Episode Summary
On this episode, we had a conversation about OutKast’s debut album, Southernplayalisticadillacmuzik. This is an album that helped redefine the sound and identity of Southern hip hop, and played a significant role in introducing the world to the unique sound and culture of the “Dirty South.” This album laid the foundation for OutKast's legendary career and established them as one of the most innovative and influential hip hop acts of all time. When you're done with this episode, if you haven't already, you can check out our 6th episode, where we talked about Andre's “the south got something' to say” speech at the 1995 Source Awards, and our 10th episode, where we discussed the entire OutKast discography.
Transcript
Christina: I used to feel so proud of myself that I could spell Southernplayalisticadillacmuzik like it was a feat.
Miguel: Alright.
Christina: That's all.
[Theme music]
Christina: Welcome back to They Reminisce Over You. I'm Christina.
Miguel: And I'm Miguel. Today we are talking about the debut album from a small group from Atlanta called OutKast. 30 years ago today, Southernplayalisticadillacmuzik was released. It's a landmark album that helped to define the sound and identity of Southern hip hop. It played a significant role in introducing the world to the unique sound and culture of the “Dirty South.”
[sings] “The Dirty South…”
This album laid the foundation for OutKast's legendary career and established them as one of the most innovative and influential hip hop groups of all time. And personally, my favorite group.
Christina: “The South got something to say.”
Miguel: “That's all I got to say.”
Christina: That's all you got to say. Ok. But the South got a lot to say.
Miguel: Yes. So you just want to get into this?
Christina: Let's do it.
Miguel: Alright. When this album came out, the world of hip hop was probably the most diverse that it has ever been and definitely hasn't been since this time. It was before the Telecommunications Act of 96, before all these media companies were able to monopolize radio when you hear the same thing from coast to coast, from Vancouver to Miami, because everybody's using the same playlist.
This is a time when you had Heavy D and the Boyz releasing Blue Funk, Tupac had Strictly 4 My N.I.G.G.A.Z. out, Naughty by Nature, 19 Naughty III, De La Soul Buhloone Mindstate, Very Necessary by Salt-N-Pepa. Something we talked about a couple weeks ago, Midnight Marauders by A Tribe Called Quest. Wu-Tang had their first album. Snoop had Doggystyle. Gang Starr, Nas' Illmatic came out like two weeks before this.
So it was a completely different time than what had happened before and what was to come later.
Christina: And that's just a small sample.
Miguel: Yeah, that's a small.
Christina: Of the albums that came out in ’93 and ’94.
Miguel: Just a small sample size of what a lot of us consider as the golden era of hip hop. But this was something that was completely different than everything else that I just mentioned. What were your thoughts on the state of music and the music that you were listening to around this time?
Christina: Well, kind of basically what you just said, in this period, there were so many different types of music. And as we always talk about the regionality of music as well. But this was also around the time that I got into hip hop. So I had no real preconceived notions of, this is what rap's supposed to sound like.
So to me, they were different from the other artists that I was listening to already, but it wasn't like, oh wow, they're not supposed to sound like this. It was just like, oh hey, I like these guys.
It's another CD to add to my collection. They definitely stood out because it's not like I listened to every single release that came out in ’93, ’94, but I didn't realize what it actually was going to mean to music.
Miguel: For me, I had, well, I shouldn't say I had heard of them before because I didn't know I did, if that makes sense. Organized Noize had a group out at the time called Parental Advisory, as we've mentioned several times on the podcast. I used to watch The Box a lot.
Christina: Yes.
Miguel: So they had a couple songs[1] that were getting played on The Box. If you were to look at them, and I showed you their videos earlier, they don't look like what you expect people from Atlanta to look like. Like they had the dirty dreads and the Timberlands and the big baggy army fatigue jackets. So they look like they were from New York.
Christina: New York style, yeah.
Miguel: And that's how they were rapping as well. So it sounded very New York, East Coast-ish and not what I expected from a Southern group because at this time, you had ass-shaking music from Miami. A couple from Atlanta as well. But everybody else who was rapping, rapping, they were kind of, I don't want to say slow.
Christina: Yeah, like Scarface.
