House of Pain - Fine Malt Lyrics (July 21, 1992)

If you're a frequent reader of this blog, you'll notice that after mentioning him in my review for the classic All We Got Iz Us by your favorite baldhead loons Onyx, I never really talk about Eminem here. I just don't see the need to, as this is a blog discussing boom bap, not whatever the hell he's into nowadays. However, it is my honest opinion that it's the genre that suits his wordy style the most. Just listen to Don't Front, his cover of Black Moon's I Got Cha Opin. Right? You'll also notice that I haven't been very productive here in recent times. I'd be lying if I didn't say that the lack of comments wasn't one of the reasons for such a slowdown, even if it definitely isn't the chief reason. Bottom line, I like to engage with anyone reading these ramblings of mine, so if you're feeling like some of the shit you're reading sounds baffling, sound off. It really helps.

I bring him up today because of his storied history of lyrical beef, almost every one of which he came out on top. Not to discuss how he won, but to discuss how he views his opponents today. Almost every one of his past adversaries still views him as such, except for two that come to mind. One act was the Insane Clown Posse, a duo of rappers/wrestlers appealing to a mostly working-class white fanbase. (Credit to them for creating a surprisingly sizable movement around their brand.) The other is one-third of our focus for today.

Erik Francis Schrody aka Whitey Ford bka rapper/actor/guitarist/activist/anarchist Everlast was a teenage graffiti writer who eventually met Mark Richardson aka Mikal Safiyullah bka underground legendary MC Divine Styler on the graffiti scene in LA, who just so happened to be an associate of hip hop pioneer Ice-T. Being from NY, Divine Styler was well-versed in the graffiti scene and took Everlast under his wing. During that period, it eventually came to light that Everlast dabbled in rhyming as well, with a demo that was eventually well-received by Ice-T himself. Ice then insisted on bringing the new whiteboy into his then-burgeoning rap collective the Rhyme Syndicate. Naturally, an album deal from Warner Bros. Records followed, resulting in Everlast dropping his solo debut Forever Everlasting. Which... yeah, it flopped hard. Despite housing a batch of decent tracks, it came off exactly as it seems at first glance: A white kid tryna trend hop. Everlast himself is actually extremely happy it flopped now. Hard to blame him, as it wouldn't've been fun to be Vanilla Ice, at all. Thankfully, he reconnected with a childhood friend immediately thereafter.

Daniel O'Connor bka Danny Boy was a graffiti artist who originally hailed from New York and was quickly developing as a graphic genius when he got wind that his boy Everlast didn't really get on with his Rhyme Syndicate deal.  After reconnecting, D showed E a few concepts he was developing for a hip hop group. An old demo with 'House of Pain' written thereon caught E's eye, to which he suggested their younger friend Leor Dimant nka DJ Lethal as their DJ. Danny immediately developed the aesthetic behind the group: A no-nonsense trio of Irish hooligans who loved brawling, drinking & hip hop. (Despite Lethal being Polish, he went all in on the idea.) All this was prior to the most integral coincidence in this story, tying together all this rambling with my Soul Assassins run.

Apparently, E was dating a girl back then whose fucking roommate was with a then-unknown DJ/producer by the name of DJ Muggs, later of the epic Cypress Hill. Muggs had just finished working on his crew's eponymous debut when he became fast friends with E almost a year before it dropped. Shortly thereafter, E met yet another Cypress general, the mighty B-Real, and spent the entire night freestyling with the crew. That same night, Muggs played the entire debut album for everyone. Needless to say, Erik was blown away. B then jumped into Muggs' ear, egging him on to work with E after being thoroughly impressed with his pen game. The very next day, Muggs calls E, invites him to the studio, and upon his arrival, gives him a tape containing just two beats previously rejected by West Coast lyrical warlord and current Big 3 owner Ice Cube. One of those beats was Jump Around.

Now let's talk about Robin motherfucking Williams.

