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

Episode Date: September 22, 2026

Thirty years after OutKast released ATLiens, Bomani Jones welcomes DJ Wally Sparks to revisit the groundbreaking album that changed the group—and Southern hip-hop—forever. Bomani and Wally reflect on hearing ATLiens for the first time, the massive impact of “Elevators (Me & You),” and OutKast’s dramatic evolution from Southernplayalisticadillacmuzik. They explain how the album introduced a darker, more introspective sound while establishing André 3000 as one of rap’s most innovative voices and proving why Big Boi remains one of hip-hop’s most underrated MCs. The conversation also explores OutKast producing much of the album themselves, Organized Noize’s influence, the memorable contributions from the Dungeon Family, and how songs like “Babylon,” “Mainstream,” “Decatur Psalm” and “E.T. (Extraterrestrial)” helped point toward the creative breakthrough that would become Aquemini. Plus, Bomani delivers his Babyface hot take, compares Big Boi to Emmitt Smith and explains why he might have ended ATLiens one track earlier.  See omnystudio.com/listener for privacy information.

Behind every night spent making the kids' lunches, there's a lot of suspense. Will they finally eat the veggies? Will the pasto survive the first bite? Will the lunchbox come home empty, half full, or come home at all? And will you finish episode 8 before you're done slicing the cucumbers? Get Bell Pure Fiber Internet with Craved Netflix and Disney Plus from $94 a month. Price guaranteed for two years on internet with a two-year term and auto pay credit. Visit bell.com for details and to check availability.

Bell, connection is everything. Lisa, tell them about our new show. We have a new podcast. It's called Don't Lie to Me. I'm Lexi Youanu. We're two best friends, 22 years apart, but so close at heart. And I'm Lisa DiGulio, the old one, which means we have wildly different references, occasionally different opinions. And at this point in my 50s, I've lived it all.

Now in my 30s, being the founder of new shoes, good taste is my business. Listen on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Lacey Mosley, author, actor, stand-up comedian, creator, and host of Scam Goddess Podcasts. The True Crime Comedy Podcasts all about robbery, fraud, and those who practice it. Each week I bring on an amazing guest. Ooh, I scammed them. What? I can talk to you for an hour.

You're a generational yapper like me. That's why I had to make yapping a job. And now you can catch full episodes of my show on YouTube. Start listening to Scam Goddess on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. Hi, this is Kylie Breakman. Angel Geratana. Jeremy Colhane. Patrick McDonald.

And we're the hosts of the Artists on Artists on Artists on Artists Podcast. The Improvised Character Comedy Podcast where each week a new panel of artists discuss their craft. Join us for a panel of Eurovision participants. And we do a little Halloween sometimes. Does the Pope dress up? He winks on Halloween. He gets right up next to the microphone. I hear you can almost hear the eyelashes hit each other.

You're never seen. Italy so quiet as when the Pope gets up to wink on Halloween. Listen to Artists on Artists on Artists every Thursday on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. The new NFL season is here. And you should be listening to NFL Daily as we march along to Super Bowl 61. It is in the name NFL Daily. You'll have fresh content in your feed every day all season long.

That game winning drive. Maybe it's Herbert. Maybe it's Gino. Maybe it's Mahomes. We'll have the highlights. If Fernando Mendoza or any of the rookies are balling out, will break down the tape. Join me, Greg Rosenthal,

and an all-star cast of co-hosts as we preview and recap every game. Listen to NFL Daily on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Ladies and gentlemen, welcome to the right time. Presented by Price Picks. My name is Bobani Jones. Thanks for listening wherever you get your podcast. Thanks for watching us on YouTube.

Subscribe, like, rate us, review us, give us five stars. You only give us four stars. I'm inclined to believe you are a hater. It is a time machine Tuesday. You got my man DJ Wiley Sparks all. Check him out, Twitch.tv, slash DJ. Wally Sparks, what's going on, brother? What's happening?

What's happening? Man. Well, I tell you, Tom, I have my music talk about guests come on. Somebody guaranteed to wear some funny glasses. I mean, I'm wearing them because I actually can't see. And, you know, I'm trying to be, I'm trying to be a little expressive here. So, you know what I'm going to have to, uh, to, to, uh, to, to, to, to, to, to, to, to, throwing the towel at some point, man.

Like, like, it is amazing. It's stuff now that I look at it and I want to call the people that I bought the stuff from and be like, what the fuck is this font size? Right, bro. It's like, bro, I get so much shit from my DJ homies because my

sorrado, I got, I enlarge the font so I can see in the dark one I'm DJed. Like, bro, like, why you got all the big letters saying? Yeah. It's like, hey, man, I got to be able to see what I'm playing. Don't get me. started talking about these fancy restaurants trying to be sexy with delights and I can't see shit.

I don't know what I'm ordering. Yeah, man. But hey, we are here to talk about AT aliens, 30 years, 30 years. I believe it was August 25th, 1996, that it came out. And where were you in 1996? I was in Jackson, Tennessee. I was, uh, this was my, um, this was my first semester of my freshman year. year at Lane College.

And I remember, I remember vividly the day that I bought this CD. I bought, I bought this, I bought hardcore by Lil Kim, and I bought something that I misremembering. But I know I bought those two at the same time. I bought both of those at the same time. And let's just say I popped in ATLNs and it took me about a week to get to Kim. Bad. Let me tell you something.

I was, that was my senior year of high school, right? And it was before I got the car, because obviously my birthday was on the 26th, right? Okay. So I had the car, but like I remember it coming out. And it's interesting, there's like a gap in my real memory of the record because what I really associated with, and I wrote about this many years ago,

is I associated with the first car that I had, which is this 1989 Toyota Carolla, My brother had pushed it when he was in college, and then he got a job that had a company car. So when I turned 16, there was a car, and then I remember for my birthday, I asked for two tens and some boxes, right? Okay. And I think somehow I came up with the money to get the amp. So I had 100 watts, two channels, Rockford Fosgate 10s. I was about to ask you what kind were they, were they kickers or MTAs or Rocker.

at the Fosgay joins, right? So, like, they were new. I think my brother had already had, like, some Boston acoustic five and the quarters in the back dash. Like, I was set for it. And I remember I just made a bunch of tapes because at that time, 96, you was bawling if you had a CD player in your car. Like, oh, man.

