In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. Next up we revisit Cyrus Hills self-title record — a landmark of West Coast hip-hop that pioneered the “weed rap” movement. What’s more, Cypress Hill’s own B-Real, Sen Dog, and DJ Muggs all joined us for the journey through the album’s legacy. 

For more from Cypress Hill, check out Sen Dog’s Crate Digging into 10 essential hip-hop albums.”, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

Season 15 of Consequence Podcast Network and Sony’s The Opus comes to its conclusion on a high point as we explore how Cypress Hill put weed rap on the map.

Within a few months of its release, the impact of Cypress Hill and the subject matter of some of the raps therein was apparent. Other rappers started writing songs that expanded more on the glory of marijuana. While we think of Snoop Dogg and Dr. Dre as pioneers in the art of weed rap, it’s often forgotten that Dre once bragged on record about never smoking weed. But, after Cypress Hill lifted their veil of smoke, Dre got to work on an album called The Chronic.

And Cypress Hill’s cannabis candidness wasn’t just relegated to their raps, either. The group became outspoken advocates for the legalization of marijuana, ushering in a new era of pot positivity that Cypress Hill are still pushing forward to this very day.

In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. Next up we revisit Cyrus Hills self-title record — a landmark of West Coast hip-hop that pioneered the “weed rap” movement. What’s more, Cypress Hill’s own B-Real, Sen Dog, and DJ Muggs all joined us for the journey through the album’s legacy.

For more from Cypress Hill, check out Sen Dog’s Crate Digging into 10 essential hip-hop albums.”, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

On the previous episode of Consequence Podcast Network and Sony's The Opus Season 15, we explored the chemistry between the voices of Cypress Hill’s B-Real and Sen Dog. In Episode 3, we look at the unique alchemy of their beats.

The place where rock and metal meet has always been a part of Cypress Hill's sonic and cultural identity. Sen Dog's first concert was thrash-metal band Slayer; that band's drummer, Dave Lombardo (who, like Sen, is Cuban-American), was his high-school friend. At the end of "How I Could Just Kill a Man," someone quotes Suicidal Tendencies' "Institutionalized."

Cypress Hill's sound had its origins as much in hard rock as it did with Latin funk. The group put their guitar-based influences under every one of their raps.

In this episode, host Jill Hopkins and her guests talk about that intersection between rock and hip-hop, and examine how other artists found themselves at the center of the Venn diagram Cypress Hill first drew.

Original music by Tony Piazza.

Subscribe now so you can keep up on all the new Opus episodes. Also, keep an eye out for a special giveaway in the coming weeks to continue the celebration of the 30th anniversary of Cypress Hill.

Also, grab yourself an official Opus hoodie or T-Shirt at the Consequence Shop or using the buy-now buttons below.

The Stranger wasn't only Billy Joel’s critical breakthrough, but it was the start of a decade-long creative partnership with producer Phil Ramone. Together, the two created some of the most lasting songs in music, and it all began with those first sessions in the summer of 1977.

Joel had a specific vision for what would be his fifth studio album, and that meant finding the right person to work the boards. It wasn't until Ramone -- known then for hits like "It's My Party" in the '60s and working with Paul Simon in the '70s -- expressed his enthusiasm for working with Joel's touring band that the Piano Man knew he'd found his producer.

Together, they captured the energy of a Billy Joel concert on tape, with Joel's band pounding away live in studio (leading to utterly in-the-room sound leakage). Add in Ramone's innovative recording techniques, and they were able to fully realize the sound that had always been in Joel's head. It was a collaborative environment that allowed the best of everyone to come out and led to one of the best albums in the history of music.

Presented by Consequence Podcast Network and Sony Legacy, Episode 2 of The Opus: The Stranger explores how working with Ramone allowed Joel to ascend to a new level of legend. In addition to archival interviews from the two icons, host Adam Unze speaks with Ben Folds, Joel's drummer Liberty DeVito, Arkells' Max Kerman, Andrew McMahon and the Wilderness, and Rozzie.

Keep up with the rest of Season 19 by liking, reviewing, and subscribing to The Opus wherever you get your podcasts. You can also stream or download The Stranger here, and check out the recently released Live at Yankee Stadium, capturing Joel’s 1990 two-night stand at famed stadium.

Fans of The Opus can show their love with an official Opus hoodie or T-Shirt, available now at the Consequence Shop. Snag tickets to Joel's upcoming concerts, including a 2023 co-headlining tour with Stevie Nicks, here.

The Stranger was Billy Joel's fifth album, but in some ways, it felt like his debut because it’s the album that catapulted him to superstardom. Before its release, he’d had a radio hit with "Piano Man," but his genius was hampered by a string of overly slick producers who didn’t connect with his musical vision. But all that started to change leading up to The Stranger. With no hits to his name, his own wife as a manager, and a refusal to work with big-name producers, Joel finally had a chance to make an album on his own terms. Then came a performance at Carnegie Hall, and soon after, a meeting with Phil Ramone, the producer that finally understood what Billy was trying to do. With Joel's insistence on bringing his touring band into the studio and Ramone on his side, The Stranger finally began falling into place.

On Episode 1 of The Opus: Billy Joel's the Stranger, host Adam Unze takes a look at the groundwork for what was to come, going through the history of Billy Joel's first four records to his landmark performances at Carnegie Hall, meeting Phil Ramone, and finally finding a recording process that gave him creative freedom and the ability to capture the magic of his live band. On this debut episode, you'll hear archival interviews with Billy Joel and mega-producer Phil Ramone, plus a fresh discussion with Joel's long-time drummer Liberty Devitto,

Please and make sure to like, review, and subscribe to The Opus wherever you get your podcasts for updates on the new season from Consequence Podcast Network and Sony Legacy.

For more from Billy Joel, stream or download the The Stranger here, and also check out the recently released Live at Yankee Stadium, capturing Joel’s 1990 two-night stand at the iconic venue. You can also snag tickets to Joel's upcoming concerts, including a 2023 co-headlining tour with Stevie Nicks, here.

Fans of The Opus podcast can also pick up an official Opus hoodie or T-Shirt at the Consequence Shop

The Opus returns this holiday season with a true gift for music fans. Season 19 of the hit music history podcast from Consequence Podcast Network and Sony Legacy is set to celebrate the 45th anniversary of the album that made Billy Joel a world renowned star: The Stranger.

