
Legendary Cypress Hill member Sen Dog recently released his first solo album, “Diary of a Mad Dog” on Suburban Noize Records. I talked with him at length about a multitude of topics ranging from his role in Cypress Hill to a heart attack he suffered earlier this year.
You’re from Cuba and in America we have this perception that Cuba is impossible to get into and impossible to get out of. So that people don’t assume you came in on a raft tell us how you got into the country.
We came on an airplane, a 747 fucking jet. I don’t know how my Father was able to get us out of Cuba on an airplane, but I can remember a lot of other people that came on the airplane were quickly arrested by the FBI.
Why was that?
I guess they were people that the FBI knew about. This was the early 70’s and it was right after the 60’s and the Cuban Missle Crisis. They knew a lot of people were trying to flee Cuba and some of them were bad people so they were taking them in right off the airplane.
After hearing all this Rock and Roll what was the first rap record that left you awestruck and made you want to be a rapper?
I never heard Rock and Roll in Cuba at all. I was just a little kid. I remember the first time I saw “Rock Box” by RUN DMC. The video was a turning point for me right there. Those were the coolest bros I ever seen in my life and I wanted to be just like them. I had heard plenty of Rap before, but none that made me want to start rapping. But when I seen those guys with their gold chains and their hats and their leather coats and their Adidas, I was sold right there.
When did you start rocking fisherman hats?
I started rocking those around 1987-1988. I was a huge fan of EPMD. They probably still are in my top 5 Rap groups of all time. I just liked [the style] so much that I started rocking it but I put my own little look to it. It just went on from there. From that point on you’d rarely see me without my fisherman hat.
These days you don’t rock them so much.
I rock them in my own spare time. I don’t rock them on stage so much anymore because it’s a look from the past, but I do got one leather Cypress Hill fisherman that I do rock from time to time.
As a member of Cypress Hill you’ve been able to be a major factor in your group’s music without always rapping on each song. Sometimes you just say a few lines and despite that there’s no way you could be called a hypeman. How did this come to be creatively?
Well, I don’t know how it came about. We started doing our demos and I was on a lot more songs back then but I always had to work–I had jobs and I didn’t have the time to dedicate to the music that I wanted to. The guys would go make demos and leave a spot open for me so I could rap on it. As the group developed more and more, B-Real became a way better lyricist than I did. The group’s focal point was focusing on him to be the main rapper. B-Real always wanted me to share more mic time with him. That’s one of his pet peeves. He always wanted me on more songs and I was trying to be more mysterious, get in here-get in there and have this whole question mark about the character Sen Dog. It just kind of stuck. After a while we had a bunch of songs where I would rap second on it. We almost got stuck there forever but we started to change things around on the third and fourth record. But that’s how we came about it. B-Real was just an incredible lyricist that was going to be one of the top notch lyricists in the game and I saw his skill flourishing and I didn’t want to compete with that cause I’ve always loved my friends and I never wanted to be the solo guy, so I just worked with what was there. Somehow it worked out. It worked out for Cypress. I don’t know if any other band could work like that, but in our band me and B-Real don’t have any ego trips between each other.
That’s the main reason why I asked you that because I can’t name any other band that has that dynamic.
Yeah I never considered myself a hypeman. I just always considered myself “an emcee with a lot of energy.”
I saw you live ten years ago in New Jersey on the Smoking Grooves Tour with Gangstarr, Wyclef and Public Enemy. There was a big statue of a fist holding a joint that you wheeled on stage. Whose idea was it to do that and who actually built that thing for you?
We played Woodstock in 1994. Muggs didn’t even have a DJ-riser. Neither did Bobo. They were just straight on the stage. And me and B-Real were prancing around on stage. And we did a good job. People liked it, but when we looked at the video [we saw that] the stage was so huge you could’ve landed a helicopter on that motherfucker. We were like “Damn, we need some more shit back there.” So we started talking to people [about it]. We started meeting people here and there and we had a giant Bhudda on stage once. That was done by a guy, I don’t remember his name, he has since passed away. When it comes to the giant fist holding the joint–those are all our ideas. Then we try to find an artist who can get our ideas done relatively fast or correctly. It’s all about giving a full performance with stage props and everything. It’s not just about getting up there and rapping with a bottle of Evian and a towel in my back pocket. It’s about putting on a fucking show where you feel like you’ve just seen a Hip Hop theater after seeing a Cypress show.
People like to call you a Rock band but I just know you to be a band in general. What I want to know is how did you go from just being a trio to having Bobo on stage and the whole percussion setup?
We got put on tour with the Beastie Boys and that’s when we first saw Bobo. I had heard of his Dad through my Dad. He had told me about the legend of Willie Bobo and all the stuff that he did and his records. So when I met Bobo I was like “Damn my old man put me on to your family history,” and we hit it off really good. It was almost like we’d known each other [for] a bunch of years. Back then we used to do a show at El Camino College, my little sister went there so we’d go there every year and raise some money for Latino Studies. So we asked Bobo to jam with us there. He came up and jammed. He loved it. We loved it. And then we asked him to play with us at Woodstock and he did and from then on he was with Cypress. He didn’t go back to the Beastie Boys, he kept rolling with us and we were like “fuck it.”
