Another Body Murdered was a menacing highlight, Slayer and Ice-T’s Exploited medley brought the aggro, while Biohazard and Onyx attempted to out-posture each other on the title track. The finished album perfectly matched Happy Walters’ vision of bridging these two worlds together. Likewise, we were enjoying how Fatal just kept rapping different lyrics until it sat over the music.” I remember everyone getting really excited when Andy first played that doomy riff. Fatal was there getting a feel for it and then he’d go into the rec room and write some lyrics and try them out. It was quite hypnotic, grooving off the loop. “ T-Ray had a basic drum loop which he played through the headphones and the three of us just jammed around various parts. “It was a new process for us,” Therapy? bassist Michael McKeegan told Hype magazine about their collaboration with rapper Fatal, Come and Die. And Kerry just thought it was gonna be great that I was gonna do the song and just fuck their heads up.”įor some of the rock and metal musicians involved, the recording sessions were an eye-opening experience in terms of seeing how their hip hop contemporaries worked. “And there was all these white kids wylin’ out on some racist shit, and they were wearing Slayer shirts. “I’ll never forget that night we were in the studio, there was some racist America shit on, like some talk-news shit,” recalled. We picked which parts of the songs we would sing and we just blasted it out.”Īs exciting as it was creatively, there was also an awareness from some of the acts involved that this was a crossover that would go some way to changing the perception of rap amongst rock fans, and vice versa. Tom and I were both in the booth at the same time.
“We just got in there and screamed,” he continued. They were mashing us into Exploited, like three songs ( War, U.K. I had no idea what song we were doing until I got to the studio. “I knew what the fuck was up and I knew they was the baddest motherfuckers at the time. Also into the idea was Ice-T, who described the chance to collaborate with Slayer on Disorder, a raging medley of three songs by UK punk warhorses The Exploited, as working with his “idols”. The rappers were equally quick to fall in line: House Of Pain and Cypress Hill were already on Walters’ management roster, while Run DMC had previous experience via their collaboration with Aerosmith. Soon, Walters had acquired the services of Pearl Jam, Living Colour, Mudhoney, Biohazard, Teenage Fanclub and Dinosaur Jr. With three ‘name’ bands signed up for the the soundtrack, things began to snowball. We were like, 'This could actually be something that we do that’s kind of cool.'” “It was right after Angel Dust, so we got offered a lot of compilations, but there wasn’t really a thing with real hip-hop bands collaborating with rock bands. “We were pretty popular back then,” said Gould, whose band collaborated with heavyweight Samoan rappers Boo-Yaa T.R.I.B.E on one of the album’s standout tracks, Another Body Murdered. Which really helped with others.”įaith No More bassist Billy Gould later recalled being all-in on the idea from the start. Those three, I think, were the first ones to come onboard, which were all credible and cool at the time. “Sonic Youth, Helmet, their managers were super supportive,” he told Rolling Stone. But Walters recalled a handful of key players being interested from the start. It could have gone either way – Rage Against The Machine’s debut album had yet to be released, and the merging of rap and rock was still seen more as a novelty than an industry standard. “Once that was achieved, the artists had to be stirred.” “First I had to get hold of all and get them excited about the project,” Walters told Rolling Stone.
He began to pitch the idea of a soundtrack made up of various rock and rap collaborations to other managers he knew. He figured the movie’s would-be gritty take on the gangster genre was the perfect vehicle for his idea. When Everlast signed on to appear Judgment Night, Walters spotted his chance.
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