@eddiebswift LIVE on The Mind Trip X @BRealTV
Source: Cypress Hill On Facebook
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Tag Archives: Cypress Hill
Tonight in Manchester @djlord of Public Enemy/Prophets Of Rage will be on the 1’s & 2’s
Tonight in Manchester @djlord of Public Enemy/Prophets Of Rage will be on the 1’s & 2’s tonight for the first show of the @cypresshill Elephants On Acid Europe tour
Source: Cypress Hill On Facebook
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Breal.Tv – Dr. Greenthumb Show Live 11-29-18
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Cypress Hill Recall Filming A Video With Ice Cube & Tim Dog On The Same Set (Video)
It’s been nearly a decade since Cypress Hill released a group studio album, but that changed late last month with their new LP Elephants On Acid. That effort restores the production to DJ Muggs, a welcomed shift both for the group and its legions of fans. In honor of the project, the South Gate, California quartet has been making a press run, and most recently, they stopped by the Hot 97 studios for a conversation with Ebro In The Morning.
During the interview, an interesting topic sparked when B-Real was discussing Cypress’ come-up in the early 1990s. Dr. Greenthumb says that during the filming for the music video for their breakout single “How I Could Just Kill a Man,” things got antsy. The video was filmed in the middle of Manhattan, including some vintage footage of Times Square from nearly 30 years ago. At the time, the then-trio’s RuffHouse Records label-mate Tim Dog had just released his infamous video diss track “F*ck Compton,” which was a dig at a slew of West Coast rappers and groups, especially N.W.A. In the Ced Gee-produced track, the proud Bronx, New Yorker spit, “I’ll crush Ice Cube, I’m cool wit’ Ice-T / But N.W.A. ain’t sh*t to me / Dre, beating on Dee from ‘Pump it Up!’? / Step to the Dog and get f*cked up! / I’m simplistic, imperialistic, idealistic / And I’m kicking the ballistics / Having that gang war / We want to know what you’re fighting for / Fighting over colors? All that gang sh*t’s for dumb motherf*ckers!”
Cypress Hill Are Ready To Tell Their Story On THEIR Terms & They Need Help (Video)
Ice Cube, ironically, was one of the cameo appearances, along with Q-Tip and others, that would end up in Cypress’ breakthrough 1991 visual, directed by Shady Perez. While Cube had recently split from N.W.A., he was still called out by name. Knowing Tim Dog was there, things went left when the video’s director wanted to take a group photo.
“It had just come out because I remember when [Ice] Cube showed up,” B-Real recalled. “He had got to New York City and heard we were filming a video, so he shot down there. EPMD had apparently been telling Ice Cube about us for a long time. They were like our street team. He came to the show and ‘Shady’ David Perez, who was the director of the video wanted–obviously you’ve got all these rappers, and he wanted to get a shot with all of us, and Cube was like, ‘Nah man, I ain’t shooting with dude. I gotta go home and eat.'”
WC Explains Why He Avoided The Westside Connection & Cypress Hill Beef (Video)
Heads may wonder why Cypress Hill didn’t come with that same energy. They explain that to them, it was just music. “We felt that too, but it was like, ‘Ah whatever. A song’s a song,” B-Real said. “Nobody said nothing to us. But you know that’s music. What are you going to do man?” Executives had Cypress rolling with Tim Dog during the early 1990s. “[Sony executives had us sit next to Tim Dog and go on tour with him]. At that time, you didn’t say no [to offers like that].” Moments later, he adds, “That was a crazy tour, ’cause that tour that we went on with Tim, we were opening for 3rd Bass. We were all releasing music at the same time. Sony thought, ‘Well, let’s package it all together.’ It was cool on the East Coast; people was eatin’ that sh*t up. Then, when we got to the West Coast, Tim knew how real it was with them N.W.A. fans., those Eazy-E fans. Interesting situations popped off.” B says that Cypress was able to avoid getting in the crossfire of the beef. “Unfortunately, we were traveling on the same tour bus. So if they did decide to get with him, we were gonna be right in the middle of all that sh*t.”
Although the cameos are seen in the video, the idea of Cypress, Q-Tip, Cube, Tim Dog, and others all together seems surreal. Tim Dog died from complications related to diabetes in 2013.
Cypress Hill Says DJ Muggs Is Dead In Their Weirdest Video Ever
Notably, Cypress entered a brief beef with Cube and Westside Connection during the mid-1990s. That situation has long been resolved.
Also during the interview, Cypress Hill discussed creating “Insane In The Brain,” a period of beef with Westside Connection, and the group’s connection to the weed game. Cypress’ new album Elephants on Acid was released on September 28 and features 21 songs and no outside MC’ing. It’s their first group release since 2010’s Rise Up.
