“I got this relationship with my fans that just never left,” Juvenile tells Apple Music’s Ebro. “They pretty much told me, ‘You need to put an album out.’” Juvenile could’ve left rap alone after 1999 and still have left his stamp forever. As the franchise player for Birdman’s Cash Money Records in the late ’90s and early 2000s he delivered the timeless dance-floor filler “Back That Azz Up” and introduced the world to the grittier side of New Orleans. If his string of live performances in the years since his previous release wasn’t enough, Boiling Point is proof: Juvie still knows how to get the party started. He has the same gravelly voice that made him a star, and rarely does it sound as commanding as it does on “B.B.B.,” where he pops off lewd, commanding sex raps alongside Genesisthegawd over a beat that’s reminiscent of a Gucci Mane classic (Megan Thee Stallion appears on the remix). The ladies have always been a central part of the bounce-music scene that Juvenile came up in as a teenager. “You know in New Orleans, if you say the words, do something creative, and get the women to shake a little bit, it’s a different animal,” he says. The party continues with the salsa-flavored “Fuego” featuring DJ Khaled, the silky R&B vibes of “Hot Boy Summer” with Jacquees, and the bounce-heavy “Pay Me.” He even takes a shot at a country-rap hybrid with “One More Round,” a poppy, festival-ready jam featuring Nashville vocalist 2’Live Bre. But Boiling Point is more than dance-floor fillers: It’s a recognition and celebration of Juvenile’s past and a show of gratitude for how far he’s come. Most of his Cash Money Millionaire comrades show up for multiple appearances: “The Reunion” features B.G. and Birdman over classically haunting 400 Degreez-esque production, and Mannie Fresh incorporates guitar riffs played by Lil Wayne on the boastful “Lenny Kravitz.” Juvie revisits his drug-dealing days on “Meph Town,” breaks down his personal G Code on “Drop the Location,” and drops gems about moving beyond blowing money to impress women on the Timbaland-produced “Yea Yea Yea Yeah.” He even raps alongside his son Young Juve on “Hot of the Hottest,” tenderly passing down the lessons he’s learned from his time on the street. It’s all a long way from his days desperately wanting to rock the mic at New Orleans parties as a teenager, and he’s grateful. “It’s kind of crazy coming from being in the club, grabbing the mic to actually sitting up here talking about my album,” he says. “I'm just glad to be still here.”