The new season premieres on Thursday, December 22nd, with new episodes of the four-part season arriving every Thursday after that, concluding with Episode 4 on January 12th, 2023.

To keep up with The Opus: The Stranger, subscribe now to be notified when each new episode drops, and also revisit our 18-season archive. Also pick up an official Opus hoodie or T-Shirt at the Consequence Shop.

To close out this season of The Opus podcast, we explore how all the reasons Alice in Chains’ Dirt is considered such a classic album -- its place in the '90s Seattle scene, unique sonics, deeply personal lyrics. -- have folded into a lasting legacy for this iconic collection that continues to impact music to this day.

As the ‘90s grunge bubble burst, a new crop of bands emerged wearing their Dirt love on their sleeves. The Seattle sound gave birth to alt-rock radio, but AIC’s harder edge continued to have a presence across the charts. The band's influence can be heard throughout the rock sub-genres that have appeared over the last 30 years and in the generations of musicians that has followed. Acts as disparate as Godsmack and Alter Bridge have cited Dirt as a major inspiration, cementing its place as one rock’s most important albums.

It takes a special kind of magic to maintain that hold on the cultural conversation, and it's that legacy that we explore on the season finale of The Opus: Alice in Chains' Dirt. Joining host Adam Unze in this discussion of AIC's lasting influence on the charts and their fellow musicians are Mastodon's Bill Kelliher, Anthrax's Charlie Benante, City and Colour's Dallas Green, Alter Bridges' Myles Kennedy and Mark Tremonti, Tetrarch's Diamond Rowe, and GOON's Kenny Becker.

Listen to the final episode of this season of The Opus now wherever you get your podcasts. For updates on the next season of the podcast, make sure to like and subscribe to the show, and drop a review if you liked our deep dive into Dirt.

Be sure to check out the Consequence Podcast Network for information on all our shows, and snag an official Opus hoodie or T-shirt at the Consequence Shop or via the buy-now buttons below. You can also grab a copy of Dirt in physical and digital formats here.

This season on The Opus: Alice in Chains' Dirt, we've looked at how the band went against the grain of the Seattle scene and how they set themselves apart with their unique compositional approach. Now we peel back perhaps the most powerful layer of, Dirt: its dark, personal lyricism.

Alice in Chains’ Layne Stayley and Jerry Cantrell packed Dirt with deeply personal lyrics full of emotional weight. The lyrics read like journal entries, telling stories about the horrors of war, mental health struggles, intra-band conflict, and other heavy topics. And yet the songs' confessional poetry leaves ample room for interpretation, allowing fans to reexamine the words as they bend the meanings to reflect events in their own lives.

In Episode 3 of The Opus: Dirt, we deconstruct the lyrical genius of Dirt, discovering the ways in which the songwriters channeled their most private struggles into their very public lyrics. Joining host Adam Unze this week are Alter Bridge's Myles Kennedy and Mark Tremonti, Papa Roach's Jacoby Shaddix, Dallas Green of City and Colour, Anthrax's Charlie Benante, and Airbourne's Joel O'Keeffe.

Listen to this episode now, and don't forget to like and review The Opus and subscribe wherever you get your podcasts to be notified of each new episode of Season 18. Make sure to check out the Consequence Podcast Network for information on all our shows.

Fans of The Opus can also pick up an official Opus hoodie or T-shirt at the Consequence Shop.

When you think of the Seattle Sound, certain sonic hallmarks likely come to mind. As we explore in Episode 2 of The Opus: Dirt, however, Alice in Chains occupied a unique space in this musical landscape.

The band didn't ease its fans into the sound of Dirt. The opening notes of "Them Bones" jolt you directly into an aggressive energy and there’s barely room to catch your breath over the length of the LP. But at the heart of this sensory assault lies an intricate web of virtuoso musicianship and dynamic vocal harmonies. The chunky, muscular guitar riffs and multi-layered vocals created a sound that spurred a generation of imitators.

On this episode of the music history podcast The Opus: Alice in Chains' Dirt, host Adam Unze dives into the unique backstory of the album's composition and discovers why its particular musical alchemy set it apart from the other monster hits of the grunge scene. Joining him on the journey are Baroness' Gina Gleason, Anthrax drummer Charlie Benante, City and Colour musician Dallas Green, Layne Ulrich of Taipei Houston (and son of Metallica drummer Lars Ulrich), and Goon's Kenny Becker and Andy Polito.

Don't forget to like, review, and subscribe wherever you get your podcasts to be notified of each new episode of Season 18. Also, check out the Consequence Podcast Network for information on all our shows.

Fans of The Opus can also pick up an official Opus hoodie or T-shirt at the Consequence Shop.

Alice in Chains are seen as one of the bands that helped define the hard rock era that arose from early-1990s Seattle. But at a time when the entire music industry was laser focused on the rise of grunge music, Alice in Chains sat both at the epicenter of the global movement and on its periphery. Although Dirt emerged as the Seattle sound began to dominate the charts, it sat in the middle of a grunge, metal, and hard rock Venn diagram, refusing to adhere to the confines of a single musical form.

On Episode 1 of The Opus: Alice in Chains' Dirt, host Adam Unze takes a look at Alice in Chains both defied the burgeoning grunge scene and was an integral part of it. Joining him are Anthrax drummer Charlie Benante, Bush frontman Gavin Rossdale, City and Colour musician Dallas Green, and author Mark Yam (Everybody Loves Our Town: An Oral History of Grunge).

Make sure to like, review, and subscribe wherever you get your podcasts to keep up with all new episodes of The Opus Season 18.

Fans of The Opus can also pick up an official Opus hoodie or T-shirt at the Consequence Shop or via the buy-now buttons below.

The Opus podcast is rising out of the Dirt for a new season centered on the legacy of Alice in Chains’ sophomore album. Presented by the Consequence Podcast Network and Sony, the hit music history series is back to celebrate the 30th anniversary of the genre-changing classic.

Launching on October 6th, Season 18 of The Opus travels back to 1992, a time when alternative music was being pushed towards grunge, putting it in direct conflict with the metal scene. Then along came the Seattle quartet of Layne Staley, Jerry Cantrell, Sean Kinney, and Mike Starr with Dirt, an effort that took the best of both worlds and redefined hard rock for the end of the millenium.

