The Impact of Ice Cream Man

Master P: It motivated me. Like it’s time to get out here and handle business. The life that I was living at the time, a lot of peope didn’t think that I was going to make it. They figured I was going to get killed or go to jail. But the studio kept me out of trouble and it changed my life. Instead of being on the block, I turned the studio into my block, where I needed to be at. It kept me away fom the negativity. I realized that I could live longer and that I had a real family around me. Ice Cream Man ranks #1 among the No Limit albums, even over Ghetto D because it sparked everything. Without Ice Cream Man you wouldn’t have the rest of the No Limit albums, you wouldn’t have trap music, none of this. It opened the doors for everything.

Mia X: The album basically came in and learned what the culture was in New Orleans. People were putting out music years before Ice Cream Man, but what happened was Percy came home and got what we had to offer. The marketing strategy was so dope that it exposed New Orleans to the rest of the world and what we were doing. We had artists that had deals with Atlantic, Profile and RCA but didn’t do much. But the marketing strategy for this album let the world know that we always had our own sound that was unique to us.

KLC: I don’t think the album had a big impact until people realized how big No Limit had got. Truthfully, Cash Money was always a bigger label in the city of New Orleans because they were based in New Orleans and they started out with bounce music. P started his company in California. When he did that, he came back home and the second “‘Bout It” came out and it really broke. The first “‘Bout It” caught on in the Midwest because it was pretty much a gang banging record. But the hook and beat just had that West Caost affiliated sound. It caught on at home as the commercial because of the hook having New Orleans slang on it.

Right now, I’m on the road DJing for Mystikal. This is my first time really seeing theimpact that the music Beats By The Pound produced for No Limit had. We were just churning out records. The producers didn’t have a f*cking life, the artists did. The artist, once their album done, we don’t have to see them until next year. They might be around to hop on other people records. But for the producers, once one album was done, we had to hop on the next. So on and so on. The artists had time to do thing the producers didn’t.

Mo B. Dick: That album was so diverse. You had the California elements and Louisiana elements. Ups and  downs, highs and lows. It had some consciousness and commentary on there. It was about trying to make it out the hood, not hustling any more, not having your mom worry about you in the streets. It was a ghetto romantic. Outside of my album and Ghetto D, I think this was the album where everything was where it was supposed to go.

 

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