator dominated in the state of Georgia Hip-P standard destroy you Leave a motherfucker open like a foyer

Yeah, he from the dirty night There's some really clever wordplay I got to touch on Before we move on Because he gets one verse But there is some cool stuff, especially in the beginning That I didn't really realize until I sat down with it So he opens the track saying Hot Tub, Bad to the Boney like Tony

Which is obviously a Tony Montana Scarface reference With Tony Montana being the hot tub and the famous scene And then you think he leaves the medulla for but then he returns to it like three lines later where he says leave an mf open like a foyer he from the dirty so here comes the paranoia like scarface was murdered famously on the foyer and he was paranoid towards the end of the movie that kind of led to his downfall so that i just thought that was interesting and there's just like cool wordplay stuff like that like again he's not going to hit you over the head with like like entendres although they're they're in there

but it's not like, it's not like we think of Big Boy as like this punchline rapper, but he does weave different themes, like very consistently and thought out. On the next song I'll have, or on one of my features, he does it brilliantly. But I just wanted to point out that kind of stuff

because we don't really give a lot of credit to Big Boy to having some of those kind of lyrical features. But he does do it. It's just kind of more subtle. But I fucking love this song. It is, I just love the energy that it gives you. It's great car music.

So I'm glad we're on the same page. Damn, I wish I picked ghetto music. Ghetto music is so fucking fire, bro. It's so sick. It's so good. But round two, this is where I'm just, I'm going to do the Charles thing. I just, I thought I was not going to pick this song. Finally.

It took you long enough. Took you four episodes to do the Charles thing. Do the Charles thing. I was like, this song is overrated. I never want to listen to this song again. I hate this fucking song. I'm going with the way you move. Haven't listened to this again.

I was just like, the way you. moves dope. I don't go fuck. Like, originally this had the hey y'all problem where those two songs were battling it out on the Hot 100. And I heard this at cookouts. I heard this at fucking family reunions. So much of my childhood is either hearing hey y'all or more when it was around black people, it was the way you move. Like, this was our jam. And I was like, oh, I can't pick it. I don't know. Sleepy Brown's fucking hook on this is so fun. It just this is, it's just this is, it's a great song. I even, Big Boy, what he does with his voice in that opening, in that opening verse, ready for action to be in the bud, we never relax in. Outcast is everlasting. Like, this to me is a song as well where I've been bringing it up a lot, but not only is Big Boy able to kind of cede the floor to Sleepy Brown without ever feeling like Sleepy Brown is overpowering him, the verse.

on this song are like he's not going lyrical miracle with this. I think he kind of knows that this beat is a hit because he had said that he had had this beat for years. Okay. So like this was something that he had and he knew the beat was a hit.

Then when Sleepy came in, so he was like, I want to sing on that. And once they had the hook, they knew it was a hit. So I love this song because Big Boy just never does too much on it. Like he's not, there's not all of this like, oh, I'm going to show you all good about a rapper. I'm just like, hey man. I'm not to make a pop jam.

So I feel like a sellout for picking the way you move. But this is kind of the platonic ideal of a big boy song. Kind of wish Andre was on it. This would be an even more classic song. If Andre had a fucking verse on it, it bizzes me off. Are you surprised that I picked the way you move? I'm not surprised. I, God.

What song besides ghetto music and unhappy, what other song on speakerbox? is better than the way you move. Well, that's the thing. Like, I understand why this song works. I understand why it's popular. But if I want to do my best Charles Holmes impression, fuck this song, dude.

Like, why? You hear the thing. It's like, it's when you, all right, you can't do this anymore. But when, you know, this was on the dance word, this is a cookout. This should come on. Like, people would be like,

damn, this is a fucking groove. I can't help it. I can't help if I've done the two step to this. That's just funny. like yeah obviously i might be missing that kind of cultural experience but family you got how much outcast were you guys playing yeah uh yeah not existent there but okay here's my thing like i i do like this song when i hear it i like it it's fine but where it fell flat to me was any kind of analysis when i went into i know i know you're just like you want you

You want analysis for booty checking jams? God damn, Cole. Really? What? I mean, this is why we do the podcast, because you're offering a perspective that I just simply don't have. And when I try to get my nerdy shit on, this just gave me nothing.

But I know y'all wanted that, eh? It's a lot. Like, it's a song under scrutiny that I would just, you know, I would critique like any other pop song, which is the hook feels like, Like cut and paste to the verses. What he's, what he's talking about on the first verse,

at least in the first half of the first verse, has nothing to do with the song. The second verse kind of gets into like, okay, I'm just going to make you shake your ass. And here's like, I'm talking about women and that kind of works. But especially the big girl, big girls need love too. No discrimination here. Like that's a like, come on.

No discrimination. This for the thick women too, call. I hate this, bro. I hate what's happening right now. I don't know. I just, okay, here's what I will say. Andre, 100% would have brought something to the song to make it, to put it over the top for me personally.

This is where I think that collaboration is really, I'm missing it. Because Andre would at least come with an interesting perspective on the verse. He would come with an interesting perspective on a shaking ass. Really? Yeah, he would. He would flip it somehow creatively. and then he probably he probably do a better bridge

like the bridge of the song is not that great to me and I think Andre probably could have come up with something more creative so I don't know like I love the horns on the song

super addictive I get it it's just I don't know I just here's the thing when when when when sleepy brown goes into the

woo like that you don't get a like you don't get a little just like a jolt of energy all right he's doing the thing here's the thing this song

has gotten annoying. It is the type of pop song where it's like, just by its ubiquity, I get it. It's overrated. But I think part of this exercise is like solo big boy songs.

What is he closing the set with? What is the song when Andre's not there that he's like, all right, turn that shit up? Guarantee you, if you go to a big boy song and they turn this on, everybody's going wild. Everybody's like, hell yeah, the way you move. You just, it's the part of the soul that they did not give that the Lord

didn't give to Caucasians. It's funny. Great point. We'll close it there. Oh, wait. No, Justin. Caucasian number two has something to say. Caucasian number two.

