Fatal was there to get an idea, and then he would go to the playroom and write lyrics and listen to them. It was quite hypnotic, the rhythm off the circuit. “ T-Ray had a fundamental drum loop playing on the headphones and A 3 of us just got stuck elsewhere. “It was a new procedure for us,” said the Therapy?Michael McKeegan to Hype magazine about his collaboration with rapper Fatal, Come and Die. And Kerry just had the idea that it was going to be wonderful for me to make the song and them up.įor some of the rock and steel musicians involved, the recording sessions were a telling treat to see how their hip hop contemporaries worked. ” And there were all these white kids doing racist, and they were dressed in Slayer T-shirts. I’ll never remember that night we were in the studio, there was racism in America, like communicating news, remember. of the songs we were going to sing and we exploited them.Īs exciting as it is creatively, there is also an awareness on the part of some of the actors concerned that this is a crossover that would help replace the belief in rap among rock fans, and vice versa. Tom and I were in the booth at the same time. “We just went in there and screamed,” he continued. We were crushed in Exploited, like 3 songs (War, U. I showed up at the studio in Los Angeles and they were already lowering the drums. I had no idea what song we were doing until I was given to the studio. He knew what was going on and knew they were the baddest fools at the time. songs through the war horses of British punk The Exploited, as if running with their “idols”. Ice-T was also in the idea, which described the option of playing with Slayer in Disorder, a furious combination of 3. The rappers quickly lined up: House Of Pain and Cypress Hill were already on Walters’ checklist, while Run DMC had already had fun through their collaboration with Aerosmith. Soon, Walters had acquired Pearl Jam, Living Colour, Mudhoney, Biohazard, Teenage Fanclub and Dinosaur Jr. With 3 “named” bands registered for the soundtrack, things started to grow. ” It was right after Angel Dust, so we were presented with a lot of compilations, but there wasn’t any genuine hip-hop band participating with rock bands. That they helped others.įaith No More bassist Billy Gould later recalled that he was completely into the concept from the beginning. which were plausible and great at the time. “Sonic Youth, Helmet, their managers have been very supportive,” he told Rolling Stone. But Walters recalled that a handful of key players were interested. It may have only gone in either tactic: Rage Against The Machine’s debut album hadn’t been released yet, and the fusion of rap and rock still felt more like a novelty than an industry standard. “Once this was done, we had to wake up the artists. “First I had to get my hands on everyone and get them excited about the project,” Walters told Rolling Stone. He began to come up with the idea of a soundtrack consisting of rock and rap collaborations. He thought that the serious shooting of the film about the gangster genre was the best vehicle for his idea. When Everlast signed on to appear on Judgement Night, Walters saw his chance. “It made sense to bring the two genres together. “A lot of artists love hip-hop and a lot of artists love choice,” Walters told Rolling Stone magazine.
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Only instead of just once, he thought he could do something bigger. When Cypress Hill DJ Muggs told Walters he was looking for his band to do a rap/rock mix song with Pearl Jam after the two groups teamed up on the 1992 Lollapalooza tour, the mogul learned that the concept made sense. The Judgement Night soundtrack created by Happy Walters, co-founder of LA Immortal Records and manager of the Cypress Hill, Wu-Tang Clan and House Of Pain hip hop teams. “Judgment Night is a prophetic industry record,” said Run DMC rapper Darryl ‘DMC’ McDaniels, whose band partnered with groundbreaking black rock band Living Color on the song Me, Myself. Its genesis predates the international good fortune of Rage Against The Machine and proved that those two probably disparate scenes were much closer than many imagined. The album Judgement Night OST is a milestone in the progression of rap-rock in particular and 90s music in general: it is not the first time that the two genres have met, but in fact it is the utmost importance. aggregator Rotten Tomatoes, and even House of Pain frontman Everlast, who has a minor role in the film, described it as a part of the most ridiculous film in history.įew would question this review, but the accompanying soundtrack is something else. Lately it has a less than impressive score of 35% in the review of the film. Chances are, you’ve never noticed it or completely forgotten about it. Judgement Night (1993) is an action-crime mystery starring Emilio Estevez, Cuba Gooding Jr.