Dissect - Unreleased MF DOOM Interview (Exclusive Premiere)

Episode Date: December 3, 2024

Alongside Rhymesayers Entertainment, Dissect is honored to premiere an unreleased interview with MF DOOM as part of the 20th anniversary celebration of MM..FOOD. Recorded in 2004 just weeks before FOOD's release, the interview spanned DOOM's entire career, including his origins as Zev Love X, his approach to writing and production, and thriving as an independent artist. Shop MM..FOOD (20th Anniversary Edition) Listen to MM..FOOD (20th Anniversary Edition) Interviewed by Kevin Beacham Produced by Kevin Beacham & Rob Vanvranken Mixed by Rob Vanvranken Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome everyone to a special episode of Dysect. I'm your host, Cole Kushna. As you might know, the latest season of Dysect focused on the late MF Doom, breaking down every line of 12 of Doom's most beloved songs. You also might know that MF Doom's 2004 album, M Food, just celebrated its 20th anniversary, which was accompanied with an official re-release that includes new artwork, remixes, and a handful of unheard interview clips recorded shortly before Food's original release. Well, today, I have the extreme privilege to premiere this interoperable. interview in its entirety right here on the dissect feed. It's over an hour long and spans Doom's entire career up until 2004. It's a must listen for all Doom fans. A big thank you to Rhymesayer's

records for this honor and opportunity, and so without any further ado, please enjoy the world premiere of this never-before-heard interview with the one and only MF Doom. There they go with a clown and the two thugs. This career spanning interview with MF Doom was originally recorded. for a special broadcast on November 13th, 2004, on Rhymesayers Radio, hosted by Sadiq and Buck KAC on KFAI Community Radio in the Twin Cities. This episode was anchored by an interview conducted by myself, Kevin Beecham, and being an avid fan since the day's Zev-Lover-X with KM-D, my goal was to dig deep into understanding Doom's

inspirations, philosophies, challenges, goals, and passions. The show, titled FM Mood, broadcasted live on the air the Saturday before the release of the M. Food album, and it took listeners on a trip to explore the beginnings before we even made music, leading into Zevlovex and KMD, and how that evolved into MF Doom, leading us to the release of the MFood record, which hits Stores 1116, 2004. But this interview also takes a glimpse into the future, including some things that we did see happen and some that yet still remain to be seen. Let's get into it. Give me a voice test there.

One, two, check, check. So basically we're going to try to go through your complete history as an artist so we can put together a whole like, you know, two hours segment on where you came from and where you are. So I guess a good way to start off is what's like your earliest hip-hop memory? memory you can think of? I would just listen to the radio back, you know, back when the radio was playing stuff like Mr. Magic from, um, over Washington Jr. like, when those records first came out, like, um, Mardi Gras, Bob James and we're not. Like, when they first came out, there was just like regular joints that, like, now a new

song would come out and they're throwing a radio. So that's, I mean, those songs kind of involved into, like, hip-hop classics as far as, like, the DJs go I guess I'd be considered my earliest hip hop memory but then hip hop is something that you know was probably

we're probably born with it is just that innate feeling when you just want to bang a beat out it could be on the table you know what I'm saying yeah so but that's what I think my closest memory that could put into a frame

or reference like that any particular um lyrical uh any of also musical influences that really made you want to get involved at it you know yourself after being a fan

well no doubt Like, at that time, Curtis Blow had joint show. He was the dude that was rocking. What did you say your name was? I see that it's not clear for you good buddies to clean out your ears. Listen very close while I pop on game. Because my name's in the Hall of Fame. The K-U-R, the T-I-S, the first is the best.

I must confess. The B-L-O and the W. I make you want to catch the Bougaloo flu. Not your name is add. These are the brakes type shit. You know what I mean? Yeah. Yeah.

Roll-R-A-R-R-R-R-R-R. times when I was still too young to go to the parties, you know what I mean? But Curtis Blow, that's the first MEC that really, you know, struck me. It's like, yo, that's fast. Like, that's what I do. You know what I mean? But we was doing it before we heard that. It's something that, you know, like I say, we should just do it for fun.

Right. So, like, we were going to, like, play a few songs or a few artists production-wise and MC-wise who represent, like, you know, the biggest inspiration. Who were those babies highest cards below? Any other ones that you would think of that stood out too? Yeah, no doubt. After a while, once, you know, times progressed and whatnot. Of course, Stetsasonic was an old hip-hop band.