It wasn't quite a guarantee. And so I made a whole bunch of tapes. And one of the tapes that I made was ATLians. And I remember the ATLians was the right length, such that I could do the tape, basically like they would do the tape because otherwise tape lints could be all kinds of things right yeah and you didn't

want to and you would try to program a CD player like we had a CD player that was fancy and it would rearrange the tracks so that it would be equal sides on the tape depending on the lips so you wouldn't have like a song mess up in the middle or something like that but AT aliens fit perfectly I remember

and I remember just running that in the car going to school every day had like a 30 minute drive through the country to get out there and by first thought when I heard it later people would make the argument that people's like I don't know what happened man, them boys fell off. I don't know anybody that actually felt that way about ATL is. This was a completely

different record than the first one though. That's completely true. So I heard both sides. Like there were the people that were music people like me which is pretty much who I was around the most, at least who I discussed music with back then. And they were like they were okay with elevators, right? But But then once they dug into it and you know, you got into all the moody stuff that's on this album, they were like, I don't know because, you know, they got introduced to Andre and Big Boy

as like, you know, some, some play of pimpish type dudes, you know what I'm saying? Furry can goles and braids jerseys and flip flops and socks and whatnot and all of a sudden, you know, homie wearing a turban and talking about, you know, terrestrial planes and all kind of other shit, you know what I mean? So, so I heard it from both ends, but me, I thought that was a,

I thought that was great. And I, earlier in that year, before the album came out, when, you know, recording artists do promo runs and they just come to, they come from city to city or whatever, and they'd be doing favors for radio stations

to make sure they'd get their song played or in rotation. There was an event in Chattanooga called a River Roast. It was like a, like a smaller version. of a larger festival that happens in Chattanooga called River Bend. The River Rose was like a one-day thing. River Bend is a week long. Anyway, they were there to perform, and Bahamadilla was there, which was really strange.

But they came in, and they were like, hey, this is our new singles called Elevators, our new albums, ATLN's going to come out. And, bro, you know, this was on a festival-sized sound system. and when I heard when I heard them them drums I was like in that bass

yes that when it came I was like oh my God so I was I was already turned up and by the time you know school it ended because that happened River Rose happened around in spring and I just graduated high school

in May and I was on my way to college in August so when I got when I got the lane got to Jackson and that album came out that weekend I had to figure out a way to sneak off campus to go buy it I had to figure out a way to sneak off campus

find the mall in Jackson because I'd never been in Jackson, Tennessee before then find, you know, whatever Blighbuster music or record bar, you remember a record bar? Whatever it was, Camelot music, whatever it may be. HMV.

Yeah, man, and go get it. So I did and I went bought those I bought those albums that I bought and I brought it back and man man that that album really carried me through my freshman year. That of the

Aaliyah One in a Million album and Erica Badu's first album and bro that that literally carried me through my freshman year in college. So the thing you mentioned elevators and Elevators was the first single

in Ego Trips, Booker a rap list, which is still a great thing to still go back. It is a good book. Check out if anybody has it. A.T. Eliot is the number one single in 1996. Like, they list that as the best single of what, for my money, is the best year in the history of rap. And it's interesting because it did

catch all it immediately, which I think speaks to the power of a hook, right? Me and you, your mama and your cousin too, baby. It's all we needed, right? Like, it was a 100% perfect hook, but everything that you describe about the rest of the album that

perhaps some people had a hard time getting with, all those descriptors that you use about the rest of the album absolutely fit elevators, right? Like, it is incredibly moody, right? It is the opposite of pimps and players. It's about being broke. Yep. Right?

Like the whole nine of it, it is truly a reflection of the album that was ultimately coming. But as you said, that thing had bass. The hardest bass that I've ever heard in person is at those 2014 Outcast shows the base on elevators and the elevator's remix where it's got that

boot of the Parliament joint. Yeah. Oh yeah. But as a hey man, especially at 96 when people when we was putting our old speakers in the back the power of some good knock. And man, boy, not. Yes, it did. Yes, it did. And I think that was a

that kind of speaks to the brilliance of of actually knowing who your core audience is while actually had being brave enough to expand beyond it also. Yeah, I'm saying. I mean, you know, you know, the beats, the beats got a hit and they did, you know, but. But, I mean, also at this point,

us keep it in mind that they're like 20 and 21 years old. Young. Right. Right. And what I don't think we properly appreciate at the time, or which you may not have even known unless you were really cracking a lot of notes at that time, they went from having an incredible production unit

kind of shepherd them through the first record to producing half of the second record themselves because of the things that were going on with those dudes. So like imagine being them at 19, at 20 and being like, shit, I get, we're going to have to do this ourselves. Yeah, it's a whole new level of responsibility. You know what I mean? And coming up with a great sound, like the sound,

you can't just immediately pull what's an organized track and what is in our house. outcast track in terms of production, like out of the air. At least I can't. Yeah. Like when I try to remember, I'm like, damn, who did what? It's not, there aren't that many of them that have like one of those like obvious, like, oh, that's an organized thing.

Okay, I know that they did that one. But like elevators outcast did that one. Yeah. I think the, the key thing for me that allows me to be able to differentiate from what they did and what OMP did is that the O&P stuff sounds a little bit more lush. and the Earthtone 3 Outcast stuff, the drums are hitting way harder. You know what I'm saying?

That's kind of how I can, you know, because you think like two dope boys in the Cadillac, right? That sounds lush and full. Yes. That sounds like O&P, right? Yes. And then elevators, you know, sparse. Exactly.

You know what I mean? Yeah, and OutKats also did extraterrestrials, which literally it took me something in the neighborhood of 15 years before I realized that's all it didn't have any drums. Just never came up in my mind. Shout out to the witch doctor.

Yeah, yeah. Like they nailed it. But to start with that, you talk about two-toe boys in the Cadillac, which, again, it's the play, like, it's the ethos of the first album. But this is not, this is not the same sound. Like, sonically, I would,

would say is probably like closer to call in the wild but it's called the wild but it still doesn't have that call in the wild energy like I don't feel like this is this is it's muddier it's darker it is like you get a clear handle I feel like sonically well forget about that my bad I skipped over the intro that you may die yeah shout out to uh our collective friend is joy gillium and rest of uh uh screechy peach aka murder Crenshaw that that is a very very very very movie piece of music. I remember the first time I heard it. I'm like, I don't really understand even what's going on here,

but I'm prepared for the rest of this record. For the rest of it. I'm in it now. You know what I'm saying? Like the idea that that's the, after you coming off their last record, this is the first thing you hear is that. Yeah.

