My Top 100 Albums: #87 - Madvillain, ‘Madvillainy’
87.
Madvillain, ‘Madvillainy’
Stones Throw Records, 2004
The announcement of the untimely passing of Daniel Dumile, alias MF DOOM, a few months ago was met by an outpouring of grief from all sectors as fellow musicians and hip-hop fans celebrated the life and career of a profoundly gifted artist. The sheer extent and diversity of the reactions demonstrated just how beloved and influential Dumile was. He is often referred to as ‘your favourite rapper’s favourite rapper’ - this is literally true in my case, as DOOM can count the singular Yasiin Bey, aka Mos Def, as one of his superfans. His delivery was truly unique and his lyricism equal parts deft and exotic. To partner him with Madlib, one of the most highly-regarded hip-hop producers of the last few decades, then, was a match made in heaven. The product, Madvillainy, is a true zenith within its genre. The story of this LP is really a tale of two parts. One the one hand is a typically conscientious effort from Madlib in regards to production; the samples are some of the most eclectic to be featured in a major release, but such is Madlib’s mastery of his craft that they find their place perfectly in each track. Take the brilliant Strange Ways for example - as the track develops, the sample from British prog outfit Gentle Giant takes the forefront as the beat all but disappears entirely into the background, leaving DOOM’s vocals to ascend into the ether while we cut intermittently to a snippet from a Tex Avery animated short. Somehow, this tempest of styles and techniques creates a potent product. On the other hand, of course, we have DOOM’s enigmatic and decadent flow - that unique combination of breathless, aspirant and mellow vocals with stream-of-consciousness lyricism and internal rhyme schemes. Entire essays could be dedicated solely to the lyrics in Madvillainy but I’ll highlight a few of my personal favourite rhymes:
“Slip like Freudian/Your first and last step to playing yourself like accordion” [Accordion]
“Growing up too fast/Showing up to class with Moët in a flask” [Curls]
“As much he thinks, they know/That what he drinks, Drano/Rat but, she winks, rainbows” [Rainbows]
DOOM is playful with his meanings, just as he is with his rhythms. Indeed, Madvillainy as a whole is carried out with a wry smile and a wink. The opening track The Illest Villains establishes the notion of villainy and the role of the villain in fiction - an enduring theme in DOOM’s work - and the album is often described as having a “comic book” feel. The pair shun traditional form, eschewing choruses and hooks in favour of longer-form free association structured into short vignettes, rather than radio-friendly tracks. This album takes risks, which is likely why it failed to have a massive impact on the charts at launch, and it did not spawn many singles. Madvillainy is much better experienced as a singular entity - a holistic project from an ephemeral but vibrant partnership.
Hidden Highlight: Figaro
The Illest Villains
Accordion
Meat Grinder
Bistro
Raid
America’s Most Blunted
Sickfit
Rainbows
Curls
Do Not Fire!
Money Folder
Shadows of Tomorrow
Operation Lifesaver AKA Mint Test
Figaro
Hardcore Hustle
Strange Ways
Fancy Clown
Eye
Supervillain Theme
All Caps
Great Day
Rhinestone Cowboy