In the early nineties, there was a Latin/Italian hip-hop trio from Cali known as Cypress Hill, which consisted of emcees B-Real & Sen Dog, and DJ/Producer, Lawrence Muggerud, aka DJ Muggs. Muggs' style of production started off with thunderous drums, staggering basslines, and everything from guitars, keys, and strings to give their sound a certain west coast version of Public Enemy sound. They also crossed over into another market: the rock demographic. Once they got into their third album, Cypress Hill III: Temples Of Boom, Muggs implemented a darker, more sinister sound, incorporating haunting, wailing samples, guitars, minimal drum/snare patterns, and piano chords. It became the signature sound of Muggs, as he gave tutelage to another up-and-coming producer at the time: a young man named Alan Maman, otherwise known as The Alchemist. the majority of Al's sound came from the mentoring of Muggs, and we see how enormous Uncle Al has become over the past decade especially. After the Temples Of Boom album, Muggs started delivering compilation album after compilation album. All revolving around his brand, Soul Assassins. Muggs has since worked with most of the who's who names of hip-hop, including the likes of Goodie Mob, MF DOOM, Mobb Deep, Scarface, Wu-Tang, Griselda, and even former adversary, Ice Cube. the influence Muggs has had on the culture goes somewhat underappreciated, as the majority of the darker, brooding, and haunting boom-bap you hear today from NY came from Muggs. With producers such as the aforementioned Alchemist, Bodybag Ben, Havoc, Daringer, Spanish-Ran, and Camouflage Monk having all studied under the Muggs learning tree, it's no wonder many beatmakers of today tout him as a legend, as they should. With all that being said, we will get into twenty of the best Muggs-produced projects ever. Keep in mind, because he has done many more albums past twenty, we will have several more included in the Honorable Mentions section to peep. This wasn't the easiest list to make, as Muggs is just that consistent. Without further ado, let's get into it shall we?
20. DJ Muggs
Soul Assassins: Dia del Asesinato
Guests: MF DOOM, Kool G. Rap, Mach-Hommy, Eto, Hus Kingpin, Freddie Gibbs, Meyhem Lauren
We begin with one of Muggs' Soul Assassin projects. This one dropped in 2018, and it was an album worthy of constant fire. With little anticipation due to lack of marketing for it, the album, Soul Assassins: Dia del Asesinato dropped right in our collective laps, and from the onset, this was a whole bumper. The lead-off singles of "Assassination Day" with two legit GOATs of Kool G. Rap and the late, great MF DOOM and another DOOM featured track, "Death Wish", with Freddie Gibbs were both excellent smoke signals to a bigger burning fire. The ten track album (excluding the intro and outro) are filled with Muggs' ominous, atmospheric production that he has specialized in since the early nineties with Cypress Hill, but especially with their third album, Temples of Boom. Most of the tracks here thump from their solid drum patterns, giving them even further edge such as the Mach-Hommy featured "Blue Horseshoes", but even without the snapping thump of percussion, the dark moods of the tracks are far more weighty, with cuts like the Hus Kingpin-featured "Wally Face", "Duck Sauce" by Rochester's own, Eto, and "Black Snow Beach" featuring Raekwon and Meyhem Lauren. All performances here are good to dope and Muggs brought the thunder with the production to make the emcees very comfortable to go in with their spitting. Anytime there's a Soul Assassins project, Muggs won't stop short of delivering and delivering hard. With Soul Assassins: Dia del Asesinato, he maintains the formula that has never let him down and shows us why he's a legend all of his own.
19. DJ Muggs & Planet Asia
Pain Language
Guests: B-Real, Sick Jacken, Tristate, Chace Infinite, GZA, Killah Priest, Prodigal Sonn, others
By the time 2008 rolled around, Muggs was truly establishing himself as a legit legend within hip-hop. It wasn't enough he was delivering tremendous sounds as part of Cypress Hill, he dropped two fantastic compilation albums and delivered excellent albums with GZA and Sick Jacken. He kept his ball rolling linking up with long-standing Cali underground veteran, Planet Asia, for Pain Language. Anybody that has kept up with Planet Asia knows that he's one of the most prolific emcees in all of hip-hop, and his discography was truthful and respected. Albums leading up to this such as Black Belt Theater, the Evidence-produced The Medicine, and Jewelry Box Sessions: The Album were already in rotation frequently, but getting up with Muggs would seem to be his biggest breakout moment yet. Based upon the first single, the B-Real-assisted, "9MM", this was going to be a memorable album for the Fresno resident, and it was. The opener cut, "Sleeper Cell" is a horn-laced, brooding cut in which P.A. takes care of business verbally over this ugly face provoking track. It's never been a secret that P.A. is a lyricist's lyricist. An emcee that can pull off crazy rhyme intricacies and make it all make sense. His delivery and style go well on at least most of the album. Such other cuts include "Black Mask Men", the menacing "Shadows Of Hell", and the chilling sounds of the title track, in which Asia's battle style delivery tends to get drowned by Muggs' gloomy, frostbitten production. Muggs' production is very moody and ethereal throughout this project, as one would come to expect. Ironically, it's the posse cuts that serve as perhaps some of the most eerie of sounding cuts. Take "Black Angels" featuring Cynic, former Roots member, Scratch, and the one and only Killah Priest, as these guys do damage over chilling keys. Also, on "Deadly Blades", which features another former Wu-Tang affiliate, Prodigal Sonn, and P.A. cohort, Tristate, catch wreck over an aggressive cut that has Wu-Tang like production, while GZA and Self Scientific's Chace Infinite assist Asia on "Triple Threat". The aura of the album brought a darkness out of Asia more so than his average projects, but that's likely due to the Muggs sound, as cuts like the cinematic "Drama" and the haunting rock-tinged collab with longtime Muggs associate, Sick Jacken, "Death Frees The Soul". Planet Asia presented us with one of his single best offerings thanks to Muggs on the boards with Pain Language. This is a departure from Asia's usual type of production to rhyme over, as well as its dark aura, but he still manages to hit a home run and Muggs further showed why he's a master craftsman at what he does.