They were doing things that were brand new. Daniel was such an LMC to me still to this day. His voice and the way he projected his join. The whole presentation, Daniels, is nasty, you know what I'm saying? And, you know, groups around that time came out, ultra-magnetic, of course. Cool, Keith said, G, choice of topics. It was flipping the, you know, monotone rhyme technique. A lot of different styles that they came with, too, Ultra that was real influential,

or just kind of showed us the, you know, different directions that it could go in. I'd say BDP, KRS as a soloist, once BDP came around as a group, or KRS is like the MC of the group. You backtracks, stop the attack, because KRS won me, simply one KRS, that's it, that's all solo single, no more, no less. You know, it was real ill. At that time, there wasn't really no solo was holding it down like that. Sham kind of with Marley, but it was different with KRS. That's like how Chuck came out with the whole PE time. This was right about when we was just about to come out with K&B joints in the earlier, earlier part of the 90s, 89, 90, you know what I mean?

started really, um, find the way to put records out and whatnot. But, uh, you know, all them cats around that time was real unfortunate. Ah, cool. Um, so, yeah, speaking as to get into the KMD thing, obviously, um, sub was your brother, but how did the whole, actually, the group form and everything. And, um, I guess I heard before that originally, um, Roadam was a member of the group at some point, right? Yeah, yeah, no doubt. With his other Kahnik, I was a member of the group.

But actually, when KMB first started out, it was like a conglomeration of, like, hip-hop, As far as, like, graffiti, break dancing, you know, the music side of the DJ environment. There was a whole thing like that, like a little joint movement type of thing we had going on. But then, you know, as the music part started to kind of like be more dominant in the game, you know, that's the part that we really stuck to and really started perfecting. Once we did the first record, it was, originally it was me and my brother sub, but then I just felt like it would make a fuller view of it. You get a better view of it if I had one other partner to help me convey the vocal side of the thing,

the intellectual side of the things, you know what I mean? Right. So, we cool the Alex to get down. You know, at the time, he wasn't even rhyming than nothing. He was just, like, more mad. I was like, yo, it's like, you ready getting his group with him? He was like, I started rhyming men. You know, we used to help him out here and there.

And he held it down. He held his far down, you know what I'm saying? For the role that I need him to play, he definitely did it right, you know what I'm saying? He definitely couldn't tell that he was just, that was brand new to it, when I came out something like he'd be. He was into his thing, for sure. Yeah, that's good. That's good.

You know, man? Well, wait a lot. Hopefully I'd inspire him to come back out, you know what I'm there? But, yeah, so it's really like, really me and my brother is the real, like, architect. Most people are, like, you know, from that day's first heard you on the, obviously, the gas-based joint. So I've that come about with their base and that whole thing, because you're under their management, correct? The riff? Yeah, no doubt.

What happened was, see, search. I knew him for a while Like I must have Met him at a talent show Maybe in like Nah 86

Something like that And um You know He used to come out To the time When we used that And rock You know what I mean

And um And you know We kind of looked at it like Yo, we're It's fresh You know what I'm sad So you know We knew this

We know We know this Rattattice from Far Rockwood So what happened Was he came back After a couple of years talks of like 88, 89, I was like, yo, I got this group, you know what I'm saying? I'm working with this campaign nice, and, you know, we got this deal on death jam. And he's always known as a cat who found waiting to put records out.

He had a join out on idolers, I think, the label, Hey, Hey Girl or Hey Boy or some shit. Some single he had out, but he had ghetto fame for that. So everybody knew he was putting record out, so we're like, well, I'm with it, you know what? He's like, yo, get on the joint with us, la-la-da-da. And I'll let me hear some of the stuff we was doing, and he was really killing him. So he took us on the management wing at that time. At the same time, I did the guest appearance on that third base album.

You know, a couple of months later, the joint came out. You know, cross-court wrecked. The video was fun, you know what I'm saying? Real nostalgic hip-hop memories, you know what I mean? Next up, Don, a special appearance by KMD's Sev Love X. Gas face can either be a smile or a smirk when a pair's a monkey race to work once clockwork Perkin is grip to the rim of my cup. Don't tent me or empty.

So fill her up as I'm talking coffee or Coco is you logo. Cash or credit for unleaded at Sanoco. KMD and third base is this ace in the hole. I mean sold. So make the gas face. So did the do Electra come following that appearance? It was basically people heard you on there and then it was got interested or how'd that come about? Well, actually, we were working on a deal prior to the release of Gas Face or that Cactus album.