For Devil’s Night, Get A Mix Of Esham, Brotha Lynch Hung, Tim Dog & More (Mixtape)
#BonusBeat: Cypress Hill’s brand new video for “Blood On My Hands Again.”
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Xzibit Recalls Moving To LA Alone As A Teen & The Likwit Crew Taking Him In (Video)
Falling on Halloween yesterday, the team of Xzibit, B-Real, and Demrick released the second installment in their Serial Killers series since 2015’s The Murder Show with the seven-tracked, Day Of The Dead. In promotion of the freshly released project, Xzibit sat down with Adam22, aka Adam Grandmaison, of the No Jumper Podcast to discuss the aforementioned project, X’s career, and an update on his current insights in the Hip-Hop scene today.
After Mr. X-To-The-Z discusses his understanding of the path that Rap has taken since he picked up the pen some 30 years ago, X reminisces about his own early days. Growing up in a military family, Xzibit admits he was no stranger to punishment as an angry, rebellious youth. X recalls a story in which his father ordered a massive pile of gravel to be dumped in their backyard. To reprimand Xzibit for his transgressions, his father would make him get up at 4 am every day with a shovel and a wheel barrel to move it from one side of the yard to the other (14:45). It was a punishment akin to a sequence in Cool Hand Luke.
Rhymefest, Xzibit & Jesse Williams Say We Rise Together Or We Fall Apart (Audio)
Despite his father’s call to obedience, Xzibit remained defiant of authority, but it was Hip-Hop that would become his escape. “My love for Hip-Hop was one of the outlets that saved me. It was one of the only things that I could escape with. So I would listen to the music. I would imitate the music. I would put on my brother’s Kangol [hat] with no shirt on and rap LL Cool J lyrics…It just drew me in.”
In this time, Xzibit moved from Detroit at age nine to Albuquerque, New Mexico, where he began writing at age 13 under the name Xzibit A. At 17, Xzibit moved to Los Angeles, California alone to begin recording for the first time and burgeon his career in Rap. “When I first got to L.A., there was no cell phones going down. I had a pager. I had a contact of a guy named Jay Johnson who lived in Duarte, California. So he gave me his pager number and said if I’m ever in California to hit him up; he had his own place. So, long story short, I come to L.A., and he’s not answering the pager, so I go to Venice Beach. My first night in California I spent homeless on Venice Beach. I had a black-and-purple Geo Tracker, $3,000, some cross colored clothes, a Kool G Rap & DJ Polo CD, some Snapples, and an AK-47,” he says at 24:30.
Xzibit & Bishop Lamont Get In Battle Rap Mode For Their Brolic Video
Xzibit, who thought Johnson lived alone, came to find out he was living with his parents. After coming to terms with Johnson’s living situation, he gave his family the $3,000 as collateral for rent. Once he realized that the family and the people who surrounded him wouldn’t allow him to sell drugs like he used to in order to get by, Xzibit turned to music.
“I eventually moved out with James Broadway and 360, it was a group in Pasadena, and by that time I found a clique to roll with and kinda merged in with them. [I] met King T and the Alkaholiks from the 360 Clique, and one thing happened after another and ended up having a career from it,” said Xzibit. “The song that got me signed was on King T’s [IV Life] album; it was called ‘Free Style Ghetto’ (embedded below). I never made a demo. I never made a mixtape. They didn’t exist at the time. It was kinda just like word of mouth. I was just going around L.A. just eating MCs alive. It was these battles and sh*t that I would just go to Unity… and [Married With Children actor] David Faustino used to have this club called Balistyx that we used to frequent. But it was all MC based. L.A. had a really dope MC scene at the time, so everybody was cliqued up trying to go around and see who had the business.” (28:00)
15 Years Ago, Xzibit’s Restlessness Helped Make Him a Household Name (Editorial)
Later, Xzibit remarks, “It [the clubs] wasn’t necessarily about battling each other. Unity was the first place I got to see Wu-Tang [Clan], and Ol’ Dirty Bastard used to do a lot of solo shows there. It was the first place I saw Redman and Method Man. He would bring all of these dope MCs and bands out to play Unity, and all the local MCs would get to be on the opening bill. So that’s where I cut my teeth, and that’s how I got introduced to the L.A. market,” (29:30).
Although Xzibit isn’t from Los Angeles County originally, a la Nate Dogg and Kurupt, X’s place in West Coast Hip-Hop has been permanently stamped in history since his arrival. From his role in the Up In Smoke Tour to his critically acclaimed release of Restless, to his recent work as the Serial Killers with B-Real and Demrick today. In conjunction, be sure to check out the Serial Killers latest release, Day Of The Dead.
