The Right Time with Bomani Jones - DJ Wally Sparks on When Rap Had Regional Identity, The Rise of Southern Singles, Bone Thugs Underrated? | 02.17

Episode Date: February 17, 2026

In this episode of The Right Time, Bomani Jones and DJ Wally Sparks break down why 1996 was one of the greatest singles years in hip-hop history. From UGK, Twista, and DJ Screw to Camp Lo, Bone Thugs, and Busta Rhymes, they explore how regional rap scenes, Rap City, and the role of DJs shaped an era before streaming changed everything. It’s a deep dive into the songs, the culture, and the moment when hip-hop still belonged to the cities that made it. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ladies and gentlemen, welcome to the right time, a wave original. My name is Beaumani 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 Time Machine Tuesday.

We have got our second installment on our series on the year 1996 in hip hop. My man Jason England joined us for episode one. He'll be back for two more episodes. We got six on the books so far. If we think of more, we may do more. But joining me for the other half of it. Check my man out. Check him out on Twitch.

Twitch.tv. DJ Wally Sparks. He is, in fact, my favorite DJ, as the shirt may indicate, Wally Sparks from Atlanta, well, from Chattanooga, coming to us live from Atlanta. What's going on, brother? What's heading in? What's going on, Greg?

So first of all, I want to make sure everybody knows this. Wally's been a member of this community now. Shit, man. It's about 15 years. We go back, Morning Jones, Time. while he was big crits, Turin DJ, you can get them all over social,

whatever it is, one of the most, first of all, cold-ass DJ, but also one of the most knowledgeable people that I know when it comes to music, big picture and small, how it works in like actual application,

big theory-type stuff, all of that. So I'm glad that we got this opportunity to jump on here. Man, I'm happy to be here, bro. I mean, you know, this is the first time

we get to do this in this kind of setting, but, you know, men, you, we talk about music like this all the time, bro. Yeah, right, right. Let's say, like, normally one big conclave once a year. You know what I'm saying? Yeah. Post it up and go through it. So, no, this is, this is going to be good. In this episode, I've been looking forward to, because I think there are three years in particular that when people talk about, like, great years in the history of rap, the three that typically jump out are 88, 94, and 96. There are others certainly, like, in doing this, what I realized was 95 and 97, really underrated, because. because 96 is in the middle and 94 is on the front end, right?

But when we do that, we typically think about it in terms of albums. And you can go through and run through all the great albums that came out, 88. You talk about takes the nation of millions to hold us back, straight out of Compton, Great Adventures of Slick Rick, you know, more that you can get to. But that's the way that we typically do it there. 94, you talk about the Illamatic, you talk about Ready to Die, you talk about the Diary, you talk about there's a dark side. You got all those to run through.

96, it's a zillion of them that we're going to get to in later episodes. but what is often lost when we do this is 96 was a year for bomb singles. And very often singles from people whose albums were not going to talk about that much in the series. Right. So there's going to be some overlap in that certainly. But when I went through 96 and I started like you typically would, I started going through the albums. And then I was going through the albums and being like, okay, I didn't love this album, but oh, this one got a jam on it.

Oh, this one got a jam on it. And you still work in the trade. You still in the trenches. You actually still know who the young people are. But you tell me if I'm wrong here, I feel like, and this is not like it was better in my day thing, this is really more of a kind of structural assessment of the game, that the role of a single is completely different, right? Like, we're going to talk about people that only got one song that you've ever heard of.

And I don't think anybody can really break through with just one song like that anymore. Yeah, so singles back in those days, in like the mid-90s in particular, they were kind of utilized as a tool to selling album. You know what I'm saying? Like an album wasn't going to, I might not even get made if the single wasn't, didn't perform the way it needed to. So in effect,

the way that singles were, you know, utilized as sort of a tool back then, it's completely different from how it is now. Like now, an artist can throw 10, just 10, just random songs. on the internet until something sticks. You know what I'm saying? And that wasn't the case.

And the way music is made now versus then the consumption, the time and effort that it took to make records and actually put them out back then versus the speed and ease of how it can be done now is completely different. So yeah, I mean, singles don't even really function in the way that they used to. now, you know, a single was meant to be a sort of a introduction. And singles back then, bro, you had, that had to be your best song. Your best foot had to come forward. Nowadays, you can just make, you, you could make a song today, say,

my name is Bowmane and I like the rap and put it on the internet. And somebody might like it. You know what I mean? And you can, in effect, you know, use it. that to become a recording artist. And that just, you know, that wasn't the case back then. You know, it was a completely different ballgame back then. And it was a different presence and role of various levels of gatekeeping.

And in this case, I mean gatekeeping in a very positive way, right? The radio had not yet be fallen under the control totally of the record labels and the companies that rate. Like, it was not, Payone has always been in effect in some level in radio, but it was, what it is now and what it has been really for, I would argue, to last 15 to 20 years. It was not there. Like the role of the DJ's role was to reinforce the single and the role of media,

I mean, radio as a platform also became a reinforcement of a single, which then became something that people generally shared. And this is a very important point. It wasn't required to jump off immediately and everywhere immediately.

You had a slow bird of how things went. You had things that some of them went national, some of them didn't right but it could be a big enough hit in one place that it might turn up in a DJ set at a club somewhere else you're like oh snap what's this also an entity that i don't think we talk about nearly enough uh which is BET's rap city we talk a lot about the history of yo em tv raps but beat et rap city was every day and became a radio station of shorts with all the stuff that quite honestly you couldn't even necessarily hear on the radio but reinforce the singles as they were coming out. Yeah, I mean, the way

the way Rap City was moving back then, it kind of even forced MTV to start doing a daily rap show because, you know, we had Yon TV wraps the Saturday, you know, a show, for lack of a better term. But then all of a sudden we had YonTV wraps today. You know what I mean? And

I think because Rap City was, they were sort of ahead of the curve and giving a national spotlight to things that were outside of the typical New York or L.A. based hip hop music.

So, you know, that kind of in effect forced the rest of the country to wake up to what was going on. And they, they, being BET, were sort of acting like tastemakers. And, you know, like, hey, we've gone to these places.

