Madvillain
Madvillainy
Stones Throw, 2004
Danger Doom
The Mouse and the Mask
Lex Records, 2005
Daniel’s Thought
I’d like to think that MF Doom’s most brilliant and mind-inducing material is the stuff that gets screwy and unorthodox, yet pertains to certain manic genius thinking. See, if MF Doom is going to be remembered for one thing, it’ll be his ability to mix and mash compounding rhymes while infusing a tour-de-force look into hip-hop history. Madvillain gem “Strange Ways” is a perfect example, and because it’s shrouded in Doom’s familiar slant rhyme style, noticing the fleshy contradictions of the drug trade and war themes is difficult. This has always been Daniel Dumile’s style—no matter what alter-ego he takes up—and for that, it’s entertaining to listen to his outrageous approach to humor while at the same time defacing the real man behind the mask.
This is precisely why The Mouse and the Mask stands as one of Doom’s best pieces. Despite Danger Doom being a collaborative effort with Danger Mouse, most of The Mouse and the Mask prevails because of Doom’s ability to re-hash his signature style while bringing in new and exciting sounds. The front-end of the record see’s Doom taking shots at his former friend MF Grimm (“El Chupa Nibre”), teasing possible DOOMSTARKS sound (“The Mask”) and picks on the rap game while alluding to the procedure of Wudu (“Benzie Box”). The inspiration behind Doom’s material on this record is light and comedic, but beyond the humor stands an MC still developing an already alluring sound.
Now this goes without saying that Danger Mouse carries his weight behind the production. “Old School”, which features Talib Kweli, takes the roaring trumpets from Keith Mansfield’s “Funky Fanfare” and rolls it into a breakbeat backdrop. And “Crosshairs” is a head-nodding burst of chiseling violins and plunking bass stabs. These songs are just a few examples of Danger Mouse’s range, and as precise and straightforward as they seem to be, there’s still something mysterious lurking behind each cut.
Thrown on The Mouse and the Mask to fill the spaces around Danger Mouse and MF Doom are select MCs and the many voices of Cartoon Network’s Adult Swim. “Benzie Box” features Cee-Lo Green, who renders a perfectly placed chorus between Doom’s bars; “Old School” has Talib Kweli doing his usual; and “The Mask” pits Ghostface Killah with Doom to create the ever intimidating DOOMSTARKS. Elsewhere, “Sofa King” plays off of the Aqua Teen Hunger Force “we Todd ed” joke, “No Name” showcases Sealab 2021’s wonderful cast, “Space Ho’s” bows down to talk show host Space Ghost and Harvey Birdman takes over “Basket Case.” If anything, the Adult Swim cameo samples are just as worthy, if not better than the actual MC guest verses, because come on, who doesn’t enjoy Carl Brutananadilewski talking about “badass” music like REO Speedwagon.
The Mouse and the Mask is a conceptual album with many themes. The obvious being Doom’s intricate style, Danger Mouse’s texture-like production and the Adult Swim overlay. However, underneath the obvious stands a record that hip-hop needs to cherish; it holds humor and importance together at the cusp of greatness, and without records like these we would be without the swank and sting of hip-hop’s diversity.
Gus’ Thought
In the case of music, few things top collaboration. Working together creates a higher level of musicianship as each artist brings what they know to the table, combining interests, techniques and knowledge. This generates creativity and new ways of thinking for each musician and can lead to something truly innovative. Under the moniker Danger Doom, Danger Mouse and MF Doom completed just this type of collaborative effort. The Mouse and the Mask was released in 2005 using MF Doom’s rhymes and unique flow over Danger Mouse’s distinct style of production. The Mouse and the Mask delivers with inventive samples and hilarious interludes from Cartoon Network’s Adult Swim, Doom’s run-on delivery and guest appearances from the likes of Talib Kweli, Cee-Lo and Ghostface Killah. Despite the entertaining feeling of being in an episode of Aqua Teen Hunger Force (A.T.H.F.), Danger Doom provides meticulous commentary on the state of rap music and is an example of the brilliance that can occur when artists join forces.
