"How High" Soundtrack Lyrics

"How High (The Soundtrack)" Soundtrack Description

Overview

Who else but Method Man & Redman could turn a campus stoner comedy into a Def Jam time capsule? How High (The Soundtrack) lands as a hard-curated hip-hop set produced by a who’s who—RZA, Erick Sermon, Rockwilder, DJ Premier, Hi-Tek, Saukrates, Swizz Beatz, Scott Storch—and anchored by the duo’s own cuts. The album dropped December 11, 2001 on Def Jam/UMG Soundtracks and peaked at #38 on the Billboard 200, #6 on Top R&B/Hip-Hop Albums, and #2 on Top Soundtracks.

The movie itself licenses even wider: Cypress Hill staples, Parliament/Funkadelic funk, Outkast’s “B.O.B,” Onyx, N.W.A, Rammstein, and more show up on screen (some aren’t on the retail album). Think of it like this: the commercial soundtrack is the duo’s house party; the film’s full music list is the whole campus.

Questions & Answers

What’s the official album called and who released it?

How High (The Soundtrack), released December 11, 2001 by Def Jam/UMG Soundtracks.

Who produced/appears on the album?

Producers include RZA, Erick Sermon, Rockwilder, DJ Premier, Hi-Tek, Saukrates, Swizz Beatz, Scott Storch; features span Method Man & Redman, DMX, Ludacris, Mary J. Blige, Cypress Hill, War, Jonell, Streetlife, Shawnna.

Is “How High” the 1995 single on here?

The remix appears; the film also pushed the sequel single “Part II.”

Do all film-used songs appear on the retail album?

No. Several high-profile placements (e.g., Cypress Hill “Hits from the Bong,” Parliament “Flash Light,” Outkast “B.O.B”) are heard in the movie but not on the CD/streaming album.

Who handled music supervision on the film?

James Ellis and Shauna Garr are credited as music supervisors.

How did the album perform on the charts?

#38 Billboard 200; #6 Top R&B/Hip-Hop Albums; #2 Top Soundtracks (U.S.).

Notes & Trivia

• The soundtrack is officially credited to “Various Artists” but sits in the Method Man & Redman chronology between Blackout! (1999) and Blackout! 2 (2009).
• “Part II” samples Toni Braxton’s “You’re Makin’ Me High.”
• The film uses a raft of classics (e.g., “Flash Light,” “The Payback,” “Jammin’,” “One Draw”) that were cleared for the picture but left off the retail album.
• Label credits list Def Jam and UMG Soundtracks; multiple studios are named across NYC, LA, Toronto, and Cincinnati.

Genres & Themes

East-coast hip-hop → hustle and sparring: Erick Sermon/Rockwilder textures suit Silas & Jamal’s smack-talk rhythm; drums stay front-and-center for mischief and momentum.

Stoner-canon funk/reggae → blissed-out detours: Parliament and Bob/Rita Marley cues turn joints into comic beat changes—high humor, literalized.

Rowdy crossover → culture clash: Onyx, N.W.A, Saliva, Rammstein cues punch up fraternity/party energy and underline the Ivy-meets-block collision.

Tracks & Scenes

“Part II” — Method Man & Redman
Where it plays: Cut is used around campus-hustle/arrival energy; non-diegetic.
Why it matters: The film’s promo single; samples Toni Braxton to give the duo a glossy, radio-lean hook.

“Cisco Kid” — Method Man & Redman feat. Cypress Hill & War
Where it plays: Party/celebration stretch; non-diegetic.
Why it matters: A playful flip of War’s classic that mirrors the movie’s weed-myth swagger.

“America’s Most” — Method Man & Redman
Where it plays: Training/montage beats as the plan escalates; non-diegetic.
Why it matters: Tag-team bravado fuels the “we don’t belong here… yet we run it” vibe.

“Round and Round (Remix)” — Jonell feat. Method Man
Where it plays: Flirt/romance interludes; non-diegetic.
Why it matters: R&B relief between pranks and exams.

“Bring da Pain” — Method Man
Where it plays: Hallway stride / confrontation mood; non-diegetic.
Why it matters: Wu-era menace for small victories.

“How to Roll a Blunt” — Redman
Where it plays: Dorm/room hangs; source-ish vibe.
Why it matters: On-brand instruction manual turned character beat.

“Da Rockwilder” — Method Man & Redman
Where it plays: High-energy party moment; non-diegetic.
Why it matters: A guaranteed crowd pop—cuts through any scene noise.

