WNTTLK (We Need To Talk)
Juvenile & Manny Fresh Discuss New Orleans Bounce Music, Evolution of Hot Boys, Friendly Rivalry, Career Milestones, & Upcoming Music!
Ever wondered how a single track can reshape the entire music scene? Join us as we sit down with the legendary Manny Fresh and Juvenile, the masterminds behind "Back That Ass Up," to uncover the secrets of their monumental impact on the music industry. From the electrifying origin of New Orleans bounce music to the unforgettable Tiny Desk performance that captured their raw, organic energy, this episode promises a nostalgic and thrilling ride through their storied careers.
Juvenile takes us on a journey through his artistic evolution, sharing how his voice matured from the early days of "Bounce for the Juvenile" to his resurgence with "Soldier Rags." Discover the integral role of live instrumentation in Cash Money's music and how friendly competition with Manny Fresh keeps their creative juices flowing. Plus, Juvenile drops some exciting hints about new music on the horizon, signaling an exhilarating new phase in his career.
Peek behind the scenes of the Hot Boys' dynamic and competitive atmosphere, with amusing anecdotes about missed studio sessions and Lil Wayne's relentless work ethic. Reflect on the art of music production, the importance of originality, and the lessons learned from balancing professional achievements with personal growth. This episode is packed with wild memories, humorous stories, and candid reflections that offer a fulfilling yet challenging look at the journey of doing what we love. Don't miss this engaging and nostalgic conversation with Manny Fresh and Juvenile!
Talk Soon! ✌🏾
Stay connected! Follow @wnttlk on all platforms.
Ever wondered how a single track can reshape the entire music scene? Join us as we sit down with the legendary Manny Fresh and Juvenile, the masterminds behind "Back That Ass Up," to uncover the secrets of their monumental impact on the music industry. From the electrifying origin of New Orleans bounce music to the unforgettable Tiny Desk performance that captured their raw, organic energy, this episode promises a nostalgic and thrilling ride through their storied careers.
Juvenile takes us on a journey through his artistic evolution, sharing how his voice matured from the early days of "Bounce for the Juvenile" to his resurgence with "Soldier Rags." Discover the integral role of live instrumentation in Cash Money's music and how friendly competition with Manny Fresh keeps their creative juices flowing. Plus, Juvenile drops some exciting hints about new music on the horizon, signaling an exhilarating new phase in his career.
Peek behind the scenes of the Hot Boys' dynamic and competitive atmosphere, with amusing anecdotes about missed studio sessions and Lil Wayne's relentless work ethic. Reflect on the art of music production, the importance of originality, and the lessons learned from balancing professional achievements with personal growth. This episode is packed with wild memories, humorous stories, and candid reflections that offer a fulfilling yet challenging look at the journey of doing what we love. Don't miss this engaging and nostalgic conversation with Manny Fresh and Juvenile!
Talk Soon! ✌🏾
Stay connected! Follow @wnttlk on all platforms.
What would you guys consider your greatest achievement in music?
Speaker 2:Oh man, I would say Back. That Ass Up is my greatest achievement. The record sells Everything that goes with it is my greatest achievement. I don't think it's even close.
Speaker 1:Okay.
Speaker 3:I know it's late, but to just be appreciated. You know what I'm saying. It's starting to get recognized, you know, because we was always looked at like we was the country dudes or whatever. Like you know, like, and the, the music has started to test the time. Like you know the, the longevity of it, you know it's like, come on, like it's undeniable. You can't keep saying like you know, well, it was a fad or whatever it's like, come on now we going on 26 years.
Speaker 2:And they still sapping us. Yeah, you know what I'm saying.
Speaker 3:It's still one of them songs. Any way, you at, as a DJ, hit this one and it's back alive. Yeah, you know what I'm saying.
Speaker 1:Damn man. No for real though.
Speaker 3:Yeah, if you failing at anything, hit this right here, you right back. Relations yeah, if you're failing at anything, hit this right here, you're right back. Relationships, wedding receptions, whatever. Hey, that's going to fix it.
Speaker 2:What's up, bishop Boy Juva the Great?
Speaker 3:This is Figgy Fresh.
Speaker 2:What's up, Nyla? We need to talk yeah.
Speaker 1:What's up, guys? It's Nyla Simone with another episode of we Need to Talk, and today I got some legends in the building. I'm excited, I'm nervous. I'm happy we got Manny Fresh and Juvie in the building. What's?
Speaker 3:up.
Speaker 1:How are you? We good, we good, we good man, I'm so glad you guys are here. Huge fans. As I was saying earlier, I watch y'all Tiny Desk every Saturday morning as I click.
Speaker 2:Oh, wow.
Speaker 1:Every Saturday morning.
Speaker 2:Thank you.
Speaker 3:I love, I just love how beautifully ratchet it was. I always tell people we didn't know what we was doing.
Speaker 2:We tried to like have a set, but you know, manny, go off script.
Speaker 1:It was great, though the encore was great too. One more time, I'm like hell, yeah, yeah.
Speaker 3:I mean you could tell the energy and we have fun doing this. You know, a lot of times it's a rehearsal and, like he said, we go off script because we feel the energy of what's in the room, like you know, and it's just like that rehearsal really don't work, because when the crowd is there and it's just like you know what, none of this don't matter, we going. You know what I'm saying.
Speaker 1:Whatever that energy is, Were there songs that you guys were supposed to do, that you didn't do.
Speaker 2:No, the truth was we was only supposed to be shorter than that. Really yeah, if you go back and check performances on the show. They actually go like, I think, 15, 20 minutes.
Speaker 1:Yeah, they do, we did a complete set and an encore yeah and an encore.
Speaker 2:Yeah, they was. They was trying to convince us to stop, but it was too good, were they really? Yeah, they was.
Speaker 1:Like you know, after a while they just had to yeah they was too good no, y'all did what needed to be done. I'm not gonna lie, it's iconic and it's definitely my favorite Tiny Desk to date, so I'm really glad you got up there and did it, even though you know I saw the whole Twitter debacle and how it came to light.
Speaker 2:That's what I think make it even better though, right yeah. It was real organic, the fact that I didn't know. I know a lot about them now, but the fact that I didn't know and I did say that and it made me eat my words. Yeah, the fans made me eat my words.
Speaker 1:But it's also cool that you're even just open to say that it happened organically.
Speaker 3:like that it's cool.