The audience is getting the best of multiple worlds with The Mouse and the Mask. First there is Danger Mouse’s production that doesn’t necessarily sound like standard hip-hop beats with phat kick drums and crispy snares. All of the songs have an irresistible groove that make your head nod. However, tracks such as “Sofa King,” “No Names” and “Crosshairs” are individual compositions whose instrumentals could stand on their own. Danger Mouse uses string instruments, horns, xylophones and grainy percussion sounds to create beats that are reminiscent of DJ Shadow’s Endtroducing…
While the beats don’t need a rapper, Doom’s lyricism and incomparable flow enhance the beats laid down by Danger Mouse. There aren’t a lot of hooks on this album and if you’re not careful, you might miss what the masked man is saying. Over the funky “Bada Bing,” complete with horn lines and a throw back feel, Doom spits, “Wait ‘til you crack and see what ‘weed’ do, you dweeb you / No pun intended, takes one to know one, will know-it’s unscented.” The way that Doom raps is causal in that it sounds as if he is just having a conversation or speaking aloud. His lines come and go so fast that if you’re not listening intently, it’s very possible that you’ll miss something. Another example of this is in “El Chupa Nibre” where Doom explains, “The super flow with more jokes than Bazooka Joe / A mix between Superfly Snuka and a superhoe / Chew a MC like El Chupa Nibre / Digest a group and sell the poop on eBay.” Later, in the same verse he says, “Rappers such, when they spit I doubt em / The crap they sing about you’ll wanna slap the [fuckin’ shit] out em.” The nonchalant way in which these lines are delivered speaks to MF Doom’s pure talent as an MC. He has the type of flow that demands your attention even though Danger Mouse’s beats are equally tantalizing.
When creative minds come together to create art, the outcome is something that will change the landscape of their particular art form. With Danger Mouse’s stellar production, MF Doom’s exceptional skills as a lyricist and the comedic relief provided by the cast of characters from Adult Swim, this is absolutely the case as The Mouse and the Mask mixes intellect, humor and creativity to push hip-hop forward and leave you wanting more. I. Am. Sofa. King.
Must-Listens
“Sofa King”
“Benzie Box (feat. Cee-Lo Green)”
“Crosshairs”
By: Harry Jadun
Bracket graphic designed by: Rollin Baker
The hip-hop alter ego tournament introductions and first round happened last week! In case you missed it, don’t skip ahead, click here!
Last week we introduced you to 16 dynamic, warped alter egos for our Alter Ego Tournament. We told you that only the strong will survive. 8 have been weeded out, 8 are left. Now we separate the contenders from the pretenders; the champ from the chumps. Feelings will be hurt, egos will be shattered, tough decisions will be made, but only one will be left standing. The greatest hip-hop alter ego of all time. Let’s get to it!
Quarterfinals
Slim Shady vs. Wolf Haley
Slim Shady and Wolf Haley are very similar. And that’s because Tyler, the Creator has admitted that he modeled Wolf Haley after Slim Shady. I’m not a big fan of imitators, I want the real deal. Slim Shady is the real deal. In the early 2000’s he made it cool to be crazy. He made it cool to say “fuck the world.” Wolf Haley has a similar message, but Slim did it better, and he did it first. Slim Shady wins.
Roman Zolanski vs. Sasha Fierce
I’m torn with this one. Both of these alter egos have the Taylor Swift effect. You want to hate their music with all your guts, but you can’t help but love it, and soon enough you’re singing along. Roman Zolanski gets the edge in this matchup though, because of his in-depth backstory. Nicki really went out there in creating Roman, a gay man from London, England who constantly fights with his mom and is locked up in an insane asylum. Sasha’s backstory is a little bit more murky; nobody really knows where she came from. Because of that, I feel more of a connection to Roman Zolanski. Oh yeah, he also advances because his flow’s “tighter than a dick in the butt” (another one of his inappropriate but extremely catchy punchlines).