And, you know, BT, BET, especially back then when it was based in D.C. was, like, very, very heavily entrenched into like a HBCU culture. Right. And as you know, most HVCUs are concentrated in the southeastern part of the United States. Right. So BET would, you know,

send people out to all these, you know, these schools and they would hear these records that are going crazy in, you know, Atlanta and Alabama and Mississippi that no one's ever heard of. But all of these kids know these records. They know these songs word for work. and they clearly are effective

and there's something to it. So we're going to go back and we're going to tell the world, hey, this is what's going on for the rest of the country. And that was a way for to make singles, you know, be stronger, you know. And, yeah, man, it's just, it was a good time to be, you know, a music fan and just regional music is just was it was it was way different back then than it is now yeah i was going to say it was this is kind of a sweet spot here because it's really right before the idea of like going national mid i feel like 97 98 is when this really starts like like

what your potential was for getting large not like obviously hammering sold a gazillion records already right dray and nothing is that that people had not sold records but it was still a regional game by and large, right? Like now, where you're from doesn't mean anything at all, I don't think, in terms of where your music is going or whatever else. It didn't require. People were still products of scenes, right? Like, like, this is what we doing over here. This is what the stuff sounds like. And you would know about stuff because your cousin from wherever happened to come back with something, right? Or BET, which kind of nationalized the platform in a lot of ways. Like I'm from Houston. Why would I ever hear a Mob Deep record? Why? You know where I was. Right, right. Who's doing this?

Who's doing this? And then on the other side, why do you know anything? Like the ghetto boys got nationally famous because they became controversial, right? And then they became a thing that, you know, that everybody knew. But otherwise, why would you know who these people were? Right? There was no reason. Like, Scarface was a really big deal among people who knew, but still, but he belonged to us still. And I think that it was something dope about the fact that in all these places, there were still very distinct different sounds that existed, not just for regions, not just for states, even neighborhoods. Like Houston,

by the time you get to the end of the decade, the north side and the south side have their own sounds of scenes, right? And they get national as it goes. And so that's the environment that we're describing here. And you know what? You know what's another thing about that?

The artists themselves did not want to do anything outside of the scene that they were in. Yes. You know what I mean? That's a thing. Like those artists that were making all this music typically didn't have any desires to be I mean, sure, you know, everybody wants to, you know, be famous.

Everybody wants to rule the world, as tears or fears would say. But, you know, a guy that's making bass music wants to make music for the people that like bass music. And if it goes national, great. But if it don't, I'm fine. You know what I mean? And that is a complete difference about the way things were in the, and back then in the mid-nineties versus how they are now. Yeah, and so with that as the backdrop, it was a lot of cold-ass songs that came out in 1996, right?

And it was interesting because when I did this, I hadn't thought about this. You started like actually DJ in 97, but like, you know, just also being a DJ was not quite what it is right now. Oh, man. I'm just going to be a DJ and see how it goes. It's not really the, you had to make a significant multiple significant capital investment. Yeah, yeah, heavy equipment investments. The real investment was time. That was the real investment because, one, you got to, you got to save, you got to do something to save money to get the gear.

You got to get the gear. You got to learn the gear. And the only thing you can do, the only way you can use the gear, pardon me, is to go buy a bunch of vinyl. So you got to go shop for a bunch of vinyl. And then you got to, you know, you got to, you got to, you got to learn. the music and it was it was a it was a full on investment like back then if you wanted to there was no there was no like you know hey you know what i think i want to dj it looks cool on ticot so i'm just going to go buy me a three hundred dollar controller and find somebody to give me a

hard drive full of music and i'm a djay no sir that was not the case in 1997 like if you if you if that was something that you really wanted to do you had to be like i really really really want to do this because this is about to this is you know this is going to take some serious a serious, serious commitment, especially back then, man. Like, there were multiple steps that needed to happen in order for you to even, even become a hobbyist, not even just a professional. You know what I mean? Right.

You had to really want to do it. Now, I'm curious, because you were in Chattanooga, and I am curious as to, like, what sounds and scenes were getting to you? Because, like, I feel like in Houston, a lot of Louisiana stuff would get to us. a bit of, there's always been an interesting Houston, Memphis interplay there in terms of stuff that got there, but like, I guess I'm asking in the context

and beyond what was on big national radio that everybody would hear. Like, Chattanooga seems like the sort of place that would get a lot. Like my boy makes the point about Memphis. That, not Memphis, about Jackson. That Jackson is maybe like the one place in the South that got a piece of everything.

Because it was so centrally located that they got a bit of everything. Chattanooga feels like heavy Atlanta, heavy Memphis. Yeah, that's pretty much those are the two main ones, but we got a little piece of everything too. Like, but the direct influence just, you know, by via geography was Atlanta. We had, because Atlanta's about 88 miles away from Chattanooga. Chattanooga is right on the Georgia line, the Tennessee Georgia line.

But Memphis because was a really, really heavy influence on, you know, what music came through Chattanooga. of because of a few things. There was a, there was a pipeline of kids in Chattanooga that got sent to Job Corps. And Job Corps was in Memphis. And they would go to Job Corps and they would bring back the DJ Squeaky,

the Skinny Pimp, the early, early ball and G, you know, the Scott Face Al Capone, all that kind of stuff. They bring all that stuff back. And then, you know, we had, people in Atlanta, the people that were actually making that music when they were, you know, making their rounds trying to go promote, they would always come to Chattanooga to promote their, promote their music. And one, we had a record store that I actually used to work in a place called Katz Music. They were one of the, they were one of three independent music retailers that had deals with these two distributors, Selecto hits and SMD. So the music distribution. And almost every independent album from the South that came out from like the 90s up until maybe maybe into the early to mid 2000s was it was either distributed by Selecto Hits or Southern music distribution and I'm talking about all of them. So that all that music was always coming into Chattanooga because all those people were trying to sell it outside of their their whatever that locale was. So and then the Florida stuff a lot of lot of that would creep into Chattanooga, too. Like, you know, especially when the bass scene,

base, I mean like car base. So like the DJ Magic Mice and the MC80s and all that kind of stuff, that stuff would find its way to Shadanooga, too. Gotcha. And Atlanta, they listen to everything. I think that's a very difficult thing to explain to people that it is, especially considering it's such like it's its own hub or whatever, but like, I think in part because of the local of the colleges. Everything, everything makes a run through Atlanta. Like, I got to Atlanta in 97, and that's a hard, I had to be a hard place to DJ, man, because you got to have a little of everything prepared, where my people from Colorado at? I mean, they weren't going that specific, but you needed to, you need to make sure that you was hollering at everybody and all these cats were starting