“What’s Your Fantasy” — Ludacris feat. Shawnna
Where it plays: Greek-row party bed; non-diegetic.
Why it matters: Southern club bounce amid east-coast control.

“Party Up (Up in Here)” — DMX
Where it plays: Rowdy social beat; non-diegetic.
Why it matters: Aggro chant turns campus chaos into a music-video moment.

“N 2 Gether Now” — Limp Bizkit feat. Method Man
Where it plays: Frat-house cutaway/party scene; source.
Why it matters: Late-90s rap-rock sheen that seals the era.

“Hits from the Bong” — Cypress Hill
Where it plays: On-screen smoking gag; source/non-diegetic blend.
Why it matters: The canonical blunt anthem; shorthand for the film’s entire premise.

“I Wanna Get High” — Cypress Hill
Where it plays: Another haze-comedy insert; non-diegetic.
Why it matters: Keeps the stoner tone buoyant between plot turns.

“Flash Light” — Parliament
Where it plays: Floor-filler at a campus party; source.
Why it matters: Funk glue between hip-hop cuts; crowd-unifier.

“B.O.B (Bombs Over Baghdad)” — Outkast
Where it plays: Fast-cut montage with kinetic movement; non-diegetic.
Why it matters: Max-tempo flex that spikes energy without dialogue.

“Slam” — Onyx
Where it plays: Rougher party/intercut; source.
Why it matters: Mosh-adjacent chant; sets up fish-out-of-water laughs.

“Click Click Boom” — Saliva
Where it plays: Brief crossover sting in a rowdy setting; source.
Why it matters: Signals early-’00s soundtrack fashion—rap-rock for chaos.

Trusted mentions: Wikipedia (album page & non-album film cues list); IMDb Soundtracks (film-used songs); Apple Music/Spotify (retail album program).

Music–Story Links

The duo’s tracks act like first-person narration—cocky, direct, playful. Legacy funk/reggae flips (War, Parliament, Marley family) sweeten the weed-myth and unify parties. Aggressive crossover songs (Onyx, Rammstein, Saliva) underline the culture clash on an Ivy campus where Silas & Jamal bend the rules and the vibe.

How It Was Made

Album build: Def Jam/UMG packaged a 20-track set (album skits + feature records) with executive credits to James Ellis, Kevin Liles, Lyor Cohen, Method Man, and Redman; sessions spanned Electric Lady (NYC), Enterprise (LA), 36 Chambers (Staten Island) and more.

Supervision: On the film, James Ellis and Shauna Garr are credited as music supervisors; the screen music extends beyond the album to high-profile catalog cuts cleared specifically for scenes.

Reception & Quotes

The film’s reviews were mixed, but the music drew steady catalog life: the album charted across multiple U.S. lists and remains streamed as a compact snapshot of early-’00s rap curation.

“Def Jam’s compilation doubles as a Method Man & Redman showcase.” trade capsule

“Several in-film bangers never made the retail set.” soundtrack notes

Additional Info

• Album placements include “Part II,” “Cisco Kid,” “America’s Most,” “Round and Round (Remix),” “All I Need (Razor Sharp Remix),” “Big Dogs,” “How High (Remix).”
• Film-only notables (not on the album): Cypress Hill “Hits from the Bong” & “I Wanna Get High,” Parliament “Flash Light,” Outkast “B.O.B,” N.W.A “Chin Check,” Rammstein “Du hast,” Onyx “Slam,” James Brown “The Payback.”
• Chart peaks (U.S.): #38 Billboard 200; #6 Top R&B/Hip-Hop; #2 Top Soundtracks.
• The 1995 single “How High” predates the film; the soundtrack uses its remix and promotes the sequel single “Part II.”
• Company credits include Def Jam Recordings listed on the film’s soundtrack line.

Technical Info

• Title: How High (The Soundtrack)
• Year: 2001 (album); film released Dec 2001
• Type: Various-artists hip-hop compilation (retail) + wider in-film needle-drops
• Labels: Def Jam / UMG Soundtracks
• Producers (sel.): Erick Sermon, Rockwilder, RZA, DJ Premier, Hi-Tek, Saukrates, Scott Storch, Swizz Beatz
• Music Supervision (film): James Ellis; Shauna Garr
• Key album cuts: “Part II,” “Cisco Kid,” “America’s Most,” “Round and Round (Remix),” “All I Need (Razor Sharp Remix),” “How High (Remix),” “Big Dogs”

Canonical Entities & Relations

Sources: Wikipedia (album page & charts), IMDb Soundtracks & Full Credits (music supervision), Apple Music & Spotify (album program), Discogs (release credits/packaging).

November, 10th 2025