Well, I was about to say, is this, the, Charles, is this song like Occupy the same space as like Frankie Beverly and Mays? Yes. Yes. That's kind of always been my impression of it. My overall vibe with this song is. it feels like it might have been the first adult contemporary hip-hop song. Now, I was just sitting here trying to go through a thought exercise of like what other

songs would qualify. And that were like before this. And the first one that popped to mind was Commons the Light, which might be, but this feels like even more like, I don't think the light was popping up. It certainly wasn't popping up like at a wedding in the first hour, you know, like the dance part of the hour. right like this to me feels like it occupies a certain space that probably no hip hop song before this really did and i'm struggling to think of another you know what because you brought up common

to me there's like a precursor to the good music like john legend common type yeah where it's it's kind of put in the backpack rap arena but to me it's more adult contemporary hip hop that hip hop generation becoming like 30-year-olds, 40-year-olds, and really, instead of just sampling the records that their parents were listening to, they're just like, I'm going to do karaoke of it. And I think Love Below almost has that with Prince, where this is, speakerbox Love Below is,

is it the first adult contemporary, modern adult contemporary hip-hop album? There's an argument. I mean, I think, yeah, we can sit down and, like, figure out, like, well, actually, you know, like, parts of the score by the Fugis fits into this or, you know, we can figure that out. But I think in terms of like top to bottom, there's a strong argument that this is a full album geared toward people of a certain age demographic that maybe hadn't been catered to

in hip hop before. Did we just stumble into something interesting? I think we did. Here's the thing. All right, I will give you, you want to know if we're doing the adult contemporary rap, like Mount Rushmore? You know what the second pick is? change clothes jz wow which came out like two months later that's what i'm saying like this is

this is a certain generation like hove is on this is on speakerbox this is a certain generation of rappers because andre was on that shit too where he was just like hey all you kids with your triple xl big t's take that off like the respectability like oh we're all wearing bow ties and shit It starts around this time, man. We stumbled on to the most cursed conversation. So I'm not, I'm not going to belabor it. My second pick is the way you move. To your point, it's like, I think what makes this probably part of the episode really difficult is like,

I don't know if there's that much to break down about the way you move as a song. Like, it's not, what am I going to break down? This is, this is big boys thoughts on thick women and how we should tweet. No, I'm not doing that. I like the way you move. What's your second pick? I know what your second pick is. I can guess it.

Okay, but well, my two picks are, I had unhappy and ghetto music were my two picks. So, I mean, I can give love to the rooster would maybe be my next pick off of this. I thought you were going to go war. Well, war, it would be close between war. It was war for a minute. And then I relisten to Rooster production-wise is just way more interesting than war. But both of them, I think, like our standout tracks, to me. Bo tie is super fun too. I really enjoy that song, but it is definitely veers on the

cornyer side. War, if people haven't revisited that song, I mean, it's actually surprising how much he goes at not only the Bush administration, but even when Obama takes over, he's still pretty just anti-war, not really choosing a side, and actually really says it very plainly on a number of tracks. And war might be the most, like, an overt example of that. But I was pretty shocked about how many times he was very, very outspoken against the war in Iraq, then the subsequent war in Afghanistan and the way that lingered when Obama took over. Like he kind of goes pretty hard. Did you find that too?

I mean, even in his solo album, I was surprised how many like verses. I'm just like, Big Boys kind of trying to do the political thing. And even in a lot of the research I did around this album, I think B.O, I think the reaction to B-O-B and learning that a lot of the troops were using that song as kind of like a pump-up song. Yeah. I think that did a number on him trying to be like, whoa, whoa, whoa, whoa, whoa, whoa, I'm anti-war. Fuck all of that shit.

Yeah. And that's, I don't know if that's my favorite big boy. Like, I get why he did that. It's the proper reaction to have. I just don't know if I'm here for a political. I like, it's good in spurts, I think. It's not like, I don't think he overdoes it, but it's definitely a part, uh, of late big boy. I mean, it's, it's, it's, it's, it's across this whole late catalog is these kind of,

these brief moments of very explicit anti-war messages. So I don't have a, I don't have an official nomination. My two are already nominated. So you have unhappy. We both had unhappy. Yeah. And then your second nomination basically would be ghetto music and mine would be the way you move. These are, these are all objectively the right ones. Like I've just, just, just there's any, uh, any, any, any, any, any, any, any, any, any, any, any, any, any, any, any, any, any, mentioned yet that you want to give love to? You know, you know, not really that I feel like, you know, disrupting the episode to talk about too much. I like Tomb of Boom to, like, just put on and listen to, but I'm not going to sit here in a stump for that.

I think, like, flip-flop rock is fine. Like, reset is okay. I like knowing. The second half of the album is, it falls off. Both albums have the same problem where I'm like, they're so front-loaded. By the second half, I'm like, you guys ran out of so much fucking gas. Oh, my gosh. Yeah.

Yeah. I don't know. I mean, I'm more interested in, do we want to have it now, the discussion about whether, like, what a ideal one album of these two combined could look like? Let's do it. I actually, it's funny, you know, you guys were mentioned that over text, and I kind of bit my tongue. Both of these albums by themselves are so long that I think not only, you know, not only, you only could you take tracks from both and make one good album, I think you could actually condense

both of these albums and make good albums. So you have, counting interlews 19 tracks on on speakerbox and 21 tracks on Love Below. That is 40 tracks. That is too many tracks, but those are 19 and 21 are arguably too many tracks for those individual albums. I rarely say it. I actually think most of the time, when we sit here and we're like, well, actually, all eyes on me should have been one album. I'm like, fuck that. That's a double album. That should have been a double album.

Life After Death is a great double album. Wu-Tang Forever is a fucking mess in some places, but it's a beautiful mess, and that should be a double album. This is an album where I'm like this really, despite the whole concept of it all, like, I kind of need everything condensed here. I need everything paired down. So do you want to, who wants to go first? Because mine is very simple. You guys will be like, dog, you're a, like, like, you're a, like. I think my album will be eight to ten tracks.

So let's, yeah, let's set it up for the listeners. So essentially me and Charles, did you do an official list, Justin? No, I didn't.

Okay. So me and Charles, how many tracks is yours, Charles? It's still moving. It's still moving. Okay. It's still moving.

All right, so Charles and I gave ourselves the assignment of trying to make a great outcast album, assembling the best songs from each speaker box and love below into one unified album. so I have a 12 track album.

Charles has a fluid how many track album? Not 12 tracks. It's like I have it in my head, but it's just like, considering where you go with your track list, I might be even more brutal with my- Okay, okay. So I didn't mind like a three-act narrative structure. I'm just kidding.