18. DJ Muggs
Winter 2
Guests: Da Cloth, CRIMEAPPLE, Meyhem Lauren, Roc Marciano, others
Nearly a year after dropping the first installment of his Winter series, Muggs presented the sequel, Winter 2, and more or less replicate the same haunting sounds that brought acclaim to the previous release, and that's a good thing as long as it's dope, which it is. Very much so. A few of the same from before were brought back for this project such as CRIMEAPPLE, RLX, Meyhem Lauren, and his brother Hologram. In contrast, he brought along other heads with him such as Rochester crew, Da Cloth, Roc Marci, and Ill Bill and all do great jobs on their respective cuts. The first single and video, "All White Party" by Meyhem Lauren, is a slight shift from the overly brooding texture of the majority of the prior Winter album, but not by much at all. More cinematic with a repeated piano chord than some of the other cuts on the album, Meyhem's chemistry with Muggs tracks is undeniable and this cut was no exception. The horns of LA native, RLX's, "Beaming Hi", are almost as big of a story as the delivery of the Mexican American emcee, while a vintage guitar sample blesses the backdrop of another RLX cut, "It's Over". Haunting vocals, eerie melodies, and occasional lo-fi analog sounds are the majority of the rule here, as evidenced by Roc Marciano's two-part cut "Absolem Reprise", with its defining drums and analog-filtered output makes this an especially sinister cut. RLX continues his win streak on this album with the smokey, yet jazzy, soundscapes of "Have A Bad Day", while he links up with frequent collaborator, CRIMEAPPLE, "Panoramic Sunroof", over a snapping evil track. Hologram stops by for the threatening "More Fire", while Ill Bill and Da Cloth's Mooch and Rigz handle their business on the sinister cuts of "Father Time" and "God Killa" respectively. Every bit as dark, if not darker, than its original, Winter 2 is a project that Muggs went in on, and it's quite appropriate for the Winter season it was released on once again.
17. Mach-Hommy & DJ Muggs are Kill 'Em All
Kill 'Em All
Guests: Your Old Droog, Tha God Fahium, Sick Jacken
The ever-allusive enigma known as Mach-Hommy is among the perplexing, yet brilliant, emcees of our time. The New Jersey, by way of Haiti, emcee is scientific in his approach tom lyricism and delivery. Never showing his hand or, like a traditional magician, never showing how his magic is pulled off, no matter how much you try to unveil the tricks. His discography is easily over fifty efforts, and projects such as his Griselda debut, H.B.O. (Haitian Body Odor), Bulletproof Luh, The G.A.T., Dump Gawd: Hommy Edition, the stellar Griselda reunion, Pray For Haiti, Wap Konn Jaj, and his latest full-length effort, the superb #RICHAXXHAITIAN are evidence of his next level thinking and how he applies it to his craft. Often going back and forth between singing and spitting, as well as English and French, Hommy isn't one size fits all, and that's exactly how he prefers it. In 2019, he linked up with Muggs to deliver the album, Tuez-Lez Tous, and it was a magically pleasing affair, as Hommy showed how comfortable he was over Muggs chilling and stripped back production. Obviously sensing something special, not only did they link back up, but they also gave themselves a collaborative name, Kill 'Em All (which is the English translation for the aforementioned album title, Tuez-Les Tous). This time around, for their official album under the duo name Kill 'Em All, Muggs ever so slightly lightens the haunting sounds to make it a tad more accessible, but not by much at all. The album starts off with "Lady Justice", which has a delightful female vocal sample with a slight snare drum underneath it as Hommy goes in with rhymes that are almost effortless in his delivery and his approach. Mach-Hommy lets his competitors know who is in charge on tracks such as the Your Old Droog-assisted, "Apollon's Wheels", the hitting "Cessna 2.0" with frequent collaborator, Tha God Fahim, and "Daniel Fast", which also features Fahim. In another way of switching things up, Hommy collabs with longtime Muggs collaborator, Sick Jacken for a French/Spanish connection in "Ancoana", in which both emcees are spitting in their native languages for a rather cool moment. While Tuez-Les Tous is more gritty-basement sounding, Kill 'Em All is a bit more relaxed in texture, but in no way does that lighten or minimize the haunting boom-bap Muggs brings here with Hommy. Hommy is among the most adaptable emcees to productions and styles, but he was absolutely comfortable with Muggs' production, and here's to hoping we get another Kill 'Em All effort.
16. CRIMEAPPLE & DJ Muggs
Cartagena
Guests: Stove God Cook$, RLX
New Jersey native (by way of Columbia), CRIMEAPPLE, has been a fixture in the tri-state underground scene since the mid to late tens. His seemingly breathless flow, mixed with technical precision and the natural ability to mix between English and his native Spanish, makes him among the most intriguing emcee out there. First gaining some notable buzz with his collaborative album with enigmatic, yet very talented, producer, Big Ghost LTD, Aguradiente, he gained more and more of a following with subsequent albums such as the DJ Skizz-produced banger, Wet Dirt, Viridi Panem, and YDFWC. He eventually started to be one of the hardest working emcees in the game, putting out an average of two to three project per year, and practically of them ranged from damn good to flat out heat. A few of those just so happen to be his collaborative efforts with Muggs, with their first being 2019's Medallo. With an obvious chemistry between the two, they would end up delivering two other efforts since (be on the lookout for their fourth effort together, only this time with Mexican-American emcee and frequent CRIMEAPPLE collaborator, RLX, later in 2024). One of them was Sin Cortar in 2022, and the other was 2021's Cartagena. It was the latter of these three that is considered the best of them all and for good reason. Muggs handed APPLE some of the best beats in Muggs' stash, and APPLE delivered and then some on cuts like the first single & video "Peligrosisimo", "Cheap Work", and especially the quintessential Muggs-sounding "Papas". Sounding more like Daringer on this cut, CRIMEAPPLE glides over this ominous sounding cut. Flowing effortlessly over the thick percussion and sinister melodies of "Tony 2C", CRIMEAPPLE presents imagery of drugs, guns, fast women, and hustling, while flowing in his bilingual talents, as he also does on cuts like the keys-driven, drum-less, Stove God Cook$-assisted, "Mermaids" and the ever-sinister sounds of "Bathtubs Full Of Veuve", in which the subject he raps about may not match the creepiness of the production, but he still sounds excellent over it regardless. Muggs switches up a bit and provides a bounce beat for CRIMEAPPLE to get busy over on "Swish" and brings an electric guitar on the slinky "Kleenex". With this being their second out of three released projects, Cartagena served as perhaps the most defining of the three projects, as we not only got the overall best production, but also CRIMEAPPLE raps his ass off more on this than the other two, which he by no means come up short on any of them. Muggs & CRIMEAPPLE proved they were quite the pair throughout all three albums, and possibly among the best DJ/MC duos out today, especially with albums such as this.