Speaker 1:You're not hiding that. I feel like you know. When you already goaded, you can kind of just live on your throne.
Speaker 2:But like you, still with the people. That was real fun.
Speaker 1:Truth with the people. That was real fun. Truthfully Love it. All right, so I'm going to take it back to the beginning because, manny, I don't know if you really get the flowers you deserve for what you've created. So, New Orleans bounce music. Is it true that you mixed DJ Cameron Paul's Brown Beat with the Showboys Drop Rap Beat and created the DNA for Bounce Music?
Speaker 3:Yes, that's very true.
Speaker 1:Talk to me about the origin story, the villain origin story of Bounce Music and your contribution.
Speaker 3:So that's the song Trigger man from the showboys. Well, it was called Drag Rap. We start calling it Trigger man because everybody in New Orleans, you know, we always rename stuff and that's the way we knew it from this little part that said Trigger man, because everybody in New Orleans, you know, we always rename stuff and that's the way we knew it from this little part that said Trigger man, trigger. So we start calling it that.
Speaker 3:And it was a song that I used to play the instrumental of it, like as a DJ, like you know, and as the scratch that every DJ do, and it used to rock block parties like, and somebody along the way, you know, started rapping on it, like going like oh you know what and what really bounce is. It's kind of like the essence of hip hop is call and response. It's like who can rock the crowd? You might hear a song four or five times, but whoever rocked that song the best, like you know, like we've had some saying sometimes where it's been the same saying in different neighborhoods, but who can rock it the best? And you know, of course Juvie was always good at that I'm the king.
Speaker 1:Yes, we know. Yes, we know. So, juvie, I have some friends from New Orleans who told me that they first heard you on DJ Jimmy's albums. Yeah, it was Bounce for the Juvenile.
Speaker 2:Yeah.
Speaker 1:Yo, why are you never talking about that? Why we never heard of that?
Speaker 2:Because people don't really know the history of that. You know, I was brought in as a writer to write his album. And in writing his album I found a little slick way to get my own song on his album. So I did a radio version to my street song called Bounce for the Juvenile, because I knew if I would have done a street version it wouldn't have went nowhere, Not on his album because it wasn't my album right.
Speaker 2:So they started playing it on the radio and it took off. It kind of like was my step into the game.
Speaker 1:I didn't know you were a writer prior to that.
Speaker 2:Yeah, I wrote a lot of like the bounce music he talking about. In the beginning I was a little too young to go to the clubs, so cats like Jimmy and cats like DBSD they were older than me so you know DBSD helped write most of the DJ Jimmy lyrics, but I came in and finished it yeah, that's tough.
Speaker 1:So bounce music has since transcended outside of New Orleans to artists like Drake, beyonce, city Girls, etc. How does that make you guys feel, knowing that y'all are at the foundation and core and, just you know, seeing it 50 years later?
Speaker 3:We cool with sharing it. You know, it's just another form of music and even for it to leave New Orleans, like you know, and and see artists like Beyonce to say like, oh my god, you know, you sampled that. You know, and even with me, a lot of people don't know what's my beats, you know, and they don't even know like bounce been around since the 80s. Like you know, jubilee song to getting ready, getting ready, that's my beat, like you know, and most people don't know that they like oh, I didn't know, manny Fresh did that you know, know what I'm saying.
Speaker 1:Why no tag?
Speaker 3:I mean because back then it was just all for the love. We wasn't tagging. Back then, yeah, nobody tagged beats. Back then I was just doing stuff that it was really to rock the club. None of us even saw it going further than the club because we was just in love with that. That city, that city love to be like you know what? I'm? City famous. That's good for me right now, yeah that's real, okay.
Speaker 1:Um, so, from the release of bounce for the juvenile in 1992 to blasting back on the scene with soldier rags in 96, it felt like two artists. How did you find your flow and your voice to evolve into the Juvie that we know now?
Speaker 2:Well, back in the days when I was in the Bounce for the Juvenile days, I was kind of like 15, 16 years old. So the voice changed and I was trying to sound old then. But my voice changed over the years. So by the time I got with Cash Money my voice had been turned into close to what it is now and it was kind of easy for me to do this old man voice thing. And people, even right now people still don't know that Juvenile is the same Juvenile. I have to tell them Nah, it's the same person.
Speaker 1:They think it's two different people.
Speaker 3:Yeah, if you hear his voice on Bounce for the Jew, you'll be like that's not Jew.
Speaker 2:But it's a similarity there because I got melodies. I'm doing melodies and stuff like that.
Speaker 1:Which.
Speaker 2:I'm all in tongue twisting and stuff, something I always done back in the days.
Speaker 1:Fresh to old Cash Money tracks had a lot of live instruments and beats. With today's tracks being mostly made on the computer, do you guys still feel like it's important? Do you guys still value, like the live feel?
Speaker 3:Yeah, because we we're not trying to turn into nothing else. You know what I'm saying? It don't even work, Even if we try it. If we try it, it don't work. Like you know, and I feel like we've we hit who our core audience is. We know exactly who they are and what they want to hear from us. So I think it's always got to be that way. It's always got to be like the live instrumentation, it's always got to be 808 driven and it's always got to be Juvie killing whoever on the song.
Speaker 3:I'm back at it too for a minute.
Speaker 1:Yeah, that's the formula that works. I'm back at it. You're back at it, yeah, I. That's the formula that works. You back at it?
Speaker 2:yeah, I've been waiting for a minute, but I'm back at it and I'm really at it, at it really yeah, so you in the studio.
Speaker 1:I'm in the studio who you with with Manny.
Speaker 2:I'm trying to get some beats from him right now, but I just been. I got a couple producers, but you know how that go no, he Hollywood he. Hollywood?
Speaker 3:No, let me tell you what I do. I like to hear the songs that he do. I send him the songs and then I just be like I'm going to kill his ass. That's what inspired me. You know what I'm saying? Okay, okay, I'm that competitive.
Speaker 2:So I sent him the last few songs I've done and I'm like come on, bro, I know yeah, and I know why he sent them.
Speaker 3:He sent them to me to make me be like yeah, he like what you doing. See that, See what we doing.
Speaker 2:I know how to pull, I know how to get it, yeah.
Speaker 3:I love that and see like even the way we worked on a lot of those albums, it would be like if his rap was just killing my beat. I went back and did the song over. No. I was like nah, you're going to hear it tomorrow?
Speaker 1:Did that happen on?
