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Cypress Hill: Dj Muggs
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Cypress Hill were notable for being the first Latino hip-hop superstars, but they became notorious for their endorsement of marijuana, which actually isn't a trivial thing. Not only did the group campaign for its legalization, but their slow, rolling bass-and-drum loops pioneered a new, stoned funk that became extraordinary influential in '90s hip-hop -- it could be heard in everything from Dr. Dre's G-funk to the chilly layers of English trip-hop. DJ Muggs crafted the sound, and B Real, with his pinched, nasal voice, was responsible for the rhetoric that made them famous. The propot position became a little ridiculous over time, but there was no denying that the actual music had a strange, eerie power, particularly on the band's first two albums. Although B Real remained an effective lyricist and Muggs' musical skills did not diminish, the group's third album, Temples of Boom, was perceived by many critics as self-parodic, and the group appeared to disintegrate shortly afterward, though Muggs and B Real regrouped toward the end of the '90s to issue more material.
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Cypress Hill's first self-titled album was released in November 1991. Cypress Hills first single was "Phuncky Feel One" but it was the B-side "How I Could Just Kill a Man" (formerly Trigga Happy Nigga) attracted more airplay on urban radio and college radio Based on the success of the single and other tracks such as "I Wanna Get High", bilingual track "Latin Lingo" and X-rated Spanish track "Tres Equis", the album sold two million copies. DJ Muggs then produced the first album by the House of Pain then working with the Beastie Boys and Funkdoobiest
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Cypress Hill's trademark sound - an eccentric combination of B-Real's exaggeratedly high-pitched nasal vocals and DJ Muggs' distinctive beats - led to the trio becoming the first Latin rap group to have Platinum and Multi-Platinum albums[1]. They remain the best selling Latin rap group to date[2].
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Till Death Do Us Part offers an overview of the Cypress Hill palette. There's the straight-up gangsta rap of "Can't Stop the Gunshot," the Hispanic roots of "Latin Thugs" (featuring Puerto Rican reggaeton superstar Tego Calderone), the pro-ganja dancehall reggae of "Smoke It Up" (with toasting by Bob Marley's son Damian) and the cinematic "Street Wars," with its chiming bells and ethereal choir. The latter was inspired, like the somber statues on the CD cover, by Muggs' recent trip to Prague.
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