And I had went to see Body Count it was New Music Seminar time. Then I was here in New York, right before House of Pain was gonna do its first headlining club tour thing. When it came time to “Shamrocks ”, I turned to the other two guys: What should we do? Let’s do something different. Like, I heard Nirvana before anybody fuckin’ knew who they were. He was always ahead of the game on that style of music.
Snail Mail on the 'True Artistic Genius' of Kim GordonĮverlast, MC, House of Pain: Danny Boy was big into punk rock and grunge before it even was known as grunge. I managed Cypress, House of Pain, a bunch of those groups. And I felt like it was a great marketing idea: Let’s do the opposite of what everyone’s saying. They were also talking about smoking weed when it was Just Say No drug campaign, and no one was talking about smoking weed. And I had just graduated from Michigan, so went up to him like, “Hey, I should manage you.” He’s like, “What?” I was like, “Yeah, I went to Michigan.” He’s like, “Yeah, I just like the shirt.”ī-Real’s voice was so original that no one sounded like that. were doing a show in a club in Huntington Beach, and Muggs had a Michigan tank top on. It was an opportunity, and I looked at it as a way to help build something. But I was really more business than I was music. I liked R.E.M., the Smiths, that kind of stuff. Happy Walters, executive producer, Judgment Night soundtrack: I grew up in a little town in Indiana, so by the time music got to me it was pop music. It was just waiting for the moment that people besides Run-DMC would put it together. The whole rock-rap thing was already there. And Jay looked over at the Beastie Boys and said, “Yeah, why not?” He brings these three white boys in … and he says to Jay, nonchalantly, “Yo, Jay, you think these three guys could make a rap album. It was punk groups, metal groups and hip-hop in and out of this studio. Run-DMC recorded in a metal studio: Chung King House of Metal. And then we did “Walk This Way.” People say, “Yo, when Steven Tyler took that mic stand and knocked down that wall that was separating y’all? Yo, that didn’t just happen in that video, that happened in the world.” And Judgment Night is one of the babies that came through after that wall was broken down. Rock and Roll Hall of Fame didn’t start ’til ’86. Then we did a record called “King of Rock” about a Rock and Roll Hall of Fame Museum that didn’t exist.
The punk and the classic rock and the metal were separate until Run-DMC was able to get “Rock Box” on MTV. Judgment Night was a who’s who of Alternative Nation, Headbanger’s Ball and Yo! MTV Raps – a record label exec making the most of three youth-culture undergrounds.ĭMC: The white people and black people were separate. Judgment Night‘s Oscar-and-Felix pairings came after nearly a decade of rock-rap tag-teams, Run-DMC and Aerosmith’s 1986 “Walk This Way,” and Public Enemy and Anthrax’s 1991 “Bring the Noise” being the two most successful. His burgeoning Immortal Records imprint had yet to find footing with smashes like Korn and Incubus. The Judgment Night soundtrack came together via executive producer Happy Walters, the 22-year-old manager of Cypress Hill and House of Pain. But for a brief moment here was the brilliant potential of a rap-rock crossover episode: a utopian oasis of beats, rhymes and riffs. The film would promptly fade into memory and rap-metal would eventually show more macho and mooky muscles. Dropped shortly after Lollapalooza wound down its third summer, here was a similarly divide-breaking gathering of genre-crossing cool: Cypress Hill spitting hard bars over a slinky Pearl Jam groove and dank Sonic Youth noise, Mudhoney and Sir Mix-A-Lot sharing a dirty Seattle scumbag sesh, Helmet’s taut riffs slowing down for steely-eyed House of Pain verses, Teenage Fanclub bummer jangle matching with De La Soul’s reflective rhymes. The soundtrack to 1993 chase flick Judgment Night - on which 10 rap artists collaborated with 11 rock groups - was a gold-certified triumph of the post-Nirvana major label wild west.
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