Oh, what? You guys believe me too. If I had more time, I probably would have done that. But okay, so I've got, I didn't order it like what would make the best order. I just kind of picked the songs. But I got ghetto music, unhappy, bow tie, the way you move. Rooster, knowing, love hater, prototype, hey, yaw, roses, my favorite things, a day in a life of Andre Benjamin. Oh, so ours is very, very similar.

Is it? Okay. So I have ghetto music, unhappy, the way you move, war. Okay. then prototype she lives in my lap heya roses a day in the life of ben jane uh andre benjamin uh benjamin yeah very similar because you had the one you had the you kept the rooster yeah kept the rooster yeah which other one you you kept i kept knowing just because andre's already on that song and i was like well if they they actually made this an outcast song i think it had potential to be pretty good

Okay. And then which ones you kept love, I didn't keep Love Hater, but I'm not actually, I'll put Love Hater on mine as well. I love Hater should be in this. I think Big Boy could do something interesting on that song, actually. Agreed. Agreed. I kept my favorite things where you kept, she lives in my lap.

I think that's where it diverge. I don't even like she lives in my lap that much, but I do think that it is a, it's a big record on the Love Blu. I kind of have to have it. I love She Lives in my lap. I love that beat that beat I don't care about the vocal performances so much and like I don't I don't know how you know it it is funny that we're like no usher can't be on this record but Rosario Dawson come on no I don't like Rosario Dawson on I think it ages if anything ages this record it's like it's it's Rosario the Dawson feature it's the Rosario Dawson feature and it's the Nora Jones feature both of those are the Norah Jones 100%. But that B is just so good. I think, but too, I mean, just to, there's, I mean, all that, both of our albums are great albums.

And I think if they are true collaborations, the songs that maybe are a little bit weaker in this list would have been elevated. And you have more, you have more than a handful of singles to work with. I mean, it could, could have been there. I mean, speakerbox below was already technically their biggest album. But I think the condensed version, a true outcast collaboration. album could have been their biggest album. Maybe not their best, but certainly could have been their biggest. So we don't have to, like, because I didn't sequence my album as much, but I actually would keep ghetto music in the first. I think so too. Yeah. In the first spot. And I, the only thing is,

I don't think you can end on a life in the day of Benjamin Andre. Yeah. Yeah. I think you need to end, or you need to put Big Boy on it. Oh yeah, for sure. I'm assuming that all these songs would then feature the other on them in some way. Okay. Okay. I like this. Here's the thing. I think we both agree.

Both albums just should have been paired back. I think this album could have been just as good or like one rung below stankonia if it had less songs. I think so too. And it's funny, it's funny having to do this with Outcast because up until this point, we haven't really, I mean, that's the great thing about most Outcast albums is that from start to finished, they're pretty damn good. The only thing, and people are going to yell at me, because I was like, the only thing that has not aged well, but I just, critically, I'm like, this was just the time. This was just the style. Are the interludes. It's just like, the interludes are

just, if you're listening to rap albums at this time, they're all going to have interludes. That's my only thing, but that's a very modern complaint. Like, they don't ruin the albums. It's just like, oh, these guys really like some interludes. And that started on the Kwemini, which returning to Kwemini, they don't need the skits on. there, but that was just a sign of the times, and you can't really critique him too much for it. All right. Now that we made a case for what songs from Speakerbox are in contention for Outcast best of all time, each of us must choose our last song standing, aka the song we're bringing in with us to the season finale Royal Rumble. We both tied for Spoliot.

Yeah, we tied. So do you want to do a quick time? I have a third question that potentially you can take the top. You gave me a face that you're about to. Give me the fucking question. Let's fucking go. Okay. It's kind of easy if you watch the video. In the music video for ghetto music, big boy plays a delivery driver, aka delivery boy, working for Fed Up, a play on FedEx. In the funniest scene of the video, he delivers a plunger to someone who immediately

rushes to his bathroom and starts going to work on his toilet. Who played this person? You don't know. You don't know. Yes. I literally. I watched this fucking what. pisses me off. I watched half of this music video.

I watched half of this fucking music video. God damn it. Just beat you in the ass. Because Patty LaBelle is in this. Is it Liljohn? It's not. But that's a great guess. It's not him, though. Because Lil John is in the fucking video. God damn it. Who is it? It's really funny knowing the scene, plunger, it's killer Mike. Which is like he's got on the bigger side. And I watched half this music video like an hour ago. All right. I already know what you're picking.

Cole, what's your pick? I'm going with, let's not make it complicated ghetto music. That's fine, because you know what? I'm being treated myself. I got hey, y'all. I'm going with the wish moves. No. Yeah, man.

Pick unhappy. No, no. I like the hits. I like the hits. People can get mad at me. I don't fucking care. Here's the thing. People aren't going up for unhappy as much as they're going up for the waist moves.

But what are you and your soul going up for, Charles? Unhappy is the better song. Like, objectively, I think... Then pick it. No! No! Okay, now your list is looking basic as fuck. This is going to put your list over the edge.

I'm just telling you. You really think a lot of people... This Negro didn't pick unhappy. Fuck this list. Both of these songs are singles. Ah, shit. Unhappiness. I pick the picture single.

I don't know. And happy, if anybody comes up to me, and it's just like, you picked the raw, you don't pick the singles off speakerbox. I'm like, get the fuck up out my face,

right. Like, get that shit out of here. All right. Are you using your coaches challenge? I already know you are. Let's not waste time. Like, you're not.

You've been saved. Yeah. Yeah, I'm saving. At this point, I'm saving it for Equam and I. Or maybe I'll just take it to the grave. I don't know. But like,

I don't know. What am I going to do? What am I going to pick on speakerbox? I think this is a fine album. I'm glad that it exists. I just can't see what on earth I'd pick from this. That has to go into like the finale of this is the best outcast song. Ghetto music is my favorite song on here.

I don't even know what I picked for like a second favorite. There are other songs I could argue for. I probably wouldn't be picking the way you move. I like the song, but like I just, I don't know. Whatever. Whatever. I'm just not using it this time. All right, guys.

Well, this podcast has been renamed to last hipster standing because too good for the fucking singles here. But guys, remember, if you're like, fuck Charles, I wish he would have picked unhappy. Guess what? There's a fan vote. So you guys can vote for whatever song on speakerbox. You think we should be taking it to the Royal Rumble, all right?

