Album: Tha G-Code

Mannie Fresh: “I remember having A&R conversations with Juvenile. He was looking for a 'Back That Azz Up' song again, and I’m like, ‘Dude it was a crossover song. If you want that I can’t make a song about your Oscar Meyers. You gotta do some shit that appeal to women.’ He’d be like, ‘I don’t understand what you're talking about, I’m Juvenile.’ I’d be like, ‘Without you knowing, that song appealed to women, not that you were trying to do that. Now you came back with another song talking about your dick, it’s not gonna get the same [reaction]. If you want that same success you have to gear it for women.' He’s like, ‘I don’t get that. Let’s just do that song.’ I’m like, 'Okay cool.' [Laughs.]

“Me and Juvie, we have great respect for each other. But I think when success happens with a lot of artist they turn into producers. I’m like, 'Write your raps, let me do this part. I’m not going to write your raps, you not going to do my beats.' It’s not just him, it’s a lot of artist who will get a producer that established a sound with them, and they’re like, 'I kind of know what I want.' It’s cool to know what you want, but if it didn’t work out, it’s like let the guys that you hired do what they do.

I wouldn’t even feel like this is me patting my own back but facts are facts: I never had a bad album with Juvenile. It’s like, okay dude you left and you weren’t produced. You are an artist that needs to be produced.

 

“I wouldn’t even feel like this is me patting my own back, but facts are facts: I never had a bad album with Juvenile. It’s like, 'OK dude, you left and you weren’t produced. You are an artist that needs to be produced, it ain’t gotta be me.' That’s one thing I know about him.

“If you’re the head honcho and everybody is scared to tell you something, they’re just going to let you do whatever you wanna do. If your lyrics are crazy, I should be able to say, 'Hey dude, record that over. That’s not it.’ But if you get that point that nobody can tell you that... Or you say, ‘I’m going to take some short cuts. I’m gonna leave, and I’m gonna go get some mediocre producers, and I’m going to mix it myself.’ You forget some of the elements that made you hot.

“This is not aimed at him, but think about your favorite artists when they sign with somebody else and their vocals sound completely different. Like, that dude before knew how to EQ your vocals, all of that is important. A lot of artists don’t think something that small is technical. I know how the world got used to hearing you, so I have to set your vocals like that every time I do it. But when you do a song and all of a sudden you sign with Joe Shmoe Records, and they’re like, 'Sounds great!' And all of a sudden, somebody is like, ‘He’s real bassy and his ad libs don’t sound the same. They’re not the way they used to be.’

“People that I grew up on and that I love, sometimes I hate when they go to other labels. It’s not their fault, it’s whatever the deal was. The producer who did it, he knew him so well. Now they over here working with these dudes, and they don’t have a clue who this dude is and what this sound is.”