“As the Seattle sound exploded in the early ’90s, Alice in Chains created one of the decade’s darkest and most influential albums at the intersection of grunge, metal, and hard rock,” says new host Adam Unze. “They channeled their pain and grief into Dirt, a genre bending collection of electrifying songs with hooks that defined an era. I’m so excited to explore that seismic cultural shift on this new season of The Opus.”

Joining Unze to trace the legacy of Dirt will be guests like Anthrax’s Charlie Benante, Bush’s Gavin Rossdale, Baroness, City and Colour’s Dallas Green, Halestorm, author Mark Yam (Everybody Loves Our Town: An Oral History of Grunge), and more. Together, they’ll till the soil of how Alice in Chains changed a scene, bared their souls, and moved heavy music in a new direction.

Tune in when The Opus: Dirt premieres on Thursday, October 6th. New episodes of the four-part season will arrive every Thursday. While you wait, revisit Alice in Chain’s classic album by streaming or downloading it here. You can also watch the band perform some of the LP’s songs alongside other hits from their catalog on their current tour, tickets for which can be found here.

To keep up with The Opus: Dirt, subscribe now to be notified when each new episode drops, and also revisit our 17-season archive. Also pick up an official Opus hoodie or T-Shirt at the Consequence Shop.

The title of There's a Riot Goin On is a reference to an actual riot that broke out during a Sly and the Family Stone concert that never happened.

On July 27th, 1970, Sly and his band were set to play a first-of-its-kind concert at the Petrillo Bandshell in Chicago's Grant Park. Before the Family Stone had even arrived, however, an unknown group called Fat Water had performed a three-song set -- but the crowd wasn't expecting the show to have opening acts. As the next band, The Flying Burrito Brothers, appeared on stage, the crowd hurled projectiles at them, inciting a riot that would leave 162 injured.

In this final episode of The Opus: There's a Riot Goin On, we look back at the events of that day and what lead up to a Chicago riot that would change music history. Host Jill Hopkins welcomes former commissioner of Chicago's Department of Cultural Affairs and Special Events Mark Kelly and Summer of Soul producer Joseph Patel to discuss the infamous moment that birthed a classic album.

Check out the final episode of The Opus Season 17 now, and make sure to review, like, and subscribe to The Opus to keep up with future seasons.

The Opus fans can also pick up our official hoodie and T-shirt at the Consequence Shop. In celebration of the Season 17, both items are on sale for 25% off! Just enter the code OPUS25 at checkout.

Original music by Tony Piazza.

Sly and the Family Stone did more than just write "Family Affair" -- they lived it. On Episode 3 of The Opus: There's a Riot Goin On, we dive into the family dynamics of the band and similar relationships throughout music history.

There were actually four Stone relatives in the Family Stone: siblings Sly, vocalist/guitarist Freddie, vocalist/pianist Rose, and background singer Vet. While their tensions were nothing compared to, say, Oasis, there were clashes. That went double for the non-blood related Family members, especially during the period that birthed There's a Riot Goin On.

In this episode of The Opus Season 17, host Jill Hopkins welcomes Summer of Soul producer Joseph Patel and music journalist/editor of Braxton Family Values to look at the Stone siblings' place in the pantheon of relatives making music together, the pros and cons of creating and doing business with family, and why sometimes it works better than others.

Listen now, and make sure to like and subscribe to The Opus to keep up with all of Season 17. 

Fan of The Opus? Grab our official hoodie and T-shirt at the Consequence Shop, now on sale for 25% off with the code OPUS25 at checkout.

Original music by Tony Piazza.

In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. Next up we revisit Cyrus Hills self-title record — a landmark of West Coast hip-hop that pioneered the “weed rap” movement. What’s more, Cypress Hill’s own B-Real, Sen Dog, and DJ Muggs all joined us for the journey through the album’s legacy. 

For more from Cypress Hill, check out Sen Dog’s Crate Digging into 10 essential hip-hop albums.”, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

Consequence Podcast Network and Sony’s The Opus Season 15 continues as we explore the unparalleled chemistry between Cypress Hill’s B-Real and Sen Dog. B-Real’s high-pitched, nasal rap style played off the boom of Sen Dog’s authoritative baritone for a sound unlike anyone else.

In Episode 2 of The Opus: Cypress Hill, the two rappers discuss finding their voices, while the legendary Chuck D (Public Enemy, Prophets of Rage) heaps praise on the group’s unique sound.

Record scratch! We've loved diving into the story of Sly and the Family Stone's There's a Riot Goin On, but some production delays have us cryin' just like a baby. We'll return with Episode 3 on February 24th, followed by the 4th and final episode on March 3rd. We apologize for the hold up, appreciate your patience, and thank you for letting us talk to ya. Stay tuned!

In the meantime, make sure to like, subscribe, and rate The Opus wherever you get your podcasts.

As Season 17 Consequence Podcast Network and Sony’s The Opus, continues, we're exploring how the legacy of Sly and the Family Stone’s masterpiece There’s a Riot Goin On can still be heard today.

Sly and the Family Stone are one of the most covered and sampled artists in all of soul music. Everyone from Jurassic 5 to Janet Jackson, *NSYNC to members of the Wu-Tang Clan have drawn inspiration from the songs on Riot to make classics of their own. In Episode 2 of The Opus: There's a Riot Goin On, host Jill Hopkins is joined by Summer of Soul producer Joseph Patel to discuss the artists who have long been Family Stone fans and used the group's music to supplement their own, to fantastic results.

Listen now, then like and subscribe to The Opus wherever you get your podcasts. Plus, you can enter to win a Sly and the Family Stone prize pack that includes There's a Riot Goin On and the Summer of Soul soundtrack on vinyl, along with a brand new sound system courtesy of Sony.

Fans of The Opus can also snag an official Opus hoodie or T-shirt at the Consequence Shop, on sale for 25% off! Use the code OPUS25.

Original music by Tony Piazza.

The Opus is back, kicking off Season 17 of the Consequence Podcast Network and Sony’s music history podcast by exploring how Sly and the Family Stone’s iconic There’s a Riot Goin On was at the vanguard of a soul revolution. Released in 1971, the album ushered in a more mature sound for soul music. It served as the link between the late-'60s psychedelic movement and the burgeoning aggressive turn in funk, a sound that would become popularized throughout the decade.