But we're going to go to an ad break. Then we're going to be right back for part two of this podcast where we delve into a little bit of Big Boys solo career and his features. Make sure you stay tuned. Back for part two. of today's Big Boy extravaganza on this part of the show, Cole and I will be nominating songs that Big Boy has either featured on or released his solo work. Essentially, anything not branded as Outcast, Cole and I will be nominating two songs each,

and Justin will also be nominating his favorite Big Boy feature a solo song. So here's where we're not going to believe at this point, but Justin and Cole have been very negative about this episode because we've had to delve into Big Boys' later stage career. And what I want to say is, I got to be honest, I think, if Andre had released as much solo music as big boy at this time, we would be just as critical. I think the only reason people might be a little critical of the post Outcast release is because he's getting up there. He's 40 years old. He's probably 50 right now. I like a lot of solo big boy music. Some of it has not aged well. I'm giving you guys the floor to fucking bitch if you want to.

I'm not going to bitch. I mean, it's interesting though, because up until, I guess this split, or maybe, I mean, maybe stankonia.

But there wasn't a point, especially in the earlier albums where I was like, Andre outwaps Big Boy. Andre's clearly the better artist. It is not tell the late stage outcast, but even then,

there's not really ever a moment around. Like, man, Andre just really got him on this song. Big Boy and Andre feel, especially just when it's just rap to wrap to wrap, pretty equal in the Outcast catalog. But it is post-outcast, to your point, Charles, that Andre and we talked about the last episode, kind of develops this larger than life, lower reputation. He does limited features that are all pretty much amazing. And then his reputation just ages much better than Big Boys has. but I had the same exact thought where it's like,

if Andre gave us more, would we have him in the same standing as Big Boy? And are we going to knock Big Boy for trying? You know what I mean? It's like most rappers don't age well. Most musicians don't age well. And so I'm definitely not knocking on the fact that I just personally don't like his later stuff. And I don't think I'm alone in that.

If you look at, he only has his less than 1,000 Spotify listeners, his Big Boy Spotify page, which is pretty wild, considering he was part of the biggest hip-hop duo of all time. And so as much as I will say personally, less than a million, less than a million.

Yeah. Oh, you said a thousand. I was just like, that shit is right. Oh, sorry. Yeah. No. I'm like, yeah, damn. Yeah, less than a million.

I think I might have that many on Spotify. I'm like, big boy is like, all right, he's doing mine. I, I, and what I will say, too, is like, the thing with Andre is that Andre really, was not releasing Andre 3,000 songs. Most of the stuff that he was releasing were, like, him hopping on someone else's track, whether he's like, I'm just going to either wrap over this beat or I'm going to be a feature.

So I think Andre got to age better because he was always hopping on modern beats. Even if like throw some Ds now sounds like, it wasn't a modern beat then. He's still hopping on Frank Ocean songs. He's hopping on Kanye songs. He's hopping on Travis Scott songs. So Andre kind of gets to age with the times. Whereas Big Boy, when you go back to listen, you're just like, oh, this was what beats and producers were hot then.

This is what it's like, it's, like, it's him trying to acquiesce to the times where it's like, no, Andre's just coming into the modern times to do a 16 and then he's leaving again. Does that make any sense? Yeah. And I think for me personally, Big Boy solo career coincides with maybe my, least favorite era of hip-hop. And so a lot of the sonics of his solo work, I just, the production I just do not like at all.

I'm going to start with my first big boy song because I can guarantee you Cole that you picked it. Like, I guarantee you picked it. This was supposed to be on Sir Lucius Lafoy. It did not arrive on there because of a sample. I'm going with Royal Flesh. make LA look like Japan, island, now man, more like the Caribbean,

Billy Ocean body floating, take a voyage to Atlanta. It's awesome. It's on my list. It's fucking great. Go ahead. Royal flush at the time, I remember, like this, I think it had leaked. And it was so heartbreaking because it has Andre on it.

I think it's the second time they partner with the Ray Kwan. And I remember the feeling we're just like, oh, man, Outcast is back. It gave us hope. Royal flush is produced by the flush. The beat, I just love it. It samples the IZ brothers' voice to Atlantis. I think the opening line by Big Boy,

I am the wrong knee to cross in the first inning to jam with the AK-quachocciente over microphone in hair. God damn. It's so sick. Have we ever heard him rap like that too? I was like in that tone and the cadence and the fling. In that cadence, that bounce. And it has that, there's that damn, down, down, down, like a little part in the beat.

Royal flush used to be, I mean, still is one of just my favorite songs of that era. I, so I take it you're not picking Royal Flesh, though. No, it was, I am picking Royal Flesh. It is the top of my feature list or solo project, whatever you want to call it. So does this count though? Because it does an outcast song. No, okay, but the backstory is cool because he wanted Royal Flesh to be the last song on Sir Luscious. Yeah.

Because the song ends with an Andre Fis. and he wanted Andre to have the last word on his first solo project. So it's will change, they say change is dange, eras, as a king standing on the terrace, while it's popping a pointing up at the rifle man, coward shooter never know when your life will end then. So it is a true Big Boy song that he chose to feature Andre on. I guess you can call that an Outcast song, but it feels more guided by Big Boy than a true Outcast collaboration. So I counted as a Big Boy song, it's marketed as one.

So I don't hold that against it. And I did have the same thought as you as like, does this count? But it does. It's one of the best songs. We got to acknowledge it. We got to, that's what I'm concerned about is the best song. So to your point, like, Big Boy and Big Boys verse is amazing on this thing.

I will say Andre kind of outwraps him at the end. Oh, that's also why I was like, can I pick this? I know. Because styles will change. They say change is dangerous as it king's dead. And on the test. It's, I was like, can I pick the best? Big Boy song, with Andre

kind of outwra. Like, Andre doesn't demolish him. No, and I think a lot of it has to do with that. Andre gets double the time as both Rayquan and Big Boy on the track, which I think conceptually would have worked really well on Sir Lucius to give Andre this really long verse at the end of the album. That would have been a perfect ending note. But as a standalone track, yeah, Andre has just has more time.