Speaker 2:Back that thing up. Huh, yeah, really a lot of our songs, yeah, a lot of our songs. I was like nah, dude, you killing me on this. I tell people that if I wouldn't have got an opportunity to go back in the studio while I was in Nashville because that was the closing of the album If I wouldn't have got an opportunity to go back in there, they probably huh and back there. That probably wouldn't sound the way it sounds now.
Speaker 1:I didn't have them lyrics. He was killing me. Was the hook still the same?
Speaker 2:He'll make you rap to a beat and it'd be generic, it'd be simple. He's like nah, I just do the lyrics. I'm telling you, then you do the lyrics and he come back and I'm like come on Fresh bro.
Speaker 1:Now you gotta go all over again.
Speaker 2:I saw him. Come on, you're killing me, bro. That's how you do.
Speaker 3:Yeah. So when he did his lyrics I was like, oh shit, like I gotta change this beat, like it's gotta be something that you know it's almost like a marriage, like I'm like this gotta complement exactly what he's saying.
Speaker 2:Then he get in there and do his verse. When he get on his verse, pay attention to the beat. Pay attention to the beat. Watch where the brakes be at that shit fresh coming in, oh beat it up like a motherfucking rubber chick dang, that's dirty.
Speaker 1:You know what? Hey?
Speaker 3:when you the producer. You can do that, I didn't know, that I would've did the same thing he a better rapper, I could rhyme a little bit. So.
Speaker 2:I'm like I need some Jedi mind tricks.
Speaker 1:That was smart. I love that. So I'm actually more into the new music and your new process of making music now, because I know you're about to go on tour. You plan on putting this music out before or after that?
Speaker 2:I plan on putting some new music out in the next couple of days. To be honest with you, what yeah?
Speaker 1:Wow, and what are we giving? This is a whole new Juvie.
Speaker 2:I just want to drop it on their head. I don't want to say nothing. Okay, I'll let you hear it off.
Speaker 1:Yeah, please do Please do.
Speaker 2:Okay, I don't want to say nothing.
Speaker 1:So Fresh, you had Juvie, wayne, bg and Turk, the Hot Boys, under your belt. What were those sessions like back then?
Speaker 3:Oh, super competitive With everybody, everybody. Yeah, we was always. You know, like everybody wanted to outdo everybody. That's what made the Hot Boys so popular. You know that's what made the songs so good. Like you know it was just like and if you missed the session, somebody else took it. You're in trouble, you're in trouble?
Speaker 2:Ask me. You heard I need a hot girl, right? I called the flu and missed the studio session and the song. I'm in the video. That's why I'm on the video, Damn. I ain't on the song. But, when I heard that song I said bro, y'all wrong man. I said yeah, and French got you, paul, you know even on Project Chick.
Speaker 3:That was Turk's greatest. You know like that would have been his thing, but he missed that and Juvie caught that hook. You know what I'm saying? Because that was supposed to be him on that hook, because that was his part on I Need a Hot Girl that everybody loved and we was just like bro, this is your song, you missed it. Juvie was like I got it.
Speaker 2:I got it. I got it, I know all his parts.
Speaker 3:He quiet, bored him, elba.
Speaker 1:No, that is hilarious. So all y'all were literally in there at the same time.
Speaker 2:Yeah, we used to. I'm gonna be, honest, wayne was the slickest one out of all of us. Cuz Wayne will, let's sit there with you and listen to everything. Yeah, and listen to everybody. Like yeah, okay, then go in the corner and you ain't gonna see him no more. Tell us how to do the song, then he getting the boot. I say oh man. That's a triangle. Come over here and sit next to me.
Speaker 3:I'm doing it.
Speaker 2:Like come on man.
Speaker 1:Now, the sound effects just took me out.
Speaker 2:Yeah, wayne be plotting. And Wayne was the studio rat. Wayne was the one, like the big time, was working on the album, right, like, oh, y'all need to come to the studio. Wayne, in the studio, I'm like so you a member of the Big Timers group? I mean, I don't know, I'm trying to be, I don't know. You can't be in two groups, bro.
Speaker 1:I love that. I love that for him. Man Hungry? Oh yeah, definitely. But Wayne always, like, bigs you up and says how he studied you he used to be on me.
Speaker 2:I used to be mad with Wayne about putting people on pedestal, right? Wayne was a Jay-Z fan and I used to like Jay-Z too. But I used to say, okay, it's cool to like him, but don't put him. Make sure that pedestal. He here and we right here. And Wayne was like nah, bro Now. Then our argument turned into I think he was the best rapper. I'm like nah. He said Wayne. I said nah, bro, you a better rapper. He's like nah bro. Jay's hell. Nah. Now he'll agree with me. So I've been right the whole while. I always try to drive that in Like bro. I've been right the whole while.
Speaker 1:So Wayne thinks now he's a better rapper than Jay.
Speaker 3:He think he's the best rapper of all I've been saying that I think anybody who do this should feel that way.
Speaker 2:We was warning people that he was coming. When he couldn't curse, I was saying, hey, man when this little dude can curse y'all in trouble, Y'all in trouble.
Speaker 1:Not when he can curse. I love that. I wonder what made him be so in awe with Jay, I feel like it's more regional.
Speaker 2:He loved Jay.
Speaker 3:Missy Elliott, definitely. He loved Jay. He loved I don't care, he liked Missy Elliott, definitely Missy Elliott.
Speaker 2:He was like that was his, that's what he used to be on. He liked Jay, he liked the lyrics.
Speaker 1:He liked the lyrics. Yeah, yeah, but he studied under you guys, so he was just soaking up everything.
Speaker 2:He soaked up everything.
Speaker 1:I like it. So my people from New Orleans told me the next time that I come that I need to try Trimmie Hideaway.
Speaker 2:Oh, my yeah, Juvie Tuesdays.
Speaker 1:Juvie Tuesdays.
Speaker 2:Yeah.
Speaker 1:What is the go-to?
Speaker 2:Oh man, we have seafood, we have a lot of like. It's really New Orleans culture, right, and it's a Tuesday, so it's like a day where there's really no competitive action going on in the city. But yeah, I think it's the longest night that's been going on in New Orleans, like this night been going on in different spots for over 20 years.
Speaker 1:Oh, wow.