I think that sequencing is, is kind of what I was saying, like about how elevators was kind of like a, we still what y'all remember, but we're trying something different now. I think you may die going into two doughboys in the Cadillac is sort of the same thing. Like, hey, I'm announcing to you right off the top. This is not going to be Southern Planned Listing.

But here, here's a little piece of Southern Playlistic just to satisfy you and satiate your taste to let you know that we are still outcast. Right. We are going in a completely different direction. We're exploring a whole new world here. And I contend, I do not like to get into Big Boy, versus Andre discussions because that just doesn't make me feel good inside. Like, no matter where we land, I just, I just don't like that.

However, I will say that in real time, it felt to me like in 1996, the competition for most improved player or like most improved MC was an incredible three-man race between Black Thought on El Duff Half Life, Bump Beyond Riding Dirty, and Andre on ATL. There was like, there was a ferocity to the way that he was attacking the tracks at this point. Because again, the last record was a bit more of a laid back sort of joint. But all two dope boys in the Cadillac was softly as if I play piano in the dark. Oh, hey, let's go.

And the time you get to the end, you're like, oh, no, this is, he's freestyling now. Like, we are just destroying tracks. And Big Boy kills it. But it felt there was a jump that you felt from Andre that I don't know. Maybe it's just because Big Boy maybe was a little bit advanced on the first one. And so it may have felt like Andre was catching up sort of. the thing. I think I came to appreciate Big Boy on his record later in life more

so than I did in real time. But I felt like Andre established the tone on track too. Yeah, I agree. You know, there was I think this album the, where the mythology and the legend of

Andre 3000, the rapper, it started here. You know what I mean? It definitely started here. So I'm kind of in lockstep with you and your assessment. about the way Andre took a step up in quality of rhyme, you know what I mean? And even complexity of rhyme, you know, as we go through, you know what I mean? So, but yeah, man, that was a, but even with that big boy, it's, I love to get big boy

as flowers, man. And, you know, even, even Andre himself has said this, that he always thought the big boy was the better rapper between the two of them, right? that's a quote from him. But Big Boy is kind of like I was trying to think of an athlete comparison, but what I was, what I'm getting at is that

he's so good, so consistently that you don't realize that he's as good as he actually is. I think I may have the comp. Who is that? Is there an Emmett Smith element? Okay. To what these guy going, going, right? Because like the thing about Emmett Smith is

Emma Smith hits you with short, quick movements and the vision to know like where to go on the track. And the thing with Big Boy to me that always jumps out is recognizing what place that track or that song with this other person needs him to get into. Because the space that I think he inhabits so well on AT aliens, where we're talking about Andre jumps out because there is kind of a complexity leap that he is making at the time. Big boy's coming

and I think his mama had just died right before this record comes out. Like, he is carrying the emotional tone that goes with kind of that moodiness of the sound on this record. It's like, to me going back on it, it's in hearing 16-year-old me had not lived enough life to properly appreciate. I think some of what these songs were. And then to get older and be like, damn, how was 21-year-old Andre? I mean, big boy, and 20-year-old Andre, is speaking to this.

level of depth at that time. Yeah, he was talking, he was living life through the music, you know, the, the, the, the, he's putting life into the art. Well, he also becoming somebody's daddy, like, that whole circle of life, real, that is taking place. That whole circle of life, you know, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, and, all within the same amount of time. I can, I can, I can, I can, uh, what it must have felt like, uh, what it must have felt like, uh,

when you, you know, the outlet that you have to express all these emotions is the outlet that is also your chosen occupation. You know what I'm going to? And, you know, you get, you're getting all this, all this adulation from your previous work. And you are sitting here in the middle of a existential emotional, not necessarily crisis, but sea change. and you got to put it all out there on wax and I think I think the way big boy was rhyming on ATLNs kind of brought that brought that out like it's clear and again like you

I didn't really appreciate this album for real until I got older I have a much more fondness for it now than I had before because you know if you know me this this you know it's not my favorite Outcast album but I appreciate it for what it is, and I do agree that it is a classic, you know, but it took me a while to get there.

And I think living life, becoming a father myself, you know, my mother passing away, all that kind of stuff. I understand what was happening back then and what he was saying now in a completely different way than I did when I was just, I just wanted something to jam to, you know?

And one theme of the record that I want to make sure to get to, And it's the theme of Elevator. We sold all these records and we still don't have any money. Yeah. This is not what we thought this shit was going to be. I thought we was going to have some money. That's a brutal reality check. Right, right, right.

So, like, have that going through. Like, somebody rapping like the rent's due. We did that once and the rent is still due. It's still due. Shit, man. What are we supposed to do? The rent still do, baby. Yeah, the rent is still due, baby.

still do, but I tell you this, if there's anything that they learn from organized, and I think is it a recurring theme and you realize it as soon as AT aliens come on, hey man, we're going to give you hooks. Like that is the biggest thing about Southern rap that I think was the, they're not obviously the only people who got to this. They're people in other regions, but I think Southern rap, once you get kind of like post-Ghetto Boys, I think had a stronger understanding of the fact that you don't have to, you don't necessarily sacrifice any of the aesthetics

of your music being hardcore just because you got a hook. Right? Like, Phimsy made hardcore gangster rap music, your hook was always going to be strong. The hook was always going to be strong, buddy. Right? Three-six mafia in that category.

You know, look, the hook would not be subtle, but the hook would be something that perhaps you would be able to remember. It'll be direct for sure. It'll be directed something that you can't remember really easily. Yeah, 36 Mafia. What's the song about? Well, what's the title? Break the law.

Let's plan a robbery. Yeah, you know what I'm saying? Oh, what's another one? Slob on my knob. You know what I'm saying? You're tearing a club up. It's right there. You know what I mean?

Ass and titties. You know what I mean? It's right. What's that's about? You know what I mean? It's right there, buddy. like AT aliens it's interesting because also on that tour they played AT aliens earlier like the single ATLians that's a like don't love for me the song yeah like it's cool it's I really really like the beat on that song uh but it's uh you know I think it's that little rolling snare that sounds like it sounds like somebody crushing popcorn in the hand yeah you know what I don't know I don't know I don't know I don't know I don't know I don't know I don't know I I don't know what itch and scratches on my brain,

but that one little sonic note makes me really, really like that song. Yeah. Because, like, you know what it is, though? Like, I find what I say things about, like, individual tracks on this. It's kind of how it used to be with ATL ends, where I would tell people, this is after four albums. I was like, I like it better than Stank on you. But, like, after three, ATLians was my least favorite Outcast record.

