Imagine a world where rap and metal collide, creating a sonic boom that shakes the very foundations of music. That's the dream Steve Rifkind, founder of Loud Records, had when he envisioned the 2000 album, "Loud Rocks." He was so confident in the project that he believed it would be the biggest of his career. But did it live up to the hype? Let's dive in.
The year was 2000, and the air was thick with the energy of the burgeoning nü-metal scene. Bands like Limp Bizkit and Korn were dominating the charts, and the fusion of rap and metal felt like the next big thing. Rifkind, inspired by a Rage Against The Machine and Wu-Tang Clan show, saw an opportunity to capitalize on this exciting cross-pollination.
But this wasn't a completely new idea. In fact, it was building on a trend that had already started. Back in 1993, Happy Walters, co-founder of Immortal Records, had the brilliant idea to pair rap, metal, and rock artists on the 'Judgment Night' soundtrack. The film may not have been a blockbuster, but the soundtrack was revolutionary, featuring collaborations like Slayer with Ice-T and Pearl Jam with Cypress Hill. It's a testament to the power of musical experimentation.
Walters continued to push boundaries with the 'Spawn' soundtrack in 1997. However, instead of rap, this project focused on heavy artists like Slayer and Korn, alongside the rising stars of the EDM and trip-hop scenes. This demonstrated a willingness to explore different combinations of genres.
Now, Rifkind, with his roster of hip-hop stars, decided to create his own blend. Unlike the 'Judgment Night' and 'Spawn' soundtracks, "Loud Rocks" took a different approach. Instead of creating entirely new tracks, it featured metal and rock artists adding their touch to existing songs by artists like Wu-Tang Clan, Big Pun, and Mobb Deep.
But here's where it gets controversial: Some of these collaborations were, to put it mildly, jarring. Imagine System Of A Down dropping n-bombs alongside Wu-Tang Clan on a remake of "Shame On A Ni**a." Or, Black Sabbath's Ozzy Osbourne and Tony Iommi joining a ramped-up version of Wu-Tang Clan's "For Heavens Sake." The results were mixed, to say the least.
Despite the challenges, "Loud Rocks" did have its moments. Incubus's addition to Big Pun's track "Still Not A Player" was a standout, and Static-X gave Dead Prez's "Hip-Hop" an industrial edge. Sick Of It All brought some NYHC flair to Mobb Deep's "Survival Of The Fittest."
In a recent interview on the Bootleg Kev podcast, Rifkind reflected on the project's inception and fate. He confessed that he had high hopes, stating, "That was my favorite. I thought that was going to be the biggest album of my career." He even believed it would precede the Jay-Z/Linkin Park collaboration.
When asked about the project's expenses, Rifkind revealed that the main issue was the difficulty in getting clearances from other artists' labels. He also mentioned that Big Pun was likely the most popular artist involved at the time, and the hip-hop stars signed on without hesitation. This was likely due to the fact that many of these artists had already collaborated with rap artists in the mid-to-late 90s.
As the 2000s unfolded, this type of crossover became more common. "Take a Bite Outta Rhyme: A Rock Tribute to Rap" was released just a month after "Loud Rocks", featuring nü-metal artists reinterpreting rap tracks. And in 2001, "Too Legit For The Pit: Hardcore Takes The Rap" saw hardcore, metalcore, and post-hardcore artists covering rap classics.
Of all these projects, "Judgment Night" and "Spawn" made the most significant impact, each going gold. "Loud Rocks" may not have reached those heights, but it hasn't been forgotten. In 2024, The Alkaholiks updated their "Loud Rocks" version of "Make Room," and Red Hot Chili Peppers drummer Chad Smith revisited his collaboration with Wu-Tang Clan and Rage Against The Machine live in the studio.
What do you think? Did "Loud Rocks" live up to its potential? Were these collaborations ahead of their time, or did they miss the mark? Share your thoughts in the comments below!