to move to Atlanta now, like the actual factual rappers, right? Like, that's where it's going. And I want to start, I want to start kind of talking about that Atlanta area in this, and there were so many songs I remember getting to Atlanta in like 97 and being like, oh man, there's a lot of one-off, just fun at the party songs that I had never given a whole lot of thought to. But I feel like 96 in some ways is kind of the end of the era where like various bass scenes just kind of existed by themselves. There was no expectation that anybody had to be a great rapper. But like as we and I were going through and listening songs from this time, like freak nasty to dip. That was jail. Right. Like that was the thing. That was the thing in Houston too. But like, like,

you don't really have songs like that quite pop up that much after this, but it's a significant part of the fabric of the year 1996. Yeah, man, like, records like that and records, you know, that was the year that the first so-so-deaf bass All-Stars compilation came out. I know we're talking about albums later on, but one of the big records from that compilation was a freak-in by this dude named Lathen, who kind of got picture-hulled to a bass artist,

and he kind of wanted to be like he was, he was, really a neo soul artist. Oh, I did not know that. Yeah, and he did. For a long time, for a long time, he, uh, he kind of, you know, kind of resisted the freaky record because the record got so big and people just kind of, you know, typecast him as a bass artist and he was not.

His album's actually pretty good if you ever get a chance. I mean, it's going to be hard to find, but it wasn't that bad. Anyway, uh, the bass music of that time, uh, it was a time period where those records still meant something. But and they, and, and they serve, they serve the purpose, you know, they, they, you know, that, that is party music and it's intended to be party to. And it still, it still serves this primary purpose like that. But it was also, uh, it was also kind of transitioning out because, you know, by this time, uh, freaknik had kind of changed. You know what I'm saying? And the, the, the music that was a freakney was that type of the, you know, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the. B type joints, you know, the 130 BPM records or whatever. And as Freak Nick was changing, that music started to kind of fade out. And then there was like a, there was a, I think, I graduated high school in 96.

And a big transition from that time from like the, you know, the dip and, you know, of Daisy Dukes and all those records from that era. there was this is when little John first kind of came into his first record as a solo act well I mean it was yeah boys um or was who you wit came out in 96

and that was like a sort of like a disruptor because it's it did what base records already had done it served the purpose of cranking the party up but it was not a base record by any means it was way slower but it still was fast enough to be dancing

Yeah, Memphis has entered the chat. You know what I'm saying? And you know, you got, you know, it was, it was, it was, it was, it, it, it, it, it, it, it, it, it, it, it, it, it, it had the same energy. It had the same energy as the dip, but it also had the same energy as to the club up. You know what I'm saying? And it was like this whole, this like, hodge, this hybrid, this hodgepodge of these, you know, completely different types of music, like, conversion into this one thing. And the, the, the, the, the, the little John.

version of Cronk music kind of started right there. It's kind of found, like the foundation of it. I actually got this, I got the cassette single. You know what I'm saying? Yeah, and I just want to run through some of the songs that fit this description, like just kind of in this zone, right? From 96.

Freak Nasty to Dip came out in 96. Lathor Freakin' Came out in 96. Scarred by Luke comes out in 96. The introduction to Trick Daddy, which honestly took me years to recognize that that is what had happened there. Quad City DJs come on ride to trade came out that year. Now look, they're not all my favorite songs, but I do know that once I started going to parties where they was playing them,

I started to appreciate them in a slightly different way. No, but like the song that exists strictly for the party really phases out as we get to the end of the 90s, right? You didn't even have to stay in the South to talk about things that fit this description. DJ cool, let me clear my throat. Absolutely. that you have, I feel like I heard it every party that I have ever been to. And by the way, I guess, like, if that's what we doing,

cool, throw it up there. But it goes and it works every time. I can only put it in your mouth, which I don't think is necessarily in the same category, but it kind of is. Yeah, because you rarely hear that record outside of a party. Right. Ain't nobody's jamming that, you know what I'm saying? Like, you're just going to be riding around talking about, you know,

put it in my mouth. I don't know about it. at home. You know what I'm saying? But if you hear it in a, you know, you hear it through some loud ass speakers in a club and see what the women doing, you'd be like, okay, I can, I can accept it in this scenario. Hold on now. Not simply what they're doing. The beauty of that song is, it smokes them out. There are songs that come out every now and then that smoke them out, right? Like, you don't, you don't really know what time it is. You don't know what she abit. And if you're paying enough attention, it's going to smoke them out. It is not simply,

with that song about if they're getting down with it, a dancing, it's about, is, is that girl's part, your part? Yeah. And if it is, she's been smoked out. Yeah, yeah, we, we don't learn something about you. Yep, yeah, but I can't think of one time in my life that I've heard that song anywhere other than the club. And every time, it's wild because it's like,

he sound like he sound. It's not like this is some super duper, like danceable beat. whatever it is, but it existed strictly for the club. Mm-hmm. I locate that record, I think DJ just kind of started playing it. I don't know this.

I don't know this to be a fact, but I just think DJ just started playing that record because it was so outrageous. You know what I'm saying? And then it kind of took a life of his own, you know, because as you just, as you just, you know, mentioned, that record

should not work in the club. Shouldn't. But it does. You know, but, but, but, who knows man like you know it's everything about that record and what you would think a club record would be is completely different you know it's an old soul sample the drums are a rim shots you know what I'm saying it's this it's this it's this dude gargling on song you know what I'm said and there's a there's a woman singing for you know a whole verse about you know what she's

thinking about. And then, you know, it just like, it seems like that song should not work, but man, does it work like a charm? Like charm, like charm. And I think when I ran through that list, I may have skipped it, but the ghost town DJ's Bobu came out that year too. And that, the, the internet gave that a resurgence. It feels like six to seven years ago. But I remember when that came out, I was like, ooh, this is perfect. Yeah. Yeah. This is one of ones where you hear it, you immediately know, like, this record is going to be around. forever. You know what I'm saying?