Because something had to be third. Yeah. Just because something had to be third. It was not an indication of anything else. It says something had to be third. Like this run to ATL is wheels of steel, Jazzy Bell, they're all jams, but something's got to be not your favorite. And that run is kind of like in there.

I like wheels and still a lot. Jazzy Bell, even young, I'm kind of like, hey, fellas. Bro, knowing what I know about you, I am very, very, very curious to know how you feel about the Jazzy Bell remix with Kenneth Edmings speaking on the hook. Yeah, like, honestly, the Jazzy Bell remix with Babyface on the Hook, I, and I want, this is what we need to be very clear about my baby face criticism. My criticism of Babyface is that he is the single most overrated song.

writer who ever lived. He got beats. He has a good sense. Like his melody game is strong, all of that. Then words he be writing down. It's some old simple Simon nonsense. And when you point it out to people, it'd be hiding right in plain sight.

He'd be right there in front of him. I mean, that's why he got the numbers on the board, man. He does have, but as I'm saying, he got the numbers on the board. But like, when he did the verses against 10, Eddie Riley. I'm like, oh, this isn't even close. What are we talking about, guys? What? Babyface couldn't dream of doing my prerogity.

Could not. He did the rest of that album. And when you go back and listen to some of that stuff, you'd be like, oh, damn, yeah. Like, Baby Face shit all sound like he was in a hurry. Like, oh, man, like, like, like, one draft only. Like, he don't, he don't revise. He don't think back. All right and go. Yeah. All of that's to say, sure, you can come sing a hook. you know you kind of just made the Tala Perry comparison to baby face word you know I write and go

I am and look that's what I'm saying but he can come sing the hook right right? Like Jazzy Bell is so funny because Jazzy Bell like on the list of rap misogyny is very low but it is velvet um right

you know it's there it's a jam I don't want to say that it's not a jam there's definitely a lot of respectability politics going on. Yes. Yes, but not at the like insane level of respectability politics of like goody bob respectability politics. But anytime you, anytime you hear somebody from the goody mom and said something crazy in real time, it's like, oh, no, no, you just weren't paying attention. Mm-hmm. For sure. For sure. They've been on this

since day one. So day one. Yeah. To the very beginning. And it wasn't hiding it either. You know what I'm yeah yeah um one thing i would say right fast before we go to the break i was thinking about this as i was like playing some vinyl at the house and it's a very interesting uh to think about like really as you start getting into the early 90s when the CD becomes the dominant form of music it is very interesting how the sequencing of records changes where it's no longer you're basically sequenced two records like the one on the top one on the bottom now it's like a straight line from start to finish in terms of the way to the record of sequence so you don't have like an emotional jump in the middle where like the energy gets back up.

Yeah. That doesn't, that doesn't happen like this. This gets the elevators in the moody space and it stays there. Yeah. Until the end, buddy. You're going to sit in these feelings. You know what I mean?

We're going to talk about that and more coming up next. Behind every night spent making the kids lunches, there's a lot of suspense. Will they finally eat the veggies? Will the pasto survive the first bite? Will the lunchbox come home empty, half full, or come home at all. And will you finish episode 8 before you're done slicing the cucumbers?

Get Bell Pure Fiber Internet with Craved Netflix and Disney Plus from $94 a month. Price guaranteed for two years on internet with a two-year term and auto pay credit. Visit bell.zda for details and to check availability. Bell, connection is everything. Lisa, we should tell them about our new show. Oh my God, Lexi. We have a new podcast. It's called Don't Lie to Me.

I'm Lexi You Wanu. We're two best friends. 22 years apart, but so close at heart. And I'm Lisa Di Giulio, the old one, which means we have wildly different references, occasionally different opinions, and at this point in my 50s, I've lived it all. I'm not going to get anyone fighting.

That is wild. I learned that about you today. Now in my 30s, being the founder of new shoes, good taste is my business, and I've always got something to say. If men were just honest about this, they would be so much more peace in the world. We're going to talk about dating, relationships, beauty, getting older, and a little wiser.

We're best friends, but we don't always agree. Because you told us how accommodating you are. Obviously, I would do what I think I could do to fight the fight, but there's only so much fight I can fight. Don't lie to me. Don't lie to me. Don't lie to me. Don't lie to me. Don't lie to me. Liar. Listen on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

I don't really care. Hi, this is Kylie Breakman. Angel Geratana. Jeremy Colhane. Patrick McDonald. And we're the hosts of the Artists on Artists on Artists on Artists Podcast. The Improvised Character Comedy Podcast where each week a new panel of artists discuss their craft. Join us for a panel of wellness influencers.

What I try to do is faux journal. I don't know. Have you guys heard of faux journaling? Yeah, it's reading. It's called reading. So we don't like to use that word anymore. Okay. A panel of New Yorker cartoonists.

Have you guys done Terry Gross? is Peloton class. No! I've been dying too. I'm so sorry. I'm seeing a reading of Sadako in the Thousand Paper Cranes by Audra McDonald's at the

Wonderland Bookstore on 14th. That's crazy. I went to the Wonderland Bookstore yesterday and I heard Nora Jones do a reading of Zero Dark 30. No way. You have to come to the last bookstore, though. Kim Cottrell is reading the guitar tabs

of yesterday. A panel of Eurovision participants. And we do a little Halloween sometimes. Does the Pope dress up? He winks on Halloween. It's right up next to the microphone. I hear you can almost hear the eyelashes hit each other.

You never seen Italy so quiet as when the Pope gets up to wink on Halloween. Listen to artists on artists on artists on artists on the IHeard radio app, Apple Podcasts, or wherever you get your podcasts. I'm Lacey Mosley, author, actor, stand-up comedian, creator, and host of Scam Goddess Podcast. The True Crime Comedy Podcasts all about robbery, fraud, and those who practice it. Each week I bring on incredible guests like Conan O'Brien, Iowa Debris, Lamorne Morris, and Nicole Byer. Ooh, I scammed them. What?

