The Game: “That’s Dre [talking in the beginning]. It’s either Dre or Fif. I can’t remember. I haven’t heard The Documentary since I did that song. We was in the studio for all the songs 50 is on. You know what, 50 was on the hook when I got the beat. It was from 50. And he gave it to me, and I put Nate Dogg on it.”
Needlz: “I was doing a lot of stuff with G-Unit at the time. [That song] kind of happened out of the blue. I wasn’t really expecting it. I just got a call and it was like, ‘Yo, we want this beat.’ 50 wrote that hook. I’m not sure how much of the verses he did, but I know he did the hook, and he submitted it to Game. I didn’t hear the [original] version, but I got the split. [Laughs.] When you sign the contract, you see who gets what. And I think 50 got a good part of that record. If you listen to it, it sounds like a 50 hook. People don’t really understand that 50 really did take Game under his wing. He did his whole album. He gave up records, you know what I’m saying? Just imagine if 50 had all those records on The Massacre, like 'How We Do,' all those records man? It would have been insane.
“I don’t really like that beat. [Laughs.] The original version [of the beat] sounds better than the way it is now. Dre’s guitar player, Mike Elizondo, replayed it. The original sounds much better and fuller. But with the sample [of Rick Wakeman’s ‘Catherine Howard’], you’ve got to pay. If you replay the sample, you don’t have to pay for the master use of it. After hearing the album, I really wished he would have picked another beat that kind of showcased what I can do. There was some amazing beats on that album. That was probably one of the most well-put-together [albums], production-wise, in a long time. I don’t remember hearing anything since then that had back-to-back-to-back-to-back joints. Everyone sees my plaque and they’re like, ‘So, which one did you do on Game’s album?’ And no one ever knows my joint. [Laughs.] Because it was towards the end and shit.”
Angelo Sanders (A&R for Aftermath): “I hated the record. At the time, 50 and G-Unit had been coming with those lovey, dovey records. That was kinda supposed to be that. I didn’t wanna use it. Game didn’t wanna do it. That was a record that the label was on some, ‘You gotta have that for the radio and for the chicks.’ Game made the record. You’d have to ask him how he felt about it, but I don’t think it was one of his favorites. I never felt that Game was that type of artist. Those records never have worked for him. That’s just one of those things that you try to appease the people that pay the bills. They wanna swear they’re involved. ‘It’s gonna be number one! It’s gonna go straight to the top of the charts!’ If there was any record I had to leave off of the album, that would probably be it. That would be the one where we felt like we forced it.”