And there's no hook on this thing. So if Big Boy would have done a hook, it might have sounded more. like a big boy song, but that is, in this exercise, that's a flaw, but it's not a flaw in the song by any means. Like, the verse is great. Rayquan's verse is great. To your point, this is also one of his political ones, where he has the impeach the president because he don't think before he talk, Iraq, God damn, now we gun for Iran. This is one of those songs where I was just like, oh, we're doing the political big boy shit. Okay, this is, the closest I'll get to a dissectable moment on this episode, because this is pretty sick what he does at the end. So like you said,

they do sample Voyage to Atlantis by the Isley Brothers. That's the sample that comes in as the hook, but it only is like a three second sample or something. But before he gets to the last line of the verse, which calls out that song by name, he says, impeach the president, and he's talking about Obama at this point, because you don't think before he talk, Iraq, God damn,

now he's gone in for Iran. North Korea got that shit that L.A. look like Japan. Arlan, Naman, more like the Caribbean. Billy Ocean, bodies floating, take a voyage to Atlantis. And so essentially he's saying like nuclear war, all these countries have nukes. We're fucking playing with fire here.

North Korea could make L.A. look like Japan and bomb it. They said that they had missiles that are capable of landing there. Are you sure that was talking about Obama? That came out early 2008, though. Came out before Obama was elected. There's a, on genius, actually.

It's a verified comment where he links out to a video of an interviewer asking him about that line and he says Obama is like the same suit with a different tie on. Okay. So he's like, yeah. All right. So, but what's cool about this is Atlantis, I didn't know this until looking it up, but

it's a fictional island in Plato. Plato invented this thing. And essentially, Atlantis was a naval empire that ruled all parts of the Western world. And when they, when Atlantis attempted to conquer Athens, in this story, allegory, he falls out of favor with the gods and Atlantis submerges into the Atlantic Ocean. And so it's really brilliant what he's doing here because Atlantis is literally an island. He's comparing it to America in the ways in which that we're getting involved in all these countries and it's not only going to lead to our downfall. So I thought that and and Ann,

he's calling out the sample, which and, and Billy Ocean is in the Isley brothers, but it's also one of his nicknames, big boys nicknames. So there's a lot of stuff in this verse. And knowing that is like, that's why I'm like really gunning for this song because the flow is great. He's rapping in a different vocal tone that we're not accustomed to and the lyricism.

And the message is pretty phenomenal in my opinion. So I love this song. Hey, I'm glad we both. I'm glad we both picked it. Royal flush. I was just like, we got to pick. Because here's the thing. I wanted to kind of pick Royal Flush

in the Andre episode, but Andre just has better songs in Royal Flesh where I'm just like, Royal Flusch is one of the best Big Boy songs. So picking it here. So what, then what was your set? Which one was the second one that you went with, Cole? All right.

I kind of went with a deep cut. I don't know if you've even listened to this song until I gave it to you ahead of time because I did want to make sure you got to it because I don't know how many people are aware of this song. It's called Indo Wind by Trick Daddy featuring Silo and Big Boy. Came out in 2002 off the album Thug Holiday.

This was a big single. Was it? Okay. Yeah. Not one of my favorites, but convince me. It's not a bad song. It's not one of my favorites. Yeah, it's not, I mean, it's not, like, as a song, it's not, like, my favorite.

It's fun. It's, you know, it's, it's essentially about smoking and drinking, like, and driving with the top of town. Yeah. So it's like. Cole's favorite subject. Yeah. So, thematically, I mean, I did own a Mustang at one point. convertible.

Oh. It was a hand me down for my... Oh, look at you cold riding around. All right. It was a hand me down for my parents when I was in my early 20s. So I didn't pick it out. But anyways, I really relate to this song, you know. But anyways, I just...

Okay, so to my own point earlier, where it's like there was a certain tempo that I feel like Big Boy just shines at. I think this song really hits it. And the production of this song, I think, just gives it. gives him the perfect platform to showcase. I was trying to highlight his just rapping ability, which I think he's just phenomenal. Phenomenal.

And we've talked about that throughout the season. But the production itself is just slightly up-tempo. It's very clean. There's not a lot going on. So his voice really cuts through. I brought out that problem with Big Boys. Just the tone of his voice sometimes doesn't have like the timbre to cut through a lot of production, which is a lot of times why they strip down the production in Outcast song when Big Boy comes on.

But in any case, when he hits those double time flows in this verse, he just sounds fucking great. It's 2002, so he's still in his prime, I feel like, I'm not going to be picking it, but I didn't want to highlight a deeper cut. So, Charles, why don't you tell me, is your second pick more of a deep. cut or it is absolutely not a deep cut this is MTV two jams fucking just stalwart

like it was always on when I was this age I think I was either in middle school or like high school at this point and you turned on MTV too they would play this song fucking nonstop it is Kryptonite

by the Purple Ribbon All-Stars Pimpi if you want me you can find me in the Hey I'm on it day I'm only day I'm only day I'm only day

I'm only day have you heard this song before I was not aware of this project until this exercise. So this was on my short list for Big Boy songs. But it's not, I didn't ultimately obviously go with it. But it was this, it was a clear standout when I was revisiting Big Boys catalog. Just did you remember how like, because I was surprised, I think this peaked at like number 35 on the Hot 100. I was like, really? Yeah. Yeah, but this song was everywhere. Do you remember the song?

Yeah, I do. Yeah. It's a great song. I be on it all night, man. I be on it. Sorry. I can't say that about the rest of this project, but that song's great. But going back to that project, it is funny. I was like, dog, like, Big, like, Killer Mike is on this shit. Janelle Monet is on this shit. Like, a lot of people who would, like, go on to, like, pop were on this record. And I was like, Big Boy does have a fucking great year for talent. And I think the one thing, if I'm going to say anything, is it's funny how

Killer Mike ended up being able to do what Big Boy maybe could it in the later stage of his career. where I think killer Mike kind of partnering with LP and doing a lot of projects with just one producer really kind of helped him home in on his persona. And part of me is just like, if Big Boy had partnered with a certain type, like, if Big Boy had partnered with like, I don't know, like a no ID or just plays or just like one,

one producer for like a couple records, would we consider his discography different? for it. You mean phantogram doesn't count? All right, Justin. Stop being a fucking asshole. No, he was like, I was wondering. I was just like... No, that's a good point. That's really a good point. Killer Mike really benefited from from Run the Jewels and having just a production savant kind of guiding his career and really placing him on beats that he, you wouldn't think he would sound great on, but end up just really

fucking working. And I do think that could have been true for Big Boy. That's, I mean, that's a really great point I'd never thought about. So yeah, I pick in kryptonite because once again, this is, this is about smoking weed. So it's like, I don't know what part of this song I'm going to dissect. I can't. Yo, you know what I'm saying? But I think, well, hold on. Cryptonite's in the like the Marvel universe, right?