I could talk to you for an hour. You're a generational yapper like me. That's why I had to make yapping a job. And the scams run the gamut. I'm talking about scams from the 1800s all the way up to today. I also warn you and keep you safe against scammers. Call your grandparents. Tell your parents to stop clicking on links, please.

And now you can catch full episode. of my show on YouTube. If there's a scam, I'm here to protect you. And I'm also here to laugh with you. So if you like fun, if you like comedy and you like learning and protecting yourself from criminals, start listening to Scam Goddess on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Football is finally back and prize picks is bringing out their best offer yet.

New users who sign up will get $150 in lineups if you win your first $5 lineup. That's right. If you win your first $5 lineup, you'll get $150 in lineups. And now, prize picks is available nationwide. So what are you waiting for? Lock in for kickoff because everyone and

everything is on prize picks. What am I on this season? Well, America's team has decided defense is optional this year, so maybe take more for them and their opponents. Prize picks is going crazy with the deals to start

the football season, giving users a promo every day during Stack September. Make sure to sign up now for guarantee picks every Monday along with profit boosts and daily discounts throughout the month. Plus, the app is simple to use. You just pick two to six players, then pick more or less on their projected stats like pass yards, rush yards, and fantasy score. It's the best way to get more locked in on game day. You can make all the picks you want across any sport all in the same app. Download the app today and use code BOMONI to get $150 instantly in lineups if you win your first $5 lineup. Again, download the app today and use code BOMani to get $150 instantly in lineups if you win

your first $5 lineup. Prize picks, run your game. The hard rock bat casino app is here, Ontario. It's safe, secure, and crystal clear with fast payouts and 24-7 local support. You can play over 3,000 games right here. including hard rock bet casino exclusives. The hard rock back casino app is here, Ontario. Roll with us.

Must be 19 years of age or older to play. Ontario only. Please play responsibly. Concerned about your gambling or that of someone close to you, visit connectsonterio.ca. Lisa, we should tell them about our new show. Oh my God, Lexi. We have a new podcast. It's called Don't Lie to Me.

I'm Lexi Youan. We're two best friends, 22 years apart, but so close at heart. And I'm Lisa Di Giulio, the old one, which means we have wildly different references, occasionally different opinions, and at this point in my 50s, I've lived it all. I'm not going to get anyone fighting. That is wild. I learned that about you today. Now in my 30s, being the founder of new shoes, good taste is my business, and I've always got something to say. If men were just honest about this, there would be so much more peace in the world.

We're going to talk about dating, relationships, beauty, getting older, and a little wiser. We're best friends, but we don't always agree. Because you told us how accommodating you are. Obviously, I would do what I think I could do to fight the fight, but there's only so much fight I can fight. Don't lie to me. Don't lie to me. Don't lie to me. Don't lie to me. Don't lie to me.

Liar. Listen on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. I don't really care. Hi, this is Kylie Breakman. Angel Geratana. Jeremy Colhane. Patrick McDonald. And we're the hosts of the Artists on Artists on Artists Podcast.

The Improvised Character Comedy Podcast where each week a new panel of artists discuss their craft. Join us for a panel of wellness influencers. What I try to do is faux journal. I don't know. Have you guys heard of faux journaling? Yeah, it's reading. It's called reading. So we don't like to use that word anymore.

Okay. A panel of New Yorker cartoonists. Have you guys done Terry Greer? Roses Peloton class. No! I've been dying, too. I'm so sorry. I'm seeing a reading of Sadako and the Thousand Paper Cranes by Audra McDonald's at the

Wonderland Bookstore on 14th. That's crazy. I went to the Wonderland Bookstore yesterday, and I heard Nora Jones do a reading of Zero Dark 30. No way. You have to come to the last bookstore, though. Kim Cottrell is reading the guitar tabs of yesterday. A panel of Eurovision participants.

And we do a little Halloween sometimes. Does the Pope dress up? He winks on Halloween. He gets right up next to the microphone. I hear you can almost hear the eyelashes hit each other. You never seen Italy so quiet as when the Pope gets up to wink on Halloween. Listen to artists on artists on artists on artists on the IHeard Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Lacey Mosley, author, actor, stand-up comedian, creator, and host of Scam Goddess Podcast.

The True Crime Comedy Podcasts, all about robbery, fraud, and the... those who practice it. Each week I bring on incredible guests like Conan O'Brien, Iowa Debris, Lamorne Morris, and Nicole Byer. Oh, I scammed them. What? I could talk to you for an hour. You're a generational yapper like me. That's why I had to make yapping a job. And the scams run the gamut. I'm talking about scams from the 1800s all the way up to today. I also warn you and keep you safe against scammers. Call your grandparents. Tell your parents to stop clicking on links. Please. And now you can catch full episodes of my show on YouTube.

If there's a scam, I'm here to protect you. And I'm also here to laugh with you. So if you like fun, if you like comedy and you like learning and protecting yourself from criminals, start listening to Scam Goddess on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. All right, we are back with DJ Wally Sparks talking about AT aliens. And yeah, we talk about once you get into like over the woods. Mm-hmm. Right.

You're over the woods, baby. You need to be Over the woods Now Over the woods And through the hills I go Yeah, man

That's the over the woods Is the power power I come give me some Yep This is when it starts To get hefty Yes Yes

And then Babylon Where it's like We're dropping The whole weight On you right now Mm-hmm Bro Babelon was the hardest thing

I had ever heard When it came out I Um When did Was this album sort of like the introduction to witch

doctor for us? I think so. Because, you know, he, a moody artist himself. Yes. A artist that makes moody music, I should say, or made music. I feel like he's kind of like the unsung hero of this album. Because

he added some depth that might not have been there between And not to say that that Dre and Big weren't, you know, doing what they needed to do. We discussed that in detail earlier. But he added something that added to the heaviness of the entire thing. Yeah. When he showed up, I don't know.

Maybe it's his voice or whatever, but it kind of made you like, listen to this a little closer. You know what I mean? Right. Well, let me ask you this about like the kind of the heaviness and the kind of darkness of the record. Did you, I wonder if you felt the way that I felt because you and I had similar musical tastes at the time where this felt like more of the East Coast record to me

because I think it felt similar to kind of the darkness that you were getting out of like Wu-Tang and other like basement New York rap. But it's still just as southern as it ever was. Just darker. Yeah. Yeah, I kind of feel that way. This is this if, oh, this was like a,

sort of like had the same sort of the darkness is like the infamous you know what I'm saying? Yes. Like where, you know, we talking about fly shit, we're talking about shit that's actually happening in our lives

in the space that we, that we're occupying, but we're talking about it in a way that's a little bit more, I mean, real seems like a reductive term, but, you know, that's heavier than what we would normally do. And it's not as playful as, or this, this, this ain't fun. This shouldn't be fun for you to listen to and it wasn't fun for us to make.