As soon as you hear it. Like, this record is never going away. And that's just like one of those perfect storms where, you know, it was, it was an immediate feeling. I remember the first time I heard that song, I was like, yep, this, this record is going to be a gigantic smash. And it was and it wasn't. Like, because it eventually became like a big record.

And it got a lot of love of nationally via radio. But that record was around. It took a while for it to break nationally, but where it came, where, you know, where it started, it was immediate. You know, as soon as people heard it, they was like, oh, I remember one of my cousins, first time she heard it,

she was like, oh, this is probably my, this is my new favorite song, like immediately. You know what I'm saying? And also, talking about the South stuff, separate from Club stuff also, this is when the South, like, people still hadn't got wide. They had gotten wise to a couple of camps, right?

Like people were obviously very aware of what Rapalot was talking about. People had become aware of the Dungeon family. But by and large, though, the South was still kind of an untapped situation and still really did not have any, like, grand ambitions for national stardom. That was not in the cards. It was served the audience that you have, right? We make these songs for each other. they don't even respect us like that.

No way. 96 is the year. And like, look, like, elevators comes out that year. And I think we'll talk more about that when we get to Outcast, right? So, like, there was a, it was a wide range of what the South was bringing. But that's also the year that when you get out here, you're getting stuff like mysticals. Here I go. Teela's shown up.

Abald MJG, Space Age pimping, right? Like, it was, you and LV drag him in the river. Yeah, yeah. That's the cash money breakout. for us before it gets to everywhere else. Like, the South was, we're going to do an episode later about what the South was becoming

in an album standpoint, but it feels like as not just little different dots on the map, like truly regionally, the South was really, really starting to take shape and form when we get to 96. Mm-hmm. Yeah, I mean, I agree. That was definitely, it was definitely sound like a foundational time. And to, to your point

where a lot of these recording artists were super serving their audience and weren't really particularly keen on trying to make things that were going to break out nationally. I think that is a, is a lesson, like a foundation lesson in marketing.

Like, bro, find the people that fuck with you and give them what they want. And they will, they will, you will have long time, support. That's the key to longevity, man. You find you find out what, you know, they buying what you're selling? Keep selling it, Jack.

Well, so, so like this is a run, like 96. We'll talk later about riding dirty when that comes out. But that's like album three of UGK, super serving the audience they have. That, like that being the big example, obviously, that jumps out to people. Master Pete, who turned, basically, he turned to West Coast operation into a down south operation.

In terms of singles in 96 that I think are important, Break them off something is so important because look, Bided, by it, I don't know what it was for everybody else in the world. But Bouty, by it, the world was one way. And then by the body, by it came out. And then the world was a different way, right? Like, we never heard anything that sound like that was the, yo, have you heard this song? Like, it was like people try to.

It was that beat. Yeah. Like, it wasn't as completely different as like Boms over Baghdad was where I spent days trying to figure that out. But that beat and it starts immediately. Like, there's no build up. into it. That synthesizer goes right off the top and you're like, yo, what's going on? But I didn't give no thought to whether

or not those people were making any more music. Like that was, right, right? Like that wasn't, they didn't make me want to hear more. It was just like, wow, what an amazing song they have. Ice Cream Mad album, which I don't fuck with. But it has break them off something, which I do fuck with. Yeah, that's a great record. That's a great record. That's one of best, that's one of Pemsey

and Bumby's best verses. It's probably P's best verse too, actually. You know what I'm saying? Yes. Just from, just from P as a rapper. You know, think what you will at him as a rapper and, you know, people have thoughts. You know what I mean? But as far as, as far as him actually, you know, like, rhyming on the song, that's probably one of his best performances as a rapper.

That song is like, is a damn near perfect song, bro. You know, it's, uh, and again, that's one of those songs that when you hear it. you understand it immediately. You know what I mean? So it was, it's, it's, it's, it's, it's, it's one of those things that stands out,

even now, like, you know, 30 years later of, when I, when I'm out and I'm, I'm in front of people, you know, from my era or that are familiar with, with, you know, that time period. When I play that song, the reaction is same as it was way back when.

You see, you're soon, you hear that baseline. Everybody's like, hell yeah. And then when Pete come in, everybody knows hustler, ball, gangst, capiller, who I be.

And everybody knows, everybody knows who he is. And also, it is important to note that ice cream man comes out three months before riding dirty comes out. The reason I see, I think break him off something might have been a Ryan dirty throwaway. it wouldn't shock me.

You know, I mean, PNC produced Break them off something. Yeah. The reason I, and it does not fit on riding dirty. Nah, that's true. Right? Like, there's not, there's not a space on it. But the reason I bring that up is, and again, we'll talk more as this goes on,

but like we did our episode, 96 is the year of Tupac. Tupac was the MVP of 1996. But if we treated this like football, you got the MVP, you got the offensive player the year, I feel like Black Thought and Bambi were in a serious battle. At the very least, Bum B came in. Bum B one the most improved player of that year. And that was that verse right there was the first sign that,

oh, this is going to be better. This is going to be something different. Because, you know, that's how these G's B, we three, me see a masterpiece, sipping all Jenny Kiwi, which by the way, sounds disgusting. Jenny Kiwi, yeah, that might not be. That might not be what you want, brother. He ripped that first.

I guess everybody has an iconic verse for who they were in the game and in the space, you know, AK hit the waltrow the stuff out of the fucking bed. I'm like, oh, okay. That man said tomorrow, I got caught. I ain't going to go. Like, what are you talking about, brother? What?

Coming off the real, let me sit this shit straight. Let me lay down the rules. If that bitch is talking shit, then that would go have to snooze. What? Man, boy, you can't beat that with a bat, man. I'm telling you. That's what I'm saying.

So this is like a song like that just drops. And the thing about that is, you get, nobody was really playing the masterpiece stuff on the radio, right? No, no. You see the videos, right? But it built and it got around. And I think that where you would hear something like that on the radio is where some dude got a show Saturday night from 10 to 11.

And you'd be like, yo, he'd be over there playing some jams. check him out when I'm on my way to work or whatever. Like you had these different avenues. You had fewer avenues, but also more avenues for finding stuff because since it was fewer, it was navigable and he didn't just get overwhelmed by what all the stuff was. But like all these songs that we talked about here popped in different places, but we all got them somehow. That's the, that's the thing of the cool thing about retail back then.