You were just getting into your twenties when you formed Cypress Hill. Do you feel like you’ve grown up right alongside Hip Hop and gone through the same kinds of ups and downs in your life as the music did?
Wow. No I don’t feel like I’ve grown up right along side Hip Hop. Actually I feel like…well actually I do because all these early records that came out by Kurtis Blow and Afrikaa Bambata came out when I was in Junior High. So yeah I definitely feel like I’ve grown up alongside Hip Hop–Hip Hop being part of my life and me maturing along with it. Life is full of ups and downs, you know that. Nobody’s had a perfect existence here on this planet, you know what I mean? I’ve seen Hip Hop and a lot of other genres too go from ultimate highs to ultimate lows. A couple of times it’s gone along with what’s going on in your life when things were better, and shit was sweet, and now it’s not the same trip. I could definitely agree with that kind of mentality.
When you first came out VH1 wasn’t airing your videos, but honored you, B-Real and Muggs this year at the VH1 Hip Hop Honors. Tell me what it was like when your very first video aired.
When we first came out there was only “Yo! MTV Raps” with Ed Lover and Dr. Dre. They were on thirty minutes a day on MTV and that was it. BET was on too and they showed videos over there too but not everybody had BET; you had to have a special kind of cable [service]. ["Yo!"] was a big deal because whatever video they showed was going to be bought by the kids. So to get on there was a big deal and I remember when they played our first video “Phunky Feel One.” And I remember Ed and Dre who I knew as fans of Cypress from [the feedback they gave us] when they heard the first record–they didn’t seem too excited about our video or our song. So I was like “I think we might’ve done the wrong thing.” Eventually we got it right and they were right there at the head of it. They’re the ones who flipped over the “Phunky Feel One” record and played the B-side which was “How I Could Just Kill a Man” and that went to number one in New York. From then on you couldn’t find a video show that didn’t have us on.
Tell us about your ongoing recovery from a heart attack. How many kinds of pills do you take a day? What kind of changes did you make to your diet and what exactly was the cause of your heart attack?
Well I take about nine different fucking pills a day. I want to tell you the names but they’re all like fifteen letters long and shit. Basically I exercise everyday and eat steak once a month or twice a month, maybe. Shellfish like lobster, I don’t eat that anymore. I just gotta stay on this routine and know that I have to take care of myself. I’m way more grateful and I appreciate all the things that I have and what I’m able to do like spending time with my children or riding my motorcycle or being on stage with Cypress. I’m extremely grateful for the second chance I’ve been given–to be able to walk away and not be in a wheelchair for the rest of my life, or worse. I’m very grateful. I thank god everyday that I’m here for my kids and my Mom and my friends. They would’ve all been fucked up in the head if I would’ve died. I kind of kid about it now but it was some serious shit and I just recommend to anybody out there who might be a few pounds overweight and haven’t worked out in a while, or haven’t had a regular check-up for your heart and cholesterol and all that–I suggest that people do that. My doctor said that he sees younger and younger people walking in with heart conditions. Ten years ago and fifteen years ago it wasn’t like that. It was all 55-plus people. Now it’s people in their mid-thirties and early forties that are going through that stuff. From his opinion our generation parties too hard and we’re way too stressed and we don’t even think about it. We just go through the motions everyday and don’t even realize that eating McDonald’s everyday is fucking you up. Cause I’m somebody who’s been through it, definitely pay the doctor a visit and get checked out because once that heart attack hits it’s going to be too late. And those motherfuckers hurt.
There’s a line I wanted you to break down for me. You said you “had it all and then you had nothing” and you got that across in a song called “Fumble.” How did you go from one extreme to the next?
Wow. It was a variation of things. It wasn’t just one thing. It was [a lot of things] in one–financial, personal, healthwise and relationship-wise that [happened] all of a sudden for some reason. Maybe it was some fucked up shit I did as a kid, but just everything was fucked up. Everything was wrong, you know? I think that was the last song I wrote before I had the heart attack and I found it ironic because in one of the lyrics I said something like “I just want to die” and that was from depression, but I felt like god was testing me for making a lyric like that. I was sitting in the hospital with all kinds of shit hooked into me and all of a sudden that lyric came to mind. And I was like “I’m sorry god, I don’t mean it. I just want to get through this.” That song “Fumble” is about that, having everything going right one year and the next year comes in and it just turns shit upside down. Nothing was going right for me. Nothing was going on with the band, we weren’t doing shit. We just finished our Sony run. We were changing management. We weren’t really doing shows and then we’re going through this lawsuit where some old-timers were trying to say we bit off their shit; anyways I wasn’t getting my fucking money. It was just a bunch of shit. I was watching an old, classic Football game and the announcer said something like “He had a touchdown. He must’ve fumbled. How did he get the ball back?” All of a sudden a song was there. I was having tunnel vision where all you see is what you’re doing until you get that done. I kind of felt like that. I wrote the song in my house in my living room and as soon as I was done I called Johnny at the studio and I was like “I think I got one.” He was like “Come down,” and I went and laid it down and that’s where that “Fumble” song came from. I’m glad I had the experience to write that song because I never really knew how good you could do when your personal shit is fucked up and you don’t feel right.