15. DJ Muggs & Ill Bill
DJ Muggs vs. Ill Bill: Kill Devil Hills
Guests: B-Real, Vinnie Paz, Sean Price, Slaine, Sick Jacken, Raekwon, O.C., others
Underground fave, Ill Bill, has been open about his fandom of Cypress Hill growing up. The former Non-Phixion/La Coka Nostra member and Brooklyn, NY native is known for his aggressive delivery and no-nonsense style of writing, often bringing up topics such as the Illuminati, apocalyptic themes, and socio-political issues. Once it got revealed that Bill was collaborating with Muggs, it wasn't hard to believe that Bill would have a rather potent effort on his hands, and he definitely did. The album, DJ Muggs vs. Ill Bill: Kill Devil Hills, is a big feat for Bill, as the album's production doesn't falter terribly far from production he typically rhymes over. Muggs turns up the darkness here with neck-snapping percussion and drums, while also delivering his signature haunting and foreboding production that actually fits Bill like hand-in-glove. Previously, on his 2008 offering, the very dope The Hour Of Reprisal, Bill conjured up imagery of a world and society on its way to hell from observing it in the streets of Brooklyn, where it's already chaotic. On Kill Devil Hills, he doesn't stray far from the same visuals, only even more comfortable doing so over Muggs production. Bill's bleak outlook on the current society is glaringly apparent and his outlook on life is not high, and this gets shown on cuts such as the La Coka Nostra-assisted "Skull & guns", "Illuminati 666", and the horn-drenched "Millenniums Of Murder". It's clear the government is not on his list of favorite collectives, and on cuts like "Ill Bill TV", Bill pulls no punches letting you know "Big brother is watching", while "Giants Stadium" featuring Non-Phixion member, Q-Unique, has him tearing apart the Muggs track threatening any emcee that dares to cross or step him over a Muggs track that sounds too much like GZA favorite, "Killah Hills 10304" from his timeless album, Liquid Swords. Meanwhile, the most left-sounding cut on here is the Raekwon-assisted "Chase Manhattan", which has a vintage blaxploitation sound that honestly Raekwon sounds more comfortable over, but Bill still holds his own on. We first got a glimpse of what Ill Bill was capable on his debut, What's Wrong With Bill and then again on the underground classic, The Future Is Now with his Non-Phixion crew. What The Hour Of Reprisal did for him was expand his base and let you more in to his theories of a decaying society along with some personal cuts and a rather outstanding, albeit very brief, tribute to iconic thrash metal band Slayer. With DJ Muggs vs. Ill Bill: Kill Devil Hills, Ill Bill has the album that really feels like a fully cohesive album on his own and Muggs is the biggest reason for this. Much like what Alchemist did for Armand Hammer and their HARAM album, Muggs crafted an album that was custom made for Bill more than any other album he has rhymed over, and the result is a huge victory for both.
14. DJ Muggs
Winter
Guests: Boldy James, Cappadonna, Rome Streetz, CRIMEAPPLE, Eto, Meyhem Lauren, al.davino, Hologram, Eto, RLX
By the end of 2020, the world was crippled with the pandemic and life as we knew it was forever changed. Thankfully, music didn't leave us. Good music at that. You can count Muggs' entry in that year amongst them. Muggs dropped a surprise project called Winter, as obviously the project was released when Winter had just arrived on the calendar. The nine-track project was fitting of its title with its cold, atmospheric, and brooding production on the majority of the effort that, minus the drum- heavy tracks, would easily belong on any album from Ka or Roc Marciano. The album starts off strong with the haunting vibes of Boldy James' "Warning Shots". He continues the eerie textures with Roll the Credits" by former collaborator, al.davino, "Veneno" featuring the talents of CRIMEAPPLE, Eto, and Meyhem Lauren, RLX's "Japanese Space Program", and Hologram's "Resume". We go a little hard-hitting with Cappadonna's "Olympic Stamps" and Rome Streetz' "Food on My Fork", but along with the very fitting intro and outro sections, Winter serves as a great introduction to the season of which the project was named after, and although it dropped in the beginning of the coldest season of the calendar year, Muggs provided enough heat to keep us warm.
13. Roc Marciano & DJ Muggs
KAOS
Guests: N/A
It goes without saying that Roc Marciano has been an underground legend throughout the course of the past nearly fifteen years going back to his NYC underground resurgent album, Marcberg. Since then, his discography has not only been undefeated but continues to show his penchant for delivering golden era NYC hip-hop without making it sound dated. One album that puts a stamp on that legacy is his collaborative album with Muggs, KAOS. Muggs, himself, has established himself as one of the all-time greats behind the boards, showing that he was way more than the sounds behind Cypress Hill. His work w3ith the likes of Mobb Deep, GZA, Planet Asia, Goodie Mob, Ill Bill, and Kool G. Rap wholeheartedly proves this. These two were meant to do a project together, and KAOS proved to be an effort both can sit near the top of both artists' triumphs. This isn't a long effort, in fact it's only nine tracks (ten if you include the intro), but they waste not a single track on here, and every single cut provides a different level of fire. With Marci's style of production rivaling Muggs in many ways, he naturally sounds quite comfortable over this bleak, gritty production. Sounds range from acoustic guitars to rock guitars, keys, and strings that put goosebumps on your arms, and Marci is here for it with cuts like "Dolph Lundgren", the eerie "Wild Oats", and "Shit I'm On". He goes the cinematic route with the vivid "Aunt Bonny" over arguably the coldest, most ominous sounding cut on the album, while he becomes the pimp we know and love on "Wormhole" and lets us know he basically has no competition on "Rolls Royce Rugs". While a few more cuts wouldn't have hurt this project at all, they did the most with the nine cuts they delivered and then some. Muggs hammered us with outstanding production that makes KAOS sound so awesome, and Marci showed us again that he's in a lane all by himself. Here's to hoping these two get back together and do a sequel because this sounds almost too natural.
12. DJ Muggs
Soul Assassins II
Guests: G.O.D. Father III, Hostyle, Kool G. Rap, Xzibit, Dilated Peoples, Goodie Mob, King Tee, GZA, Everlast, Cypress Hill, Kurupt, others
Following up the first installment of his Soul Assassins series wasn't the easiest of tasks considering how crazy that album was. Muggs never even considered it a challenge, as it was obvious with the first single, the GZA-featured "When the Fat Lady Sings", this could be as big of a bomb explosion. When he dropped Soul Assassins II, the clear comparisons were swift but welcomed. The first track, "Real Life" featured Kool G. Rap spitting his gritty narratives as only he can over a haunting vocal wail with minimalist drums. He keeps the spooky, eerie production going throughout on other searing cuts such as the crazy, piano-looped Everlast-featured "Razor to The Throat", the haunting boom-bap of Infamous Mobb's G.O.D. Father III's "We Will Survive", and the soulful, yet still dark, Goodie Mob entry, "This Somethin' To". With the latter, this cut may have fallen just short of their incredible cut on the first Soul Assassins album, "Decisions, Decisions", but still is worthy of heavy rotation on this album. He dips into his rock/metal bag with the thunderous, guitar-laced, sharp drums of "You Better Believe" by Compton legend, King Tee, and fellow Cali tried and tested emcee, Xzibit, while handling more of a neck snapper with Kurupt and little brother Rascoe's "When the Pain Inflicts". The Alchemist rolls through to contribute a few tracks of his own including the late Hostyle of Screwball's "Victory & Defeat", Buc Fifty's "Back Up Off Me", and Dilated Peoples' "Suckas R Hidin'", while DJ Khalyl handles Self Scientific's "Millennium Thrust". Of course, it wouldn't be a Muggs track without B-Real or Cypress Hill as a whole contributing, and they do on "Don't Trip". Sure, this may not have hit the same levels of consistent fire as the first entry of the Soul Assassins did, but don't get it twisted, Soul Assassins II was nothing to play with or sleep on whatsoever.