Because, um, even if you didn't know it, it was in the store. Yes. I'm saying. It was all, everything was in the store. Which I think, you know, back then, uh, the music bound public were, were, were better music fans because they had access to all of this stuff. Yeah. And it was all, there was all, there was one place where you could go find at all. Whether, whether, whether, whether your bag was, you know, the roots of DOS effects or Mab Depot, who have you, or if it was, you know, Spicemore, Richie Rich, or if it was Massapien, UGK, they were all in the same place.

And you could go, you, you, you were more, you were more willing to and, and had more access to to explore what was going on. Well, also, there's a dude behind the counter. You'd be like, yo, how's this one? He'd be like, yo, you should check it out. Tastemakers, bro. They don't exist anymore. Curators and gatekeepers were important.

And I get why people don't like the idea of the gatekeeper because they, it's associated with somebody to try to keep you out, right? But, no, no, no, somebody need to, there's a reason why you got a gate. right no matter who you are there's a reason why we have engaged the reason why we have this curation but look we got a lot more we're going to get to more from the best singles in nineteen ninety six with dj wiley sparse coming up next want to know why betting the winter games on fan duel makes sense from game lines to metal counts to finding your angle on the events you care about most fan duel gives you more ways to stay connected to the action the winter games are on and there's

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or text, Hope N. Y in New York. All right, we are back with DJ Wiley Sparks talking about the singles in 1996. I realized that I skipped over a very, very important single from the year 1996 from the South. Forgive me, Houston. That is the year to Pimp the Pin, DJ Screwing, little Kiki comes out.

And that is, look, my mind's playing tricks on me is the best song that ever came out of Houston, full stop. Like we don't, there's no, it's kind of like when they have the Hall of Fame arguments, They're like, oh, Drew Breeze. Okay, we don't need to waste our time talking about that one, right? Like, okay, that was set. But I would argue, that's a, what's the name,

Jermaine Dupreve once argued that the most foundational of the Houston screw records was the June 27 freestyle. No, no, no, I disagree. It's this one. Pimp the pin is to me. That's the one everybody knows the words to. That's the one that immediately starts, it goes. And that's, that guy, the first legitimate screw single to me.

Yeah, that, you know, from that era, like the actual screwed up click. Yes. You know, that was an actual song, not just, you know, a bunch of guys freestyle and screw was based on why he's playing whatever instrumental he was playing. Right. You know, and not to say that those songs aren't great, they are. But pimp the pin was like, all right, we're making records now. Yes.

I'm saying. We're making legitimate songs. And this dude can rap. Yep. Yeah, man. A lot of people, man, Kiki is a very underrated, you know, underrated. I mean, he gets the respect that he gets where he's from in Houston. But I think, I think in large part Kiki is a lot more influential than people may realize.

Yeah, I think that the influence of Houston rap, like pre-04, before was the year that like everything got a little bit different. But the influence of Houston rap kind of goes in a radius of sorts. And if you did not get in that geographical radius, you probably weren't going to pick that up again. The Houston Memphis back and forth is something that to be studied. Man, you know who Kiki kind of reminds me of in a analogous way to a athlete? Kind of like Rod Strickland, where everybody knows that this dude is super nice.

But for some reason, people, the rest of the people, people don't know. But it's kind of like if Rod Strickland, like, just only play playground ball. There you go. Like Houston's, Houston is a world in and of itself. Yeah. Like, what is, what is outside, look, it's the people that can't give you nothing outside the loop. It's some people that can't give you something about nothing outside to Beltway, right? Like, with it, it is a, it is an insular self-contained world. And that, that whole world, all those cats that blew up in 2004 were all like, yeah, but we, we, we coming back to Houston. Like, you want to put out, you want to put this album out for me, national.

for real. That's fine, but I do this here. Yeah, to your point, the Memphis similarities, man, you know, you got a guy like Tommy Wright to Third, for example. Yeah. You know, where Tommy Wright the Third,

he's had large-scale influence on culture over time, but Tommy Wright III made music for people in Memphis. Yes. That was it. You know what I mean? So, but yeah, you know, and it's just back to back to what we was speaking about earlier about the, the staunch reasonality about how things were back then.

You know, everyone, everyone had their identity and they were comfortable in the identity that they, you know, were in. You know, we do this. We do this. We do this for these people. That's just the shame that, you know, Music has, I don't want to say regress because I don't think it has regress. I just, you know, it's music's

evolvement, a kind of, you know, push that kind of originality to the side. It's just, it's, music is better when it's regional. I'm 100% agree. There's just like everybody chasing the same thing takes away. There's less innovation when that happens, right? It's like, it's like everybody know the answers to the test.

And so they try to write to the answers to the test. And it's a little, when you play a, when you play a regional game, it goes a little different. Now, something else that happened in 96 that is interesting is Chicago interests the chat. Oh, yeah, Pope. And we get two, we get two all-times in 96 out of Chicago, right? I'd say what is better than the other, but both is a lot of fun. The one that is better than the others, do-all, do a die Pope Pilk because tongue-twisted had existed prior to this and people were aware of him.

Right? It's like, not like that. And like, we had heard bone. This was, this was not that. like bone is kind of singing, kind of rapping, you know, it's like it's a melodic. This dude was rapping. I had never heard nobody rap like that before. Like rapping, like rapping, you know what I'm here?

So, but yeah, man, that song, that song, bro, when it, when it, when it, when it hit, man. And that was, that was a song like, like, others that, you know, came into where I was in Tennessee and like literally was the biggest record. of the time where I was at. You know, and I think, I think because of the, the sound, the, you know, we had, by this time, you know, we had been fully ingratiated into the, the UGK, A ball,

MJG, you know, serapy, you know, pimped out type vibe or whatever. So the way Pohemp sounded was already a little familiar to, you know, people like me. But, and even, even the Dungeon family stuff to a certain extent. They had like, you know, all that live instrumentation like somebody actually playing the bass.

You know what I'm saying? On this and it sounds like someone's actually sitting behind a kid playing drums. But when Pope Pipp came out and it sounded the way it sounded and Twister, Twister is clearly the highlight of that song with that incredible, incredible verse.

Yes. But the other two dudes weren't no slouches either, man. They were fine. You know what I'm saying? And it was like, bro, what is this? Like, they, they, you can actually rhyme this fast. And, and still, you know, has some kind of, some kind of semblance of eloquence. It was, it was amazing, man. And, and, you know, the, the ultimate barometer is do a jam and, bro.