In Episode 1 of The Opus: There's a Riot Goin On, host Jill Hopkins and her guests Carlos Santana, Summer of Soul producer Joseph Patel, and music journalist Steve Huey discuss the cultural change the album instigated and how it contributed to the funky stylings that would become a signature of the era.

Listen now, and make sure to like and subscribe to The Opus wherever you get your podcasts. Also, enter to win a Sly and the Family Stone prize pack that includes There's a Riot Goin On and the Summer of Soul soundtrack on vinyl, along with a brand new Sony sound system.

Fans of the series can also snag an official Opus hoodie or T-shirt at the Consequence Shop, on sale for 25% off! Use the code OPUS25.

Original music by Tony Piazza.

Pearl Jam bassist Jeff Ament once stated that "essentially Ten was just an excuse to tour."

The band clearly just wanted some material to play on the road, as their first tour kicked off just after they'd completed mixing sessions for their debut album; the record wasn't even released yet. The tour -- PJ's only with drummer Matt Chamberlain -- was a short one focusing on the East Coast and Midwest. It wrapped up in Chicago at the famed Cabaret Metro with a concert that is still legendary among Pearl Jam fans.

After that Metro gig on July 21st, 1991, the band took a break as they prepared for the release of Ten. The album arrived a month later on August 27th, and by September, Pearl Jam returned for a world tour as one of the newly crowned kings of '90s rock.

In this episode of Consequence Podcast Network and Sony’s The Opus: Ten, we go back to The Metro to relive that final show of Pearl Jam's first tour so we can see a band on the brink of decades-long stardom. Joining host Jill Hopkins on this trip back in time is none other than The Metro's founder, Joe Shanahan.

Subscribe now to stay up-to-date on future seasons of The Opus. Also, make sure to support our show and the Consequence Podcast Network by picking up an official Opus hoodie or T-shirt at the Consequence Shop.

Ten yielded (no pun intended, Pearl Jam fans) three enduring hit singles: "Alive," "Even Flow," and "Jeremy." But here on Consequence Podcast Network and Sony’s The Opus, we focus on the legacy of the entire album -- and the real meat of Ten is on the non-single tracks.

The band has opened shows with the record's final track, "Release," ever since the original Ten tour. "Oceans" features some of the most unusual percussion arrangements on any hard rock track of the era. And the label wanted to release "Black" as a single, but the band refused.

On Episode 3 of The Opus: Ten, we dig into the songs we haven't been hearing on the radio over the last 30 years, and find out why they've become so beloved to Pearl Jam's legions of fans.

Listen now, and make sure you subscribe to keep up with all episodes of Season 16 of The Opus. Also, show your love of our show by picking up an official Opus hoodie or T-shirt at the Consequence Shop.

Original music by Tony Piazza.

While Season 16 of the Consequence Podcast Network and Sony’s The Opus focuses on the unparalleled musical legacy Ten, it's important to note of Pearl Jam has been defined as much by their visuals as their sound. On Episode 2, we explore how bassist Jeff Ament not only contributed to the band's sonics, but their imagery as well.

Subscribe now so you can listen to all episodes of Season 16 of The Opus. Also, pick yourself up one of our official Opus hoodies or T-shirts at the Consequence Shop.

Original music by Tony Piazza.

The series of events that had to happen to have Ten even exist is wild.

Jeff Ament and Stone Gossard were in Green River, but they broke up. Then, they were in a pysch-garage band called Mother Love Bone, whose singer, Andrew Wood, died right before their first album was released. The two of them, and a couple of members of Soundgarden put out a tribute album for Andrew, and this singer they’d heard about from Jack Irons, - the drummer from the Red Hot Chili Peppers - guested on one of the tracks. He’d gotten a copy of some demos Stone and Jeff were working on, wrote lyrics for it, sang over it, and sent it back. The guys liked it, so they hired him to sing in their new band.

That song was “Hunger Strike”, that tribute was Temple of the Dog, that guest singer was Eddie Vedder, and that new band was Pearl Jam.

This is all only scratching the surface of the strange series of events that had to occur for Ten to come into existence. In this debut episode of The Opus: Pearl Jam's Ten, host Jill Hopkins is joined by The Gaslight Anthem's Brian Fallon, AllMusic's Stephen Thomas Erlewine, and Museum of Pop Culture curator Jacob McMurray to trace the unlikely origins of one of the biggest bands of all time.

Subscribe now so you can check out all episodes of Season 16 of The Opus. Also, grab yourself an official Opus hoodie or T-Shirt at the Consequence Shop.

Original music by Tony Piazza.

Season 15 of Consequence Podcast Network and Sony’s The Opus comes to its conclusion on a high point as we explore how Cypress Hill put weed rap on the map.
Within a few months of its release, the impact of Cypress Hill and the subject matter of some of the raps therein was apparent. Other rappers started writing songs that expanded more on the glory of marijuana. While we think of Snoop Dogg and Dr. Dre as pioneers in the art of weed rap, it’s often forgotten that Dre once bragged on record about never smoking weed. But, after Cypress Hill lifted their veil of smoke, Dre got to work on an album called The Chronic.
And Cypress Hill’s cannabis candidness wasn’t just relegated to their raps, either. The group became outspoken advocates for the legalization of marijuana, ushering in a new era of pot positivity that Cypress Hill are still pushing forward to this very day.

On the previous episode of Consequence Podcast Network and Sony's The Opus Season 15, we explored the chemistry between the voices of Cypress Hill’s B-Real and Sen Dog. In Episode 3, we look at the unique alchemy of their beats.

The place where rock and metal meet has always been a part of Cypress Hill's sonic and cultural identity. Sen Dog's first concert was thrash-metal band Slayer; that band's drummer, Dave Lombardo (who, like Sen, is Cuban-American), was his high-school friend. At the end of "How I Could Just Kill a Man," someone quotes Suicidal Tendencies' "Institutionalized."

Cypress Hill's sound had its origins as much in hard rock as it did with Latin funk. The group put their guitar-based influences under every one of their raps.

In this episode, host Jill Hopkins and her guests talk about that intersection between rock and hip-hop, and examine how other artists found themselves at the center of the Venn diagram Cypress Hill first drew.

Original music by Tony Piazza.