11. Mach-Hommy & DJ Muggs
Tuez-Les Tous
Guests: Tha God Fahim, Your Old Droog, Meyhem Lauren, others
Earlier, we reviewed Muggs & Mach-Hommy as an official duo called Kill 'Em All, and their debut album as KEA was a murky, brooding collection of Muggs' spooky instrumentals underneath Hommy's politically charged, culturally enhanced rhymes that ranked among Hommy's best works (and that's covering over fifty-plus efforts), as well as Muggs' best as well. Before there was that album, it was Hommy with Muggs production, and the album was called Tuez-Les Tous (which ironically in Haitian for "Kill them all"). Hommy is known for putting out several efforts per year much like cohort Tha God Fahim, and this was one of a few in 2019 for Hommy. Muggs' production was dungeon- sounding. Very eerie with more of the same obtuse morose sounds we've come to know, expect, and love from Muggs, and frankly, Hommy sounds great over these, with examples such as "Stain Glass", "Lajan Jwif", and the "The Fowler's Snare". As previously noted in the review of Kill 'Em All, Hommy's style is among the most abstract since the days of the late, great MF DOOM. His oft-kilter, flow switch style is only matched by his ability to switch between English and French mid-rhyme, while also wanting to sing just as much as he rhymes. His penmanship is hood scholarly, as the likes of billy woods and Ka are as identifiable. These aspects make Hommy's esoteric style of writing and delivery such an intriguing, yet engaging, compliment to Muggs' haunting tunes. He rides the beat effortlessly on "Kouign-Amann" and the excellent "900K". Meanwhile, on "Piotr", Hommy is in a zone over some chilling, yet minimalist, production that fits the wave Hommy is on with this cut, allowing you to digest everything he's spitting about, even if it is almost coded in approach. Good luck trying to break down and decipher the complexity of his rhymes and style, just eat the meal. It's different yet tastes very delicious. With his cohorts Your Old Droog, Meyhem Lauren, and the aforementioned Fahim riding along with him, Hommy presented quite the outstanding effort with Tuez-Les Tous, and Muggs delivered a sonically spooky masterwork here that's as complex as Mach-Hommy, himself.
10. DJ Muggs & Eto
Hell's Roof
Guests: Big Twins, Roc Marciano, Flee Lord, Meyhem Lauren, Willie The Kid
Rochester, NY emcee, Eto, seemingly came out of the blue, but he's put in his work since '07. Although he had some buzz with projects such as his effort with slept-on producer, V DON, Omerta: The Film, Elvis, and his effort with in-demand Canadian producer, Nicholas Craven, Valenti & Rizzuto, it was his collaborative effort with Muggs that put him officially on more people's radar. The effort, Hell's Roof, fits Muggs' style of production as succinctly as any other of his works, but in some cases, he varies up his style slightly for Eto, who's classic scratchy-voiced delivery similar to fellow NY native, Flee Lord, is complimentary to. With the imagery being centered around drugs and cocaine, one can imagine this isn't the most happy-sounding or radio-friendly of production. This is raw dog sounding from the jump with the cut "Dominate", and it doesn't get any easier to digest with bangers such as the aforementioned Flee Lord/QB veteran Big Twins, "Still Mobbin'", "The Blues", and the menacing "Attics". Eto doesn't paint a picture of hope through the drug struggles. He keeps the skies grey and delves into the darkness of both the dealing and the usage with the aforementioned "Attics", which is a particularly chilling, vivid look into the bleak streets as a result of drugs terrorizing the community. The blues-guitar sampled, distorted vocal sample sounding "What You Sayin'" is an appropriate closer that could easily have any of the Griselda crew come through and LACE this cut, but Eto does a great enough job with bringing evocative lyrics and vivid imagery. The track "Homie" is no different in its cinematic lyrics over some of the most sinister production of the album. While Eto's 2020 offering, The Beauty Of It, is seen as his overall best effort, it can be argued that Hell's Roof is a very close second. What Muggs did for Eto is provide quite the stellar soundtrack and score for the imagery Eto was sending out, and the result is an outstanding album that both unsettles you and intrigue you.
9. DJ Muggs
Soul Assassins III: Death Valley
Guests: Scarface, Freddie Gibbs, T.F., Method Man, Slick Rick, Boldy James, Roc Marciano, Rome Streetz, Jay Worthy, MC Ren, Ice Cube, B-Real, CRIMEAPPLE, others
It had been over to decades since we last seen an official Soul Assassins album in terms of a non-mixtape, EP, or the like. Following up Soul Assassins II was the call (unless you count the often underrated and slept-on Soul Assassins: Intermission album) and after a couple of teaser singles that had been nearly a year old, Muggs finally presented Soul Assassins III: Death Valley in 2023. This edition of the Soul Assassins series may be the most star-studded album of the series, with legends such as MC Ren, B-Real, Ice Cube, Slick Rick Method Man, and Scarface to up-and-comers such as T.F., Rome Streetz, CRIMEAPPLE, and Boldy James representing over some rather fantastic Muggs instrumentals. In 2022, we got the single "Metropolis" by Slick Rick and Method Man, as well as "Street Made" by Face and Freddie Gibbs. These two cuts alone were enough to rattle trunks with the signature dark tone of Muggs mixed with thick percussion and even thicker basslines. When the announcement was made about the third installment, we got blessed with Cee-Lo's excellent, "Joker's Wild" as well as the unforgettable collaboration between B-Real and former NWA brothers, Ice Cube and MC Ren, "Dump On 'Em", which has a sound that very much could fit in with Cypress Hill's Black Sunday or especially Temples of Boom. With all this much heat, would the rest of the album be able to hold up as greatly? the answer is a definitive yes. Frankly, Muggs is as great as he's ever been on this album. His production is the same signature brooding, haunting, and dark production that he's accustomed to and is an innovator of. The difference is that it doesn't sound too dated and can mix well with any of today's atmospheric and eerie soundscapes provided by the likes of former protégé The Alchemist, Preservation, Ka, Roc Marci, and Bodybag Ben. We further our requests for a Muggs/Boldy album with his cuts, "It's On" and "Where We At", in which the latter is commanded by the flute sample and bassline from hell with the Detroit native spitting his unmistakable monotone, stoner delivery. One thing Muggs has a penchant for is who sounds the best together in collaborative efforts over his production. Putting Ghostface Killah and Westside Gunn together over the type of Griselda production that has help make the label one of the most regarded labels and crews in the game today on "Scillian Gold" while the bleak sounds of "We Ain't Playin'" put west coast strongarms, T.F., Jay Worthy, and 2-Eleven with southern legendary emcee/stoner, Devin The Dude over a bumping bassline that will cause damage to your speakers if not careful. NYC mic assassin, Rome Streetz, comes equipped to unload on two tracks: the crazy "67 Keyz", which also features Meyhem Lauren and Roc Marciano (who himself is featured on another track as well), and the straight ominous chords of "Skeleton Bones". We mentioned Roc Marci being on two tracks as well. The other track also features CRIMEAPPLE on "Crazy Horse", in which both men exude a chemistry that smells of a future collaborative album between the two NY artists. With Soul Assassins Chapter 1 being the standard, and Soul Assassins II being the almost as dope follow-up, it's very possible the standard has been raised with Soul Assassins III: Death Valley. Every performance on here was excellent and Muggs continues to show why, even in his mid-fifties, he can still hold the torch for the macabre boom-bap sound, and still has plenty more horror movie-esque sounds left in him for that thump.