Makaveli vs. Based God
This is a battle of polar opposites. First you have the Based God, inventor of the Based lifestyle, encouraging others and spreading optimism. Makaveli, whose name (and ideology) is derived from Italian philosopher Nicholas Machiavelli, subscribes to the philosophy of ruling with an iron fist. Rather than killing his opponents with kindness, he just kills them. That’s a problem, because here at Bonus Cut we’re huge on spreading positivity. Makeveli’s tournament life ends here, Based God advances.
Dr. Octagon vs. MF Doom
In an alternate reality where pigs can fly and Ben and Jerry’s doesn’t cost five dollars a pint, MF Doom and Dr. Octagon are best friends, sitting back and having a conversation at the bar with the Dalai Lama. Unfortunately, said reality isn’t real. In the real world they are pitted against each other, battling for survival in this tournament. If these guys met in the finals it would be completely justified. They both revamped the independent rap scene with their respective albums. Their personalities are gnarly, but Dr. Octagon pulls through due to the fact that he holds the advantage over MF in the eccentricity and creativity department. If this were an EA sports game, Doc Oc would have 99’s in those categories. MF Doom gets about a 90 in both. Sorry, it’s not you MF, it’s Doc Oc. I still love you.
Semifinals
Slim Shady vs. Roman Zolanski
This one’s relatively easy. Roman Zolanski made it this far due to a fortunate draw and a completely subjective, biased judge. Eminem comes into the arena an overwhelming favorite, a Goliath to Roman’s David. Roman’s slingshot isn’t gonna do much to Slim’s armor either. Eminem invented Slim when he was sitting on the toilet, taking a dump. Go back and listen to the Slim Shady LP. You’ll be appalled by the fact that some of the songs were played on the radio. I remember being on the playground during recess in first grade singing along to the whole album with my friends, swear words and all. I had no clue what it meant. Now I do, and I can’t help but laugh. That’s why Slim is so cool. He had one goal, to rattle the establishment. He ended up doing just that. He had elementary kids talking about killing people and popping pills. And that’s why Slim advances.
Based God vs. Dr. Octagon
Based God, you’re awesome. You challenged Kevin Durant to a pickup game, and when he declined, you went on the best twitter rant of all time: “PEOPLE GET MAD WHEN I GET CLUTCH ON THE COURT ITS ALL FUNNY UNTIL LIL B THROW THAT FLOATER ON YO ASS AND SHUT DOWN D, KD WASUP???” You even went as far as to prophesize that KD will never win an NBA championship. This is awesome for 2 reasons: 1) Russell Westbrook gets a season-ending freak injury in this year’s playoffs, preventing Durant from winning the championship. 2) Based God was dead serious. He legitimately thinks he can beat Kevin Durant, a consensus top five player in the NBA right now, in basketball. But Doc Oc has too much firepower. He brought the rap game into the year 3000 with Dr. Octagonecologist’s super-duper funkadelic scratching and synthesizers. His office’s phone number is 1-800-PP5-1DOODOO. That’s not 10 digits, but it is awesome. Sorry Based God, but YOU GOT KNOCKED THE FUCK OUT (of this alter ego tournament).
Dr. Octagon punches through to the next round.
Bonus Cut’s Alter Ego Tournament Championship
Slim Shady vs. Dr. Octagon
Ali vs. Frazier, Magic vs. Larry, Palmer vs. Nicklaus. Slim vs. Doc Oc is right up there with the best of them. These guys are head and shoulders above the rest, looking down from the sky. I mentioned EA sports earlier in this article, and these two alter egos are the maxed out characters made playable by cheat codes. Choosing between them is choosing between a Lamborghini and an Aston Martin. But a decision must be made. And the decision is Dr. Octagon. Why? Because of his smooth flow and more comical lyrics. Eminem is funny, but it’s a more fucked up, aggressive, Melissa McCarthy in Bridesmaids funny. Dr. Octagon is a little bit more harmless, so I feel less guilty when laughing at his songs. With that said, even though Doc Oc was killed by Kool Keith’s other (fantastic) alter ego Dr. Dooom in Kool Keith’s Dr. Dooom 2, his legend lives on forever as the Bonus Cut Alter Ego Tournament champion. He’s not with us, but if he was I’m sure he would have an extremely inappropriate, politically incorrect acceptance speech.