What song did you have the most fun making on this album if it wasn’t “Fumble?”
I’m going to say that one and the last one, “The Curtain Call.” We had all the homeboys down there. We had the studio full of smoke. Everybody was having a good time and shit watching the Lakers’ game. We were partying, man. It was the last song.
Your manager Kevin Zinger convinced you to do this solo album for the Suburban Noize record label. Is it possible that the next Cypress Hill album could also come out on Suburban Noize records as well?
No. As big a fan as I am of Kevin Zinger and what an incredible businessman he is and the vision that he has for music and fashion, Cypress needs a major label. The music that we’re making right now for Cypress needs a major label.
When do you see that album being done, or is it done already?
It’s 90% done. We’re basically going to start mixing songs. We did about 38 songs and everything that made the album, expect it all to be heaters up and down.
You’ve been pegged as a Marijuana activist ever since you came onto the scene. How did you feel when California passed prop 215?
It was about fucking time, dog. People in Europe have been doing it the right way for the longest. There are so many jails filled with people for Marijuana. There’s so many child molesters and murderers, to have someone sitting in jail for an eighth of weed is just sorry. At the most it should be a citation. Of course somebody pushing 25 pounds on the street, that’s a different matter. We’re talking about it being done the right way, being represented by the government and ever since that’s gone down I’m like “Man it’s about time the United States caught up to the rest of the world as far as ways of thinking of what’s [actually] harmful and what can be monitored and making sure that people of legal age can get it in these places–it’s about time.” I hope to see more of it in the future. I only speak on behalf of those who like it and enjoy smoking marijuana as relaxation, but I’m talking about people who need it for medicine. This is something that can be used to fight everything from Glaucoma to Cancer. The amount of products that you can make with it is also incredible. My point of view is pro-Marijuana. There’s just too much good that the world can do with it and it’s not being done. In today’s day and age where everybody wants to “Go Green” and is giving a shit about the Earth all of a sudden, we can use this plant to make paper. It’s an argument that keeps coming up and slowly, and gradually people are paying attention to what’s going on and hopefully they’ll see all the envinronmentalists who see Cannabis as the alternative for fuel and paper and clothing. I can sit here and talk for hours about this shit.
You’re of Cuban descent. What kind of music was playing in your household growing up?
They were playing a lot of Celia Cruz and Tito Puente. My Dad was always playing something around the house. He’d buy a different instrument each year. By the end of that year he’d have that instrument mastered. One year he’s playing the flute, then it’s the saxophone. The next year he’s playing the bass guitar. He’d teach himself how to play these instruments by ear. So the first time I paid attention to music, I was watching my Dad actually doing it. When we moved to America my Dad liked Frank Sinatra and Nat King Cole. And of course, Elvis. He liked Elvis when he was in Cuba. Elvis was the shit over there. He liked the band leader Benny Goodman and he liked musicals. Around that time I was getting into Jimi Hendrix. When I first saw Hendrix I was mystified. I was into the Beatles, Black Sabbath and Kiss. But there was also real good Funk shit like Parliament Funkadelic and Cameo and James Brown. I had an older sister too who was listening to a lot of RnB stuff. There was a lot of shit to listen to. Everything that came out on American Bandstand or Soul Train, she had that record. I’m talking about the Bee Gees, Olivia Newton John and Prince. When Prince first appeared on American Bandstand he was about 18 or 19 years old and my sister had the house packed with all of her friends because they came over to watch because they were all Prince fans. Our family was somehow centered around music.
Did you ever take your Dad’s or your sister’s records and bring them over to Muggs?
No not really. We used to go record hunting every Saturday and Sunday. Before people knew what the fuck Melrose was in Hollywood, we’d be out there buying records. This was back when Melrose was the dating place for Gay dudes. That whole shit was full of Gay dudes. They had the killer record shops up there so we used to go up there and buy records.
Tell us about SX-10?
SX was me and some bros I went to High School with. We’d jam in the 1990’s and we recorded a new album that’s coming out next year on Suburban Noize. I like that group a lot and I don’t want to brag but the new SX record is the best record I’ve done professionally as far as Sen Dog goes. I can’t wait for people to hear it. It comes out first quarter of next year.
Tell us about the Reyes Bros.
That record I did with Mellow Man Ace. For people that don’t know, we’re actual brothers and we had always talked about doing an album together. He’s always been doing his thing and I’ve always been part of Cypress, but at one point we always discussed doing an album together. The opportunity and the time came for us so we rocked that album and put it out but I don’t know if you’ll see another one.

Is that a Blue Pit on your album cover? His head is huge. Do you own any dogs?
Yeah it is a Blue Pit. That wasn’t my dog. I haven’t had a dog in a while. I love Pit Bulls, but after my last dog ran away I never found him anyways. You gotta have a lot of time to give to those dogs because they’re definitely an affectionate animal and they need a lot of attention. I haven’t been able to have the time that I want, for myself, so I can imagine for a dog I don’t have any time. Right now I don’t have any pets but hopefully in the future.
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