Subscribe now so you can keep up on all the new Opus episodes. Also, keep an eye out for a special giveaway in the coming weeks to continue the celebration of the 30th anniversary of Cypress Hill.

Also, grab yourself an official Opus hoodie or T-Shirt at the Consequence Shop or using the buy-now buttons below.

Consequence Podcast Network and Sony’s The Opus Season 15 continues as we explore the unparalleled chemistry between Cypress Hill’s B-Real and Sen Dog. B-Real’s high-pitched, nasal rap style played off the boom of Sen Dog’s authoritative baritone for a sound unlike anyone else.

In Episode 2 of The Opus: Cypress Hill, the two rappers discuss finding their voices, while the legendary Chuck D (Public Enemy, Prophets of Rage) heaps praise on the group’s unique sound.

In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. Next up we revisit Cyrus Hills self-title record — a landmark of West Coast hip-hop that pioneered the “weed rap” movement. What’s more, Cypress Hill’s own B-Real, Sen Dog, and DJ Muggs all joined us for the journey through the album’s legacy.

For more from Cypress Hill, check out Sen Dog’s Crate Digging into 10 essential hip-hop albums.”, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

Season 15 of The Opus, presented by the Consequence Podcast Network and Sony, travels back to the Southern California in which Cypress Hill’s sound exploded onto the scene.

The sonic sense of urgency in the hip-hop group's self-titled debut album was a time-and-place thing -- a product of late '80s/early '90s Los Angeles that was swept up in the tension just before the Rodney King verdict and the uprising that followed.

Cypress Hill's lyrics and beats were tailor made for the subwoofers in the trunks of the low riders that played them, and would echo around rap's landscape in the years to come. And it served as representative for the Black and brown voices who felt the need to protest as much as they felt the desire to party in the face of a community that would soon be national news.

In this first episode of The Opus: Cypress Hill, we venture into Cypress Hill’s Southern California, and the powder keg that made their debut album important, necessary, and seemingly ubiquitous. And who better to give host Jill Hopkins a tour of this era than the members of Cypress Hill themselves, as B-Real, Sen Dog, and DJ Muggs guest on Episode

Season 15 of The Opus, presented by the Consequence Podcast Network and Sony, travels back to the Southern California in which Cypress Hill’s sound exploded onto the scene.

The sonic sense of urgency in the hip-hop group's self-titled debut album was a time-and-place thing -- a product of late '80s/early '90s Los Angeles that was swept up in the tension just before the Rodney King verdict and the uprising that followed.

Cypress Hill's lyrics and beats were tailor made for the subwoofers in the trunks of the low riders that played them, and would echo around rap's landscape in the years to come. And it served as representative for the Black and brown voices who felt the need to protest as much as they felt the desire to party in the face of a community that would soon be national news.

In this first episode of The Opus: Cypress Hill, we venture into Cypress Hill’s Southern California, and the powder keg that made their debut album important, necessary, and seemingly ubiquitous. And who better to give host Jill Hopkins a tour of this era than the members of Cypress Hill themselves, as B-Real, Sen Dog, and DJ Muggs guest on Episode 1.

The production on Just As I Am is just as tight as you’d expect an album made with Booker T Jones to be. Bill Withers may have been a rookie singer/songwriter, but the plates on this album were definitely not.

In this episode, we speak to folks who help Withers discover and perfect his signature sound. We also discuss the album’s sonic legacy with people whose sound has been influenced by the music Withers, Jones, and company made 50 years ago.

Amir “Questlove” Thompson, in Rolling Stone in 2015, called Bill Withers the “last African-American Everyman … the closest thing black people have to a Bruce Springsteen.”

Withers’ Just As I Am was once referred to as “middlebrow soul.” That is to say, it was easily accessible at a time when music was becoming increasingly complex.

In this episode, we find out what it means to be a populist musician when popular music was quickly turning its eye to more complicated compositions.

In September of 1972, after having been nominated for three Grammys and winning one, Bill Withers spoke with The New York Times, and declared that the whole music thing was simply a phase for him.

In 1985, Bill Withers, walked away from the music industry, deciding to not record or re-sign to a record label. He wanted to return to his “regular guy” life, and be a husband and father.

When Bill Withers began making “Just As I Am,” he was employed as a factory worker at Weber Aircraft in California. The picture of him on the cover of the album was taken while he was on his lunch break. His “regular guy” life and point of view provided his music with a spectacular simplicity and relatability that eventually earned him four more Grammy nominations and two more trophies.

In this episode, we’ll look Withers' protest music and how he remains a major figure of fighting the powers that be.

Guests:

Aloe Blacc
Jose James

Season 14 of The Opus focuses on Bill Withers' landmark debut album, Just as I Am. In episode one, host Jill Hopkins and special guests Jon Batiste, José James, Aloe Blacc, and Phil Cook discuss how a blue-collar everyman became a soul music legend.

So much of hip-hop is built on the notion of creating something from something. Call it covering, call it borrowing, call it sampling, but don't call it unoriginal. For decades, samples have helped musicians turn some of greatest hits into even greater hits.

Fugees are no exception to this. They built upon this legacy, The samples and covers included on 1996's The Score range everywhere from The Delphonics to Enya -- and yet they’re seamlessly woven together to create a distinct, singular album.

In the Season 13 finale, host Jill Hopkins heads to the operating room to dissect three songs off The Score that best embody the art of the sample and the depth of knowledge the Fugees brought to the studio: "Zealots", "The Score", and "Ready or Not".

Surrounding Jill at the table with scalpels and insight are Ruffhouse Records co-founders Chris Schwartz and Joe Nicolo; rapper Psalm One; and music journalist Insanul Ahmed. Together, they discuss why certain bits were used, why whole songs were sometimes included, and how the Fugees turned existing classics into their own -- read: completely new -- classics.

Original music by Tony Piazza.

The Fugees were culturally unique in myriad ways. They were a trio comprised of one American-born Black woman and yet also two Haitian immigrants, who both took pride in their heritage. Naturally, this pride was weaved into the fabric of 1996's The Score, and the album's success meant that they were able to champion Haitian music in both America and abroad.

In this episode, host Jill Hopkins speaks to the trio's family, friends, and fans about Haiti’s effect on the Fugees and the Fugees effect on Haiti, Haitians, and their fans who saw their own American immigrant and refugee experiences reflected back at them.

