Some of “Ha” is criminal – “You know how to work a triple beam, huh?/It ain’t hard as it seems, huh?” Some of “Ha” is cruel – “That ho don’t know when to shut her mouth up, huh?/You gon’ knock that ho teeth out, huh?” Some of “Ha” is funny – “That’s you that can’t keep a ol’ lady ’cause you keep fuckin’ her friends, huh?” “I can’t go tonight, no.” “The test was hard, yeah.” Or as Juvenile begins “Ha”: “That’s you with that bad-ass Benz, huh?” (It’s written “Ha.” He means “Huh?” As in: “Right? Don’t you agree? Isn’t it so?”) “Ha” is the first single – an updated, remodeled and better version of Juvenile’s regional hit, “Solja Rag.” New Orleanians have an odd habit of adding affirmative or declarative words at the end of sentences. But to those who live in and around the Magnolia Housing Project of Uptown New Orleans, not only can Juvenile rap, Juvenile and his fellow Hot Boyz – B.G., Lil’ Wayne and Turk – are rap. He’s bilingual.įolks outside of New Orleans have also said that Juvenile can’t rap. It’s New Orleans Third Ward Ghetto – a second language. Maybe it’s because some of his favorite words have no written equivalent, or precise meaning – words like whoalay or shipe. Maybe it’s how he randomly adds and subtracts syllables. I would later bring a lot of that style to Cash Money.Folks from places other than New Orleans have said that Juvenile raps like he’s deaf. I liked the way the old formats of hip-hop songs were made. That’s what you hear on those earlier songs with Gregory. I didn’t even know you had to pay for samples around this time.

We didn’t have samplers, so you had to loop that break over and over again. If you wanted to use a loop you made it with the actual record.

When I was working with Gregory D the crazy thing is there was an earlier way to tracking songs. He would do a style over and over again until you liked it. A lot of people would say that Greg’s style kind of irritated them into liking him. He was a dude that stayed in the studio all day until we got the song completed. was that dude that bothered the shit out of you like, ‘Man, I really need to rap.’ That’s what really drove me to work with him. Just from me DJing in the club I knew that people were excited about certain sounds the music that got the party started. Their style was very futuristic, so I incorporated that as well as Grand Master Flash’s sound. But another influence on me was Mantronix. This was like the early stages of hip-hop in the way that it was created…just a chopped up 808, a break beat and an MC. My whole style can be traced back to the influence of New Orleans bounce music. I loved the he did for Dana Dane and Sweet Tee. Fresh, Whodini…I was on everything that was popping around that time. “Growing up in the 80s I was a hip-hop kid.

400 degreez juvenile production