Miguel: Yeah, the tempo was slow, but the lyrics weren't slow. They were really rapping, but it wasn't at a pace where it was bap bap, like Das EFX. They weren't doing that on these Southern records. When PA came out, that's what they were doing. And when I heard “Player's Ball” and OutKast was doing a similar style, but better, I was like, who are these guys? Because Big Boi had on a Parental Advisory t-shirt in the “Player's Ball” video.[2] So I'm like, they must be connected to PA somehow. Let me try and dig into what's going on with them.
I mentioned when we did our episode about OutKast, and if you haven't heard that, go back and check it out. But I first heard them on the LaFace Christmas album. My aunt had it. So she's playing this Christmas album in the car, and this random rap song comes on in the middle of it.
I'm like, we were just listening to TLC and Usher and Toni Braxton and other LaFace artists, and now here's this group rapping. What the fuck is this? This is amazing, because they were rapping about Christmas, but nothing good about Christmas, if that makes sense. It's about all the things that they didn't have or they didn't do on Christmas.
Christina: It had the little, was it the jingle bells sound to make it feel a little festive, though.
Miguel: Yeah, it had the jingle bells in it to make it feel like Christmas, and they may reference this to Christmas, but it wasn't a joyous Christmas song.
Christina: Well, I was rewatching the Organized Noize documentary, and Ray from Organized Noize was just talking about trying to create this Christmas song, and he said they were sort of making fun of British accents with the first line, which I never even thought, like to me, I didn't hear it, but now he's like, "It's beginning to look a lot like what? Follow my every step."
He's like, it was supposed to be like, you know, a British guy and Christmas movies or whatever. And then they just kind of like played the lyrics off of that."Follow my every step."
Miguel: Instantly made the connection with the "it's beginning to look a lot like."
Christina: Yeah, Christmas.
Miguel: Just from that.
Christina: Yeah, it's funny knowing now that that was what they were creating. That line is, well, making fun of a British accent, but also “it's beginning to look a lot like Christmas,” but not for them.
Miguel: Yeah, not at all. What does he say? "It's just another day of work for me. The spirit just ain't in me."
Christina: For them, another day of work is hanging out in the dank basement, though.
Miguel: Yeah, pretty much. Hanging out in an unfinished red clay basement.
Christina: AKA, The Dungeon.
Miguel: And hanging out on the corners, doing what 17 and 18 year olds do when you've decided to ditch school and go hang out at the studio.
Speaking about hanging out at the studio, the production that Organized Noize was doing at this time was a lot different than what we were hearing in hip hop period. You had the G-Funk stuff that Dre was doing with the Death Row artists, and a lot of people were copying him. And of course, the boom bap that was happening on the East Coast.
There were some artists that were using live instrumentation outside of Dre. So if you listen to a lot of Too $hort records, UGK, they have a lot of live instrumentation as well. But it didn't sound as clean as what Organized Noize was doing. This sounded really soulful, like 70s music. Like it should be on the soundtrack of a Blaxploitation flick, because they're talking about pimping. They're talking about smoking weed and getting high. They're talking about being players. It was really laid back.
What did you think about the production on the album?
Christina: Well, it sounded really different from everybody else. I was mostly listening to the East Coast and West Coast music. I didn't really know UGK. I didn't know Scarface. So I wasn't really familiar with a lot of those artists anyway. But this one, it was so funky and so laid back.
But like you were saying, with some of their rapping styles, which was a little bit faster, it still had that, even though it was like, just kind of had a laid back feel at the same time. And then plus, I think for me, what really stood out was their accents. Because you started off with Peaches, who starts off the interlude at the beginning. She sets the tone. "Hey, this is Peaches. Wassup!" Talkin' bout East Point, Decatur.
I'm like, okay.
So it was kind of like the way the album was sequenced as well. It kind of took you through this journey through Atlanta.
Miguel: Yeah. The sequencing on the album is what really helps sell it to. The way the songs just flow into one another. And the skits kind of work to help you transition between some of the songs. So I really like the way that it was put together. And we've already talked about the first song you've heard. I'm assuming for you, it was “Player's Ball” as well.
Christina: Yes.
Miguel: So after hearing “Player's Ball,” what were your thoughts on OutKast as a group?