Along for the journey are award-winning songwriter and multi-instrumentalist Jon Batiste, producer Jerry Wonda, Ruffhouse Records co-founder Chris Schwartz, music journalists Dometi Pongo and Insanul Ahmed, and reggae legend Sly Dunbar. Together, they study the symbiosis between band and homeland as it pertains to the Fugees.

Original music by Tony Piazza.

Don't forget to enter our giveaway to win a Fugees prize pack, which includes vinyl, a turntable, and headphones. (Note: If you’re having trouble seeing the widget, enter here.)

Instead of returning to the studio with outside producers, the Fugees took their $150k advance from Ruffhouse Records and ventured off to … the basement. Specifically, the Booga Basement in East Orange, NJ, where Wyclef Jean’s uncle and his cousin Jerry “Wonda” Duplessis lived.

Booga, along with The Dungeon in Atlanta (where OutKast cut their debut), were two of the most successful underground studios in the game circa the mid-90s. These locales came with a productive, family vibe and endless head bobs to judge the quality of work.

In this episode, host Jill Hopkins speaks to producer Jerry Wonda about building a studio and a sound that would continue the tradition of great New Jersey hip-hop. They also discuss why this kind of DIY ethos is so important to groups in the process of defining their sounds.

Also heading into the basement are special guests Chris Schwartz and Joe Nicolo of Ruffhouse Records, in addition to MTV’s Dometi Pongo and Genius executive editor Insanul Ahmed.

Original music by Tony Piazza.

Don't forget to enter our giveaway to win a Fugees prize pack, which includes vinyl, a turntable, and headphones. (Note: If you’re having trouble seeing the widget, enter here.)

In the Season 13 premiere, we’ll find out what it took for a group in its own artistic and personal transition to find their place at the top of the charts and on the Grammy stage as the biggest hip-hop act of 1996.

Hip-hop had considerably changed from when the Fugees started recording their first album in 1992 to just three years later when they began working on their second effort. The “Golden Age'' was coming to a close, and the genre was at a crossroads.

So were the Fugees, though. Coming off their critically and commercially divisive first album, 1994's Blunted on Reality, the New Jersey trio of Lauryn Hill, Wyclef Jean, and Pras Michel were similarly looking to reinvent themselves

Join host Jill Hopkins as she dials the clock back to the mid-'90s alongside producer Jerry Wonda, Ruffhouse Records co-founders Chris Schwartz and Joe Nicolo, and rapper Psalm One.

Original music by Tony Piazza.

Don't forget to enter our giveaway to win a Fugees prize pack, which includes vinyl, a turntable, and headphones. (Note: If you’re having trouble seeing the widget, enter here.)

The movement was called “Women’s Liberation”, and it pushed the needle of social change more rapidly than mainstream America was ready for in the late '60s and early '70s. The shift was palpable: The need for empowering feminist heroines prompted many Americans to look towards artists, athletes, and entertainers when politics came up short.

Janis Joplin was one such name. With a life lived aggressively free of the trappings of stereotypical feminine expectations, the late musician was as much of a revolutionary as Abbie Hoffman or her beloved Odetta. Today, Joplin's sexuality and her unwillingness to hide it serves as a reminder by third-wave feminists of how far we've come in America.

In the fourth and final episode on Pearl, host Jill Hopkins speaks of the shine and the struggle inherently involved in a feminist uprising, the songs that told Joplin's stories of love, sex, freedom, and pain, and the singer's place within the revolution. Special guests include Joplin's biographer Holly George-Warren (Janis: Her Life and Music), legendary rock writer Steve Huey (Yacht Rock), and Grammy-nominated singer-songwriter Grace Potter.

Featuring original music by Tony Piazza.

In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. First up, we revisit Fugees’ classic The Score, which comes in at number 15 on Consequence’s list of the 50 Greatest Hip-Hop Albums of All Time. You can see the full list on Consequence, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

Here on The Opus, we’ll also be re-releasing our season about Cypress Hill’s self-titled record, so make sure to check back every Wednesday and Friday for fresh episodes from the archives.

So much of hip-hop is built on the notion of creating something from something. Call it covering, call it borrowing, call it sampling, but don't call it unoriginal. For decades, samples have helped musicians turn some of greatest hits into even greater hits.

Fugees are no exception to this. They built upon this legacy, The samples and covers included on 1996's The Score range everywhere from The Delphonics to Enya -- and yet they’re seamlessly woven together to create a distinct, singular album.

In the Season 13 finale, host Jill Hopkins heads to the operating room to dissect three songs off The Score that best embody the art of the sample and the depth of knowledge the Fugees brought to the studio: "Zealots", "The Score", and "Ready or Not".

Surrounding Jill at the table with scalpels and insight are Ruffhouse Records co-founders Chris Schwartz and Joe Nicolo; rapper Psalm One; and music journalist Insanul Ahmed. Together, they discuss why certain bits were used, why whole songs were sometimes included, and how the Fugees turned existing classics into their own -- read: completely new -- classics.

Original music by Tony Piazza.

In many ways, Pearl was a wake for Janis Joplin, a celebration of the singer-songwriter, whose poetry and energy connected with fans, critics, and the general public alike. In hindsight, though, it also felt like the end of an era -- a fiery footnote to the '60s.

But what led to that moment? In this episode, host Jill Hopkins will look at the time between Joplin’s untimely death and the post-release reception. She'll also pivot to other posthumous albums to see if there are any parallels to be made with Pearl.

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) Hummingbird guitar, a Janis Joplin Festival Express 1970 sweatshirt, and a copy of Pearl on vinyl.

Janis Joplin left it all on stage. Janis Joplin brought it all to the studio. Janis Joplin put it all on tape. With that exposed vulnerability, however, comes the illusion that the general public actually knew her. That's simply not the case.

In this episode, host Jill Hopkins speaks to the late icon's two siblings Laura and Michael Joplin, who shine a light on the Janis Joplin the public didn’t know. What was it like to grow up with her? Look up to her? Lose her? And then honor her?

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) Hummingbird guitar, a Janis Joplin Festival Express 1970 sweatshirt, and a copy of Pearl on vinyl.

In the Season 12 premiere, we hop a train heading back to the Summer of 1970, when Joplin and the Full Tilt Boogie Band led the historic Festival Express across Canada. It's a strange and wonderful journey that ends with Joplin's magnum opus.