It's. It's. It's a fucking. Cryptonites DC. It's Superman, bro. What are we doing? Like, you know you're being an ad. Wait, are you joking with me?

Yeah, I was trying to set you up. All right. Well, Cryptonite. People don't know. Cryptonite is the weakness of Superman. Okay. It's green rock.

It's radiated rock from his blown up planet, Krypton, but there are also different types of kryptonite. So there's green kryptonite. There's red kryptonite. But do you know about, do you know about Crippy? That's what this song's referring to.

I had to look it up. Explain. Dysect. Crippy is a type of weed. So they're combining creating Crippy and tonight, kryptonite. That's why you say I'm off this

kryptonite because they're talking about weed. I've got this Crip tonight. I mean, I got that. I inferred it. Okay, okay. I did get that. I was not that deep. I'm not the on that cryptonite.

So I did get that. I just didn't know it was called Crippy. Anyway, I love this song. A big boy, the Hulk is dope. Big boys versus dope. I'm not going to fucking belabor the point. Cryptonite, just listen to it. You're like,

Charles didn't break down this song. I'm just like, guys. There's not enough. This is like me, we do our whiskilya season. Like, now I'm going to break down black and yellow. We should actually do that. No, we're not, never. What?

I love whiskily fuck. Really? Watch it. All right. I never got it. Okay. Because you want to know why? Because you're not on that creptanite.

That's true. Anyway, Justin, what is your nomination for this? All right. I want to give an honorable. mention and an extreme dishonorable mention before we go any further, okay? Oh my gosh. I know. The honorable mention is Goody Mob's Dirty South.

What you really know about the dirty style? What you really know about the dirty style? She never did I think. When I got grumbed, there's some pee-wee-sad. Yep. Just a fantastic song that I think, like, more than anything at the time, this came out in 1995 off of the Soul Food album, the first Goody Mob album, which I think half of that is the running to actually be as good or better than Southern Playlistic, but it just doesn't hold

up over the course of the album. That first Goody Mob album, that first Goody Mob album is really fucking good. And Dirty South is kind of like the rallying cry for not only that album, not only LaFace and the dungeon family, but that whole region at that time and is just a fucking amazing song and Big Boy, you know, Big Boy turns in a pretty, pretty solid verse. And I think it's also telling that Andre has a feature on that album. as well and big boys kind of blows Andres out of the water. The dishonorable mention, and I have to bring it up. I just have to because I had to rewind this song. Do you know where I'm going with this, Charles? I see a step away from the mic. Do you know where I'm going?

I had to rewind the song 10 times to make sure I wasn't mishearing it because I never listen to the lyrics this closely. Adidas by Killer Mike. I haven't scrutinized the lyrics. Oh, my goodness. Charles, Charles, do you know where I'm going with this? I haven't listened to this song in so fucking long, bro. Okay, I, look, I'm a little reluctant to even say these lyrics out loud, but he makes like a Marion Barry crack reference, which is supposed to be, I think, like an entendre for,

like, a dude's butt crack. But then he says, none of that, but the female genital. Kalea is where it's at. And then he goes on this, like, insane four bar, five bar, homophobic, like, not in a way that's like, you know, using language he shouldn't. Like, he says, don't recall ever seen a man turn up pregnant, but that's just me. It's kind of crazy. I don't know.

I'm sorry if, like, the vibe of the episode just shifted, but this is like one of the most. Why would you even, the vibe definitely shifted? But this is like one of the most cursed songs I've ever heard between like that awful hook, between like that like fucking paint by numbers, keyboard. Like, this song is so cursed. And this was a song that they played on the radio a lot at the time. It's crazy. Thank you for that cursed dishonorable mention.

Ready to bring it down. I love big boy. scaring the hose over here. Big boys flowers. And Justin comes in, last hipster standing, shiting all over it. I'm a man and I demand, I can't even say these out loud

because it's going to get quoted out of contest. Kevin, we can move on anyway. All right. So since you got the first pick, Cole. Wait, Justin's got to give us his real pick. My real pick is Shine Blockers off of,

no, no. Why? Why? Shine Blocker sucks. What the fuck are you talking? What the fuck are you talking about Shine Block is sucks? No. What the fuck are you talking?

are you actually talking about here we go I would honestly you guys are gonna kill me I like Shutterbug better You like shut Yeah because Baby baby

Yeah Shutterbug is fine What the fuck are you talking about Shinebackers? I don't like you I don't like it man Oh my God Maybe it's just because

I grew up in my dad Playing me Harold Melvin in the Blue Notes And that sample just does it for me The sample's good I just don't like the rapping I like Oh my God, this is crazy.

Like, I think what's interesting to me about this, though, is I think Big Boy around this time was like really making an effort to be in conversation for what was going on musically with Southern hip hop at that moment. And I think this was a way to incorporate Gucci Main who was really like crossing over finally at this time. Like this is around the same time as Lemonade and like, you know, he's like Diplo's putting him on records and he's crossing over. but Big Boy puts them on I think easily the best song on on a record that is fine I was actually

did you guys look up the pitchfork review on Sir Lucius left foot? I think it's high It's 9.2 Wait what? Oh! Here's it, you guys, you guys I liked this record when it came out so I was like, yeah, I think people were just like

oh, Big Boy came out with a solid record and to your point in being in conversation with like the South. Ti, Gucci, Maine, Yellow Wolf, B-O-B, he was doing his best. I do think that it was just like he was trying to bridge a lot of the South at that point. And sonically, a lot of it has not. I would just say, I would just end on this and then you guys move on. But I think most of this record sounds so dated with the exception of a few things.

And it's like, you ain't no DJ if you take Yellow Wolf off it, I think still holds up. I think Shutterbug is fine. I think, you know, it's funny. Pitchfork did this thing a few years back where they regraded like 12 records and either boost, bump their score up or down. And they bumped Sir Luce's left foot down like two whole points, which fair, like 9.2 was insane for that.

