The Game: I can’t really remember that fucking session man. I just remember being in the studio and knocking that shit out, quick. That was with Just Blaze, and I was in New York at Baseline, and he put on that beat, and I ripped that shit. Period. It took me like 30 minutes to do that song from top to bottom. When I’m in New York man, I get a different vibe, and I just go in on shit. I always come out with crazy shit when I’m in New York. That was the first time I recorded with Just Blaze. I went into the corner and I just was writing, and then I laid the verses. Just Blaze was like, amazed.
Sha Money XL: “50 recorded that hook in Jimmy Iovine's basement because Game couldn't come up with a hook. We was at Jimmy's house chilling. We was having a meeting with Doug Morris and we was just there on some other shit. Jimmy was like, ‘Yo, we need a hook for this record. It's a big record.’ And 50 wrote that hook right there in the basement. He did a rough vocal for Game to hear it and do it over. I'll tell you the truth: Game did his thing on his album. Whether he wrote it or not, he performed. He's a studio rapper.”
Angelo Sanders (A&R for Aftermath): “'Church For Thugs’ made 50, Jimmy Iovine, and everybody take notice like, ‘Wow.’ I had worked with Just in the past so I reached out to some mutual folks. Just Blaze gave us six records that were incredible and Game had just laid the verses on the ‘Church For Thugs’ beat. When we played it for Dre, he went crazy. He immediately had a meeting with Jimmy Iovine and they played the record at Iovine’s house. 50 ended up recording the hook at Jimmy’s house on his kid’s Pro Tools system. 50 came with that hook right there, Game jumped on that, and they laid that at Jimmy Iovine’s crib. That was the beginning of the G-Unit relationship.
“But that was our record. It wasn’t like 50 brought us that record. I went and got that record from Blaze, we made the verses on that record, we gave the record to Dre. Dre played the record at Jimmy’s house in a meeting with 50 and them, but at that point it was just a hook. It wasn’t a, ‘Oh, I need to take this song.’ That was, ‘Oh, that’s your artist Dre? He’s signed to us? Let me help him out.’ It wasn’t no, ‘He’s gonna be G-Unit now.’ It was just, ‘Let me do this hook. I like that.’”