8. DJ Muggs & Rome Streetz
Death & The Magician
Guests: Knowledge The Pirate, Rigz
Brooklyn's Rome Streetz has had quite a few years. Bubbling in the underground with his debut mixtape, I Been Thru Mad Shit, and following up with his dumb dope Noize Candy series and the even crazier Headcrack, his name was getting more and more hot. Hoping to take advantage of this buzz, Muggs linked up with the highly talented emcee to deliver Death & The Magician, an effort that brought some of the best out of Rome that even his prior strong efforts hadn't quite produced. Muggs' delightfully eerie and dark production fits a lot of production that Rome has sliced through. Rome's nineties-type flow mixed with his multi-syllable scheme sounds precise over the cold-hearted boom-bap of Muggs. He demonstrates this with blistering cuts such as "The Manuscript", "Zig Zag Zig" with Roc Marci-affiliate Knowledge The Pirate, and the cinematic, lo-fi percussion-sounding "Wheel of Fortune". The latter, especially, is a brief minute and a half of Rome going into vivid storytelling mode about a terrifying hold-up. Meanwhile, on the ghoulish sounding, "The Devil's Chord", Rome recalls times where he was struggling and needed to hustle to survive, and Da Cloth's Rigz guests with him on the murky "Horns & Halos", in which both emcees show how conflicted they are within this life. Production-wise, the album may have hit its peak on the closer, "Fuck You Know Bout Me', in which Muggs incorporates a beautiful jazz sample within the otherwise dope production in which the streets, cheese, and his respect matter more than being in the spotlight. Make no mistake about it: Rome is going after throats with Death & The Magician, and Muggs provided him with astounding production that made the Brooklynite go for his in focused and determined fashion. It can be argued that this was one reason Westside Gunn signed him to be a part of the Griselda family and based upon how outstanding Kiss the Ring turned out, if Death & The Magician played even a small role, we see why.
7. DJ Muggs & GZA
GZA vs. Muggs: Grandmasters
Guests: Raekwon, RZA, Sen Dog, Masta Killa, Prodigal Sonn
Since GZA and RZA appeared on Muggs' first installment of Soul Assassins, there's been strange, yet fitting, thought of putting GZA and Muggs together for a whole effort. It was amped up when GZA appeared on Soul Assassins II and Muggs contributed to GZA's dope yet underrated, Legend of the Liquid Sword, album. The two greats came together to present GZA vs. Muggs: Grandmasters, a term that represents the highest chess player in the game. With every title of the album representing chess culture and terminology, it's no secret the Brooklyn native is fascinated with chess and uses chess to apply to everyday life. This philosophy over Muggs mundane, brooding production made for excellent results. Muggs showed on Temples Of Boom that could make dark, cinematic production to which RZA could easily identify with. While not exactly 36 Chambers parallel, it has its moments where possibly RZA or his Wu-Elements team (Mathematics, True Master, 4th Disciple, Cilvaringz, Bronze Nazareth, Y-Kim) were excelling in the mid-nineties. Take for example, "Exploitation of Mistakes" sounds like something that belonged on Killarmy's debut or even Sunz Of Man's The Last Shall Be First effort. One could say the same with other cuts such as the Raekwon/Sen Dog-assisted "Advanced Pawns", the Masta Killa/Prodigal Sonn-guested "Unstoppable Threats", and "Illusory Protection". GZA's delivery, while slowed down since his 36 Chambers and Liquid Swords days, still commands attention in his methodical and deliberate delivery. Hiss storytelling aspect is still just as second nature as anything else with him. this is shown particularly on cuts like "Queen's Gambit" and "Smothered Mate", which both highlight his attention to detail and systematically putting emphasis on things that we should pay the most attention to. While it's unfair to compare this album to 36 Chambers or another all-time classic in Liquid Swords, don't let that stop you from peeping GZA vs. Muggs: Grandmasters. These two truly are "masters" of their crafts and are among the highest ranked of what they do. Ever the intelligent scholar that's also known as "Genius", GZA has an IQ that's Mensa-like in hip-hop, and as someone that has taught quantum physics at Stanford, it wasn't hard to see here in '05 how GZA really is ten steps ahead of the sharpest of his peers. As for Muggs, he continued to show why he's among your favorite producer's favorite producer lists and why he never fell off those lists.
6. DJ Muggs
Muggs Presents...Soul Assassins: Chapter 1
Guests: Mobb Deep, Infamous Mobb, Goodie Mob, GZA, RZA, Dr. Dre, B-Real, Wyclef Jean, KRS-One, MC Eiht, others
As one-third of Cypress Hill, their DJ/Producer Muggs has been the biggest key in their sound and music. Since their self-titled debut in '91, Cypress Hill has relied on Muggs for the sounds that would make up Cypress Hill's aura. Throwing in occasionally eerie thumps within their albums, it was Temples Of Boom that was seen as their darkest sounding project, only for IV to follow up with that sound. In '96, Muggs decided to drop his first compilation album, Muggs Presents...The Soul Assassins Chapter 1, and the dark soundscapes that started with Temples Of Boom consistently resonated all throughout this album to outstanding results. We got a hint of how the tone of the album would be based upon the dumb dope first time ever collaboration between B-Real and the almighty doctor, Dr. Dre, "Puppet Masters". Over a sinister reworking of Isaac Hayes' "Hyperbolicsyllabicsesquedalymystic", the creepy piano chords steal the musical show, as Dre and B-Real provide the heat for this classic cut. The second single involved Wu-Tang co-founders, RZA and GZA, on the cinematic "Third World". The Spanish guitar-sampled production, along with RZA and GZA's apocalyptic lyrics, make this one another major standout. The rest of the album is not far behind at all. It was only a matter of time before we heard QB's most infamous, Mobb Deep, over some Muggs, and they did so in unapologetic fashion on the neck-snapping, yet ominous "It Could Happen To You" that sounds like it easily could've fit on their album at the time, Hell On Earth, while their crew of Ty Nitty, Big Twins, and G.O.D. Father III, collectively the Infamous Mobb, got busy for the first time without Hav and P on the similarly sounding "Life Is Tragic". We go down south, as Goodie Mob came through on the very dope "Decisions, Decisions", as the fellas do their thing over a sweet guitar loop but a brooding atmosphere. Legends KRS-One and MC Eiht represent nicely on their respective tracks, "Move Ahead" and "Heavyweights", while upstarts Call O' Da Wild (more specifically Baron Ricks) delivered an impressive performance on the track, "New York Undercover" (named after the outstanding cop show of the nineties). The closing track is Wyclef Jean's track, "John 3:16", which is a somber-sounding track min which Wyclef tackles three different stories that deal with fatal consequences of choosing street drama and the life therein. Muggs successfully presented his first compilation, Muggs Presents...The Soul Assassins Chapter One, to much acclaim and with many props. With the dark and obtuse production he delivered and the good to excellent lyrical performances throughout the album, this was one of the strongest producer compilation albums of its time and set the bar for all his future compilations. The Soul Assassins became a staple within hip-hop as a brand, but Muggs put his stamp on being amongst the elite of hip-hop producers if there was any slight doubt before from his work with Cypress Hill. This was the beginning of an incredible run that still holds hard to this day.
