16 Songs, 46 Minutes

EDITORS’ NOTES

Cypress Hill is one of the rare groups whose bold innovations paid off with popular success. Instead of following up the smash hit Black Sunday with more of the same, they created the murky rap opus that is Temples of Boom. DJ Muggs had provided Cypress Hill and Black Sunday with uptempo funk beats, but here he turns towards the skeletal piano loops of “Killafornia” and “Stoned Raiders.” RZA and U-God guest on “Killa Hill N***as,” but the influence of Wu-Tang is felt throughout the album, especially on the spare, spooky guitar of “Illusions.” In terms of subject matter, Temples of Boom is meaner than its predecessors. The group’s psychotic roughhousing is displayed on “Throw Your Set In the Air,” “Red Light Visions” and “Let It Rain,” but “No Rest for the Wicked”— a vicious assault on fellow L.A. rappers Ice Cube and Westside Connection — brings out a frightening rage in B-Real and Sen Dog. The band’s love for smoked-out ambiance comes through in the jazzy “Boom Biddy Bye Bye,” “Funk Freakers” and “Everybody Must Get Stoned,” but Temples of Boom shows the band’s marijuana celebration morphing into a vivid subterranean paranoia.

EDITORS’ NOTES

Cypress Hill is one of the rare groups whose bold innovations paid off with popular success. Instead of following up the smash hit Black Sunday with more of the same, they created the murky rap opus that is Temples of Boom. DJ Muggs had provided Cypress Hill and Black Sunday with uptempo funk beats, but here he turns towards the skeletal piano loops of “Killafornia” and “Stoned Raiders.” RZA and U-God guest on “Killa Hill N***as,” but the influence of Wu-Tang is felt throughout the album, especially on the spare, spooky guitar of “Illusions.” In terms of subject matter, Temples of Boom is meaner than its predecessors. The group’s psychotic roughhousing is displayed on “Throw Your Set In the Air,” “Red Light Visions” and “Let It Rain,” but “No Rest for the Wicked”— a vicious assault on fellow L.A. rappers Ice Cube and Westside Connection — brings out a frightening rage in B-Real and Sen Dog. The band’s love for smoked-out ambiance comes through in the jazzy “Boom Biddy Bye Bye,” “Funk Freakers” and “Everybody Must Get Stoned,” but Temples of Boom shows the band’s marijuana celebration morphing into a vivid subterranean paranoia.

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About Cypress Hill

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 pro-pot 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.

DVX, the original incarnation of Cypress Hill, formed in 1986 when Cuban-born brothers Sen Dog (born Senen Reyes, November 20, 1965) and Mellow Man Ace hooked up with fellow Los Angeles residents Muggs (born Lawrence Muggerud, January 28, 1968) and B Real (born Louis Freese, June 2, 1970). The group began pioneering a fusion of Latin and hip-hop slang, developing their own style by the time Mellow Man Ace left the group in 1988. Renaming themselves Cypress Hill after a local street, the group continued to perform around L.A., eventually signing with Ruffhouse/Columbia in 1991.

With its stoned beats, B Real's exaggerated nasal whine, and cartoonish violence, the group's eponymous debut became a sensation in early 1992, several months after its initial release. The singles "How I Could Just Kill a Man" and "The Phuncky Feel One" became underground hits, and the group's public pro-marijuana stance earned them many fans among the alternative rock community. Cypress Hill followed the album with Black Sunday in the summer of 1993, and while it sounded remarkably similar to the debut, it nevertheless became a hit, entering the album charts at number one and spawning the crossover hit "Insane in the Brain." With Black Sunday, Cypress Hill's audience became predominantly white, collegiate suburbanites, which caused them to lose some support in the hip-hop community. The group didn't help matters much in 1995, when they added a new member, drummer Bobo, and toured with the fifth Lollapalooza prior to the release of their third album, Temples of Boom. A darker, gloomier affair than their first two records, Temples of Boom was greeted with mixed reviews upon its fall 1995 release, and while it initially sold well, it failed to generate a genuine hit single. However, it did perform better on the R&B charts than it did on the pop charts.

Instead of capitalizing on their regained hip-hop credibility, Cypress Hill slowly fell apart. Sen Dog left in early 1996 and Muggs spent most of the year working on his solo album. Muggs Presents the Soul Assassins was released to overwhelmingly positive reviews in early 1997, leaving Cypress Hill's future in much doubt until the release of IV in 1998. Sen Dog had come back for the record. He had left because he felt he did not get enough mike time, but after a few years with a rock band he was more than happy to return. Two years later, the group released the double-disc set Skull & Bones, which featured a disc of hip-hop and a disc of their more rock-inspired material. Appropriately, the album also included rock and rap versions of the single "Superstar," bringing Cypress Hill's quest for credibility and crossover hits full circle. The ensuing videos for both versions featured many famous rap and rock musicians talking about their profession, and the song was a smash on MTV because of it. In the winter of 2001, the group came back with Stoned Raiders, another album to heavily incorporate rock music. Three years later, the band issued Till Death Do Us Part, which incorporated several styles of Jamaican music. In 2010 they announced their signing to Priority Records thanks to the label’s creative director, Snoop Dogg. The label released their eighth studio album, Rise Up, that same year. ~ Stephen Thomas Erlewine

  • ORIGIN
    Los Angeles, CA
  • FORMED
    1988

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