Right. You know what I'm saying? But we needed to get this out. This was, this was necessary for all of us, for you to hear and for us to create. Yeah, I mean, it's in a almost archetypal space of second records, right? where I think part of it also Prince talked about with his first two records and then Dirty Mind which sounds completely different

than those and the first two records he was like I was basically doing impressions of what I was hearing on the radio like I was making what I thought a song was supposed to be and then with Dirty Mind he goes completely into his own sort of space right like there are very few people who at 17 years old have both the temerity

but also the permission to just make whatever the record is that you want to make, right? For whatever reason, it is very clear that on this one, in part begin, again, remember, there was a lot of detachment for organized noise at the time,

but they had the absolute permission to make the record that they felt like they had to make, they wanted to make. And it's interesting to me that everybody involved would look at them and say, all right, well, we're just going to do this then, I guess.

So I have I've had the privilege to be around Ray Murray of a few times And I've had A wizard Ray of organized noise Yes yes Ray Murray or Yoda as he's finally referred to And he He is pretty much

Of the dungeon family He is you know Top of the food chain Right And And just in just in common It's very very very brief of causal conversation, nothing really deep.

I can pick up on a sense that, that he probably, back then, he probably pushed him in this direction. You know what I'm saying? Like, it's time, you know, we did, we did what was necessary to get y'all to the door. It's time for y'all to open the door and walk through it now. And y'all can do, you know,

we will be here to help you if help is required. but y'all need to go y'all need to go figure this out you know what I'm saying y'all need to go figure out who y'all are not the 17 year old kids that came to us rapping over trial call quest instrumentals

that we turned into outcast right? Mm-hmm We need to go figure out who Antoine and Andre are now this is on y'all but you have a safety net we're here right

but it's y'all turn now I get a feeling that that may have been what happened and that may have been what caused this album to be such a distinct and sharp left turn from the debut. So this spurred a thought for me and it's not perfect, it's not a perfect comparison in terms of the respective timelines, but is AT-Ellians to them kind of what Midnight Marauders was to tribe, right?

like the sound kind of goes into a bit of a darker space. The lyrics get to be a different kind of introspection. Because like low end theory is a lot of like rapper as instrument. It's incredible. Yeah. But like I felt like Midnight Marauders pulls you in a little closer to hear what it is that we're talking about and hear what, you know, what's going on with the beats and things like that.

It's a more subtle record to me than low end theory is. In a way, I think A.T. Lens is a more subtle record. and Southern Playalistic was. And like ATLians, as we, you know, have discussed was sort of like the Andre show. Midnight Marauders was the Fife show. Yeah. You know what I'm saying?

You know, rest of peace, five dog. But yeah, I think that's a pretty apt comparison. You know what I mean? Just the difference between, you know, Midnight Marauders being the third album and this being a sophomore. You know what I mean? That's the only difference. But I think, I think that comparison is pretty spot on.

You know, I think especially knowing that, you know, tribe was one of the groups that they, that they treated as sort of their North Star as far as like, you know, being emcees and making records goals. And they also self-contained, self-contained produced unit, same, you know, they kind of followed in the similar footsteps. So, yeah, I think that, I think that's pretty, that's pretty, pretty spot on there. Yeah, I was still thinking we were talking about Babylon at first time. And he made them guess. they got some shit that'll blow out our backs for where they stay at. Yep. Mm-hmm.

It's keeping it pretty simple. Babylon, when you think about it, like, that's a pretty strong stand on what's going on in the industry right there by the 20-year-olds. Like, it's one thing for De La Sol to do that. Mm-hmm. Right? These cats out here, like, man, we saw our, y'all out here sounding ridiculous right now. Did y'all know that? Yeah.

Yeah, it's y'all, I mean, it's all over the place. What kind of shit are y'all on for real? You know what I mean? Like, what is going on? That's a compliment to them, though, you know, as artists that being so young and having that wide of a grasp of what was going on and time and space at that time. And just in everyone's reality, it was just that was a, That was a, it was, it was pleasant to hear,

but it was also, again, like, this, this, this album stirs up so many emotions, you know? Like, one, you're like, man, you know what? You're right. And then as soon as you say, as soon as you come to that relationship, you're like, man, that's kind of fucked up. I mean, all, it all happens in, like, in a matter of five seconds, you know?

Right. I mean, look, you come after that into whaling, right? where this is one of a couple of these on this record. Hooks that are just noise. Mm-hmm. Right, Waylon is just C-Lo humming on the hook,

basically. Mm-hmm. It's a dope record. It's a quick one, too. Two minutes long. They get in and get out. The next two songs are my two favorite songs on this album.

Mainstream and Decatur. Yeah. Decatur's on. I love bass stream. The intro into Mainstream with that bass roller before the beat drops. Yeah. I'm also, I don't know what it is.

I'm a I am a Gip guy. Like, Gip and his best. Yeah. Gip is so cool. Gip is so cold. And nobody sounds like Gip. Nobody does, bro. I remember the year that they did the Dungeon Family Reunion here in Atlanta at One Music Fest.

I was fortunate enough to DJ that. I was the DJ before they got on stage. So I was like the crowd, the warming up the crowd. And that's literally, that's probably the best show I've never seen, because it hit me in so many different ways. But so they were going through, they were going through all the hits. And,

and Ray came out because I had, I think they kind of had to bring in my first to let the crowd know that they was actually there or whatever. But they were going through songs and they got to, they got the Black Ice, right? And you know how that song starts or whatever, you know, the, and then, you know, the beat drop, the crowd goes crazy. And I'm telling you, even bigger than when Andre showed up on the stage the first time,

and Alcass was, like, leading the charge for that show, the biggest pop of the night, the biggest pop of the night, is when they started doing Black Ice and Gip ran out on the stage and started rhyming his verse. And I'm telling you, man, I've never heard a place come so, on glue so fast. And like, the dude had

the craziest amount of charisma that I'd ever seen. Like, I was, I was blown away by what I was seeing. And I was like, bro, man, it's crazy that that, uh, that Gip isn't spoken about, uh, like the

the red men's and the buster rhymes of the world, uh, because he, he has, he has that level of charisma. You know what I mean? And it, and it's evident in these songs. Do you know what that is? That is simply a statement on the otherworldliness of Seelow Green. Yeah, true.