Christina: Well, I definitely wanted to know more because pretty much what I just said, like all of that, they showcased in the first single. So I was like, okay, I like these guys. And Diddy's little suggestion for Andre to take off his shirt also helped. It worked on little teenage me. I'm like, who's that? Rico had his shirt off too, but I was eagle-eyed on Andre. RIP Rico.
Miguel: Yes. He just passed away a few days ago.
Christina: Yeah. So kind of going through all this and watching the videos, I was a little bit sad as well, but the music lives on.
Miguel: It does.
Christina: Yeah. So it was just like, okay, you got this cutie in this fuzzy Kangol hat. I like their styles, and I'm pretty sure I heard “Southernplayalisticadillacmuzik” before I went on and bought the full CD. But I mean, that probably was just, I don't know, time and money or something. But like, I liked them from the beginning and definitely wanted to see more.
Miguel: I was all in immediately. Once I heard “Player's Ball,” I was hooked. I was like, this is brilliant. I don't know why it's brilliant, but it is. And there's a very specific cadence that people were rapping with from like ’91 to ’94-ish. And they were doing it. And like I said, you weren't expecting them to do that coming from Atlanta because it was very quick. They were "iggitty biggitty," all of this stuff.
But they weren't just speaking gibberish. They were actually making sense and they were actually spitting bars, which again, I wasn't expecting coming from Atlanta because that is what our biases were at that time. Like, if you're not coming from New York, you basically got to fight your way out of the muck to get noticed. Even with the stuff that they were doing at Death Row, Kurupt and Snoop could really rap they asses off.
So that's what helped push the Death Row sound a little bit better than a lot of other things that were coming out of the West Coast at the time. Dre's production and the fact that they were really rapping.
And that's the same thing that was happening with “Player's Ball.” And this album, the production was immaculate and they were just rapping their asses off and not just them. The two songs with Goodie Mob on them, they're rapping just as good as OutKast was. So I was just all in with everything, basically Atlanta based because Freaknik was really big at this time.
Christina: Yes.
Miguel: A lot of TVs and movies were always showing HBCUs and whatnot. And then this comes out. I graduated high school. I'm like, it's time to go to Atlanta.
Christina: So this is the place to be.
Miguel: It's the place to be.
Christina: And they always has like great party scenes in the first two videos too. So it's like, oh, I didn't realize Atlanta was so like out in the country. I'm like, look at all these trees. Because I think of Atlanta as like it's a city. I mean, you know, there are parts of Atlanta that is, you know, big buildings and whatnot. But I'm just like, look at all these trees. They're just like out in the country.
Miguel: Yeah. Like you said, those party scenes. Now, I'm the same age as Big and Andre. So this is perfect for me to be looking at as a kid in LA, who's looking where am I going to go to school? I'm about to graduate. What do I want the next few years of my life to look like? I'm like, I need to go to Atlanta. So I applied to Clark Atlanta. I got in, didn't go, ended up staying home in LA just because of out of state fees and all that stuff. So I didn't get to live my dream of going down and living like the Atlanta lifestyle.
Christina: The player's ball and stuff.
Miguel: Yeah, I didn't get to experience any of that, but I got to live vicariously through them watching the videos and whatnot on TV.
Christina: Well, I know definitely there's a few songs on this album that you definitely would have loved because I know you love a song that thumps in the car.
Miguel: Yes. So coming from LA it's very car based. When you're in school, you're 14, 15, 16 years old. The first thing you want to do is get yourself a car. So you're flipping through Auto Trader, trying to find a $300 bucket or whatever that you can get when you get your driver's license when you turn 16.
Second thing you're going to do is put a system in it that significantly costs more than the car does. So this is the kind of lifestyle that we were living. Buying $400 cars with $1,000 stereo system in it, which makes no sense. But hey, you're 17, 18 years old.
And listening to this in my friend's cars, uncles and cousins, it definitely passed the car test. So anything that's booming, it sounds like you got two gorillas fighting in the trunk. I'm all in on it.
Christina: Yeah. The beginning of “Funky Ride.”
Miguel: Yes.
Christina: Oh, man.
Miguel: And it's real quick. It's only like a second and a half.
Christina: Yeah.