Speaker 2:So people kind of grew up doing the Juicy Tuesday things with me. I haven't been going for the last couple months, though, because I've been kind of busy preparing for the tour, working and stuff like that, but when I get a break I'm going to be back in there every Tuesday again. But yeah, people come from all over to see it and it's like the go-to spot, because we not only have seafood, we have two different DJs. We have DJ on the inside and DJ on the outside. One might be playing oldie but goodies. One might be playing the twerk music Fire. It's good.
Speaker 1:And you need to put me on that lineup. I can do that. You gotta put me on that lineup, I can do that.
Speaker 2:I can do that. I've been trying to get this dude to go to the group for a minute.
Speaker 3:Yo, what's up? Why you don't? I mean?
Speaker 2:hey, and you know he's a car builder.
Speaker 3:You know he builds cars right.
Speaker 2:What he's a car nut Are you?
Speaker 1:serious.
Speaker 3:Yeah, I've built muscle cars all the time.
Speaker 2:Yeah, he got cars.
Speaker 3:That's my passion. Like you know, when I'm not working, I'm you know, my first car was bought from him, right?
Speaker 2:What my first car 735i my first, very first. Because my first, very first, because I didn't want to buy anything. He sold me my first BMW and he just sold me my last BMW.
Speaker 3:What.
Speaker 2:Dude, he'll just.
Speaker 3:Yeah, I just thought about that he sold my.
Speaker 2:He sold my son a BMW too. Damn, he just tanned my family apartment, hey man at least you know you're in good hands.
Speaker 3:It's custom yeah.
Speaker 1:But wouldn't so? You just like to work with your hands.
Speaker 3:Yeah, that's your thing. I mean, you shared something with me Art Basel. You know, you was like, hey, I opened up and DJed, you know, and I'm like, wow, that's kind of yeah, now I got a relation to Art Basel too'all.
Speaker 2:Are really we Listen this?
Speaker 1:hustle Furniture.
Speaker 2:I make everything Me.
Speaker 3:I'm yeah, this hustle hustle.
Speaker 2:I'm a guy that you can put in the forest and just leave me there. I'm one of them. That's fire.
Speaker 3:If you at his spot. You like who this? A nice chair. He like I made it. Yeah, so you do carpentry.
Speaker 2:I do carpentry, I make furniture, did y'all?
Speaker 1:go to trade school?
Speaker 3:No, he probably did but I just learned how to do this.
Speaker 2:My dad was a carpenter and when COVID hit, my father-in-law and my brother taught me electrician work. Wow, so I started doing that stuff. I started just making lamp.
Speaker 1:Damn, Now that's fire. I love that for you guys and I love that for you guys and the cars. Yeah, how did you fall into that?
Speaker 3:Having raggedy ass cars. You know, growing up with you know, so you have to learn how to fix them yourself. I grew up with a lot of you know bad. You know just raggedy ass cars. You know you're going to learn. You know, hook them up, yeah, hook them up or whatever. And from there it just took.
Speaker 1:You know it completely, yeah I love that because, yeah, I be feeling like there's no reason why all changes cost as much as they do. I know it ain't that much work, but I don't know what I'm doing. Y'all, y'all gotta share the game I'll help you.
Speaker 2:Put your floor down and yeah, I'm that guy.
Speaker 3:No, that's major and I think we came from an era where you had to have six trades yeah you know what I'm saying because it's just like rap ain't working right now you you better have something else going on.
Speaker 2:Right, yeah, right. I mean, I was a working guy.
Speaker 3:Yeah, I met Juvie working. He got me from work. Literally, yeah, literally coming from work.
Speaker 2:Quit my space.
Speaker 3:Yeah.
Speaker 1:You know what I'm at right now, so I get it. So talk to me about. I've never seen these chips before. This has got to be a regional thing. Cheewees.
Speaker 2:Yeah, it's regional.
Speaker 1:Cheewees.
Speaker 2:But you can order them from anywhere, we can ship them anywhere.
Speaker 1:We're going to have to zoom in on this picture of the Chee-Wees man, so I'm going to give you the Chee-Wees, chee-wees.
Speaker 2:This company, elm's, is actually the company that made the original machine to make the Cheetos, because this company is older than. Frito-lay right. So when Frito-Lay wanted to start with the Cheetos company, they came to them and they built a machine for them and later on they came back and sued them for the patent. Yeah, foul, right. So I just went and did some business with them because I like to do like everybody else, I like to do business with the locals. That's great. And they got great chips. You got to taste them.
Speaker 1:I do, I want to you like hot stuff. Yeah, hell yeah.
Speaker 2:Those are hot. That's why they call it 400. We have different flavors, we have milder flavors, but those are hot because I let the kids from the high schools choose. So I went and did these taste testers and they picked those Kind of crazy because I could barely eat them.
Speaker 1:We should have had a bag today, that would have been great, but I'm really impressed with just how diverse and skilled you guys are. What is it in the New Orleans water? Because I feel like you know, like even the masterpiece of the world, like everybody wears so many hats and is good at it Like what's in the water down there.
Speaker 3:I just think we was just brought up that way, like you know what I'm saying and if you got good examples, you know you're going to learn how, learn how to hustle. You know his dad was always on the road with us. You know what I'm saying and just having that, that person around you and you see him do it, you know you start, you know. You, you mimic what you see.
Speaker 2:Yeah, you know yep and um, you know. So, like e40, master p, cats like that. I'm kind of like following in their footsteps a little bit with the product placement right, because I got multiple products also I have a cognac, of course we're talking about the juvie juice, I have the chips and I have a hot sauce coming out at the end of the month. So things like this artists need to start. You know, I kind of like wish more artists would do the same things, like following our footsteps not be better than me, because I'm just learning at it, but when you see cats like that you know making businesses and creating generational world I look at that as being a good thing. So we all should do the same thing.
Speaker 1:Yeah, anything hot, that's all you.
Speaker 2:Hot, everything I'm going to do. Hot chocolate, hot chocolate, milk, yes, and and fresh.
Speaker 1:You know you have a lot of classic albums under your belt yeah, you know, people don't even make classic albums anymore. It breaks my heart for real um, but with that being said, like, what is your take on? Just like where we're at culturally with albums?
Speaker 3:Oh, that's the same thing. Like what he said is me challenging new producers to learn how to do that as a trade. Like not just do singles. Like you know, take the time to figure out how to do different genres of music, you know, and make a balance of it. And one of the great things about me and Juvie why gel so much is is the chemistry.
