Table Of Content
The crew has a fairly underappreciated discography, as Everlast continued to improve as an emcee on future releases (even as Danny Boy faded to the background). Neither Same As It Ever Was (1994) and Truth Crushed To Earth Shall Rise Again (1996) were as successful as the group’s debut album, but both showed continued growth and aptitude of the participants. “Shamrocks and Shenanigans,” the album’s second single, doesn’t share the same pop culture ubiquity, but it was still a successful follow-up.
Top Songs
The lyrics of House of Pain evoke a sense of rebellion, frustration, and longing for escape from the hardships of life. The song portrays a sense of disillusionment and the desire to break free from the constraints of society. It reflects the band’s own experiences and emotions, as they navigated the tumultuous landscape of the music industry in the late 1980s. The Muggs-produced “Put Your Head Out,” is a gritty duet between Everlast and B-Real. The itchy beat was originally intended for a remix of “Hand on the Pump.” Regardless, the track works better as the soundtrack for Everlast and B-Real serving up their enemies. House of Pain’s sonic backdrop was put together by the aforementioned Muggs and Lethal, along with Funkdoobiest’s DJ Ralph Tha Funky Mexican.
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House of Pain addresses themes of rebellion, escapism, and the yearning for freedom. It resonates with individuals who feel confined by societal norms and seek liberation from the daily struggles of life. The lyrics suggest that sometimes one must face their pain and frustrations head-on, finding solace and release in music and embracing their own personal journey towards freedom and self-expression. The inspiration behind House of Pain stems from the band’s personal struggles and frustrations they encountered during their early career. The song reflects their desire to rebel against the conformity and challenges they faced in the music industry.
Albums
“Jump Around” has scored countless films and movie previews, and somewhere in the world, as you’re reading this right now, it’s being sung drunkenly in a bar. It’s a rare hip-hop track that’s become a sports arena record, used by the Los Angeles Angels of Anaheim and the University of Wisconsin alike. In the 2020s, expressing pride for “Celtic heritage” is often coded language for deplorable people to express their equally deplorable views on race. But when House of Pain released their debut album, there was nary a whiff of questionable racial politics on the album.
Singles
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Muggs, who produced the track, initially created it with a very young Son Doobie of Funkdoobiest in mind, but it didn’t work out right. Muggs later offered the beat to Cypress Hill, Ice Cube, and Special Ed, who all passed. However, Everlast has noted that the beat that those others heard wasn’t the complete version of what would become the Platinum hit. What really took the beat to the next level was the addition of the horn blast/shout that appears as a constant refrain throughout the finished track. The source of the sample (and whether it’s a horn or vocal wail) is still under dispute. The blaring horn fanfare, sampled from Bob & Earl’s “Harlem Shuffle,” which opens the track, makes it instantly recognizable.
The beat, produced by DJ Lethal, shares similar gritty, dusty DNA as “Jump Around.” It also features a catchier hook, as the refrain of “Boom Shalok Lock Boom! To their credit, House of Pain successfully walked a pretty difficult line and never crossed it. House of Pain were far from the first group of white rappers to get a record deal, but very few credible ones used their whiteness as a selling point.
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House of Pain stands out with its catchy guitar riffs, energetic rhythm section, and emotionally charged lyrics. The song seamlessly blends elements of glam metal, punk rock, and hard rock, creating a unique sound that captures the essence of Faster Pussycat’s style. Additionally, the raw and relatable emotions expressed in the lyrics contribute to its enduring appeal over the years. House of Pain catapulted Faster Pussycat into the mainstream music scene, gaining them significant recognition and a dedicated fan base.
Sinclar’s symphony of horns, drum machines, and samples of massive hits were made for every ear, even if you aren’t an EDM fan. If Coachella stages were categorized as internet slang, last week, Heineken House was the IYKYK (If you know, you know) of the nation’s most prominent music festival. House of Pain was certified Platinum and began a respectably dope career for the group.
You can also track the popularity and crossover appeal of House of Pain by the remixes of their singles. This time out, instead of going to hip-hop stalwart Pete Rock, the label enlisted Butch Vig. The Garbage co-founder and producer of Nirvana’s Nevermind (1991) transforms “Shamrocks and Shenanigans” into a hard rock anthem with his remix, complete with a guitar solo by Garbage bandmate Steve Marker. I may prefer the original version, but the remix got the attention of the Headbanger’s Ball crowd.
Like many Pete Rock remixes of the era, it makes use of the horns from Lou Donaldson’s “Pot Belly” to great effect, enhancing the track’s soulfulness. Less successful is “House and the Rising Son,” Everlast’s pairing with the aforementioned Son Doobie of Funkdoobiest. The horn-heavy DJ Lethal track works well, but it’s apparent that Son Doobie needed more seasoning at that particular point of his career.
Furthermore, both crews ended up appealing to the growing alternative rock crowd of the early 1990s. Sure, House of Pain’s whiteness aided that appeal, but the music they created on their debut album didn’t pander to the pop sensibilities of the time. House of Pain was groundbreaking as a group, inspiring other white hip-hop artists and crews that have gone on to record albums or build careers around their ethnic identity. But it’s hard to imagine a world where Bubba Sparxxx’s outstanding sophomore album Deliverance (2001) was recorded without House of Pain coming before him. Your Old Droog’s Jewelry (2019) and Dump YOD (2020), where he explores his Jewish and Russian/Ukrainian background respectively, share some similar DNA as House of Pain.
Faster Pussycat used House of Pain as a platform to express their angst and capture the attention of listeners who shared similar feelings of frustration and disillusionment. "I love Washington. Last time I was here I left my cocaine at the White House. Luckily President Biden was able to make good use of it at his State of the Union," Jost added. The "Weekend Update" host from NBC weekly sketch program "Saturday Night Live" brought his punchy brand of comedy — and wife Scarlett Johansson — to the yearly roast of the President of the United States. Jost roasted everyone from Biden to former President Donald Trump's daughter-in-law Lara Trump and Senator Bernie Sanders.
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