Miguel: And that's when you know, yeah, yeah, this is the one.
Christina: It's funny because when I was, when I was writing down my thoughts about this, I wrote something about plays well in the car. I'm like, wait a minute. I was like 14, 15. What was I talking about. But I'm sure I was listening to it once I started driving. But that's how I remember it.
Miguel: Eventually, you heard it in the car.
Christina: It took a few years before I could hear it in the car.
Miguel: After hearing the full album, did it change your opinion on them in any way from your first impressions or did it just add to it?
Christina: Yeah, it just added to it. I think the first two singles was pretty representative of what you were going to find. I guess the only thing different was there were a few like slower songs on the album, but it wasn't like... it's a no skip album. So... I think it's a no skip album.
Miguel: It is.
Christina: So it just kind of gave me more of what I was expecting from them anyways. But I think that just re-listening to it today, I was really noticing the sequencing just because I was skipping back and forth, just kind of jumping around and stuff. And like when you do that, obviously it ruins the sequencing because there are some songs that like literally go into the next song.
So I think when I was just skipping around wanting to hear this or that just to prepare for the episode made me really see like you have to listen to it from beginning to end. If you want the full effect.
Miguel: Yeah, you have to definitely experience it.
Christina: Skits and all.
Miguel: Exactly. You have to experience it from the beginning to the end.
Christina: "I want greens, bills, dividends."
Miguel: Oh, man, the thing I really took away from it is I'm the same age as Andre and Big Boi. So this album had a lot of youthful energy, unlike a lot of other things that I was listening to. Because even though I was listening to artists who were younger, they were still like 21, 22, 23 years old. So they're still older than me.
Christina: Whereas these guys are literally born the same year you were born.
Miguel: Yeah, so they have a view on the world the same way that I do. And this is probably the first time that there's an album or a group that spoke directly to me in hip hop. Even when I was looking at a young LL Cool J or something, and he was 17, 18 or whatever. When I started listening to him, I was 12.
Christina: Yeah, you weren't there yet. He's like a big brother still.
Miguel: Yeah, he's saying aspirational shit that I would like to get to one day. Whereas I'm doing the same shit that they are. Like going "Git Up, Git Out." And CeeLo says, "I don't recall ever graduating at all." I have a friend who takes that song to heart. He's laying around talking about, man, I'm a burden on my mama. I need to get out and get a job and do something.
Christina: Get up and get something.
Miguel: And I'm like, nigga, you 19. You in school. You ain't supposed to be successful yet. Your mama's fine. But yeah, he really felt that song. And I felt the same way about other songs on the album. So it really hit us in a way that we could relate to because we were living that. I actually thought about that when I was listening to it earlier. I'm like, I ain't gonna say who it is because he listens to this occasionally. And I don't want to embarrass him--
Christina: Don't say no names.
Miguel: By saying his name. Yes, we're not putting the names out there, but he knows who I'm talking about. But yeah, that was him. He was like, man, I can feel it.
Christina: Yeah, well, even though I was younger when you're a teenager, you think you're a grown anyway, so they felt almost like peers.
Miguel: Right.
Christina: But it was um, hmm... aspirational is probably not the right word for me. But I think it would just kind of let me know--it just kind of let me explore like the world outside of my own.
Miguel: Right.
Christina: The album felt very much like "Welcome to Atlanta."
Miguel: Yes, it really did.
Christina: So for me, it was a journey with like, friends in the head.
Miguel: Right. Because at that point, I had never been to Atlanta, although I had been to other places in the South and just seeing the videos, it really looked like other places that I had gone to at that time.
Christina: You did eventually.
Miguel: I did. I eventually made my way to Atlanta, but it was...
Christina: Sylvia. No, not Sylvia's. What was it? Gladys Knight's, man.
Miguel: Gladys Knight's.
Christina: I'm so sad they're gone. We'll never have it again.
Miguel: Sadly, we won't.
Christina: Woo! Gladys Knight's. I think that was the first time you actually pulled out your phone to take pictures of food.
Miguel: Probably.
Christina: Because I was like, I know this is good if you're taking pictures of food. I'm always taking pictures of food, but...
Miguel: Probably.
Christina: You don't do it as often.