5. Cypress Hill
Cypress Hill IV
Guests: MC Eiht, Barron Hicks, Chace Infinite, others
With Muggs officially establishing his sound on the stellar Cypress Hill III: Temples of Boom, he continued the dark, psychedelic, spooky musicianship on their follow-up, Cypress Hill IV. From the onset with their very flammable anti-Police ode, "Through the Eyes of a Pig", it's clear Muggs still was in a Temples of Boom mindset sonically. While Temples of Boom was certainly more aggressive than their prior albums, IV takes the hostility, anger, and vengeance a step further on certain cuts such as the Barron Ricks-assisted "Steel Magnolias", "16 Men Til There's No Men Left", and "Nothin' To Lose". Although the production, musically, is every bit as dark, Muggs isn't as slow and methodical here on this album, as often times his drums and basslines are aggressive and resemble their first album in various moments of the album such as the aforementioned "Nothin' to Lose", "Dead Men Tell No Tales", and the fight club-ready "Riot Starter". B-Real and the returning Sen Dog aren't playing around with cats this time around, and the attitude is matching their first album, which isn't a bad thing. Muggs goes back in his rock bag with "Lightning Strikes", but flirts with his Latin roots on "Tequila Sunrise" and quintessential stoner cut, "Dr. Greenthumb" has a Temples of Boom aura with it with a bit of humorous undertones very similar to Nas' "Dr. Knockboots" from I Am. Meanwhile, the neck-snapping "Feature Presentation" has Baron Ricks going bananas over this ominous banger and clearly outshines B-Real, but Ricks shows back up on the slower "Audio X", as B-Real flips his typical stoner delivery into experimental double-time style that is, at the very least, admirable. If the aim was to combine the sounds of their debut, Black Friday, and Temples of Boom together in one album, the goal was met. The Hill's Cypress Hill IV is a mixed bag of methodical, murky, aggressive, and straight-up hard. Unlike, Temples of Boom that was practically start-to-finish consistent with the spooky and hazy sounds, Cypress Hill IV was a hodgepodge of what got them to their acclaim in the first place. Cypress Hill (complete with Sen Dog) let critics and fair-weather fans know they weren't going anywhere and showed why they're truly the 'Stoned Raiders".
4. Cypress Hill
Black Sunday
Guests: N/A
Making plenty of noise for themselves in '91 with the very dope release of their self-titled debut album, Cypress Hill became a force to be reckoned with, resonating with both the hip-hop demographic and the rock demographic. The common demo they became soulmates with was the stoner community. These cats of B-Real, Sen Dog, and DJ Muggs were among the most open advocates of marijuana and THC around and made no bones about it. Off the success of their debut, anticipation of their follow-up was high and in '93, they returned with their major crossover smash, Black Sunday. With their debut selling upwards of two million units, the pressure was on to meet, if not surpass, the commercial and critical acclaim. They did both. From the jump, the mega smash, "Insane in The Brain" took off quickly. Finding its way on both hip-hop and alternative rock stations, Cypress Hill created a monster with the tune, with its pulsating drums, multiple samples and the vibe that what you're smoking on is making you lose it a little. It didn't stop there, as "Ain't Going Out Like That" and "When the Shit Goes Down" hit almost as hard, thus catapulting the album into a quadruple platinum success. As for the rest of the album, the album is a hard, yet occasionally mellowed out, album that mixes stoner imagery, anti-police rhetoric, along with street narratives that all the members can identify with, especially B-Real. The opener is the slinky, yet strong bassline-driven, "I Wanna Get High", which is the quintessential weed ode that sets the mood and tone for the album. B-Real's slow flow compliments the vibe of the song and is one that will make even the non-stoners consider being part of the rotation. From there, it's a steady, yet no less potent, flow with the rest of the album, with tracks like "Lick A Shot", "3 Little Putos", and "Cock the Hammer" all being aggressive enough to put you in the zone to get busy out in the streets one good time, but Muggs' moody and thumping production really brings the threatening rhymes and overall aura of these cuts out. Another stoner classic is the funky, guitar sampled "Hits From the Bong", which is just as perfect of a 4/20 anthem as "I Wanna Get High" and gives you the same buzz just peeping it sonically. By the time we hit the closer, "Break 'Em Off Sum'n", the group already let it be known they were here for fun and games. Between the abundance of weed and gang references, gun talk, and more weed dialogue, Black Sunday isn't meant to be multi-dimensional. It's meant to be exactly what it is: a thumping, yet occasionally slowed down, exclamation point to those that didn't think Cypress Hill could do it again. Not only did they do it again, but they did it more in your face, more gritty, more rambunctious, and more stoned. Muggs' production mixed bits of rock, boom-bap, funk, and plenty of samples to convey the sound he wanted for the group. Darker than their tremendous debut, Cypress Hill showed with their sophomore effort that they weren't going anywhere any time soon.