It jail. Like a motherfucker. Hey, man, I went to, I went to Bubby's night at the rodeo last year, Houston. They played that joy. And it's still went. I got a video with me rapping it. Like, it still went. The other Chicago song that came out.

Hey, in the middle of the barn came out that summer. I got that because I said single, too. I figured, you know what I'm saying? That's a, look, that's an all-time fun Reifer Carol right there. Yeah, man. With a slowdown, a fuckadaleck sample. They took a funkadelic ballad, slowed it down, got this real interesting drum pattern on it, too. That's just kind of like, hey, in the.

middle of the bar. At Clark, that was the song the band played, but it was time to come back. Like, if we was losing in the game, it was tired to get it cracking, played hand in the middle of the ball. Yes. Did you know Fad Fah Fahrety directed that video? I did not.

I think they were signed to him. I think they might have, I, that could be wrong. No, no, I'm looking at it on the wiki right now. He's the executive producer of that album. I knew he, I knew he was involved. You know what I'm saying? Yeah. I just didn't know at what capacity,

which is crazy to say. but bro that how you feel today fine bloated dandy you know what though they were one of those groups I'm trying to think of another example

like can't get off the top of my head where it's one dude that can really rap and the other dudes he just kind of like the Fugees those one person The Bush babies are like that too kind of yeah yeah there's one person that can really really rap Jim Crowe got the one

dude that you're really really really rap and then the mother cat's be on the beat and it's fine you know it'll work yep it'll do but the dude that did the last verse on the head the middle of the bar was rapping his ass on. He was going crazy you know what I'm saying? He was definitely going crazy and we had not heard Chicago Chicago not a rap city like that I mean eventually

obviously it became one yeah because people I mean people might push back at that and say oh a comment was there but people didn't necessarily but he stood out exactly for that reason he was the one I mean they didn't really associate him as a Chicago rapper you know what I'm saying he was more like, especially in the 90s, I think people viewed him as like,

not a New York rapper, but a hip hop guy. Yes. You know what I'm saying? And the do or die and crucial conflict, I think that might have been more in line with what, you know, Chicago actually, you know, I don't say actually was, but.

No, no, no. So he went to the locale a little bit. Sonically, like, I think it would be fair to raise the question as to whether or not they were more representative of what to seem. was at the time. And come in the no ID beat. So it's not like he was getting a producer

that was not from Chicago, right? They were just making the music they was making. Yeah, yeah. But the music they were making was, it was in line with a different sound. Yes, it was. Than these other cats who, you know, look, man, people tell you this,

everybody from Chicago from Mississippi was something that didn't, it feels, that doesn't feel the same now as it did then, but they hadn't been gone from Mississippi for long. Yeah. Like, it's Chicago, and the song is called, hay in the middle of the barn.

They in a barn in Chicago. Like that's like that's that's what a lot of us really learned like oh this is what Chicago is about because at that time when a new city would pop on the scene for the rest of us like oh so that's what they do over there.

Why would we know right? Like we were we were learning the map all at one time when they came out and so yeah when those dudes came around it was more like my brother wrote with a bunch of dudes from Chicago and college. because he went to Southern in Baton, and a lot of people moved to Chicago,

and then they send their kids back to go to Southern, right? Common sounded like the music that my brother listened to, but there were other dudes that dropped felt like the cats that he was introducing me to. Yeah. That were from Chicago. Yeah. I can see that.

That definitely tracks. Now, East Coast single world was really interesting, right? It was all... So, one thing I think about it, And I think that we, we focus it on jams right now. You know what I mean? Right? Yeah.

But 96 and it's something I'm going to talk with you, Jason, about a little more is there was less of an expectation in the construction of an album or the decision to put an album out or sell it or whatever it was that you had to have, like, you wanted a single, but it didn't have to be like a club single, right? It didn't have to have, it didn't have to be something that had some measure that had like pop expectations. but there would always be some dudes that was grimy as fuck, but also like understood this,

it had a hold of it, or it would be something that jumped off and it was just so jamming that you just had to be like, this is what it is. So like, for me, I don't know if 96 had a better single than Luchini by Kef Lo. I keep trying to, like,

it's hard for me to come up in songs that are better than Luchini. And like, people would be like, I don't understand what they're talking about. No, you don't know what they say. it. You know what they're talking about. You know what they're talking about. Like, the vibes are through the roof. Bro, I remember exactly where I was when I first heard that song. So I told I graduated 96 and just I was in my, uh, my first semester of college. So the year was still

96, but my freshman year at 97 at Lane College, we had like a common area that had like a TV on a cart, you know what I'm saying? Where, you know, they would play, we pretty much kept on BET all day. And I was coming back from class or whatever, and the TV was just on. I was getting ready to walk back to my dorm. And I walked past, and I heard that dynasty sample,

them horns, I said, what is that? You know what I'm saying? And then I looked, and I was already familiar with Camp Loeb because of Cooley I, Cooley High previously, the single prior to Luchini. And I was already, I had already been blown away by that. Because the same thing, you said, no one understood what was going on, but you kind of knew what's going on. But the same thing could apply to Cooley High.

And that was another crazy beat. It was a crazy beat. Shout out to Ski Beasts, man, because, you know, he did that. He did the whole album, actually. but those two, man, but Lucini, bro, bro. By the way. It's maybe only two, maybe only maybe two rap songs in my lifetime that I have been completely knocked over and, you know, blown away by.

Lucini's one, bonds over Baghdad is the other. Yep. By the way, the wiki says that this came out January 21st, 1997, which sounds like 1996 to me. We're just going, you know what I'm saying? The video was being played in 96. That's all I needed right there. Like that's what we got. We got the vibes.

That is the, I could go on this forever, but that is the coolest sounding album. I feel like that anybody's ever put out. Like, it is, it is such a vibe. And I don't even talk like that. It is all of that. Like that is, that it was, by the way, a group that didn't put out another record for like 10 years.