Miguel: I don't. And I will probably say that was first time.
Christina: Man, when I went to visit my friend and went to Atlanta for the first time, that's how I discovered this place because they took me there. Man, I bought some chicken to take home with me on the plane. So I'm eating Glady's Knight's fried chicken on the plane.
Miguel: So you just pull it out of a little Ziploc bag.
Christina: If I remember correctly, I think we just went there right before they dropped me off at the airport and I just had the to go box. I don't know. But I remember whipping it out--
Miguel: That's funny.
Christina: Eating it on the plane.
Miguel: Wow. You're that person.
Christina: Yep.
Miguel: Oh, man.
Christina: Back to OutKast.
Miguel: So we've touched on this a little bit, but what feelings did you have about their music videos and the style of the clothes that they were wearing and the image that they portrayed?
Christina: I think it matched the experience that I was going to have once I listened to that whole album was the welcome to Atlanta thing again. Like the imagery was very Atlanta.
So back to the Organized Noize documentary, Andre was saying that he was initially going to dress more like a New York style because I guess you want to dress like the rappers you listen to. He wanted to wear his Timb's and whatnot. And I can't remember who it was, might have been Diddy, but there was someone else was just like, no, he should wear the Atlanta Braves jersey. Like you want to showcase--no, I don't think that was Diddy for that one. Whoever. I don't know. Somebody told him not to wear the Timb's.
But then I noticed that he was wearing the Atlanta Braves jersey in both the “Southernplayalistic” [3] and “Player's Ball.”
Miguel: Yes, he had on the road one and the home one. So he had one that said Braves and he had the other one that said Atlanta.
Christina: Let's solidify this.
Miguel: So you know that we are from Atlanta.
Christina: Yeah. So you had like, in case you missed it, they had the Atlanta Braves jersey on or he did. And then, like I said, just seeing all the trees and stuff. And they had the house party scenes, but there was also sort of like the, you know, the player's ball kind of scene too. So it's a little different than like a house party scene you would see in a Snoop video.
Miguel: Right.
Christina: So I think the imagery really matched the music. And I think it felt very authentic. Like when I was watching the doc, Rico was just walking them through The Dungeon upstairs. Well, and downstairs. He was just like, oh, here's where we filmed “Player's Ball,” in the kitchen when he walked out with his bowl of cereal. And it's like, oh, no wonder why it felt authentic, because that's literally their house.
Miguel: Yeah. This is where they were.
Christina: Yeah.
Miguel: Yeah. If you look at what they were wearing in the videos as well, it wasn't anything flashy. It was like t-shirts and jerseys and sweats. They didn't have like thick gold chains on or anything. They just had maybe a little herringbone or whatever. Cuban link, but nothing big and flashy. They look like they're basically trying to come up. They didn't have the big flashy cars. They riding around in old Cadillacs and just partying at somebody's three, four bedroom house, not in a big mansion or anything.
And then you look at the “One More Chance” video,[4] they're having a house party as well, but you got celebrities there. You got everybody in their finest clothes, Heavy D's working the door, D-Nice is spiking the punch. So it was the complete opposite of that. It was really similar to--
Christina: Snoop.
Miguel: Yeah, the party that Dre and Snoop were having.[5]
Christina: “Nuthin' But a 'G' Thang.”
Miguel: “Nuthin' But a 'G' Thang.” So it was similar to that. But the difference is I knew Dre had money.
Christina: You knew it was fake.
Miguel: Well, I'm not going to say it was fake, but I seen him riding around in the sports car.
Christina: It didn't have to be like that.
Miguel: Yeah, like if he wanted to stunt, he could have. But with OutKast, it seemed like, yeah, these niggas is broke. Like they have just enough money to throw this party.
Christina: Yeah.
Miguel: And that's what it felt like to me.
Now, I know when we talked about this on the episode about OutKast that we did, you said that your favorite songs were “Hootie Hoo,” “Player's Ball” and “Southernplayalistic.”
Christina: Still is.
Miguel: And you chose “Southernplayalistic.”
Christina: I'm going back to “Player's Ball” this time.
Miguel: Okay. Any particular reason why?
