How was “Jump Around” born?
Muggs: I made the beat. I had the song called “Jump Around” already. I was saving it for the second Cypress Hill album. We had just finished the first one and the guys were kind of done recording. I had Son Doobie from Funkdoobiest rap on the song — it was all right. I played the beat for Ice Cube, for a few people. In the process, I had met up with Everlast.
Everlast: After I left Warner Bros. and all that stuff, Muggs and I were dating chicks that kind of lived together, so we’d wind up hanging out a lot. He played me the “Jump Around” beat, but it didn’t have the horn in it yet. He used to have a studio in his bedroom at his aunt’s house that he lived in, in Bell Gardens. I wrote “Jump Around” in his driveway. It wasn’t even a song; it was a bunch of lyrics. I was big into dancehall and Shabba Ranks, and there was one part of my rhyme where I was like, “Jump around, if you love freedom. Jump around, if you love culture.” Muggs was the one to say, “Get rid of the reggae part. We’re going to do ‘Jump Around.’ ” I went out to the driveway and wrote it. As I was writing it, he found the horn. And then we all kind of got chills. I mean, we knew it was good.
Danny Boy: I’d play it for kids I went to high school with that were hanging out with us. You’d play them other demos; they’d just nod their head and go, “Yeah, yeah.” But we’d even play them just the demo in my living room, I swear to God, like, everyone started going bananas, going crazy. I knew this was different.
Everlast: I think the original demo is pretty much what you hear on record.
Danny Boy: I put the House of Pain logo on the second round of demos that we sent out. I guess it went to Tommy Boy, and [label president] Monica Lynch seen it — she’s Irish. She seen the logo like, “What the fuck is this?”
Muggs: She was like, “This reminds me of my brothers. After church, they go to bars and get in fights.”
Danny Boy: It’s a blessing and a curse. It’s a blessing that Everlast wrote it. It’s a fucking curse that I didn’t write it, so I don’t get all that money. When that shit goes on, people say, “You’re getting paid off that, right?” I gotta explain that you don’t get money just for performing on the track, you have to actually write the track. I wish somebody would have explained the details: “Hey, if you write these once, you get paid for the rest of your life, for work you did 20 years ago.” What I do is design and aesthetics. I don’t get paid quarterly for logos I did 20 years ago. I love the concept of publishing, it just didn’t sink in — I was too drunk or something.
So, what do you remember about the actual session for the album?
Everlast: I can remember being in the studio we always used to record in called Image Recording, just being fucked up. We were all weeded-out, drunk, all that. I might have just re-recorded the lyrics. The construction and the making of the record was at Muggs’ house. By the time we got it to the studio and put it on 24 tracks, it was a party: “We got a record deal!”
When did you know this thing was going to be huge?
Everlast: The first time I heard it in public, I was in New York at a club. I forget the name of it, but it was on the second floor of a building. That record came on, I swear to God, it couldn’t have been out. It was like a promo. It seemed like everybody in that club knew the record. The floor was wobbling beneath your feet. Everybody was jumping like that. It was crazy.
Danny Boy: The first show we ever did as House of Pain, we did a little club; it was like a nightclub of Asian dudes with Dragon Ball Z haircuts. Like that Asian gangster look with really high flattops. We were like, “What the fuck are we doing here?” And when “Jump Around” came on, they all went nuts.
Everlast: It’s like, you can’t lose with that song. Ask one of a dozen artists who do it every night, up to Snoop or Slick Rick. Limp Bizkit made a name for themselves doing it, you know what I mean?
Even Vanilla Ice is pulling out your song now….
Everlast: I can’t blame him! There’s a big part of me that could have easily been that dude. Had that first Warner Bros. record, with “I Got the Knack” as the first single, blown up, I would’ve been that guy. I’ve seen dude; he’s got his TV shows and he’s doing fine, but there’s got to be a little part of him that says, “That hurts.” To be Elvis one day and not the next. I’d rather not be Elvis at all.
What do you remember about making the music video?
Danny Boy: We went to New York to do the video for “Come and Get Some of This,” which is on the three-song demo. It’s real slow and melodic; it’s kind of a downer of a song. We rented out the Vault, which is an old S&M club that Madonna had used for her Sex book. It was a nasty little spot in the meatpacking district where all this fucking S&M shit goes down. We found this nasty black room with chains and whips. We shot the first day, and in the middle of shooting, the label came in and was like, “Fuck this, fuck this. We’re going to do ‘Jump Around.’ We’re going to hold you here for a week and we’re going to wait till the St. Paddy’s Day parade.” We shot that motherfucker in a day. The video really captured the innocence of House of Pain. We just liked to go out, drink, fight, fuck, and have no regard. I tried to get up to the parade, the fuckin’ priest throws me out. I’m putting stickers on cops’ backs. We were the merry pranksters of hip-hop. Now I’m coming up on seven years’ sobriety. I think everybody’s got a “Jump Around” video that they’ve lived…but it doesn’t come on MTV.