Speaker 3:A lot of artists don't never get chemistry, you know, and it's just like if you got somebody who do beats for you and he good, keep that person around, you ain't got to go float with everybody, you know, later on in your career, yeah, you could do that, but why are you building? Find somebody that can figure out your sound. You know what I'm saying. And that knows you. And the rest is kind of history. And if you look at a lot of artists that are successful, it actually works that way. It's like a lot of them have that one producer.
Speaker 3:He might even pick songs outside from other producers, but his ears, he knows what's good with you and and and not be afraid to give something up. You know, like, slow motion is one of his biggest songs. I didn't do that song, but when I heard it I was just like this gotta be on the album. Like this is like you know what I'm saying to know. Like this, this right here. I'm like this is juvie, like you know what I'm saying. Like this right here, you know, but, but but you got to have somebody that got the air to say, like I'm for the greater cause, I want to, I want to win, and definitely anybody young. Open your ears to older music. You'll hear so many sounds and so many different things that you know that'll enhance how you produce.
Speaker 1:What were some of the music that you were listening to in the early stages?
Speaker 3:Al Green, marvin Gaye, everything classical music. You know what I'm saying. It would get on people's nerves. They're like he on the bus listening to Bach. You know what I'm saying? I listen to everything.
Speaker 2:Your DJ son played yeah, so you know.
Speaker 3:I want to hear everything, because I can hear something great in everything. I mean, you could watch a movie sometimes and you hear something in the movie and you're like that would have been dope.
Speaker 3:Yeah, you know what I'm saying you know what I'm saying, like if we put something behind that that just happened, that little music, that was right there, you know, and a lot of people sleep on stuff like that instead of going. Well, go take that and figure out how to make that something. You know, and one of the sweet spots was I figured out early on I'm not paying nobody for my stuff. I'm going to create it, like you know, because I I'm not anybody. That sample good for you, but what, what? What I'm challenging you, young, to do is I've had a long career of not sampling. All of that is me like. You know what I'm saying we had.
Speaker 1:Yeah, you know what I'm saying that's, that's crazy, because everybody I feel like that's the way.
Speaker 2:Play something, put some keys in it, put your fingers into it. Even I produced the beat, and I'm not a producer at all. No, your clap was produced by me. I'm not a producer at all, but I got in a position where, where I wanted the beat and I'm not a producer at all Know your Clap was produced by me.
Speaker 3:I'm not a producer at all.
Speaker 2:But I got in a position where I wanted a beat to sound a certain way. So I'm not, I'm in there with the producer, nah, do it like this. And before you know it I'm like, nah, I want the keys to go like this and I'm making the beat, you know so. And then I didn't sit there and say I'm the greatest producer of all time. I went to other producers and said, hey, man, what you think about this? Can you play some of that stuff on here? I took one song and I went to different people and got help to make it happen Because, like he was saying, it's okay to get advice from an older cat, it's all right to use somebody else to use an idea, but just don't take their music.
Speaker 3:Get the idea from that music.
Speaker 2:And then build it, play something else yeah.
Speaker 1:Yeah, I love that. That's great Good collaboration. Okay, now we're going to pivot. Well, I play a game on this show called Questions that Need Answers. Okay, All you guys got to do is fill in the blank. There's a lot of those there is a lot, especially this year, but all right.
Speaker 2:The older I get, the less I oh, the less I think.
Speaker 1:Okay, you're just emotional.
Speaker 2:I just do.
Speaker 3:I just do Spend money. What? Yeah, the older I get, the less I spend money. Yeah, the older I get, the less I spend money okay, why is that? I mean I think I've done everything I wanted to do. You know what I'm saying. When you've done everything, you're like you know what. I find myself going this shit crazy. I need to back up out of this deal, like how much y'all want? Yeah, I'm tripping. Let me get that card back.
Speaker 2:We got a point in life where the money we got we got to keep it.
Speaker 3:Yeah, you know what I'm saying, where I'm thinking, like you know what I want to be comfortable.
Speaker 1:Yeah, understood.
Speaker 3:Yeah, and it's funny.
Speaker 1:You guys have really lived a life and y'all lived that life at such an early age. Y'all put us on to try to be fly and nice cars and you guys were that for us. So I can't imagine that experience that young.
Speaker 2:It was fun.
Speaker 3:The older you get, too, you realize you can only drive one car. I got a bunch of them, but I was just like what am I doing? He said that he just bought a couple cars, yeah, but I'm flipping cars now like I'm letting them go, like anybody who you know I used to be like I want all of this and I'm keeping it, and I'm like anybody who holler at me right now that's, that's got the right number. Come get it. Good for you good for you.
Speaker 1:I know you guys are going on a tour again, but what is like your favorite memory from tour prior? Like what? You guys have yeah or wildest.
Speaker 2:My favorite memory was being inside some cars going to my audiences. After they knew we was in the cars, yay.
Speaker 3:Yay.
Speaker 2:Oh man, it used to be good. I used to hear all kinds of stuff. Yeah yeah, oh man, it used to be good. I used to hear all kinds of stuff. You're like man, I know you in that damn car, juvie, we saw you, we saw the video, we listening, and somebody say you don't get your ass out of that car. Right now we're going to start throwing stuff.
Speaker 1:No.
Speaker 3:Because you know, we had a helicopter thing that you know and nobody was thinking of that. So they used to have to get in this cart, to get in this helicopter that came from the back of auditoriums all the way to the stage and came down, we would be in the middle of the audience. Me and. Bg I'd be holding him down.
Speaker 2:he'd be like man, I'm hot, I'd be going like bruh, don't lift up out this damn thing. You're going to get us trampled out here bro, man, I'm hot, juve, I got to get it, bro, I'm hot too, we hot boy. We hot boy.
Speaker 1:Now imagine that would be great. Has it ever busted? And then everybody.
Speaker 2:Nah, but it stopped. It stopped up there and I was holding him again. Just imagine me with my little.
Speaker 3:imagine you with a little brother and a little sister and he's steady throwing money. I'm like look, stop throwing money. You better stop, bro, because if you fall out, I'm scared.
Speaker 2:I got him again. I'm holding him, I ain't letting you go.
Speaker 1:I ain't letting you go, bro. That's hilarious, I love that. I love that for you guys. All right, I can't believe I actually blanked when I was younger.
Speaker 2:Wow, that's a good one. I can't believe I actually blanked. When I was younger. I had that many kids, oh you got me right there.