By the time I came across his stellar work, he had already established himself as an absolute powerhouse in both comedy and drama. However, the sheer volume of iconic roles he played in the 90s is nothing short of transcendent. One of those unforgettable roles was Daniel Hillard in Mrs. Doubtfire: A down-on-his-luck voice actor who is willing to do anything to spend time with his children. Now, just imagine the impact of that scene where Daniel & his son were dancing on that table on a prepubescent mind (One completely smitten with Lisa Jakub, might I add). A splendid visualization of the chaos that Jump Around ensues has not been portrayed so well since. Once Robin nailed that scene, it was all over for me: I HAD to hear more of that song. Unfortunately, I was still in elementary then so no dice for me. RIP Robin Williams. Your absence still hurts.

Back to Jump Around & its creators for a bit: Everlast used the tape Muggs gave him and made a demo tape housing the final cut of Jump Around for his new House of Pain venture and, within a mere week, there was a gargantuan bidding war for this hot, new rowdy Irish hip hop group with a smacking song. Out of all the offers on the table, House of Pain went with Tommy Boy, best known for acts such as Queen Latifah, De La Soul & Naughty By Nature. During the proceedings, Cypress Hill & House of Pain became even more involved with each other, and with a third budding hip hop group called Funkdoobiest, DJ Muggs officially formed the Soul Assassins collective, thereby setting the stage for further collaborations within the three camps.
After Cypress Hill's debut became an underground smash in LA, Muggs took DJ Lethal under his wing and molded him into a producer for House of Pain as they set up crafting the debut LP, the title of which the internet can't make up its mind about. Fuck it, I'm calling it Fine Malt Lyrics.
Naturally, Jump Around was chosen to be the lead single. What's weird is that it took three months to finally click with everyone and sell five hundred thousand units, a whole two months after the release of the actual album. Once it hit, though, it was unstoppable, completing the millionth sale just a month further, which propelled Fine Malt Lyrics to gradually sell one million units over the three months following that achievement. This obviously means that many people have very nostalgic feelings toward this piece of work, myself included. It was one of the very first hip hop albums I listened to in its entirety.

Time to see if it holds up. Fine Malt Lyrics, boy/girl (pick one):

SALUTATIONS
Rap album intro. You know you just wanna skip to the next one.

JUMP AROUND
Absolutely essential move that House of Pain opened up their album with this song! Why don't more rap acts do this? Yeah, if you've been literally living under a rock for the past 26 years, this song is one of my handful of favorite mainstream HIP HOP songs. Everlast just tees off on DJ Muggs' exemplary beat with battle lyrics that remain his most popular lines, with one of the most memorable performances in hip hop history. The magic ingredient Muggs added to make this beat, which starts off with a beautifully fitting Bob & Earl excerpt, was an ingeniously handpicked Jr. Walker horn sample and an equally-mindblowing Chubby Checker sample masterfully slowed down, interwoven in a way that renders producers speechless. According to Muggs and E, this song was made way before Jermaine Dupri cultivated the idea for Kriss Kross. Their proof? Muggs played Jump Around for Ruffhouse with the intent of signing House of Pain to the same label they were at. Ruffhouse passes on the deal, then miraculously Kriss Kross puts out Jump on Ruffhouse. That's why you hear Everlast dissing a Ruffhouse A&R/producer by the name of Joe Nicolo aka The Butcher at the end of the song, where he calls him The Biter. Bottom line? Put this song up against any timeless hip hop classic. I dare ya.

PUT YOUR HEAD OUT (FEATURING B-REAL)
From the most popular DJ Muggs production ever to one of his most underrated. A grimy-ass beat immediately attacks your senses, in what can be traced as the beginning of DJ Muggs' transition into macabre production territory. Everlast and B-Real are having noticeable fun with Muggs' work as E bookends B's contribution with two verses loaded with BNB: boasts n bullshit. However, it's B who really shines here with his mastery of flow & quotables in full display to the listener as he eviscerates his end of the deal. This was the second beat on the tape Muggs gave E as well as the very first song House Of Pain ever recorded, by the way. Two songs in and you can see why Tommy Boy were so eager to sign these dudes.

TOP O' THE MORNING TO YA
DJ Muggs finally relinquishes his grip over production duties to DJ Lethal, who debuts with a Staples excerpt that leads into a ferociously playful Willie Dixon mesh. Everlast gives three verses that decrease in bar quantity with each verse, with the first being one of his many standouts throughout the LP and the last being a measly four bars. Danny Boy surprises everyone with his rhyming debut on this song, and I'll say this: He may be limited, but at least he's giving it his all. Plus, I like the Malt-O-Meal reference. Brings back the fuzzies, you know. You'll have a lot of fun with this.