In the re-evaluation, Ryan Dombal wrote that at the time it felt like it was on the verge of like a new phase of music but looking back, it's is clearly like the death rattle of a version of hip hop that was no longer going to exist very soon. To that end, I think like the one song on this record, besides you ain't no DJ, the beat, specifically the beat, the yellow wolf part is so dated, just the fact that he's on there. Jeez, you're going in on that. I'm so.

God damn. I'm, I, look, look, it is yellow wolf at the time. That's crazy. That's fucking is. Um, that's fucking insane. I like trunk music. I don't like trunk music. You like trunk music? You like box Chevy?

You like box Chevy? I'm like, man. I can't lie. As someone who enjoys box chevies as a vehicle, I don't need that song. Shine block is at least from a production standpoint, really, really, really, really holds up. And I don't care. And I'm just, and I will just, I will shut up now, but I will forever, like, sneak that song on a playlist for as long as I live. I, it was on my short list of big boy songs to pick for this.

I will just say that he, one of my favorite lines maybe ever of his, he says, word to the Brown James. He's some chicken chalmane. He reverses. Good line. James Brown to get the rhyme in there.

And the whole line, I think maybe what you might have the problem with, like this is like an inspirational, motivational song and it's very much trying to be one, which usually borderlines on cheesy. but this one works for me and maybe that's why you don't like it, Charles. Especially the last verse,

it like really leans into that motivational thing, but the rapping's great and it is, it does kind of get pumped up, you know, to work hard, to grind, you know what I mean?

So I think I'd go first because you went first last time, right? Is that how it goes? Is that how it goes? What are we going to do? You are to pick first? I don't want you to snake my pick, which I'm going to snake your pick.

I'm going to a little fucking flush. I'm going to roll a flush. Hell yeah. Why do you get to go first? Because you went first last time. Because I earned it last time, though. All right. All right.

Technically, technically, technically. I lost. Okay, because we're tied. And I thought I was going to come up and I didn't. All right. Okay. You're taking Royal flush? I'm taking Royal flush.

Fuck. That means I'm fucked then. You can't have ghetto music and Royal flush, bro. Like, you can't like, come on, bro. All right. Am I just, do I have to take Enda Wynn then? This is hilarious. Yes, you do.

You have to pick a Trick Daddy song. Wait, hold on, I could, dude, Trick Daddy, I used to listen to him a lot in high school. We listened to him on the wrestling team a lot, weirdly. You don't know, Nan? Okay, but I could pick Shine Blockers. That was brought up. Oh, you want to pick Shine Blockers?

I could pick Kryptonite. I think Kryptonite is a better song than End to Win. And, and Shine. Yeah, I just don't. think it's representative enough. If I'm forced to pick, not, I thought I was getting just get rough flush. I didn't know you're going to pick it. I didn't know you're going to actually pick it for your list.

And I wouldn't have picked into win if I knew, see, this is where the strategy, I maybe I didn't strategize this enough. Because I will say, Cryptonite as a song. Do you want to trade me? You want to trade me ghetto music and I'll let you have row flush? Oh, shit. Hmm. That's interesting. So would, would that mean that Cole then gets unhappy and the way you move is just off this list. Yeah. Yeah. I'll try

you. I'll kick off the way you move and you can pick unhappy. We can redo this. I don't get on. Give me get on music. I'll give you a lot. No, you're duping me right now. I don't fall for this. Oh, fuck it. Okay, maybe I'm thinking about it too hard. The features don't really matter. So let me go.

Like, we're not picking. We're not picking. I mean, we're real flush. We could have a conversation about that in the finale. but okay let me just go with let me go kryptonite let me go kryptonite all right it was on my short list it's a representative of a big boy in his prime i like the song it's not my it's not my thematic vibe if you know what i mean but neither is into wind so let me go with the more iconic song for my list kryptonite lock it in all right so for this episode let's go over our picks you got ghetto music and Cerectonite, I got

the way you move and Royal Flush. How are we feeling at the end of this episode? We only have, equeminize the one we've been building to. That's the one that we've been like, all right, this is... I feel good about ghetto music. I'm going to overthink the feature. I don't think it matters too much,

but you definitely got the better one. Like, your list is like unassailable. It's very good. I'm proud of you. Thank you, man. But next week's going to be... I'm flying into L.A. for it. We're going to do it in person.

Blood fucking bath. Blood. I've been listening to it for the last two weeks. Oh my God. That's going to be so good. All right. So are we done? We're done.

Yo, we're done with this episode. You want to give thanks for everybody makes this show possible? Yeah, thanks to Justin, of course. Kevin Pooler on the ones and twos, bureaucratic for the theme music next week. Equam and I in person. Going to be great.

Let's fucking do it. All right. We're back. For our favorite segment, cultural exchange, okay? This is where the world heals a little bit. Cole and I build our friendship right before your eyes and more specifically your ears. Okay? So last week I gave Cole, Panic at the disco, a fever you can't sweat out.

Cole, what did you give me? I gave you refused the shape to punk to come. All right. I need to know your thought. I need you to go first because I need you to very interested in your take on this one. I can see it going either way. All right. So guys, pop this into the old Honda Civic, you know, riding around town.

Okay. Also, really quick, before I give you what I think about this album, today, like, a nice old lady lives near me, and she was, like, moving furniture. And I was going into where I'm like, she's about to break her back. Like, I can't, like, I have to help her move this furniture. She's like, well, the other pieces down the street. And I was just like, yo, hop in my car, we'll put it in my car. I'll drive it.

And I was playing this album. And I was just like, oh, this is the wrong. This is the wrong album to play when you're helping your elderly neighbor furniture. I was like, she's going to think you're an insane person. But now that I got that little out of the way, Cole,

this might be one of my, like, the fate, like my favorite pieces of music that should have been given to me. Like, what? Really? Yeah.

I don't even like scream. Like, I don't, like, this isn't screamo, but I grew up in a very, like, rock town.

Everybody in high school had rock bands. This was the height of screamo. So I, I, if I hear anybody screaming on a record, nine times out of ten, I shut that shit off. It was just like, oh. Yeah. I, this, the shape of punk to come. Yeah, it did it for me.

This is probably across the seasons up there, like top three picks is like, this is pretty good. Like, I, like, I would listen to this. This is a really good. Damn. That makes me so happy. I thought, you seem surprised. No, I, well, I get, a better sense of, like, you have a more of a tolerance to, like, rock, I guess specifically than I was originally thinking.