Speaker 1:How many kids you got.
Speaker 3:I got six kids.
Speaker 1:Oh yeah, ain't that many, but yeah.
Speaker 2:That's a good number. I can't even think of where to go. I can't believe. I finished school when I was younger.
Speaker 1:Because you was outside man, but you said you wasn't in the clubs.
Speaker 2:I wasn't in the clubs, not in the clubs, oh no.
Speaker 1:You said it right, I was in the projects right. Yeah.
Speaker 2:The project is the club. I don't know if you know.
Speaker 3:The club court wing and the court is going down.
Speaker 2:There's a lot of I can't believe I made it out of the project. There's a lot of I can't believe. I can't believe I made it out of the project.
Speaker 3:There's a lot of.
Speaker 2:I can't believe yeah.
Speaker 1:Heard that Sometimes I look back at my life and I don't regret anything when I look back at my life.
Speaker 2:Yeah, I look back at my life and smile.
Speaker 3:You know what I'm saying, yeah, I think God has gave me a great life. Like you know, it's a good feeling when your job is. You do something that you like Exactly you know, what I'm saying. It don't feel like work. You know it's got its ups and downs. You know everybody think it's glamorous but you know it's good days and bad days, but it still feels good to know you're doing what you was designed to do.
Speaker 2:Yeah, yeah, you're right. I mean, I got my first record deal at like 14, 15 years old and it didn't go great, but it was, man. All of my experiences that I had was great. Then I got with Cash Money. We finally hit the big stage and I think everything in my life happened for a reason, because if none of those things wouldn't happen, I wouldn't be here telling my story and I wouldn't be able to, you know, to to smile because I mean, I'm married. I'm 20 years married. I'm not mad about nothing.
Speaker 1:I love that man, I love that for you guys and you. You really are the first rapper to come out of New Orleans like a breakthrough mainstream.
Speaker 3:Yeah.
Speaker 2:Probably Was that I, yeah, probably yeah.
Speaker 3:Yep.
Speaker 2:I would say Master P. But you know us from New Orleans, we always like no disrespect to him, but we always looked at Master P like somebody else from California because we felt like his music career started in California. So I would say me and Mystical. I try not to forget those before me like MC Thick and Bust Down and Gregory D.
Speaker 3:Gregory D, that was like.
Speaker 2:So it's some cats before me. They just didn't. I guess they didn't have as much longevity as me, more successful career, I guess. But it's cats before me.
Speaker 1:Yeah, we still. I guess, what does Casper for me, man? We still doing it for the 99s and the 2000s and 2004.
Speaker 2:That's right, you know.
Speaker 1:I think it's you, you know, at least I'll say that.
Speaker 2:I let the people choose. Yeah, that's what safe man says. It's you, man. So I made a complete fool of myself when I oh wow, when I made a complete fool of myself when I didn't know who Bun B was.
Speaker 1:Oh my God. Oh my God, they didn't even realize. I didn't know Let me tell you something.
Speaker 2:I was with Bun B for like four or five days with them in the studio. They don't know I'm a big. I'm a diehard UGK fan. Back in them days we didn't have pictures.
Speaker 3:Yay. So you didn't know what an artist looked like, so I didn't really know.
Speaker 2:You know you could put him next to me. I really wouldn't know where he was right.
Speaker 3:Yeah.
Speaker 2:So I'm in the studio with them. They working on a BG album. I'm going there and rapping. Everything Still ain't done upon me. This is Pocket Full of Stones, ugk, right. So like three, four days passed and somebody said the full name, said Bun B to him, said hey, bun B. I said man, your name, bun B. I said you in the Hubba Trail. That boy, looking at me, said you didn't know that. I said hell, no, bro. I said boy, I'm glad you just told me. I said boy, I would have been driving you crazy. Boy, I'm a fan like him. I would have sang this song to him, bun would tell you that story.
Speaker 2:I didn't know.
Speaker 1:Yeah, yeah, I thought he would have knew who.
Speaker 3:Bun was, bun was always around.
Speaker 2:You know what I'm saying. You know Bun was around Cash Money long before I came on.
Speaker 3:Yeah, yeah, bun was always hanging with us, yeah, and I think mine would be the who Let the Dogs Out song. It was at Circle House, so I was programming something in the studio and the dudes who made that song it was just like, um bro, would you help us with a song? And I was just like I'm busy doing something right now and they was just like, well, just give us a hook or whatever you know, and I'm I'm hitting the on the thing, and I was like, well, just go, who let the dogs out?
Speaker 2:Who closed the door?
Speaker 3:and I was just like man, get the fuck out of here. Yeah, you know what I'm saying. And that came out and I was just like wait a minute. No, that's crazy, them dudes, that's Circle House dudes, bebe, and them, that's their cousins who made the song.
Speaker 2:I want my money Bebe, yo go for real.
Speaker 3:You know what?
Speaker 1:I'm saying so you were just doing that, just to get them out of there.
Speaker 3:Yeah, I was just saying it's to get them out the studio or whatever. You know what I'm saying and I was just like hold up.
Speaker 1:Yo, that's crazy. Yeah, Now y'all are musically gifted.
Speaker 3:Yeah, that's what like I was just like holy shit.
Speaker 1:Even your throwaway is a hit. Yeah, that's nuts.
Speaker 2:That was a big throwaway. Somebody else's trash is always somebody's trash, huh.
Speaker 1:Man, that's a fact. You know, I like this Bun B story too, because you know I feel like New Orleans and Texas got like a cousin-sibling relationship.
Speaker 2:Oh yeah, because you know, pimp C is really from Louisiana. What, yeah, he born in Louisiana but his parents they moved to Port Arthur but he born, he, from Louisiana. I didn't know that. Yeah, he just like me. Creole same color everything.
Speaker 3:You know, like their first album was all Louisiana, all musicians.
Speaker 2:They actually got an interview saying that he's from. He originally from Louisiana, From Croy. Where is it from Crowley? Whatever, Crowley, that's what he's from. Yeah, Crowley, Louisiana.
Speaker 1:That's fire. Wow, I love it. You guys are teaching me so much. Okay, you would never believe me if I told you.
Speaker 3:Damn Now the laugh is crazy.
Speaker 1:Why the laugh?
Speaker 2:I almost said the wrong thing.
Speaker 1:There's no such thing as the wrong thing.
Speaker 3:Let's do it, we here 56 and I'm out. You, you heard.