Christina: No reason. Just when I was going through the list and just picking the one that just hit more. But it's always going to be between those three. I also have “Crumblin' Erb” on the list this time and “Funky Ride,” but those top three, that will never change.
Miguel: Right.
Christina: But I think it's kind of based on my mood, but today it's “Player's Ball.”
Miguel: Alright. Sounds good. And I know that when we did it, I went with “Ain't No Thang.” But I'm going to amend that today.
Christina: Okay.
Miguel: I'm going to change it and say that the entire album from front to back.
Christina: The entire album is your favorite song.
Miguel: Whichever one is playing at that particular moment is my favorite song on the album.
Christina: All right.
Miguel: Because that's just how I feel about it.
Christina: Okay.
Miguel: And what's funny is when we recorded that episode, I said that I was going to get this album on 12 inch. And now I have all of the OutKast albums on 12 inch because you got them for my birthday.
Christina: I did.
Miguel: And I can see it right behind you right now.
Christina: And I got them from Play De Record, which is a landmark here in Toronto. And there's a whole documentary[6] about it.
Miguel: Yes. So if you know Play De Record, that's where I got my OutKast records from. If you don't know Play De Record, you can watch it on Amazon Prime if you're not from Toronto or haven't been to Toronto.
Christina: Yeah.
Miguel: Whole documentary. Check it out. It was good.
All right. So I don't think I have anything else to say about this album other than it's one of my favorite albums of all time. Every time I listen to it, it immediately takes me back to a particular moment in my life. And I will always, like I said the last time, have a copy of it somewhere, whether it's the record behind you, it's on my phone somewhere. There will always be a copy with an arm's reach for me to listen to to make myself feel better.
Christina: I have a question for you.
Miguel: OK.
Christina: So the next album, Aquemini?
Miguel: ATLiens.
Christina: ATLiens. Actually, I can't remember if it was Aquemini or ATLiens. One of them earned five mics on The Source.
Miguel: Yes.
Christina: However, do you feel like, I mean, there's your favorite album or best sounding album, but do you feel like this one is the most important one because it introduced us to them?
Miguel: It is. And for that reason, yes, I think it's their most important album because we got them at their most pure form, if that makes sense, because this is before Big Boi started wearing pink furry pants to award shows and Andre started going shirtless with a turban on his head.
Christina: Right, and like feather pants.
Miguel: Yeah, and shoulder pads. So this is Andre and Big Boi at their purest point where it's just like we don't have any money, we're talented as hell and we want everybody to know it.
Christina: Because as much as I do love some of their other albums, there is something about this one that will always have a hold on me.
Miguel: Yeah, because like I said, it's just raw and pure. When you start listening to ATLiens and beyond, they grow and elevate and get better as the albums go on. And the topics change, the production changes, they get better lyrically, but it's not as pure as this.
Christina: Yeah.
Miguel: Not saying that the other ones aren't, because those reflect where they are at those particular times in their life.
Christina: But they're more polished and just different.
Miguel: It's OutKast, but better every time you hear it.
Christina: Yeah.
Miguel: Whereas this...
Christina: They're more seasoned and polished. This is like, this is our chance.
Miguel: Yeah. And you got to remember, they're recording this at 16, 17, 18 years old. And it's one of the best albums of all time, getting four and a half mics in The Source, when that was a really difficult thing to do in 1994.
Christina: And coming from Atlanta.
Miguel: Yeah, coming from Atlanta, they're getting four and a half mics in The Source. They come to The Source Awards and win.
Christina: And they get booed.
Miguel: Yet they get booed. Which makes no sense.
Christina: Well, there was other things going on at The Source Awards.
Miguel: There was, but they still shouldn't have gotten booed.
Christina: They shouldn't have.
Miguel: But that booing basically kickstarted an entire movement, which is still going on today with Southern hip hop.
Christina: Well, also that appearance increased their record sales. So it worked out in the end.
Miguel: It did. I was watching the Questlove Supreme interview with Organized Noize, and they were saying that the record was getting spins and selling everywhere except for New York. And they could not figure out why it was just going crazy everywhere.