3. DJ Muggs & Flee Lord
Rammellzee
Guests: T.F., Meyhem Lauren, Ghostface Killah, Roc Marciano, CRIMEAPPLE
Far Rockaway, Queens emcee, Flee Lord, has had a following for a few years now. The protégé of the late, great Prodigy has kept a fanbase that has been deep into his music. His grimy voice and his style of streetwise grit has put him among NY's most in-demand emcees that makes one reminisce of hip-hop's nineties golden era where Mobb Deep, CNN, Mic Geronimo, Raekwon, Wu-Tang, and DMX were ruling the game. His discography is no joke either, as albums such as the Peter Rock-crafted, The People's Champion, the Havoc-blessed, In the Name of Prodigy, Pray For the Evil, and Later Is Now all acclaimed and regarded as some of the most gutter albums one will hear in today's NY hip-hop. he and his Lord Mobb collective continue to make noise, and perhaps the grimiest of them all is his collab with Muggs for Rammellzee. While Flee sounded excellent over production from the likes of Pete Rock, Havoc, 38 Spesh, and Mephux, it's like he was meant for the production Muggs provided for him. Muggs delivered his brand of haunting melodies, eerie samples, and snapping percussion for Flee to devour, and devour he does. Flee's aggressive rhymes and delivery sounds very complimentary over Muggs beats on cuts such as "45 In My Pocket", the violin-sampled, CRIMEAPPLE-assisted "Mansion in the Ghetto", and the neck-cramping dedication to the aforementioned CNN, "Driver's Seat (Payin' Homage CNN)". The thick percussion mixed with an eerie loop of keys is what he and west coast spitter, T.F. deliver the goods on with "Daleon x Delgado" over an Alchemist/Daringer-type beat, while "Eating Never Stressing" has him being dedicated to his grind and hustle over a drum-less vocal sample that is prototypical Muggs production. With "The Equation", Lord is spitting fire over a boom-bap instrumental that could easily be confused with a Conductor Williams/Sadhugold beat and does so with confidence and technique. He also gets into his luxurious fly shit on the Ghostface Killah/Roc Marciano-assisted "Wallabees & Gucci Loafers" over a thin snare with a gorgeous female vocal sample. The three of them needed Meyhem Lauren on the track to further make this some "Kunta fly shit" for real. The title track closer has Flee tearing into the rock guitar-sampled production to end what is certainly the best album within Flee's discography to date (this includes his excellent collaborative album with Roc Marci, Delgado, of 2022). Much like what was said earlier about Ill Bill and how Muggs custom made his album, Kill Devil Hills for him, he did the exact same for Flee, as Rammellzee is an instant flamethrower in the catalog of the Far Rock native. It doesn't depart from his usual themes of hustling, gun talk, drug talk, and criminal activity, but Muggs provided him with the most effective soundscape possible for his style of rap, and these two delivered one of the single meanest projects of 2021.
2. Cypress Hill
Cypress Hill
Guests: N/A
Straight from the "city of lost angels" came a Latin hip-hop trio that were all about the streets and their weed. The fellas of Cypress Hill, comprising of DJ Muggs, Sen Dog, and B-Real had a different yet resonating sound with them, primarily B-Real's painfully nasal, high-pitched voice. The production from Muggs was not your typical west coast sound. In fact, it incorporated a lot of NY Bomb Squad sound, similar to Public Enemy's first few albums with pounding drums, thick basslines, and effective samples to where it sounded more AmeriKKKa's Most Wanted than Quik Is The Name for its day. Their self-titled debut was a hard fist to the chest letting people know they had arrived, and from their first single, "How Could I just Kill a Man", this was not going to be a fun album. Muggs' drums that sound like Cube took them for "Wicked" a couple of years later, along with a mean bassline, set it off for the crew as we were underway with what would become a fiery album. They followed that single up with the equally aggressive and violent, "Hand on the Pump" for more midnight madness. This wasn't a deep album whatsoever. This album involved guns, shootouts, and getting high. That's it, that's all. B-Real's gang affiliations made this album especially personal and first-hand, as cuts like "Psychobetabeatdown", "Hole in the Head", and "Ultraviolet Dreams" reflect this fully. They rep the stoner community to the utmost with the slowed down cuts of "Light Another" and "Stoned Is the Way of The Walk", wave their Latin flag with the guitar-fueled "Latin Lingo" and the vicious F The Police-ode, "Pigs" was as in-your-face as it got. With police brutality being such a lightning rod at the time with incidents such as Rodney King and other tragic events in our collective minds, Cypress Hill let it be all the way know with this cut that their disdain for LAPD was substantial. This introduction to Cypress Hill was hardcore and not pretty. Their self-titled debut was one for those that not only further brought an already blistering west coast sound into further prominence, but put Cypress Hill on the map, resulting in double platinum units sold. Although it was their follow-up, Black Friday, that made them worldwide stars, their debut put them on everyone's radar, and chances are we had no idea how momentous their rise would become.
1. Cypress Hill
Cypress Hill III: Temples Of Boom
Guests: RZA, U-God
With B-Real, Sen Dog and Muggs becoming a global sensation and acquiring more and more fans by the week seemingly thanks to their massive breakthrough sophomore album, Black Sunday, Cypress Hill were officially on the radar of crossover fans. Their brand of stoned street narratives won its way to the Billboard charts thanks to "Insane in the Brain" and "Ain't Going Out Like That" resonating with rock audiences and hip-hop audiences alike. Things took a darker turn, sonically, with their third album, Cypress Hill III: Temples of Boom. While their debut was certainly a hard debut, and their follow-up was slightly darker, but even edgier, Cypress Hill III: Temples of Boom was the introduction to Muggs' style of eerie boom-bap and haunting melodies as a whole. The cover alone contains a sinister and murky tone with an image of a Buddhist temple in dense coloring. With a much kore methodical, spookier, and dense tone, B-Real's delivery was still high-pitched and nasal, but with more of a subdued flow that reflected the murky production Muggs supplied. Not to mention, Sen Dog briefly left the group to go solo, so it was Muggs and B-Real, which seemed odd but nonetheless it was reality. The first single, "Throw Ya Set in The Air", was a far cry from the mosh pit-friendly "Insane in the Brain" and also somewhat the hard edge of "Ain't Going Out Like That". A more classic west coast vibe was the center of this cut, but as we found out, this cut became the focal point of another notable highlight of the album. Aside from the issues going on internally concerning the group, this cut became gasoline for their near fatal feud with Ice Cube and his Westside Connection of him, Mack 10, and WC. Cube would use the same hook for his cut "Friday" from his cult classic movie of the same name and off to the races we went with that feud. The track "No Rest for the Wicked" was a scathing diss record to Cube and the gang in response to Cube and Mack 10 dissing the group for their vocal displeasure of "stealing" their hook for the song "Friday". This more aggressive side of B-Real didn't stop at this cut, as "Make A Move" and "Killafornia" reflected this more focused and serious tone of Real's as well. However, we got back to the psychedelic and ominous sounds based off cuts like the second single, "Illusions", the straight-up spooky sounds of "Stoned Raiders", "Spark Another Owl", and the hallucination-styled aura of "Boom Biddy Bye Bye". The remix with The Fugees of the latter went every bit as hard as the original by the way. The lone non-Muggs track on here lied with RZA as he crafted the dumb dope cut, "Killa Hill Niggas" with U-God and himself, in which the classic Wu sound was prevalent and fit in like a hand-in-glove with the album as a whole. Other titles such as "Funk Freakers", "Locotes", "Strictly Hip-Hop", and the middle Eastern sounds of "Red Light Visions" all reflect the much darker production tone Muggs delivers all over this album. His drums range from minimal to thumping, but the music as a whole is highly intoxicating, psychedelic, and atmospheric in nature with plenty of boom-bap to keep that neck going. Cypress Hill may have become superstars with Black Sunday, but Cypress Hill III: Temples of Boom is almost far and away their best album sonically and lyrically. B-Real brought forth an energy we hadn't heard from him in the first two albums, and it was highly welcomed. There was nothing crossover with this album. Zero. The nocturnal nature of this album reflected in the lyrics and the imagery. In was in this moment that Muggs' production did a highly successful turnaround, and his sound has officially arrived. The murky, morose, and ominous mixed with pounding drums and pulsating basslines that would pave the way for other producers that would find their ways studying the stylings of Muggs. This was Cypress Hill's best project due to the new production vision of Muggs, and it defined the sound of them going forward. In the face of critics saying they crossed over and abandoned what brought them to the dance, this album, indeed, told them all they "weren't going out like that".
