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Hip-Hop/Rap - Verschenen op 20 juli 1993 | Columbia

Onderscheidingen The Qobuz Ideal Discography
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Hip-Hop/Rap - Verschenen op 28 september 2018 | BMG Rights Management GmbH

Hi-Res Onderscheidingen 4F de Télérama
Eight years have passed since the Californians of Cypress Hill’s last album yet the band are still all over the scene, both with solo projects and collaborations. Cypress Hill’s energy on stage is unparalleled, which guarantees them a place at most festivals around the world. The promise of this new album, “Elephants on Acid”, is primarily based on the return of DJ Muggs, their brilliant producer, who is picking up right where he left off, between sixties psychedelics, blazing breakbeats and smoky mysticism.Just like on the very detailed gothic album cover, Muggs unearths a monster buried deep underground and resurrects the legend of “Temple of Boom”, the band’s labyrinth album released in 1995. Between drugs and spirituality, B-Real, the main rapper, reinterprets Cypress Hill’s rather dark repertoire, halfway between Los Angeles Latino culture and hallucinating fantasy à la H.P. Lovecraft. With a few more recreational tracks like “Crazy” or “Oh Na Na”, which make the group sound like a mutant gypsy marching band, Cypress Hill are revitalised, though slightly removed from the saturated guitars of their earlier releases. Ending on “Stairway To Heaven” which is reminiscent of the ethereal soul of Portishead or Massive Attack, “Elephants on Acid” is a multi-layered journey around the mind, in which listeners can both lose and find themselves. © Aurélien Chapuis/Qobuz
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Hip-Hop/Rap - Verschenen op 13 augustus 1991 | Ruffhouse - Columbia

Onderscheidingen The Qobuz Ideal Discography
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Hip-Hop/Rap - Verschenen op 7 december 1999 | Ruffhouse - Columbia

Onderscheidingen De Muzikale Rariteiten
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Hip-Hop/Rap - Verschenen op 14 oktober 2014 | Columbia - Legacy

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Hip-Hop/Rap - Verschenen op 13 augustus 2021 | Columbia - Legacy

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IV

Hip-Hop/Rap - Verschenen op 6 oktober 1998 | Ruffhouse

And the bong loads just keep getting packed deeper and deeper...even if no one really cares. On their fourth album of herb-induced hip-hop, the once-interesting, now-derivative trio turns itself over to the world of played-out beats and rhymes. Tired tales of guns, gangs, and of course, weed fire up Cypress Hill IV, making it sound more like a lame attempt at a reunion gig than the next chapter in the revitalization of their career, which it should be. Worse, they've added stupid sex raps to their repertoire, dulling their edge and throwing Cypress Hill into the discard pile with countless other once-relevant hip-hoppers. Still, the sonic landscape that they trudge across here is occasionally sprinkled with some wild scenes. The Godzilla-like screams of their debut have been replaced by slinkier, more bass-driven beats, but there's also a lot of aural action going on in the background. Which, alas, doesn't quite compensate for the overriding flaws. © Michael Gallucci /TiVo
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Hip-Hop/Rap - Verschenen op 25 april 2000 | Columbia

Hip-Hop/Rap - Verschenen op 29 mei 2020 | Columbia - Legacy

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Hip-Hop/Rap - Verschenen op 19 april 2010 | Priority Records