Join host Jill Hopkins as she walks from one carriage to another, learning about the making of the band that would help propel a voice that continues to inspire long after death. Along for the ride are Joplin's biographer Holly George-Warren (Janis: Her Life and Music) and legendary rock writer Steve Huey (Yacht Rock).

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) Hummingbird guitar, a Janis Joplin Festival Express 1970 sweatshirt, and a copy of Pearl on vinyl.

Give the drummer some!

Over the years, countless session players have shaped the spirit and sound of Santana -- but especially the beats. Many stuck around, but others went on to carve out their own careers, the likes of which are among the most varied and vast in the industry.

For the fourth and final episode of Abraxas, The Opus takes a rhythmic tour between mainstays Michael Shrieve and Cindy Blackman Santana, celebrating the percussionists that have graced the kit for Santana over the years.

Join host Jill Hopkins as she bangs the drum alongside special guests Michael Shrieve and Cindy Blackman Santana for one wild and frenetic final episode. Because really, no great show is without one surprise epic encore.

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) SE Santana Singlecut Trem in Egyptian Gold from PRS Guitars and a copy of Abraxas on vinyl.

As we've already learned this season, the members of Santana all came in with their own eclectic perspectives. From the traditional to the avant garde, they dropped a witch’s cauldron of diverse sonic experimentation.

For the third episode, The Opus wants to talk about the power of influence. Not only on the members of Santana, but how they've since left their own distinct thumbprint on artists for generations to come.

Groups like Oxomatli and Mana are obvious heirs, but who are the groups that took the sound and vision of Abraxas to even more psychedelic levels? What better time than now to sort through the connective tissue.

Join host Jill Hopkins as she connects the dots. Along the way, she'll hear vital insights from Carlos Santana, Cindy Blackman Santana, AJ Dávila of Davila 666, Carlos Arevalo of Chicano Batman, and the one and only Michelle Branch.

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) SE Santana Singlecut Trem in Egyptian Gold from PRS Guitars and a copy of Abraxas on vinyl.

For the second episode of Season 11, The Opus is curious to know the stories behind the liner notes to Abraxas. Sure, Carlos Santana was the face and name of the band, but he wasn’t the voice and he didn’t make up the totality of their signature sound.

Of course, a good bandleader knows it’s not always about them, and Santana was no exception to that rule. His crew of players were all virtuosos in reach of their respective areas, and together they created a signature rock 'n' roll hybrid.

But, how did all of this talent find each other? Was San Francisco just teeming with genius in the late '60s? And, really, how do you write and record a sophomore album, perfect a new genre, all while the entire world is changing before you?

Join host Jill Hopkins as she continues her journey through Abraxas. Along the way, she’ll hear vital insights from Carlos Santana, in addition to his drummer Michael Shrieve, musicologist Mark Brill, historian Ashley Kahn, and musician AJ Dávila of Davila 666.

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) SE Santana Singlecut Trem in Egyptian Gold from PRS Guitars and a copy of Abraxas on vinyl.

In the Season 11 premiere, we're dialing back the clock to the late '60s, a time when Santana and his band were on the cusp of a cultural sea change. They had just conquered the iconic Woodstock Music Festival, and all ears were raised for what came next.

But, when you finally have the means to make the album you’ve always wanted ... is it smooth sailing? As an outsider making outsider art, did Santana feel a responsibility to represent his cultural roots? And what about meeting your heroes?

Join host Jill Hopkins as she contends with all of these questions in the first episode. Along the way, she'll hear insights from the legend himself Carlos Santana, in addition to his drummer Michael Shrieve, musicologist Mark Brill, and historian Ashley Kahn.

Featuring original music by Tony Piazza.

Don't forget to enter our exclusive giveaway to win one (1) SE Santana Singlecut Trem in Egyptian Gold from PRS Guitars and a copy of Abraxas on vinyl.

Consequence Podcast Network and Sony’s The Opus is back for Season 11 with a new host and a new classic album to explore. Beginning November 19th, host Jill Hopkins (The Moth Chicago, Making Beyoncé podcast) will conjure the enduring legacy of Santana’s landmark Abraxas. 

Following the release of their self-titled debut and their subsequent performance at Woodstock, a world of possibility was opened to Santana for their sophomore record. Band leader Carlos Santana suddenly had the means to make the album he’d always dreamed of — but with that came added pressure. With his band of virtuosos around him, Santana set out to find new ways of blending rock music with jazz experimentation,  resulting in an effort unlike anything that had come before, and something that many have striven to emulate since.

As Hopkins traces the story of Abraxas from the summer of ’69 to today, she’ll be joined by Carlos Santana himself and band drummer Michael Shrieve. Other scheduled guests include musicologist Mark Brill, Dávila 666’s AJ Davila, and many more.

“I’m excited to help tell the story of an iconic album that has followed me from snuck-in listens at grown-up parties to full album immersions through headphones I probably paid too much for,” says Hopkins. “Abraxas sounds just as passionate, percussive, and pervasive to our shared culture as Carlos Santana meant for it to when he and his band of equally talented players stepped off of the Woodstock stage and into musical immortality.”

The Opus: Abraxas premieres November 19th, and you can subscribe now.

--

Theme music by Tony Piazza.

We are living in Andy Warhol's vision of the future. It’s a time when anyone can TikTok their way to 15 minutes of fame, only to disappear 15 seconds later. But there’s a strange effect to all these stars and this new galaxy: We’re all so siloed as fans that it’s easy to forget there was once a time when stars could outlast the universe.

One such star is Whitney Houston.

As The Opus winds down its journey through the diva's blockbuster debut, host Andy Bothwell speaks with rapper Dessa and writers Hanif Abdurraqib and Myles Johnson about what Whitney Houston meant to the world.

Together, they discuss how Houston impacted such a wide and diverse range of communities and cultures, and later marvel at the strength she exhibited while facing insurmountable pressures and exorbitant demands.

Stream Whitney Houston via all major streaming services or enter to win a copy of Vinyl Me, Please’s 35th anniversary Whitney Houston box set.

There's something mystifying about powerful voices. Sure, everyone can open their mouth and sing, but when we watch a force like Whitney Houston do so, it's abundantly clear there's a vast divide between her and us mere mortals.