COMMERCIAL 1
A soundbite from the 1977 adaptation of HG Wells' The Island Of Dr. Moreau, no more.

HOUSE AND THE RISING SON (FEATURING SON DOOBIE)
DJ Lethal delivers a beat that is as mellow as it's gonna get for a group called House of Pain. And Everlast and fellow Soul Assassins OG Son Doobie from Funkdoobiest get their shit-talking on, proper. This is the very first time I ever heard Son Doobie and something about his tone of delivery struck me: He has a very meaningful voice that can be utilized quite effectively from time to time. Overall, this shit will also be a good time.

SHAMROCKS AND SHENANIGANS
Over a DJ Lethal instrumental dominated by John Lee Hooker samples, E & D take turns bashing the comp, and despite the sometimes-simplistic schemes, you're sold every step of the way simply because you hear how much fun these two are having. Which seems to be a consistent theme on this album. Awesome song.

HOUSE OF PAIN ANTHEM
Once again DJ Lethal centers his entire beat around an act of his choosing, this time being jazz rock band Chase. The result is a menacing-ass beat that's absolutely perfect for splattering threats aimed at imaginary opponents. By now, it's pretty much established that you're not getting more than 16 bars outta Danny Boy due to him receding lead rapper duties to Everlast, who reminds you with his first verse that he can get down and dirty with his battle raps if need be. The overall track isn't as fun-loving as the previous three songs, but it still fits the overarching aesthetic nicely. Well done.

DANNY BOY, DANNY BOY
And we're back to party mode. Matter of fact, this song is by far one of the two most fun on the entire record. Just so happens that this mood switch coincides with DJ Muggs' return behind the boards, once again throwing a myriad of samples at you. E & D are infectious in their back & forth. Too bad the whole song lasts just under two minutes. Still, a banging ass good time, nonetheless.

GUESS WHO'S BACK
Everlast continues his mission to blow your mind away with his punchlines, and while they're not really the mind-blowing type, I must emphasize the value of enjoying your work because songs like these really reflect positively on the listener. Guess Who's Back is no different as E goes for dolo with three verses pack to the brim with talking shit over Muggs' equally-enjoyable beat made from an Albert King/Paul Butterfield hybrid. Nice!

COMMERCIAL 2
See Commercial 1...

PUT ON YOUR SHIT KICKERS
DJ Muggs returns with another sample-heavy beat for the other most fun song on this album. You notice that the fun factor mostly goes up when Danny Boy's in the picture, as demonstrated to great effect here. Personally, I crack up every time I hear D singing the Missouri Dawg song. This album is awesome, so far!

COME AND GET SOME OF THIS
Everlast is alone again. It's fine, though. He already proved numerous times on this album that he can carry a solo track on his own. You'll enjoy the one-liners here, as you did the rest of this album. However, behind the boards is the better spectacle, as the beat is a tag team between Muggs and longtime Soul Assassins member DJ Ralph M from Funkdoobiest. As such, the beat sound uniform of what was expected from the crew at the time, which is intended as a high compliment. Good shit.

LIFE GOES ON
Whoa. The fun factor just returned big time! All due to the infectious beat by DJ Ralph M. Everlast's lyrics are your typical course of BNB mixed with some simple theological explorations of the NOI randomly thrown in, which comes off as Everlast spitting these lyrics while baked outta his goddamn mind and thereby only adding to the accidental hilarity. His delivery of said lyrics is the icing on the cake.

ONE FOR THE ROAD
I'm telling you, you can literally hear Everlast enjoying the hell outta recording his lyrics. Here, he clearly revels in his glee whilst performing the entertainingly childish hook paying tribute to Mickey's beer while DJ Lethal, returning from quite the rest period, supplies his mans with his equally playful instrumental, sampling Jr Walker among others. The streak of hot tracks continues!

FEEL IT
This may be the most blood pumping beat on the entire album besides Jump Around and Put Your Head Out, courtesy of a DJ Ralph M bowing out of Fine Malt Lyrics. Everlast relishes in the opportunity to lace the resulting instrumental with a portion of his seemingly-infinite book of talking shit. Love this song!

