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Lil Jon on 'Crunk Rock' and Hanging With Mick Jagger

May 7, 2010 1:19 PM ET

It's easy to forget that it's been six long years since Lil Jon released an album of his own material. Just last year, the proprietor of Crunk Juice was pouring "Shots" with LMFAO, voicing a character in Freaknik! The Musical and begging Miley Cyrus fans to stop calling his cell after a mix-up at the telephone company. After years of sprinkling "Yeah!" and "What?" into other artists' hits, Lil Jon is finally back in the driver's seat with Crunk Rock — due in stores on June 8th after a series of epic delays — and the Atlanta rapper recently stopped by Rolling Stone to talk his new album, Jersey Shore and hanging with Mick Jagger at the club.

Crunk Rock was initially going to meld Lil Jon's love of crunk with rock & roll, but he ultimately decided to ditch the riffs and make a party album, drafting friends like 3OH!3, "Shots" cohorts LMFAO, R. Kelly, Pitbull and more to lend a hand. "You can't say, 'Lil Jon, all he does is crunk music.' I do everything!" he says. "I just make it crunk." Lil Jon calls the new single "Outta My Mind" with LMFAO the "crunkiest" track on the album, and says he recorded a track for the upcoming Jersey Shore soundtrack. "Me and Pauly D is cool," Lil Jon says of the spiky-haired party animal, adding that he provided Pauly with an exclusive "Outta My Mind" remix.

If Crunk Rock hadn't deviated from rock, Lil Jon tells RS he had his eyes on one fairly unattainable sample: the Rolling Stones' "Miss You." In fact, one night when Lil Jon was DJing at the club, Mick Jagger showed up. Watch him tell the tale in the video up top.

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Song Stories

“Try a Little Tenderness”

Otis Redding | 1966

This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

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