Like this could just happen. A group like this could have an album or have a sound and it drops. And I don't feel like it wasn't like it was, like it was dominating on the radio. No. But we all... I used to hear in music beds. Like when, you know, when the radio DJ needed to, you know,

to talk about the weather or whatever, I used to hear, I used to hear that beat and be like, bro, man, y'all should play the song. Yes. Yes. It's so good. Also interesting of that year. I was talking about grimy dudes with an act for the singles. The Lost Boys,

two of them singles came out in 94. but music makes me high. Renee came out in 96. I promise you, every lost boy saw that I liked Beast for the East is the only one that did not become a single. Otherwise, you turn out on a lost boy's album and be like,

nah, this ain't it. But it got them four songs that was hitting on the radio. Yeah, man. Shout out to Easy MoB because he got them, he got them right. Yes. I'm saying? He got them all the way right. You know, of, uh, uh, Renee was super crazy.

You know what I mean? Yeah. But that music makes me high with them crazy hard drums, sounds like, sound like, that record almost sounds like West Coastish a little. You know, it's got,

it gives me a West Coast vibe when I hear it. Yeah. Where just the way the, the movement of the drums are going. Uh-huh. I'm like, bro, it,

it definitely, it makes me feel something. I don't know if the, you know, it definitely makes me feel something when I hear it, but. It is a preposterous story, by the way.

It is a, he is a, it's the voice all star. If there has ever been one like, Renee, don't think about it too much. Like, you start to follow along with the studio. You just be like, so why did she get shot? Mm-hmm. Right, like, like, was it a mass shooting? Did somebody shoot up the whole law school?

Bro, you know what I appreciate about that song is, is Mr. Cheek's, you know, a commitment to making sure we understood what he said. She went to law school. And she studied law. You know what I'm saying? She studied law. Hey man, let me tell you this.

I know the homie, Doddy, listen to this joint. When he called up, you, did you hear the show we had? What Sadat called up and talked about how he was dating Regina Hall back in the day. Oh, man. What an incredible story. Yeah, but so, like, I think Regina Hall was at NYU at the time. And I feel like Renee is an archetype that these rappers knew,

which is she's up here living very professional. in New York City, and then the real was pulled up, and now she kicking with us. Mm-hmm. That story. That's a tale tell the old time. Man, we're telling. Also that year,

you and I talked about this as we were getting ready for the show, and we ain't going to, you know, we're going to miss a couple. It happens. But Shaquille O'Neill had a really dope single in 1996. Yeah, with the notorious BIG. You can't stop the raid was

monster. In the grand contest thing, how ridiculous is that sound? You know what I'm saying? It happened, and it was awesome. By the way, that's his third album. I know.

The first two went platinum. Yeah. You know, Shaq, Shaq as a record, Shaq had a better rap career than a lot of rappers. And they were real albums. He wasn't, he wasn't faking at all. You know what I'm saying?

He was, he was completely serious. They were real actual factual albums. I was also thinking about this in terms of talking about because I meant to bring this up and hey in the middle of the barn. My whole boy John, rest in peace. His argument was

hey in the middle of a barn became a hit because we got tired of which the song that probably by number was the biggest song of 1996. The Bone Thugs Crossroads remix. Yeah, yeah. I'm going to say a remix because a lot of people don't realize

that the version that we all know is a lot of people don't realize that was a remix. So there's Crossroads, which is all in East 1999 Eternal and there's the Crossroads which is the bone, bone, bone, bone, bone.

Yeah, why did I miss my Uncle Charles. Yeah. You can go back about the original, the original crossroads that was dedicated to their friend named Wally. Oh, even though you go. First of all, what a ridiculous way to pay tribute to your man. Even though you, oh, no, it's right.

Even though you're gone, you still got low love from bone. I was thinking he was like, even though you're gone, you still got love for bone, which would be rather presumptuous. Yes, it would be. Right? Like, you still love us, though, don't you? But, that shit was everywhere. Yeah, well.

Like, them funeral dirges, man, they did numbers. Mm-hmm. That was a, that was a smash. Speaking of, speaking of, like, records that kind of turned, like, that started one way and ended up another way, that's a, that's a glowing example of a record that, uh,

that started out as, you know, just a remix to an album cut because, you know, you know, they had their, uh, the unfortunate passing their uncle and their mentor,

EZE, you know what I mean? And that record just, it just took off, bro, just took off out of nowhere. Did you see that video of Clay Thompson, rapping with that with,

where Megan a Stallion, uh, Oh, had Bonn perform for him. Book Bone for his birthday because he loved. Man, what a life he's living. Oh, dog. I don't know. And you see, he didn't go to the game on the day after.

Just like, I don't know why he'd go to none of them games. Bro, we got, what, four championships? You know, he got super maxed out. I don't, I remember the last time I was in love on that level, and it was hard to go to work, boy. Hard, hard, to go to work. But what was so. funny about that to be, Clay Thompson from Newport Beach, wherever you're from in Orange County.

And I feel like if Bone was your favorite group like that, you could have either turned into that or you could have been hanging with the white boards and black fingernail polish. Like, that's, that lane is the same, like, it's black goth, highly dramatic music. Like, that's where they were. And they were really big deals. And they were a very controversial topic at the time in terms of how good they were, how hip hop they were so forth and so all. Like they, I did not love them,

but I think historically speaking, it's unquestionable that they are underrated. 100% underrated. They might be the most underrated rap group of all time. Right. And it doesn't matter how you feel about the music. The influence was indisputable. Yep. Indisputable. And, and, and they got the,

they got the, they put numbers on the board, bro. They got the numbers to back it up. They did. They put, they put, they put numbers on the board. Huge numbers. I want to get to a couple more things before we get out of here. One, as we were compiling the list of this, we both put down

a couple of the Buster Rhyme singles. And Buster Rhymes, to me, I argue Buster Rhymes is maybe the best rapper without a classic album. Right? Like, you can have your favorite Buster Rhymes album, like for me, it's an extension level event, but I'm being honest with myself, this

close, not quite, right? He's got like, Big Bang, this close, not quite. But what he did, though, in 96 was he became a video superstar. Yep. Right? Like those,

the influence of Buster Rhyms was with the visuals. Like, Woo-ha, I got you all in check. It's a cool song. It's a great video that just changed everything.

