![]() Walters says he provided them scenes from the movie complete with notes explaining the shots. To assist the creativity of the performers, who recorded from locales all over the world. Walters says he succeeded with help from other artist managers linked to the project. Then the artist’s publishers had to grant sync fees and licenses for the off." Next the labels had to give their permission to be on the album. Once that was achieved the artists also had to be stirred. "First I had to get a hold of the managers and get them excited about the project. It Involved hard planning and heavy negotiations. The process of translating his vision into reality took six months to complete. It kind of made sense to do something that brings the together." "Since I manage Everlast, it sort of came ta pass that would handle the Soundtrack." The idea for a set cross-pollinating alternative noise with rap expression grew out of Walters’ realization that "a lot of alternative artists dig hip-hop and a lot of hip-hop artists like alternative. Judgment Night OST was the brainchild of Happy Walters, the then president of Immortal Records and manager of hip-hop bands such as House Of Pain and Cypress Hill. In 1993 this fusion of the rock / rap genres was taken to the next level with the soundtrack to the film Judgment Night. The movie is an 'urban suspense drama' starring Emilio Estevez, Denis Leary, Cuba Goading Jr., and House Of Pain's Everlast. In 1986 Aerosmith joined up with Run DMC to record a rap-rock version of the classic song Walk This Way and in 1987 Anthrax and Public Enemy released Bring The Noise. It is true that the genre busting sounds of certain bands made it difficult to categorise, however these tags were more relevant for particular songs rather than bands. I do remember when you used to be dope.During the early 90s the music press desperately tried to label the hybrid styles of alternative bands with tags such as funk-metal or rap-metal. But I still put this record on and smile: “Hey kids, what's up/Remember when I used to be dope.” Yes, rap-rock. There was a moment when rap-rock wasn’t an embarrassment, and they took it from us. Maybe it’s just because I use it on workout mixes, because I’m a middle-aged lady. Even House of Pain is made cooler, simply by being backed by Helmet.īut, as someone who has a touch of the metalhead in her dark goth heart, I have to say that the song that especially holds up is Slayer and Ice-T collaborating on “Disorder.” It shreds. The title track, with Biohazard and Onyx, still gets the juices up. ![]() Da do do do do.” Faith No More should have worked with more rappers, because they kill it on “Another Body Murdered” with Boo-Yaa T.R.I.B.E. My favorite - maybe everyone’s? - is “Fallin’” by the perfectly matched Scottish power pop band Teenage Fanclub and the biggest hippies in hip-hop, De La Soul. I bought the Judgment Night soundtrack when it was released in my junior year of high school mainly because I was a Sonic Youth fan who wanted to hear “I Love You, Mary Jane.” It’s a pretty good song! But that CD was worth my $15 because there were, like, many excellent tunes on it. Besmirched by all rap-rock that came after it, but a true testament to those innocent days when Sonic Youth could smoke weed with Cypress Hill and record a song that is pretty damn fun. Yes, I’m talking about the Judgment Night soundtrack. Some are, there is no shame in admitting, legitimate bangers. A moment when a terrible movie starring the “I’m An Asshole” guy managed to snag some of the best acts in both hip-hop and alternative rock to cut sides together. It was the sexist soundtrack for the life of every dude with a barbed wire armband tattoo.īefore then, there was a flash of hope that rock music and hip-hop could be blended together, reminiscent of the early promise of “Walk This Way” with Aerosmith and Run DMC. Rap-rock: Few other two-word phrases from the ‘90s send such chills down the spine, especially for those of us who were around to remember Fred Durst’s face on live television.
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