But we take such voices for granted, often celebrating their talent by simply listening. What we don't appreciate is the work it takes to get there, the work it takes to maintain such power, and the true musicianship behind every note.

As The Opus continues its journey into Whitney Houston, host Andy Bothwell learns about the training and athleticism behind a voice like Houston by speaking with singer Bartees Strange and opera singer Dr. Donna Mitchell-Cox.

Later, Dessa (of Doomtree Records) breaks down the science behind Houston's voice, while CNN's own Brandon Tensley explains the unexplainable -- specifically, why her voice impacts us in ways we can't always understand.

Stream Whitney Houston via all major streaming services or enter to win a copy of Vinyl Me, Please’s 35th anniversary Whitney Houston box set.

Follow us on Facebook | Podchaser

In celebration of the 50th anniversary of hip-hop, we’re opening up The Opus podcast archives to re-release seasons focused on some of history's most legendary rap albums. First up, we revisit Fugees’ classic The Score, which comes in at number 15 on Consequence’s list of the 50 Greatest Hip-Hop Albums of All Time. You can see the full list on Consequence, and there will be loads of artist interviews, essays, and more coming throughout the month, so make sure to check it all out at Consequence.net.

You can also snag some of our exclusive Hip-Hop 50 merch at the Consequence Shop.

Here on The Opus, we’ll also be re-releasing our season about Cypress Hill’s self-titled record, so make sure to check back every Wednesday and Friday for fresh episodes from the archives.

The Fugees were culturally unique in myriad ways. They were a trio comprised of one American-born Black woman and yet also two Haitian immigrants, who both took pride in their heritage. Naturally, this pride was weaved into the fabric of 1996's The Score, and the album's success meant that they were able to champion Haitian music in both America and abroad.

In this episode, host Jill Hopkins speaks to the trio's family, friends, and fans about Haiti’s effect on the Fugees and the Fugees effect on Haiti, Haitians, and their fans who saw their own American immigrant and refugee experiences reflected back at them.

Along for the journey are award-winning songwriter and multi-instrumentalist Jon Batiste, producer Jerry Wonda, Ruffhouse Records co-founder Chris Schwartz, music journalists Dometi Pongo and Insanul Ahmed, and reggae legend Sly Dunbar. Together, they study the symbiosis between band and homeland as it pertains to the Fugees.

Original music by Tony Piazza.

Don't forget to enter our giveaway to win a Fugees prize pack, which includes vinyl, a turntable, and headphones. (Note: If you’re having trouble seeing the widget, enter here.)

It's hard to underestimate Whitney Houston’s stardom.

For better and for worse, the world knows so much more about the late diva than we do about most artists from her era. Houston's meteoric rise would eventually place her own personal life under a microscope, and it's the tragic details that all too often overshadow her unparalleled legacy and groundbreaking influence.

Looking back, though, Whitney Houston wasn't just a pop star. She wasn't just an incredible voice. No, she was a trail blazer, the first of her kind, who opened the door for so many artists to follow. For its highly anticipated 10th season, The Opus plans to trace those footsteps, and put a spotlight on the star that was born with 1985's Whitney Houston.

Join host Andy Bothwell as he talks with music writer and chart historian Chris Molanphy about the records Houston broke with her self-titled debut. Then listen as writers Britt Julious, Brandon Tensley, and musicians Sophia Eris and Bartees Strange explain how Houston's position on the Billboard charts meant so much more than just record sales.

For decades now, rap and hip-hop has been the most fertile soil for slang and new language across pop culture. But when looking back on Mobb Deep, the duo didn't just have their own slang, they had their own language.

In this bonus episode of The Opus, host Andy Bothwell breaks down the history of "The Dun Language" with rappers Slug (of Atmosphere) and Evidence (of Dilated Peoples), who discuss the influence that language has played on their own work.

Shortly after, we'll hear from original member Havoc, legendary hip-hop photographer Chi Modu, and The Infamous executive producer Schott Free, who shed a light on the oft-elusive, secret third member of Mobb Deep.

In celebration of its 25th anniversary, stream Mobb Deep's The Infamous – 25th Anniversary Expanded Edition via all major streaming services. You can also enter to win a copy of The Infamous on vinyl -- signed by rapper Havoc himself.

Follow us on Facebook | Podchaser

The world seems to have gone mad since the release of Malcolm Gladwell's The Outliers. Thanks to his 2008 best-selling book, everyone seems to think that all you need is 10,000 hours of practice to achieve greatness. While that may work on a skill or a craft, the rules go out the window when it comes to art.

Prodigy and Havoc certainly put a lot of hours into making beats and rapping before they made The Infamous, but there are other powerful forces that truly shaped them into becoming artists. After all, 10,000 hours will only take you so far, and much of that greatness depends on perspective and experience.

In this season's final episode, host Andy Bothwell is joined once again by Mobb Deep’s Havoc who breaks down the experiences that helped shape the duo. What's more, rappers Brother Ali and Don Will, in addition to writers Jeff Weiss and Mosi Reeves, also weigh in on how the late Prodigy was able to channel his own trauma into something the world had never seen before.

In celebration of its 25th anniversary, stream Mobb Deep's The Infamous – 25th Anniversary Expanded Edition via all major streaming services. You can also enter to win a copy of The Infamous on vinyl -- signed by rapper Havoc himself.

The mid-90's produced a crowded field chock full of brilliant rap records. With debuts from Nas, Wu-Tang Clan, and Jay-Z, artists really needed to bring their A-game if they were going to try and stand out. Mobb Deep could have easily been lost in the ether, especially given the mixed reception towards their debut album, Juvenile Hell.

Instead, like so many of the artists we've covered in The Opus -- Miles Davis, Simon & Garfunkel, Ozzy Osbourne, the list goes on -- Mobb Deep leaned on that failure to chase their own success. Because without the bitterness of defeat, Prodigy & Havoc may have never been driven to evolve into the powerhouse that created The Infamous.

Join host Andy Bothwell as he speaks with Havoc and Executive Producer/A&R's Matt Life about the setbacks the duo faced and how they overcame them. We'll also hear from CSU-Long Beach professor and music journalist Oliver Wang about the story behind the song that changed it all for Mobb Deep, in addition to Evidence of Dilated Peoples and both Slug and Ant of Atmosphere on what sets The Infamous apart from the other titans of the genre.