ALL MY LOVE
This isn't really a full-blown song as it is an outro that happens to house a singular uneventful verse. The shoutouts, though... It appears RZA has finally been dethroned as the king of hip hop shoutout tantrums. You only need to listen to this once, but I guarantee you'll be entertained, par the course.

JUMP AROUND (PETE ROCK REMIX)
Pete, you know I love you. It's well-documented on this blog how vital I think you are to the game. Hell, this remix is not too shabby at all. But, I'm sorry: You ain't fucking with the original on this one, bruh.

FINAL THOUGHTS
You know, as much as I love messages and positivity in my hip hop, I can also appreciate music that I can have a roaring good time to. Y'know, goof off and shit. I distinctly remember my Knucklehedz review and how I described them as the East Coast's answer to House of Pain. Now you know what I'm talking about. I'd call this album a damn fine dose of harmless troublemaker boom bap with some damn fine beats and brags. DJ Muggs makes sure that him, DJ Lethal and DJ Ralph M maintain a consistency throughout the album that never falters in what can be considered as the first album establishing the Soul Assassins production brand, and Everlast and Danny Boy deliver spectacularly on the vibes front: You are never left with the assumption that these dudes are fronting to be something they're not, and I've always appreciated that. Plus again, the brand of Soul Assassins MCs may be best represented here, as the lead MCs of all three affiliated camps are displayed here. Now, hand me that stool, please. I'd like to smash it on the head of Pitchfork's Jeff Weiss.

WORTH IT? If you hate fun and good times, then stay away from this album. If you like Jump Around, then get this album ASAP. (Because I know a shit ton of people whose exposure to House of Pain is exclusively limited to Jump Around. Yes, I'm talking about you.)

Are you a Soul Assassins follower? You are? Knock yourself out! If you just wanna see what else the Jump Around dudes did with their life, here.

Cypress Hill - Cypress Hill (August 13, 1991)

It’s tough being a mental health patient diagnosed with multiple disorders. Trust me.

Y'all remember my relationship with The Monstars Anthem from the Space Jam OST, right? How it introduced a frightened, lonely kid prone to abuse from the ones closest to him to an unapologetic, take-no-prisoners genre of narrative besides video games that helped this prepubescent combat the traumatic experiences threatening to suffocate him from the inside. By the grace of the Almighty, it was all thanks to two men on that song. One was Cliffy Cliff Smif bka the mighty Method Man from the ageless Wu-Tang Clan, whose music and its impact on my life I've already gone to great detail about on this here blog.

Now's finally the time for me to talk about the other man whose music I had a relationship beyond words through all the video games I played throughout the years: Luis Mario Freese aka Dr. Greenthumb bka the mythical B-Real from the immortal Cypress Hill.

Strap in for yet another doozy.

Since B-Real was the first voice I heard on The Monstars Anthem, that nasal tone of his bonded with my preteen brain in such an inescapable way that I immediately recognized him when I heard my very first Cypress Hill song, the bloody rapcore classic that is Lightning Strikes. I heard this satisfyingly loud banger during my very first Twisted Metal 4 playthrough, when the track blasted throughout my rampage through the Road Rage stage. Shoutout to anyone who nails dropping the Calypso special on their unsuspecting opponents from halfway across the stage: I salute your dedication. Believe me, that game stuck with me for a long ass time.

Point is, this hip hop journey of mine has always been anything but conventional, and the fact that I heard Lightning Strikes 6 years before my next exposure to Cypress Hill, I feel, has given me more of an insight into how this shit works than if I had gotten into their discography back when it came out. You know, along with the rest of the world. If you’re asking, that next exposure was thanks to the GTA San Andreas fictional radio station Radio Los Santos, which provided me with my next taste of Cypress Hill magic: How I Could Just Kill A Man. To be honest, at first I wasn’t really that stricken with the b-side simply because Ice Cube's It Was A Good Day had me in a damn trance, as it should. Nevertheless, Kill A Man eventually wormed its way into my subconscious as I continued to parade my brand of death and destruction around the fictional state until I rammed Tenpenny and his bitchass firetruck off the freeway. 2004 was a good year for me.

