Buckwild: “Saigon recorded that in Scram Jones’ crib, this is way back. Probably during the time of Warning Shots. [Laughs.] Because I know when I first met Saigon, I met him through Gotti from The Source, who I think was the music editor at the time. So Saigon would come to my studio, he would pick beats, and go off to record it somewhere else.
"The next thing you know, he got his deal, and they wanted like two or three Saigon records for his album. I remember Atlantic was playing with the money a little bit, but they cut me a check for two cuts.
“When we had to finish the record, I had to come down to work with Just. He played everything instrumentally. He took the sample out because he wanted everything to flow straight through. Just mastered all the notes, and figured out how he wanted the tracks to flow into one another.
“Just was the executive producer and he had to change some things. He was put in the end of ninth inning, trying to get that album out. So I can understand that. I still think it’s a dope record. It’s not too different from the original. Overall, I think it’s a timeless record for it to be made some time ago, and dudes still like it. To be on an album some people consider a classic, I appreciate that.”