That's it. Tip is so cold. Yeah. And has always been seen as the clear number two. Which, by the way, has always made it very clear why that group could only stay together for so long. Yeah. They came to Clark for the writer's workshop in 98. The day still standing came out.

They're on stage, just kind of talking, you know, doing a talk or whatever. Outcast came later in the week. And it was very clear watching them. Oh, this group cannot stay together. There's no way this guy can stay with those guys. Like, it's just not, it's not truly an option. But like, Gip on Decatur saw them is so good. And like, the way Cool Breeze sets that up with a, like,

just classic cool. Like, Cool Breeze, Cool Breeze with the dungeon to me is like a bunch of dudes with Dr. Dre, where I compare a Dr. Dre to Bill Belichick where he got a team full of dudes that only he can use. Yeah. Like it don't work with nobody else. I feel like that. That song won't work with nobody else. There are these particular pockets that you can put him in. You can only take him so many places, but they can always get him right where he needed to be. Man, that verse that Cool Breeze kicks is one of the most vivid. Every time I listen to that song, I feel like I'm right there with him. You know what I'm

just going, just, and I appreciate that. that in that verse that, and I know he's not the first person to do this, but he was, he did it in such a way that was so visually appealing to me, uh, or, or imaginatively appealing to me where you, he breaking down the trials and tribulations of actually being a drug dealer. You know what I'm saying? Like, this is what I go. Y'all, y'all see the shiny things. You know what I'm saying? But this is what I, this is what I go through on day to day. I have to, I have to literally watch my back like this every day, 24 hours a day. And man, that's, oh, man, that's probably why that song's such a favorite of mine, man.

And then, and to be hard too. But, yes. The, the way in which he describes his lifestyle and the life, and not just his lifestyle, like, hey, man, I'm telling you this about me. But if you do this for real, like I do this for real, this is your life. You know what I'm saying? And the L, bro, it's such a crazy version, man. I love that song so much. We get it at the end. I'm talking about years and years,

riding past funeral of ears, holding bodies up my peers. And this is what it is looking at you. Yep. Mm-hmm. And by the way, we haven't talked about the outcast guys on that track who kill it. Mm-hmm.

Yeah, man, I'm definitely going to listen to this album when we get done. You know what I'm saying? Hey, and hold up. And we skipped over mainstream. Oh, yeah, yeah. Mainstream goes hard, boy. Like, let me say, I,

Kujo Goody is a hit or miss situation for me from track to track, but when he is on, because Kujo is on that list of he means every word. Yeah, 100%. Every word comes out of his mouth, he means it. Single word. He mean everything he says he means. You know what I'm saying?

That man says, say, your bad girl at the club show a pink for 10. Oh, whoa, whoa, that sounds, that sounds hard. That sounds bad. And he has a very, a very unique way of words that he will, he will, he will say what he needs to say without really saying it and make you understand it completely.

Yes. Yes. And was that, that Timo off the top? Yep. Timo Goody. Yeah. They, they, they kill.

We have any, look, we still have more tracks to go. Like, that's the thing. Like, we talked about getting into this moody, into this place. It's just a, vibe for like eight tracks in a row. Like the closest thing to a pickup is Millennium, but the first line of that is me and everything

around me is, was it exploding like Chernobyl? Yes. Yes. Ready to go at any moment. Oh, hey, whoa, whoa, we're still bummed out. Yeah. The world, the world, the world is a very, very bad place at this time. I want to know what other hooks, by the way, they tried before they just said, fuck it. Uh-uh-uh-uh-uh-uh-uh-uh-uh.

Hey, man, you know how cold you got to be to get away with that? I mean, really, bro. Like, you can't... I feel like they probably didn't try anything. And I feel like, you know, probably somebody was in there while it was being made, and somebody was just doing that, just humming along to whatever... The music as they was playing. And they was like, that's it.

or you sit the tape in with it like that and they're like, we'll be still working on the hook. No, no, no, no, no, no, you got it. You got it. That's it. You know what I'm saying? But, hey, hey, that, just to be able to, when you can create memorable hooks like that,

really catch you without literally, literally, literally not saying a word, you've earned, you've earned, you've earned their place in high level artistry as a musician and MC and songwriter. And like to me, in terms of the catalog, I think extraterrestrial for this record in a way might be the most important song

because to me, it is the signal of what mind-blowing expansion is possible coming up next, right? Like, again, we don't even have drums here. Because look, when the time comes to talk about Equimini, that first listen of Equipmenti, I was like, dude, I've never heard anything like this before in my life. Like, that's not how AT aliens felt.

different, but it didn't feel like, whoa, what do we, where did you just take me? Right? You just took me, you took me somewhere I didn't expect to go, but I kind of understand where I am. When you get to that next record, you're like, yo, yo, yo, yo, yo, wait a minute, wait a minute, wait a minute, like, I don't, give me a minute here. I need to figure this shit out. They came out here with no drums. And that, I mean, that big boy verse off the top, he just flames the track. Blames it. Yeah. Again, you know, When Big Boy, you know, does what he does, you know, he's, that whole Emmitt Smith comparison. Like, people say Emmett Smith is Emmett Smith because of the offensive line that he had, right?

Right. But they don't realize that Emmett Smith was Emmett Smith because he was Emmett Smith. And this is a clear example of Big Boy being cold. You know what I'm saying? Like, just going, just going off and going crazy. And, and in a way where. where I don't think he's necessarily trying to, like, be super MC here, right? I think he's just in service of the song.

But doing what he does in service on the song gives you an example of why he actually is super MC. My hot take, I would have stopped the record there. It just left it like that? I would have ended with extraterrestrial. Oh, stop the album. Okay. All right. I'd have stopped it there.

I think that did what we needed. I think growing old was a tab. Hey, growing old is too long. I will say that flatly. Seven minutes. And I know part of that because we had to get the big rude moment in there. But it's to me, and I know this is going to be the hottest take. Again, something had to come in last.