Two years later, my journey into the caverns of boom bap high art would be in full swing and it was then that I first heard our subject today, their eponymous debut, for the first time. It was only natural that my addiction to Cypress Hill and the Soul Assassins in general would only get worse from there, driven in no small part by the experiments of their in-house producer: the legendary Lorenzo Cavassi aka Lawrence Muggerud aka Grandmaster Muggs bka DJ Muggs outta Queens NY, who would eventually become responsible for MANY a classic hip hop display. His exploits on the boards, along with his very credible background as a DJ, led to some of my absolute favorite experiences listening to hip hop. And said experiences came at a time when I desperately needed them.

Before I get into this review proper, let me remind you that Cypress Hill wasn't always called that. The true founders of this legendary group, South Gate-based Cuban brothers Senen & Ulpiano Reyes bka Sen Dog & Mellow Man Ace called their pet project DVX (Devastating Vocal Excellence) in 1988. Muggs was in another group called the 7A3 with the Bouldin Brothers Brett & Sean, both of whon maintain very close ties with the Soul Assassins as a whole, and the Bell-based B-Real was the Reyes Bros' little homie who impressed them with his lyrics. By the time the collective got down together, Ace left the group to establish a solo career with varying levels of success, which left DVX as a trio. They changed their name to take after a street from the Reyes' hometown of South Gate and the rest is history.

Also of note is that in acquiring DJ Muggs, they were able to link the sound of both the East & West Coasts in their product way before there was a distinct divide between the two schools. Later on, producers like E-Swift, J-Swift & Madlib would echo such experimentations to form their own classic sounds. Chalk that up as yet another innovation in the Soul Assassins' war chest. But let's not get ahead of ourselves here.

And here's where I return you full swing to 2006, back to the beginning of my in-depth journey. I remember how I felt when I read all the opinions everyone had about this special group of musicians: 'The first two albums are the most important, forget the rest.' Being that I was too immature to experiment with my listening back then, I believed the opinions I read and limited my exposure to Cypress Hill as a whole only to our subject today and its successor for almost five years. More on how that eventually turned out in later reviews. But for now?

Cypress Hill I, boy/girl (pick one):



PIGS
Rap album intros be damned! Muggs gets right to work as he freaks a jarring (in the best way possible) Chuck Cornish loop, while B-Real lets loose a one-verse wonder bashing the ever-living shit outta the defenseless police. Because what did they ever do wrong to deserve such a tongue-thrashing, right? It's not like they murder countless unarmed children in the open every fucking day, right? Right?! This song basically establishes the career-long revulsion Cypress Hill has for the ole five-o. Of course you'll immediately notice the nasal tone of our lead MC. Turns out he didn't want to perform this way at first, because he thought his real voice was a better fit. Well, Sen & Muggs quickly shut that shit down and schooled B on how much value this tone had to the overall product, as it gave the graphic displays of thuggery present here, and on a majority of the album a playful, cartoonish tone that made them easier to market. Did I forget to mention that this shit bangs?!

HOW I COULD JUST KILL A MAN
The breakout single, everyone. Or rather, the breakout b-side. Cypress Hill defined the idea of getting over using the lesser-promoted song. Many a better critic than myself has already explained how essential this timeless hip hop experience is, but let me do me anyway: Muggs almost scrapped this song because he heard EPMD looped the same Tramp loop on Rampage, their smash tag-team with LL Cool J. Thank God he contacted EPMD personally and they fell madly in love with his take, then. I always enjoyed the sped-up Jimi Hendrix sample during the hook. B-Real slaughters shit with his braggadocio & thuggery. The immortal Good Times quote made this song just as immortal in my eyes.

HAND ON THE PUMP
Cypress Hill wanted this to be the lead single. You can even hear how much they wanted that in the sample hollering their name at the beginning. The airheads at Columbia preferred The Phuncky Feel One, relegating this as the second single. Really explains why the label's pick flopped hard at first. Anyway, Muggs goes into his bag of tricks and throws another gauntlet of samples at you, somehow creating a dope-as-shit instrumental from oddball excerpts from Jr. Walker, Gene Chandler, James Brown and many others. On the lyrics side of things, you are treated to your very first full Sen Dog verse, which would become a real fan favorite in his repertoire. This will be the benchmark for his future appearances. And B-Real sounds hyped as fuck to perform with him, being Sen's protege 'n' all. Until you realize that Sen did NOT write his verse. Nope, that honor goes to the 7A3’s aforementioned Brett Bouldin. Still, this is a smash, but it could've been an even bigger smash had the label listened to Muggs.