But because this one, it does have screaming on it, although I think it's more melodic screaming than most. It's melodic and it's like a lot of screamo that I grew up with or like was being played at that time. I think accentuated the screaming aspect of it, which to me sometimes I was just like, all right, this is kind of taking away from the musicality of it. Whereas like this, like the screaming parts only added to it. It almost, it was melodic, it added texture.

I think probably what. what you're learning about, like my rock taste. Like, yeah, I gave you panic at the disco and fallout boy. But, like, I like rock like this too. Like, this is like, this is just like the kind of pushing the genre forward shit. The like, this is just such a musical fucking album, what they're doing on this. The melodies are amazing. I don't know anything about this band.

I love the fucking singer. I like the lyrics. I love just like the guitar, the drums, everything. This was, this did it. I don't know what's like. I really like this record. That's so sick. Yeah.

If anyone hasn't listened to it, go listen to it. It came out in 98, which still just blows my mind every time I realize, because it just feels modern to me still. Yes, yes. It felt like a very modern record. You sang it's from 1998. I'm like, really? Yeah, it's crazy.

Yeah. The singer would go on to form, what's that band's name? International Noise Conspiracy. I don't know if you, they were kind of hot when like the highs were big during that whole era of throwback kind of rock. And he would scream less in that band. but yeah this this I'm so happy okay yeah man hell yeah now go on to the cursed s you gave me panic at the disco a fever you can't sweat out I was coming off fallout boy what was the

record you gave me what was that one called a fever you can't sweat out no the fallout boy record you gave oh uh from under the cork tree okay yeah okay so how do I put this I I didn't hate it I liked it if you would have told me this was a Fallout Boy record, I would have believed you is my only thing with this. They sounded so similar to me. I don't know if that's just a lack of exposure, but I put this on,

is this like a singer, the singer's side project or something? No, he was signed. They were, I'm almost positive. People might yell at me. I'm almost positive they were signed to Pete Wentz's record label at the time. And at the time, I like this record.

Because I'm like, this damn near Fallow Boy project. Just more, more. theater kid energy to be honest. Yeah. Yeah, I can't say I liked it as much as the fallout, Return to Fall Out Boy. There was some, I mean, they, at least on this record, and the one I heard from Fall Out of Boy, they did seem to be experimenting a little more. There's like electronic elements and breakdowns that, I don't know, I don't know if they actually worked, but it was interesting that they were trying that. So I guess I came away thinking, like, like, very similar. If you like Fall Out Boy, you're going to like Panic at the disco.

So it's not bad music. It's undeniable catchy. It's everything I said about Fall Out Boy. I just wish maybe it was a little. Did you, did you follow them? Did they get more different than this? This is their debut, right? So basically all of the,

all the band members ended up leaving, and then it became like Brendan Yuri's project. So I will tell you, like, I fell off this band so hard after this project. I like, I kind of listened to the other stuff, but it was, this was a moment. I will,

the song that I'm, the album that I'm giving you next is like the bridge is like a bridge album where I stopped kind of listening to this type of rock music and I got into like my pitchfork era. So yes, you like this was the moment where I was like, I've hit my zenith of this Emo shit. Yeah. And then I was into like blog rap and pitchfork shit.

Right. That makes sense. Okay. So why don't you just go into your next pick then? All right. So you definitely listen to this project. but I still think it's going to be like interesting because this is an album I've recently gone back to.

So around this time, I started getting into like a lot of like fucking rock from across the pond. This is when I'm listening to like the fucking strokes. Right. Fucking LCD sound system is popping at that time. Whatever. But one of my favorite records was the Arctic Monkeys.

Whatever people say I am, that's what I'm not. Their debut album was one where I was just like, I just started listening to a lot, basically anything pitchers like, there were so many. can you give me some of the pitchfork acts at this time

Justin there were there was Arctic monkeys were in it there was though I remember the black kids TV on the radio grizzly bear I was geez I mean this is like The hives they are dressed in all suits

Was there? Yes the hives were around this time too I feel like the highs were a little before that I feel like hides were more like the ass end of like the strokes white stripes error Yeah okay yes Because I was also getting into the strokes white stripes, that whole thing.

I feel like this is like Fleet Fox's era. Yep. But let's see. So we're talking like 2007, 2008. Like, God. Arcade Fire. Arcade Fire. Yeah, they came out a few years before that.

They were kind of peaking around here. But I think this was when Arcade Fire was like, oh, they are just like fucking them. It was a whole thing. So whatever people say I am, that's what I'm not. There's one of my favorite albums from that time. This is the bridge getting me out of all the e-mails. Mo pop punk shit. Okay, that's it.

Well, I'm glad. I'm excited about this because I, Arctic Monkeys is a band I've never really listened to. I probably heard their singles if they have singles that were bigger, but it's one of those bands I just missed somehow. I think maybe I was just getting into two weird or shit at this time, and it was just kind of dismissing this kind of stuff. So I'm excited to go back because I can't even tell you what they sound like in my head.

So it'll be brand new to me. So I'm going to go, so I kind of ran out of the precursor radio head. So I and you're too familiar with Radiohead to give you a Radiohead record for this exercise. So I'm going to give you an artist that kind of I got into right at the same time I got into Radiohead. And really was influenced by and that is Bjork. So Bjork needs no introduction. I'm sure you know who she is and her importance to the history of music and just all that stuff.

But specifically the album Vesperteen was one that I I think, well, I can't say. I don't know her full discography enough to say it's one of her best, but I think it is one of the best personally. It is. Okay. Just you'll, I don't want to give too much of it away, but it's like, definitely electronic based music, which I was definitely getting into at this time. But doesn't in a way that's very interesting, very minimal, doesn't hit you over the head. It's not like dance electronic. It's like atmospheric textural electronic, like just really interesting stuff. So are you familiar with this record? You're familiar with Bjork? Not familiar with this record. This is actually, this is why I like doing this shit because, like, there's certain artists where I'm like, I know some of their songs, but I never did kind of like the, oh, I'm going to dive deep. So like, yeah, I am excited for this. Like, I don't know enough about this record. So, yes, I'm, I'm over the move.

I think it'll be good chill apartment music. So that would be my recommended setting. Yeah. All right. Sick. I'm excited. Yo, guys. That's been our episode.

Thank you so much for sticking around. And we will see y'all next week. for equipment, all right? Peace.