Amazing. Like, the visual component of, is another thing, uh, that was sort of driving singles, uh, that you don't,

you don't did, you don't get, uh, with music in today's thing. You know, like today's music, you rarely see, if it's a video

or somebody that shot it with a handheld, you know, whatever camera they got or maybe shot it on an iPhone, you know? But back then, like, visually, the way you presented a single was, especially if you were going to be operating on the level that, say, Buster Rines was, where they kind of knew what they had with him immediately.

Because Buster Rines was a star from the minute he showed up, right? He was, you know, regardless, I have my own personal feelings about Mr. Smith, but be that, as it may, Buster Rhymes has always been someone that once he shows up, yes. The attention naturally gravitates right to him. Yes.

And the, you know, being a, being a visual start in the era of singles was, uh, was, was a, was a big thing for people like him. You know what I'm saying? He was, he was, he was definitely like the, you know, the, the out rap artists that, you know, I want to see him on television. You know what I mean? It's kind of a precursor to what Missy Elliott. Yes, he was.

Became. Right. You know, very simply, work it would say people make in production and stuff like that, but like it's a multi-media star, I think. It's the way that we can describe it. Speaking to Mrs. Smith, by the way, you know, we weren't really fucking with him when he was doing this kind of stuff.

LL Koo-J he gave the world he gave the world he gave the he he he and it was comeback number two yeah because this is this is this is after 14 shots of the dome

after 14 shots to the dome and you and I were also talking about this we're like old school Mr. Smith I mean old head LL Cool J he was 26 27 or maybe he was old head he was only head

He wasn't even 30. He's the old head. He had already put up a whole career. Yeah, man. Like nothing LL. Klujian. A Hall of Fame career. Right.

He does not have a classic record after 1990. Right. Mama said knock you out. He's got three of them. He did. Nothing he did after 1990 matters. But he actually consistently did things after 1990. But the Mr. Smith album, you know, he's got I shot you, right?

He would always pop back up and let you know that he can still do the thing. Like I got it in the chamber, homie. Don't play. Just because I've been working out all day thinking about her, don't think. I got it back in the chamber,

but he gave up, but he gave up on us. He decided that we were not going to buy no records. He just, he just did it all for them. I'll be working out all day thinking about you. That is absurd.

Licking his lips with that one pant leg up. Just like, like, you know what he is? He's low-key when Drake was trying to pull off. Except when it came time to do, I shot you, Drake couldn't really, like, give you that. And also, he just wasn't L.L. Cool, Jay. Not true.

You know what I'm saying? Man, LLL was in, speaking of visuals from that time, that man was in these videos pouring chocolate syrup on people's knees. It was ridiculous. Like, there was just, it was always, so frustrated because it was like, Patna, you don't have to do this. Right, go look at Method Man. He's the proof that you don't have to act like this. All you got to do is pull up. Yeah, be LL Cool J. They are not like, right, you've already done the hard part. Mm-hmm. Right,

the hard part, just BLL Cool J. Mm-hmm. You've, you've already managed to pull that off, right? Nope, nope, nope, nope, nope, nope. That's two plus. Here he go. Here he go. Here he go. He go. dips all out and shit and just too much dog oh man like it got to a place where you couldn't even tell people you like this music yeah because they look at you crazy

they're like you jam LL Kool-Jay like you might as well just play actual slow jams how about that there's far more dignity in that sort of behavior if that's where you wanted to go but man

that's 96 like we got so much more that we could have gotten to to right like we I said we talked about Tila Wright fans When we get to the albums, that's what we'll get deeper in some of these. But show enough, man, that was the one.

Well, man, shout out to Ricky Smiley for forever immortalizing that, the intro, the baseline intro to that song, and it's stand-up special. Because, man, that's one of them things. Like a lot of these songs we've spoken about today, the reaction to when it starts is immediate. Boom, boom. Bound, I'm saying?

everybody going to be like it takes it to a place man it takes you to a place man it takes you to a place shout out to Jazzy Fay on that beat. Yeah also shout out to get Omafia straight from the deck which was a really big deal but boy that was a what are you Atlanta people do like that was that was one of those like what are y'all

what are you guys up to down here bro you know I can't recall who it was but it was somebody It was somebody that you would associate with, well, like, the whole backpacker hip hop. It was an artist from that. It may have been, it was like a Farrow-Manch type. I can't recall who exactly it was. But they were on the episode of your own TV raps today during the interview portion. They were being asked what they would listen to.

And they both said, bro, there's this record called straight from the deck by these cats called Giddle Bafia. It's the greatest thing I've heard. and that was like a signifier to me that, oh, you know, other people, the, what I think that, what I, what I think of them might, they might, they might not be thinking the same of me. They might actually like the stuff that we're doing down here. I didn't think that, I just, I was always the type of fan that like, if I like, I like, I'm a hip hop fan. So I love the bunch of New York music. And especially the backpack type. I'm a low key backpacker nerd to be honest with you. Uh, But I like all that stuff, but I used to think that they would, no way they would like something like, Geto Mafia. And when I heard that person say that, I was like, oh, it's okay to like everything. You know what I mean? Because I was, you know, I was a young man back then. I was, you know, fresh out of high school or whatever.

And I had my own preconceived notions about. Hey, hey, let me tell you, your preconceived notion was correct. Came up, came down, stay down, play around, aim, thing, that's a good. It can be a flow, though, man. You know what I'm saying? Yeah, but I tell you, maybe I need to go back. I heard that like three times when it came out. Yeah, man, look, I heard that like three times when it came out.

And I was like, look, I don't know what they're doing over there on the east side of this city. These rappers I hear from the south and the west, they're doing things. I don't know what's going on over there at Decatur. That's all just a blessed assurance in gangster form. Yeah, I tell you this boy, them boys love being from Decatur because the joy in Decatur was the jail. Yeah, 100%. Shout out, shout out to the east side. Yeah, man, look, man.

It's DJ Wiley Sparks. Check him out. Twitch.tv. slash DJ Wiley Sparks. Just look them up. DJ Wally Sparks. You can find this stuff. Whenever he goes on Twitch,

it's jamming. He do parties in Atlanta. Hold nine. Check it out. And he'll be back with us as we continue this series. My brother, I appreciate you. Thank you for having me, bro.

It's fun. I mean, you know, like I said, we do this all time. But so it's always fun for me. Hey, man, all good. Ladies and gentlemen, thanks so much for joining us here on the right time. We do this four.

times a week. Ryan Brumley handling 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.