Speaker 2:You would never believe me if I told you I got 50 Cent in his record deal with Eminem. I'm the one plugged 50 Cent with Eminem.
Speaker 1:Really, yes, yeah, would not believe that that's not in the history books. Yeah.
Speaker 2:Axe 50. That's all I say, just Axe 50. He'll tell you like damn, yeah, juve was the one down there. I left 50. 50 couldn't really go to studios in the time and I was like one of the first cats with a studio bus, so I let him record on my bus. He used to always come on there, him, yayo and Banks All of them come on the bus and record.
Speaker 2:And it was during the time when Eminem was doing the D12 thing. It was actually down here in New York doing a video for D12. And they invited me over. So I bought Shy Money over there Because 50 had maybe like two weeks before that I got shot up. Nobody in New York wanted to, nobody wanted to be bothered with 50. 50 couldn't go here, couldn't go there, and I was cool with him. I'm like nah, he, my dude. When I went over there with Sean Money, my first thing was I'm telling Sean Money I think, girl, the type of music that Em doing and the type of music that 50 doing with the disc thing, it's going to work if you go with him. And it worked.
Speaker 1:Boy it did it, Boy it did it.
Speaker 2:So in his book he gave me my credit. But I always tell people ask 50.
Speaker 1:That's fire. Salute to you for that.
Speaker 3:That's wow Like. I said I'm out here.
Speaker 1:I'm outside. I believe you. I seen you in Miami. I seen you in Miami.
Speaker 3:I can say that.
Speaker 1:But you know you guys have had, you know, a remarkable career and some falling out of relationships fall back in, fall in and out and some people like each other, some people don't, but at the end of the day you guys are still, you know, a collective and family and I really admire that about you guys. Oh yeah, a collective and family, and I really admire that about you guys. So my question is like how do you handle? How do you handle just just staying ten toes?
Speaker 3:I could speak for both of us. We got love for everybody, you know, and when it comes to if all of us was in the room right now, we definitely on bro. Whatever it was, let it go. Like you know, whatever it was, let it go. Whatever it was, let it go and learn to forgive. We're moving forward.
Speaker 2:Time heals, all right, and we're trying to set examples for the ones after us and, I think, in a competitive spirit. Me, I just like music, I feel like the fans deserve it, and I feel like we're depriving the fans of it when we, when we separate.
Speaker 2:So, we it's. It's one of those things where you, you, you wish you can make everybody see things the way you see it, but you can't, but you still have to be in a room with him. So I'm just getting along with everybody and saying, hopefully one day, yeah, yeah, yeah, hopefully one day, Full quarter, two minutes.
Speaker 3:you're down by 30. If you don't do it now, you might not get another chance. That's the way I'm explaining it. You know what I mean?
Speaker 1:No, that's real Now. Juvie, I know you back outside too. Are there any new artists that you're interested in collaborating with, or is there any artists in general that you're interested in?
Speaker 2:There's one in particular that I'm interested in collaborating with. I haven't done a song with him yet, but it's that little guy, Lil Russell, from San Francisco.
Speaker 1:Really.
Speaker 2:I love Lil Russell. I like everything he's doing, what he represents, yeah.
Speaker 1:Oh, you were at the Purgatory, right. Yes, yeah you were I pulled up on it?
Speaker 2:Yes, I told Fresh this morning.
Speaker 3:Yeah, it's like you got to go do that.
Speaker 2:You should you got to go, do that I advise every artist and I don't care how big you are or how big you think you are. You need to go over there and get that experience, and we'll find out if you're a good artist too, because he'll put you to the test.
Speaker 1:I love that.
Speaker 2:For real.
Speaker 1:Yeah.
Speaker 3:And it's all about community and the Bay. It's like it's different. Yeah, it's different, different. I'm like man. We probably could run for something in the Bay Area, you know.
Speaker 2:It is definitely different.
Speaker 1:Dang. I feel like it's like that everywhere, though.
Speaker 3:Nah, I mean, we get love everywhere. But some people you know where it's almost that city, some of them cities where, like they treat you like you, like they cousin or something.
Speaker 2:The Bay is still in the 99 to 2000. Yeah, that's what I'm saying. There's no need for.
Speaker 3:yeah, there's no need for security or nothing. The Bay will be like Jew. What's happening? How you momming them.
Speaker 1:They good. You know, I love that, I love to hear that. What would you guys consider your greatest achievement in music?
Speaker 2:Oh man, I would say Back. That Ass Up is my greatest achievement. The record sells Everything that goes with it is my greatest achievement. I don't think it's even close.
Speaker 1:Okay.
Speaker 3:I know it's late, but to just be be appreciated. You know what I'm saying, for for it's starting to get recognized, you know, because we was always looked at like we was the country dudes or whatever. Like you know, like and the, the music has stood the test of time. Like you know the, the longevity of it. You know it's like come, like it's undeniable. You can't keep saying like you know, well, it was a fad or whatever it's like. Come on now we going on 26 years and they still sapping us.
Speaker 2:Yeah, yeah, you know what I'm saying.
Speaker 3:It's still one of them songs. Anywhere you at as a DJ, hit this one and it's back alive. Yeah, you know what I'm saying.
Speaker 1:Damn man. No for real though.
Speaker 3:Yeah, if you, failing at anything, hit this right here, you right back Relationships, wedding receptions, whatever. Oh yeah, now you play that back, that ass up.
Speaker 1:Nah, that's so funny yeah that's going to fix it. That's funny, all right, and then my last question is looking back is there any anything that you experienced that you would give advice to the next generation to avoid or to do more of in any avenue?
Speaker 2:it could be personal, don't let outside opinions affect you like you know, like it's okay to be. You know for collective criticism, but don't let them your overall thought process of yourself or which how you see yourself as an artist. Don't let somebody on the outside control that, because I see artists change because of what they think the people want from them, instead of just focusing on what they want the people to see from them.
Speaker 1:Right.
Speaker 3:So, it's oh, for me it's like homeboy business Kill that, get you some real people that do real things. Like you know what I'm saying. You can't make it with homeboy business. Like you know what I'm saying If your homie is not a manager, just let him be your homie.
Speaker 2:Everybody don't get lucky like LeBron right and have guys around him that really can do the job right.