HOLE IN THE HEAD
The onslaught of awesomeness continues as Muggs, by now revealed as the true architect of the Cypress Hill sound, conjures a confusingly addictive Jimmy McBride loop where you can't help but nod your head along. B-Real returns to his solo ventures as he once again nails the balance between menacing and cartoonish, with his nasalities effectively cloaking the thuggery. The fourth dope song!

ULTRAVIOLET DREAMS
DJ Muggs gives you a break from the assault with a slowed down Muddy Waters loop as an effective interlude. One that you'll actually need for once.

LIGHT ANOTHER
Two themes shall henceforth be prevalent in each and every Cypress Hill album, streetlife imagery and odes to cannabis. Seeing as I've never smoked anything in my life (and I intend to keep it that way), I didn't know what to make of the group's attention to the latter at first. Over time, I grew to appreciate the art behind such compositions, whether they be lyrical or musical. Especially when they house displays such as this where DJ Muggs is going crazy with the Kool & The Gang loops. Plus, B-Real's admonishment of the individual rightfully coughing furiously after toking up busts me at the seams every time! Side note: Everyone I've met who does enjoy the sticky green absolutely adores listening to the Hill blasted outta their fucking minds, so I appear to be in good company.

THE PHUNCKY FEEL ONE
The actual lead single. Even though I see Muggs' point and wish that the label fuckfaces listened to him in regards to Hand On The Pump, I strangely appear to be on the label fuckfaces' side as I love this song, which houses Muggs' most creative use of sampling up to this point. The man has spliced together so many unrecognizable samples built on a banger of a JBs loop and elevated the beast to an unfathomable level. B and Sen utilize the Run-DMC tag team formula to share mic time, doing it very proud indeed as they rip the beat apart with unconventional braggadocio that B wrote for both of them. My second-favorite song on the album.

BREAK IT UP
Muggs is apparently very proud of this interlude. I fail to see why, to be honest. The beat is engaging, though. Moving on.

REAL ESTATE
OK, show of hands from anyone who actually thought this b-side to the second single was actually going to be a rap song about real estate? Quite a few, huh? Well, count me in that group! What you really get is quite an extensive braggadocio display from B-Real over yet another marvelous DJ Muggs mashup. Though I still crack up when I hear B end his verse with "Check out the story to the glory of the real estate!" The video version has Sen perform a verse written by B and he sounds damn good doing so!

STONED IS THE WAY OF THE WALK
If you're one of the many heads who familiarized themselves with the EPMD brand of Jeep-rattling funk, you will hear tributes to that sound splattered throughout our subject today. Nowhere is said influence more apparent than this song, where Muggs lays out the canvas perfectly with a distorting-yet-commanding Ingrid horn sample. Following which he unveils the beautiful weld of Grant Green bass and drums from a track by He Who Must Not Be Named. (No, it's not Voldemort) With another solo display, B-Real is at his most ambitious on this joint as he weaves to and fro between very poignant subject matter, a short sex rap, homages to the herb and clever thuggery. A lesser MC would've buckled under such strain and failed spectacularly, but B breezes through effortlessly using a single verse. Out the gate, you know you're dealing with a special caliber of MC. Funny that despite not being a single, this song received the full video treatment. And it's one of their best from this entire album! My favorite song thereon, despite the odd venture into filth.

PSYCOBETABUCKDOWN
This track leaves no room for confusion: The comedic overtones taken from B-Real's delivery throughout the album are absolutely intentional. Nowhere is this more displayed than this track, as B veers off the deep end with some of his zany references. All set to a goofy-as-fuck mashup of Willie Hutch & Parliament from Muggsie here (This is intended as the highest of compliments) A special track indeed!

SOMETHING FOR THE BLUNTED
This interlude is exclusively for weed-themed parties & 4:20 concerts. Or if you devote yourself to cannabis half as much as these three do. As such, it contains a pretty enjoyable beat.