Cypress Hill's first album for Priority -- released under Snoop Dogg’s tenure as the label's creative director -- is a four-years-in-the-making, against-all-odds success that earns its victory march cover art, at least for the most part. There are a couple merely good tracks -- “Pass the Dutch” being the most merely good -- that act as speed bumps on this otherwise exciting ride, which in typical Cypress Hill style, ramps up on the hater-slaying tracks and chills out on the weed numbers. Best of the former is the title track with special guest Tom Morello from Rage Against the Machine, while the best of the latter is the strain-listing “K.U.S.H.” produced by B Real and Cypress-associate Sick Jacken. Somewhere in between is the slay-and-toke “Light It Up” where B-Real offers “I eat MCs up, you might wanna ease up/I squeeze on the trigger like I squeeze on a C-cup,” while producer Pete Rock brings the soul with a Barry White sample. Usual producer Muggs only turns in two cuts, one being the dusty-sounding heart wrencher “Take My Pain” with Everlast on the bluesy chorus. Other genres like emo-rap (“Carry Me Away” with Mike Shinoda), crunching rock-rap (“Trouble Seeker” with Daron Malakian), and spicy Latin rap (“Armada Latina” with Pitbull, Marc Anthony, and a sweet Stephen Stills sample) are explored then conquered, and in spite of all these flavors and guest artists, the album remains Cypress’, or at least B Real’s, as the group’s leader is more dominant than ever. At 15-songs long the album can stand tall after the required trimming, making Rise Up a giant leap in the right direction after the lukewarm Till Death Do Us Part. © David Jeffries /TiVo
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Hip-Hop/Rap - Verschenen op 31 oktober 1995 | Ruffhouse - Columbia

Cypress Hill didn't exactly push themselves after they revolutionized hip-hop with their first album, 1991's Cypress Hill. Black Sunday, their 1993 follow-up, was a virtual reproduction of their debut, albeit with a harder stance and an increased pop sensibility. On Cypress Hill III: Temples of Boom, the group pushes forward somewhat, but with mixed results. Nothing on the album is as immediately catchy as "Insane in the Brain" or "How I Could Just Kill a Man," but Cypress Hill do open up their sound a bit, experimenting with jazz-inflected grooves, in particular, as well as soul. Even with the new musical flourishes, the essential core of the band's sound hasn't changed at all, which is slightly disappointing. Certainly, Cypress Hill III: Temples of Boom is an excellently produced record, filled with sonic details that most hip-hop records of the mid-'90s are missing, but the musical content frequently doesn't quite match the production skills. Cypress Hill manages to keep a consistent mood throughout the record, and several tracks showcase the trio at their best, but Cypress Hill III: Temples of Boom suggests that they are running out of things to say and ways to say them. © Stephen Thomas Erlewine /TiVo
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Hip-Hop/Rap - Verschenen op 31 oktober 1995 | Ruffhouse - Columbia

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Hip-Hop/Rap - Verschenen op 13 december 2005 | Columbia

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Hip-Hop/Rap - Verschenen op 28 september 2018 | BMG Rights Management GmbH

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Hip-Hop/Rap - Verschenen op 16 maart 2021 | BMG Rights Management GmbH

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Hip-Hop/Rap - Verschenen op 20 juli 1993 | Ruffhouse

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Hip-Hop/Rap - Verschenen op 1 april 1993 | Ruffhouse - Columbia

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Hip-Hop/Rap - Verschenen op 1 september 1998 | Columbia - Legacy

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Hip-Hop/Rap - Verschenen op 23 maart 2004 | Columbia

B Real: "Throw it on the wall/See if it sticks/If it don't work/Take another hit." Sen Dog: "Take another hit!" Those are not quotes. However, if Cypress Hill were to take the lead from every other MC who has declared honesty to be the only policy, the group might've included lines like that somewhere near the beginning of their eighth album. More restless than ever, fleeting flirtations with Jamaican music of most stripes -- dancehall, dub, and ska included -- are handled clumsily. The results are as mixed as the approaches. The most problematic moment of all is the missed opportunity that is "What's Your Number?," where Rancid's Tim Armstrong is drafted in to help replicate the dubby lope of the Clash's "Guns of Brixton"; though it would've been more fitting to hear B Real spit another grimy rhyme in this setting, he chooses instead to spin a tale of picking up a woman. The highlights all take place when the group sticks to what it does best, though the pro-weed moments keep on getting increasingly dire. The Alchemist-produced and Tego Calderón-assisted "Latin Thugs" is one example of the group retaining its strengths, since it's full of fire and swagger. All points aside, the album is strictly for the devout fan base. © Andy Kellman /TiVo
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Hip-Hop/Rap - Verschenen op 25 april 2000 | Columbia