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Next comes probably my second favorite song “Shadows of Tomorrow”, featuring a monotone bass loop that you can really get into. Then the album heads into “Money Folder”, a more linear and mainstream sounding song that is another highlight. After that, another instrumental piece “Do Not Fire!” brings an almost baroque style sample and maddening “villain” laughs. The next song “Curls” is also one of my favorites, featuring bouncing Doom vocals, a xylophone, and numerous synthesizers. The album quickly returns to form however, the the boom bap instrumental piece “Sickfit”, and slower and chaotic jazz inspired “Rainbows”. There are a lot of samples on this song, and though I don’t necessarily think it’s bad, it definitely isn’t a highlight. The albums takes a turn after this song, with one of the longer songs “America’s Most Blunted”. I especially like the high-pitched auto-tuned bouncing vocals near the middle of the song. After this, the album heads into “Raid”, one of the first fast spitting in your face songs of the album. The next song, “Bistro”, sounds like an introduction to a Biggie Smalls or 2pac album, with a very 90’s sounding atmosphere. The way that Doom’s voice mixes with all the sounds of production make for one of the catchiest songs on the album. The next song is “Meat Grinder”, featuring a walking bass line and slide guitar. Everything is so satisfying about this song that I could listen to it for hours on repeat and not be bored by it. It also has my favorite line of the entire album, where Doom states, “And get more cheese than Doritos, Cheetos, or fritos”.
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The beat contains a looping accordion riff that is so satisfying, and then we here MF Doom for the first time, who absolutely kills it for two straight minutes, only breaking every eight note. After that the album leads into “Accordion”, which might be my favorite song rap song ever, let alone the best song on the album. The album opens with “The Illest Villains”, a sample piece with cartoony undertones introducing to the “villains” MF Doom and Madlib. If you have not heard them, or Madvillainy, the sound of this album and the placement of samples are going to be very hard to explain, so I beg of you to listen to it. If you are aware of Australian plunder-phonics outfit The Avalanches, this album is very similar to their first album, Since I Left You. Though I love MF Doom and he is one of my favorite rappers, the star of this album is the production by Madlib. Though MF Doom’s lyrics normally make no sense at all, his use of rhyming word play, start and stop flow, and cartoonish vocals make one of the most unique sounding albums you will here. The first things that jumps off the page of Madvillainy is how sonically satisfying it is. You will see a couple of other rap albums in my 30 ALBUMS IN 30 DAYS segments, however, the kick things off, I wanted to talk about the crowning jewel of them all, Madvillainy. Most rap albums I love, if not all of them, came before the recent wave of southern trap rap that has dominated the genre in recent years. So, here we are at Madvillainy, not only one of the best rap albums ever made, but overall one of the best albums EVER, of any genre. Recorded over the span of two years, a majority of the beats used for the album were recorded in a very short span in a Brazilian hotel room, later being used for the album. I have never been a fan of rap music, and I think I could safely say that it might be my least favorite genre, however every once in a while there stands a diamond in the rough. Madvillainy is the 2004 avant-garde hip hop album by Madvillain, a rap supergroup including MC and producer MF Doom and Madlib.