It's the weakest song on the album. Which one? Growing old. Growing old. Yeah. I mean, I can see that. That's not an opinion. hadn't heard before. Yeah, yeah. It's the one. We could have, if we had wrapped that,

like, I think you have two ways of rapping a record. One of them is to, like, bring people down, give them a chance to, like, ease into whatever the rest is they've been doing. But you could also end the record just leaving people slack jawed. For example, suicidal thoughts on ready to die ends in a way that just leaves you slack jawed. Like, whoa, right? It's over now. ET could have done that. It could have just left you like, oh my God, I can't believe this is what we got.

Instead, we kind of, like I feel like we lose some energy. And it's not a bad song. It's not like the cats ain't rapping on there. But I felt like I understood that y'all was growing old. And I listened to all the rest of this sad shit you've been talking about. You literally telling us the whole time.

Like, man, I'm in my early 20s, man. But I feel like I'm, I feel like everything is about the end. Everything is closing in. on me. You know what I'm saying? Yo, it got me to thinking about how on thought process,

Goody Bob, with Seelow's like, you know, sometimes I don't even know how I'm going to eat by $20 away from being on the street. But we need to talk about that little money be gone. God damn it, I'm grown. God it'll keep the heat and the lights on. He's like 19. Yep.

He never seen 19. But he's like 18, 19. And it sounds like, no, but it do sound like you're going through brother? Yeah, sound like it, bro. You know what I'm saying? But I still think, though, like growing old and beat that thing does knock, though. Like, I feel like sometimes somebody was just like, look, we're going to do something with these drums. Something. You know what I'm saying? This would be too good not to use. So we're going to put it to use in some sort of way, you know?

And it knocks. And then, by the way, where are you on the elevator's remix? I love it. I always loved it. I like the original more, but I love the rea. because the remake, again, what elevators was, what I had mentioned, like, hey, this is still outcast, this is still outcast you familiar with or whatever, but we're going in a different direction. I think the OMP 86 remix is also them saying, is that, that's organized noise saying, hey, that's, that's, that's the proverbial safety that, that I was saying that Ray may have given them, where we'll be, we'll be here to help you.

if this doesn't go the way that we think it might go or we hope it to go and our core audience rejects it, here's what you like. Here it is right here. I think part of it for me is that it's on the back end of that seven minutes song that I was just saying I could have done without.

So I didn't really, really, really lean in on it until I started seeing it in concert. And I was like, oh, my bad. Misunderstood that this is supposed to. This is a speaker destroyer. Yes, it is. Sorry about that. I know a lot of the people who were not as receptive to this album at first,

DJs that, I should say, because this is right when I began, this is like right at the genesis of my start as a DJ. So some of the DJs I would listen to, they, a lot of them prefer the OMP remix to the original you know and that's what I would hear being played out because I think I think they thought

that yeah man people ain't going to really be into all this change you know they like they like the first album outcast so this sounds more like the first album outcast so this is why I'm playing it and and on and the shit was thumping you know what I'm saying so that that's all that always helps that definitely always helps that definitely

It was funny, and maybe OutKaz helped bridge the gap on this, but I feel like Goody Mob still standing sounds completely different than the first Goody Mob record. I agree. And nobody was like, damn, they don't change. Yeah, I agree. I agree on both. And the first record, it's an anti-dance record, but it's a dance record.

The, what, Soul Food? The first one off of a still standing. Oh, they don't dance anymore. Yeah, yeah. Mm-hmm. They made an anti-club club record. I remember the first time I heard that drop in the club. The roof blew off.

And they knew what they was doing because you could rag top to it. You know what I'm saying? Yep. They made it easy to rag top too. Because this is the thing about Atlanta, man. And I don't know how things work in Chattanooga, but I can tell you how things work in Houston. You get to Atlanta and the first thing you realize is, man,

these some old dancingy dance motherfuckers out here, man. We don't engage in that sort of behavior. Dancing is not for us. Dancing is for them. They're black cats. And they're funny color shoes and everything else. They out there doing all the dances and practicing in the mirror. And I'm like, what are y'all doing?

Oh, yeah. We was all about that in Chattanooga. At least I was. And I think that, you know, being in close proximity to Atlanta probably helped that. But we, we would, especially me. If anybody knows anything about Wally, not Wally Sparsh, just a regular old Wally, that used to be dancing around the National Guard Armory and the Park Avenue YMCA right off MLK

they know that I was a I was wanting to dance the dance. Yeah, we weren't dancing dog at all, ever, ever. Like with, like, they were like people don't dance no more. I'm like, yeah, you're right, so what? What's your point? So all they do is this. Yeah, yeah, yeah, yeah. Not even doing that.

All we doing was this. It's not even moving. We have for you. You know, what you're talking about? Oh, man. It's a lot of drinking for me to be able to be out there dancing and I quit drinking 20 years ago. So you know what time it is before. Bo Joltz.

That's so funny, bro. Yeah, man. We was different. That was just what it is, man. But no, this one, this was a great record. Like, this was, for me, it's such a time and place record. Like, I can so vividly put myself in where I was when it came. came out even though I didn't really understand what was going on until much later.

Mm-hmm. Same. Yeah, I definitely, like, I remember exactly where I was and where I went to go buy this album. You know what I'm saying? Like, it's definitely a timestamp for me at a turning point in my life. You know what I mean? You know, this is the first time I was going to be on my own and having to enter in to a world I was going to have to make some, some adult decisions, you know, and I had figuring out

how to navigate all that. And hearing, hearing an album where, you know, two young men were probably going through the same sort of thing. It would, you know, was helpful to me, and ways that I probably didn't realize at the time when I was listening to it. Because again, when I bought it, I bought it strictly because I just wanted to hear some, some music to to. I didn't realize what I was getting. You know, I didn't realize the medicine I was going to be getting from this album that was going to serve me later on in life, you know, 30 years later, you know.

Yeah. DJ Wally Sparks, check him out. You can just Google up his name, but I tell you now, Twitch.tv. slash DJ Wally Sparks. If he's spending, you need to check that out. My brother, I appreciate you. Thank you. I appreciate you having me on, man. All right, ladies and gentlemen, thanks a much for joining us here on the right time. We do this four days a week. Ryan Brumley handles everything behind the scenes.

Thank you, sir. Hit the voicemail line 3-2-3-5-9-6-7-67-67. Remember, follow the right time. Subscribe, like, rate us, review us, give us five stars. You only give us four stars. I'm inclined to believe you are a hater. We'll talk to you guys in a couple of days. Take it easy.

This has been a filmmaker production.