Basically, they said it ended up getting broken in the Bay Area, actually. That's where it started to pick up steam, and then it moved to Vegas and to LA and it just spread. New York was like, nope. So they remixed “Player's Ball,” and that's what got them over in New York City was a “Player's Ball” remix. And that's when people started to turn around and gravitate and say, you know what? It ain't that bad. Let me go ahead and check this shit out.
Christina: And the infamous "South got something to say” on The Source Awards. I'm sure that piqued some interest.
Miguel: Yeah, it had to because, like, oh, OK, one and he's angry. Let me go ahead and check him out, especially in the South. If you're a Southern artist and you see that, you're like, man, I can do this too.
Christina: Rise up. Yeah, it was a call to arms.[7]
Miguel: It was definitely the Southern call to arms because the South came in and they have not let go yet. You still have one of the biggest rappers in hip hop. Future is a descendant of the Dungeon family. He's first cousin of Rico Wade. So we're talking about a 30 year run that they started in 1993 and ’94. And we're still witnessing today through Future. That's crazy.
Christina: It is.
Miguel: Cuckoo for Cocoa Puffs.
All right. You got anything else you would like to say about this album before we get out of here?
Christina: Play it, if you haven't in a while. Or if you've somehow never heard it and you're listening to this?
Miguel: Yeah. If you're listening to this and you've never heard that album?
Christina: You need to find it.
Miguel: We need to have a conversation.
Christina: Do it. Listen to it in the car.
Miguel: Yeah. I would like to personally talk you through this album. So hit us up if you've never heard it and we could talk about it. That's all I got.
Christina: It's possible.
Miguel: It is. It's possible. I hope not, but it is possible.
Christina: It's possible. All right. That's all I got.
Miguel: I have nothing else to add. We've talked for long enough. We're at like 30 something minutes. So with today being the 30th anniversary, go ahead and check out the album. Go ahead and crank it through the weekend. Today is Friday. Just put it on. It's cleaning background music now. That's the stage of life that we're in.
Christina: Cleaning background music, driving to the grocery store.
Miguel: Exactly. Our parents had the Temptations and The Jacksons. We got OutKast. This is our elevator music.
Christina: I was going to say, well, they also have a song called “Elevators.”
Miguel: Yes.
Christina: Not on this album.
Miguel: No, it was on the following album. Oh, but one more thing before we do wrap this up.
Christina: Ok.
Miguel: This album ends with a song that opens with the words," Greetings, Earthlings." And it's the last song on the album is called Deep. And when you get the next album, which is called ATLiens, it opens with that same clip. “Greetings, Earthlings.” I just wanted to put that out there as a connection. I don't know the thought process behind it. If they were just trying to tie the two albums together or what but...
Christina: It's possible.
Miguel: That's all I got. On that note, thank you again for coming back to listen to us ramble about these things on They Reminisce Over You. We try to do this every two weeks. So if you haven't caught us in a while, go back and catch up.
If you want to buy some merch, you can check us out at our store. Nuthin' But a Tee Thang. That's teethang.com. We also have a monthly newsletter called Liner Notes. If you want to check that out, you want something nice and fun in your inbox once a month, go ahead and sign up for that at troypodcast.com/linernotes.
Christina: I recommend it.
Miguel: Me too. It costs you nothing. It's free. Check it out.
If you want to check out some of our concert videos, we sneak our phones into concerts and take videos sometimes.
Christina: Why do you say sneak our phones? We're allowed to bring our phones in.
Miguel: We are. They're not full on like full concerts, but it's like one or two songs here and there.
Christina: Sometimes more.
Miguel: You can go to our YouTube channel, check those out. You can see Bobby Brown dancing around to “Every Little Step” really slowly. Very entertaining.
Christina: Lots of concert videos.
Miguel: Yes. So go ahead and check those out if you're interested. You can also leave us a rating or review on your podcast service of choice. If you so choose. I think you should because it'll make you feel better and make your teeth wider.
Christina: And it helps us out.
Miguel: It helps us out too. So go ahead and do that. And we'll be talking to you guys in another couple of weeks. I'm not sure what the next episode is going to be. I don't remember off of our calendar, but you know what? Come back and listen to it.
Christina: One way to find out is to come back.
Miguel: Yes. So we'll be seeing you in a couple of weeks. Bye.
Christina: Bye.