Honorable Mentions
DJ Muggs & Meyhem Lauren- Frozen Angels EP
DJ Muggs & Meyhem Lauren- Members Only
DJ Muggs & Tha God Fahim- Dump Assassins
DJ Muggs & Rigz- Gold
DJ Muggs & Mooch- RocStar
DJ Muggs & Jay Worthy- What They Hittin' 4
DJ Muggs & CRIMEAPPLE- Medallo
DJ Muggs & CRIMEAPPLE- Sin Corter
DJ Muggs & Sick Jacken- Muggs vs. Jacken: Legend of the Mask & the Assassin
DJ Muggs & al.davino- Kilogram
DJ Muggs & Hologram- American Cheese
Cypress Hill- Skull & Bones
Cypress Hill- Stoned Raiders
Cypress Hill- Elephants On Acid
DJ Muggs- Soul Assassins: Intermission
DJ Muggs: Soul Assassins: Take Aim
DJ Muggs & Raz Fresco- The Eternal Now
DJ Muggs, even in his mid-fifties, is showing no signs of slowing down, nor would we want him to. A master of the macabre boom-bap sound, Muggs is an innovator and pioneer within hip-hop. From being one-third of one of hip-hop's most legendary and influential trios to becoming a production legend in his own right, Muggs has earned his flowers and then some. As far as future projects go, he has an album with RLX & CRIMEAPPLE entitled Los Ballos Hermanos coming at the end of September. Also, talk is that he has projects coming in '25 with Rome Streetz and another Meyhem Lauren collaboration. Muggs is one of hip-hop's busiest producers, but it's no wonder, as he's also among the most in-demand. Here's to the O.G. Soul Assassin!
Here are some of the best produced Muggs cuts around:
G.O.D. Father III- "Mobbed Out" *co-produced by The Alchemist*
DJ Muggs feat. Mobb Deep- "It Could Happen To You"
DJ Muggs feat. Kool G. Rap- "Real Life"
Cypress Hill- "Stoned Raiders"
DJ Muggs feat. RLX- "Japanese Space Program"
DJ Muggs feat. Ice Cube, MC Ren, B-Real- "Dump On 'Em"
DJ Muggs feat. RZA, GZA- "Third World"
DJ Muggs & al.davino- "Money On Your Head"
DJ Muggs & GZA- "Exploitation Of Mistakes"
Cypress Hill- "Stoned Is the Way of the Walk"
DJ Muggs & GZA feat. RZA, Raekwon, Sen Dog- "Advance Pawns"
DJ Muggs & Flee Lord- "Eatin' Never Stressin'"
DJ Muggs & GZA- "Smothered Mate"
DJ Muggs & Sick Jacken- "Silent Crimes"
Westside Gunn- "No Vacancy"
DJ Muggs & Sick Jacken- "Land Of Shadows"
DJ Muggs & Planet Asia- "Pain Language"
Cypress Hill- "Through the Eyes of a Pig"
DJ Muggs & CRIMEAPPLE- "Bathtubs Full of Vueve"
DJ Muggs & Planet Asia- "Shadows Of Hell"
DJ Muggs & Flee Lord feat. T.F.- "Daleon & Delgado"
DJ Muggs & Planet Asia- "Drama"
DJ Muggs & Hologram- "Duck & Cover"
DJ Muggs & Ill Bill feat. Sean Price, Sick Jacken, O.C.- "Trouble Shooters"
DJ Muggs & Ill Bill- "Ill Bill TV"
La The Darkman feat. Killa Sin- "Heist of the Century"
DJ Muggs & Rome Streetz- "Prayers Over Packages"
DJ Muggs & CRIMEAPPLE- "Papas"
DJ Muggs & Roc Marciano- "White Dirt"
Ill Bill feat. Cormega, O.C.- "Power"
DJ Muggs & Rome Streetz feat. Rigz- "Horns & Halos"
Tha God Fahim- "Iron Fist"
DJ Muggs & Rome Streetz- "Fuck You Know Bout Me"
DJ Muggs feat. Everlast- "Razor to Your Throat"
Apathy- "Fear Itself"
DJ Muggs & Eto- "Homie"
DJ Muggs feat. Prodigy, Big Twins- "Champions (remix)"
Ill Bill feat. Necro, Tech N9ne, Everlast- "Only Time Will Tell"
Cypress Hill- "Eulogy"
Vinnie Paz feat. Sick Jacken- "No Spiritual Surrender"
DJ Muggs & Mach-Hommy- "Piotr"
DJ Muggs & Roc Marciano- "Aunt Bonnie"
GZA- "Luminal"
Cypress Hill- "I Wanna Get High"
The Last Emperor- "Legend of Suzie Wong"
DJ Muggs feat. G.O.D. Pt. III- "We Will Survive"
Goodie Mob- "Inshallah"
DJ Muggs feat. MF DOOM, Kool G. Rap- "Assassination Day"
DJ Muggs & CRIMEAPPLE- "Lucas Y Monica"
Conway The Machine- "Black Spoons"
DJ Muggs feat. Cee-Lo- "Joker's Wild"
DJ Muggs feat. RLX- "Beaming Hi"
Westside Gunn feat. Eto- "John Bena"
DJ Muggs & Tha God Fahim feat. Your Old Droog, Mach-Hommy- "Black Talons"
Cypress Hill- "Hits From the Bong"
Xzibit- "The Foundation"
DJ Muggs & Eto- "Attics"
DJ Muggs & CRIMEAPPLE feat. Conway The Machine- "Acetone Wash"
Cypress Hill- "Boom Biddy Bye Bye"
DJ Muggs feat. Hus Kingpin- "Wally Face"
Kill 'Em All feat. Tha God Fahim- "Daniel Fast"
Call O' Da Wild- "Clouds Of Smoke"
DJ Muggs feat. Rome Streetz- "Skeleton Bones"
Ill Bill feat. Vinnie Paz, Kool G. Rap- "Root For the Villain"
DJ Muggs feat. Roc Marciano, CRIMEAPPLE- "Crazy Horse"
DJ Muggs & Jay Worthy- "I Don't Wanna Rap"
Westside Gunn feat. Sauce Walka- "Lakers vs. Rockets"
DJ Muggs feat. Roc Marciano- "Absolem Reprise Pt. 1"
DJ Muggs & Tha God Fahim- "The Silent Samurai"