LATIN LINGO
Let me take this opportunity to remind yo ass that Mr. Muggs Muggerud here has yet to come with even a slightly bad instrumental. Not even an iffy one. I wish I was kidding. Here he brings you yet another headbanger, although this is more of a mellow slapper than the rest. It's this track that unveils the true capabilities of Sen Dog as a performer. In an interview, Muggs reveals that Sen was actually the very first who pioneered Spanglish rhymes, way back in 1988. Sen coined the term for the obvious reason being that he rhymed in English and Spanish simultaneously. Remember how groundbreaking that Mellow Man Ace debut was? Yeah, his older brother did it first, naturally. So it’s confusing when you find out that Ace wrote these bars for Sen! This track is basically proof that Sen’s delivery is as crucial an element to the Hill’s success as any aspect of the other members’ game, with B-Real providing the ad-libs for a change.

THE FUNKY CYPRESS HILL SHIT
Muggs has decided that you, the listener, have had enough time to relax, so he assaults your senses once again with a shit ton of samples mashed together haphazardly and yet retained a surprising amount of cohesion. B-Real returns to the forefront with more nasal thuggery, comically delivered to a tee. Good to hear Sen enjoying himself on the adlibs.

TRES EQUIS
And we come to our very first throwaway! It's actually amazing that it's the second-to-last track! I will say that Muggs' John Roberts loop is pretty bombastic in the best possible way. Shame it had to go to waste over a useless sex rap. It's even more of a loss that this is the lone track solely in Spanish, as I'd've loved to hear Sen (back at the solo helm) deliver a full Spanish track that tackles any other subject matter more relevant.

BORN TO GET BUSY
The final track is basically an outro with a minuscule lyrical contribution from Sen giving his take on the B-Real nasalities. Then, Sen goes on a rant about strolling in the ways of the buddha masters. Whatever the fuck that means. Your confusion will subside when you find out that it was actually B and Ho wrote the song! The awesome Stoned Is The Way Of The Walk beat returns afterwards amid a myriad of choppy samples raining down on your ears, in the midst of which you'll hear an announcer describe, in a corny dramatic tone, the effects of cannabis. Interestingly, you'll feel as if he's been smoking for the past week straight. I'm guessing it's the mixing of said excerpt. Or not.

FINAL THOUGHTS:
Contrary to popular belief, this eponymous debut by our hosts initially didn't do very well, leading them to open for more impacting acts like Naughty By Nature at the time. However, the snowball formed after seven months with them selling five hundred thousand units and repeating the feat after a further ten months. Eventually from then on, they'd gradually sell over a million more units over the next seven years, reaching a total of two million units stateside alone. Proving just how much of an enduring brand Cypress Hill can truly be.

And you know what? Every bit of success this album received is warranted and then some: This debut is an enthralling sonic journey with fly rhymes to match that kickstarted one of the most legendary careers hip hop has ever seen. It is so revered that an act like Rage Against The Machine would eventually release their cover of How I Could Just Kill A Man as the third single to their platinum-selling final album Renegades. Simultaneously, this album also represents the perfect fusion of the East Coast influence and the West Coast-grit and street talk that would eventually take over the game in the 90s. Think of this album as the West Coast's purest answer to EPMD, no disrespect to other West Coast answers.

WORTH IT? If you want to make me legit mad, trash this album in my presence. That'd be the very moment I... don't do anything and laugh it off. We're not in school anymore, buddy. Seriously, this is one of the finest hip hop acquisitions you can make, so I suggest you get to it.

TRACKS TO TRACK DOWN:
SHOOT 'EM UP
Off the Juice soundtrack, this was an appropriate continuation of the heavy funk sound introduced on the crew's debut, which eventually inspired Muggs to continue pursuing that sound for a while. Here, he builds an instrumental based on a King Floyd loop obscured by an entertainingly irritating guitar sample. B-Real writes a flurry of bars where he and Sen Dog capitalize with them cartoonishly playing with their pitches (especially B) as they deliver some thuggery fittingly from the perspective of Bishop. This track was very apropos and fulfilling. And we're done.

This was only the beginning, so if you dare brave this Soul Assassins tunnel, enter here.