#BonusBeat: The song that got Mr. X-To-The-Z signed by Loud Records:
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Day of the Dead: The Serial Killers Observe Día de Muertos with Sophomore Album
While October 31 is usually associated with Halloween, it’s also celebrated by millions throughout the Americas as the start of the Day of the Dead (also known as Día de Muertos), which lasts until November 2. Traditions are a major part of Día de Muertos, with celebrants building private altars called ofrendas, in honor of the deceased, offering up flowers, calaveras (painted sugar skulls), foods, beverages, and other gifts.
While we aren’t dead (yet), The Serial Killers (a group comprised of Xzibit, B-Real, and Demrick) offered us the perfect gift this Day of the Dead- an album of the same name that delivers one of the best Hip-Hop experiences of 2018.
Contrary to popular belief, the Day of the Dead isn’t just about death (although paying homage to deceased family, friends, and relatives plays a large role), but it’s also largely about a spiritual journey, which is exactly what The Serial Killers deliver on Day of the Dead.
The Serial Killers couldn’t have chosen a better day to release an album that is darker in nature than most of the artists’ prior work, but with the right amount of beauty that showcases their range and talent. The multi-ethnic group effortlessly combines party rock anthems with political messages, segueing from pina coladas to police brutality in “(W)e (A)re (R)eady.” The variety from track to track keeps listener attention in a way that is borderline mystical.
Día de Muertos is about looking to the future as much as honoring the past. While The Serial Killers have all been in the game for a while, they take a break from the darker nature of the album, to introduce new artists Brevi and James Savage on “Fruit Punch.” Plus, it’s one of the few times that woodwind instruments have appeared on a Hip-Hop album.
A major Day of the Dead theme is family and the skill demonstrated on Day of the Dead shows three artists at the top of their game playing off of each other perfectly, creating the newest Hip-Hop family we didn’t know we were missing.
If Day of the Dead is any representation of The Serial Killers’ work to come, we can’t wait for the nest family reunion.
The post Day of the Dead: The Serial Killers Observe Día de Muertos with Sophomore Album appeared first on The Source.
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Cypress Hill – “Elephants on Acid” (Album Review)
Cypress Hill is a legendary West Coast hip hop group consisting of MCs B-Real & Sen Dog alongside producer DJ Muggs & percussionist Eric Bobo. Their first 3 albums are widely considered to hip hop classics, but their material since then has been considered average. However, they are returning with their 9th full-length album after an 8 year hiatus.
After the Tusko intro, we go into the first song “Band of Gypsies”. Here, B-Real & Sen are spitting battle bars over a psychedelic beat. The track “Put ‘Em in the Ground” gets murderous over an eerie vocal sample & after the “Satao” interlude, we go into the song “Jesus Was a Stoner”. Here, B-Real makes many references to weed & religion over an instrumental with a haunting atmosphere.
The song “Pass the Knife” returns to the murder bars over an eerie beat & after the “LSD” interlude, we go into the song “Oh Na Na”. Here, B-Real of course talks about getting high over some infectious horns. After the “Holy Mountain” interlude, we go into the song “Locos”. Here, B-Real & Sen deliver street bars over a gritty beat.
The track “Falling Down” confrontationally talks about life over a distorted bass line & after the “Elephant Acid” interlude, the song “Insane OG” pretty much speaks for itself over a apocalyptic beat. However, I wish it was longer than just 84 seconds. “The 5th Angel” is an instrumental interlude that sounds like it could be playing in a trailer for an upcoming horror movie while the track “Warlord” talks about judgement day over a fitting boom bap beat.
The song “Reefer Man” is a sequel to “Dr. Greenthumb” with a tuba-inflicted boom bap beat & after the “Thru the Rabbit Hole” interlude, we go into the song “Crazy”. Here, B-Real & Sen talk about insanity over a trippy beat. The track “Muggs is Dead” is a psychedelic instrumental interlude while the penultimate track “Blood on My Hands” sees B-Real comparing himself to the Grim Reaper over an ominous beat. The closer “Stairway to Heaven” sees B-Real talking about his prediction of the afterlife over a prominent woodwind sample.
From front to back, this was a strong return to form for Cypress. Sure there are WAY too many interludes, but DJ Muggs’ production is just as gritty as the old days & it’s a bit more experimental too. The lyricism is sharper as well. If you wanna hear a fantastic comeback album from one of the greatest West Coast groups ever, PLEASE give this a listen.
Score: 8/10
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