Speaker 3:So that's good advice, you know because we always like and it's in our nature to bring our whole crew and family with us. But sometimes we got to be like just be family. Just be family. You know what I'm saying. Because if I give you this opportunity and you don't really know what you're doing, you hurting all of us. Like, really know what you're doing, you're hurting all of us. Yes, like you know what I'm saying yeah, no, that's real.
Speaker 1:Now I want to know I said that was the last question, but this is really. My last question is when y'all did the Tiny Desk, because y'all really remembered all the words. I go to concerts all the time. People be forgetting their words.
Speaker 3:Yeah.
Speaker 1:Especially, you know, when it's been a while since they performed. Did you have to like spruce up, or you really Y'all still there.
Speaker 2:Well, the difference between us and a lot of cats from my era we get booked a whole lot. I get booked. It's been non-stop for me. I do shows every weekend consistently, so I'm singing my songs all the time and I do like my vocals playing. I just can't do it.
Speaker 3:Then you learn stuff from people you know.
Speaker 2:I got to have the headphones in my ear, where my mic has to be right and I have to be able to hear myself and hear what the people hearing. If I can't do that, we're going to have a problem Early on.
Speaker 3:Juve never wanted nobody to step on his words, so we never got it. You know, like, because I'm not a rapper, you know what I'm saying. I never knew the reasons, but you learn stuff from watching. You know I'm saying because it don't have an impact, because when, when it's something powerful he's saying, he should say it because it belongs to him. But if you got six dudes jumping in and you know what I'm saying and moving him out the way, you know. So it was just like it was always important to know your words. Like it's like dude know your words. Because it's like I feel him on that now, because if it's my show, it's my show, I don't need nobody to compete with.
Speaker 2:Yeah, I don't like backups to a certain extent. Like if I have my son and my brother on stage and me doing backups, they have to relay. I don't want them both at the same time and then I don't want them saying certain words and then I'm going to have their mics low.
Speaker 2:You might as well just not even put them up there, man, unlike a lot of artists, I actually, I actually like, I actually really really want the people to hear me. I really want to sound just like the record, and if somebody's yelling behind me then I'm like look bro, the song don't go like that, Don't do that.
Speaker 3:You know, we always kind of operate like the temptations If it's my turn, I'm out there, you know what I'm saying, and he'll fall back when it's his turn. And you see so many shows where it's seven people and you're like who is the guy? Like you know what I'm saying, mad posse? Yeah, like who is the?
Speaker 2:you know, yeah, you got to hold all the trenches. They say I was in the trenches, you brought the trenches with you.
Speaker 3:Yeah.
Speaker 2:You wasn't in the trenches. You still in the trenches and a lot of times.
Speaker 3:You know it's a wrap. Six people been drinking, seven people been smoking. Just like bro, he ate words behind you.
Speaker 1:You know what I'm saying yeah, no, that's real Dang. This was great. And the only other person who I've seen rap effortlessly still is Black Thought.
Speaker 2:Yeah, can I say this? Dmx terrified me on stage.
Speaker 1:Really Truthfully.
Speaker 2:That was the one person A lot of artists can say they're scared to go behind me. I have a reputation Artists are scared to go on stage after me and it's the facts and you can name them. They'll tell you like he'll show you up DMX Hell, no, that's the one person I would never God bless the dead. I think he was the greatest performer in the rap that rap ever seen, cause he used to crawl, cry, pray, climb things and he did it all with the mic, with no vocals playing all, and he sound just like the record on every damn song that's crazy so I think so him after that Rough Riders two occasions when they Rough.
Speaker 3:So I think that so him after that rough riders to a casual riders.
Speaker 2:That's really why I was like that, because I was hearing him yeah, we're not competing, okay, killing us. We got to compete with this dude like and I told him that multiple times like, bra will never perform, after what?
Speaker 3:DMX had this thing about he could, he could touch your soul. He did you know what I'm saying Like he'll stop the show and and do something where he got everybody's attention. And you just like, dude, he's doing this acapella, like you know what I'm saying and and it's just like we always studied, like you're, just like we're gonna see we sitting out there going like, all right, I got that, I'm gonna write that down, put it up in my memory, just to make mine a little bit better. Yeah, you, you know, and a lot of people always looked at us, as you know, like they the fun group, they the twerk group or whatever and all of that. But it was, it was, it was so much work that went into everything that we'd done, from the shows to the records and everything. And I think that's why they stood the test of time, because it came across that way. And when you saw us in concert, you're like, well, they really care about this.
Speaker 3:Yeah, and every group. Well, you know, you, you got somebody who you just like well, you know, that's the clown of the group, that's the, the, but it's necessary, yeah, but when it came down to it, you know, everybody got their lyricist. This was our dude. He's like man, I don't know if you're gonna, you're gonna be able to go against juve. I'm gonna put my money on you. You know what I'm saying and I started understanding just by watching. I'm like he's serious about this shit. He's like man, this is not you know that time. Like well, me, when I'm making a song, it's a joking ass song I'm going to give you all kind of crazy shit going on who let the dogs out.
Speaker 1:That was the. Y'all make me want to re-watch.
Speaker 2:That's one of the greatest ideas ever.
Speaker 1:I didn't know that, I just learned I didn't know that, yeah. Y'all make me want to watch backstage now, not after this. I'm going to have to do that, but thank you guys for coming on the show. I really appreciate it.
Speaker 3:Thank you for having us. Yeah, thank you for having us, thank you. Thank you, firefight.
Speaker 1:Sleeper.
Speaker 2:What's the song that people?
Speaker 3:sleep on, but people should know From us. I would say Juvenile on Fire? Yeah, I think it's 400 Degrees.
Speaker 2:People do that. They sleep on it. It was never a single. Think about it. It was never a single, so it got slept on. You can curse.
Speaker 3:I can curse.
Speaker 2:Yeah.
Speaker 3:So the Juvenile on Fire is a part where he used to say in concert you can fuck my bitch. Now people know it. Yeah, when the song come on, they just automatically say it, like you know what I'm saying, so that is like a sleeper to me. Yeah, yeah, and I'm just like god damn, these people sing this shit as soon as the song starts, and that's not a lyric in the song. A lyric in the song? It's not in the song.
Speaker 2:It's not in the song. They knew me for saying that chant.
Speaker 3:Yeah, they know him for saying this. So whenever you play that, even if it's a DJ gig, folks start saying that shit, I'm just.
Speaker 1:That's pretty fire. That's pretty fire, all right, well, thank you guys, thank you so much Thank you.