We was going to get a deal somehow. You know, it starts new enough people. They had, like, a lot of inside people to where the deal was going to pop up anyway. I think the Gas Face Joint kind of just helped it along a lot. It was Dante Walsh, who was the A&R at the time on the Tommy Boy. And the dayline right here just came out. Three Feely High and Rising. You know, Dante had part to that, you know, for us.

you know, A&R in the project or whatever, so he had a little shame. And at first he was supposed to be on Tommy Boy, but then he left Tommy Boy for Elektra. And with it, he brought the roster that he was putting together. At the time, it was brand-new being leaders of the new school, and then KMD. That was his little, like, his little roster that he had. He was holding as a trump card. And when he used that to really get on with Electra and get that shit popping, and it worked like a charm. Y'all was the first group for that, Letcher deal around those groups, right?

you have with the first one, right? KMD. Oh, I'm not sure. I think it were. I think he were the first brothers that whole are. Probably to release something. Yeah, I think we would just happen to be ready sooner. That's what I mean?

But we were all kind of like, kid them than anybody, you know what I'm saying? The weird time at that time, everything was happening spontaneously to now look back on it and see the impact that it's had. You know what I mean? It's so weird.

Anything could have went so differently or not happened at all. It just able to look back and see how it turned out. But yeah, so it was Date who brought us to Electives before Gas Week came out. You know, it was kind of like 85% done with the first album, Mr. Huss, which Gasrace dropped and we got the deal and all that, whatnot. And I'm sure the stuff the album real quick and put it out, you know.

Thinking of the album, I guess it's pretty popular because of the, it was a nice concept album with the character, Mr. Hood, and how was his piece together. And I really can't think of any detailed concept, like before that word, character like kind of map the whole album out even well mr hood and then even had like the character of like burton bert even being a character throughout the album to keep it going so what the idea of i'm using the vocal sampling and using it in that way where you actually actually with the characters come about where'd that come from well actually the first time i had

i have to credit that to um late night video back listening to um with w hbi at the time world samus supreme team show is the world's famous Supreme Team Show. Broadcasting live on WHBI 105.9 on your job. Now, everybody. Listen, listen, listen, listen. Everybody. Listen, listen.

Yeah, I mean, it came on like 3 o'clock in the morning. We must have been, man, I was young. I mean, too young and we stand up so late. That's not. So much staying up late like that, I'd be like, She's doing it, right, you know. But it wasn't like, what, 804 or 5 or something like that. And they used to do this kind of like segment on their show

towards the latter hours in the show where they'll just be spinning on hip-hop like breaks, like substitution and joints like that or like, funky for you and the little ill breaks. But then what they would do is, play vocal records like, you know, stand-up comedy records or, like, other type of records that have vocals on them over it, you know, sit on the background. So you get the drums spinning back and forth, but then you get these little, like, comedy skits

run on. The World Famous Supreme Team Show, 10024, New York, New York. Well, as I stated, Richard Breyer, he's in the house tonight. And Richard Breyer, would you like to tell us if you can remember about, what happened to you when you was a little boy down there in Illinois? I can remember when I was a kid back in Peoria, Illinois. I mean, no movie ever opened that I didn't sneak in and see. And that's the first time I ever heard that, you know what I'm saying?

So I got to give credit what creditors do. I kind of took that cost up and just, you know, incorporated them to short little skits where we do our own beats, you know, and then put little vocal samples smithing some other stuff to make a storyline or a short, you know, like a short breakdown or whatever the scene is, using other voices, you know what I mean? He does some pretty intricate senses in the way of spice together, so that's pretty difficult to do? Well, yeah, you know, it's funny.

It's like a little formula tool. It's kind of like the less you do, the more it makes sense. Like, the less you try to do it, the more it does itself, kind of like, you know what I mean? So most of the time, I'm just a spectator. I'm just digging, playing different stuff, but I'll just hear something. and I says, oh my God, how the hell, you know, I'll be just as shocked, and I'll just put it in place, you know what I'm saying? It takes a bit of research as far as just, you know,

recording a lot of different vocal pieces that are rare. I don't go for, like, you know, stuff that you go find easily. It's got to be something bugged out, then it's the bugged out of the bugged out. My name is Mr. Hood. What is your name? Yeah, I'm something up X with KMD. I am pleased to meet you. Oh yeah, likewise, how you doing anyway?

Perfectly well, thank you. And you? Oh, I'm just chilling, you see, but I got one problem. I come in here to pour in this bracelet. See, because it's robin for Nichols business ain't making it. But I need a job. What you work at? They're hiring?

Follow this avenue. Yeah? Turn right at the corner. Uh-huh. Go to the left. So out of all of that, it kind of like does itself once you have enough stuff. Just continue to play around with it and the story to tell itself. So beyond that, how was the production, the actual music, handled for the KMD albums?

Was it you to start splitting it, or how was that working? Yeah, the way we did it, well, yeah, we just do beats. Like, we would do v for fun. You know what I mean? I'll get my rack to do, like, four, eight beats in a row, according to that. And then the next week I might not do them, but that'll be the week that he's in there a lot. You know, we just go back and forth like that, so we had enough instrumentals. And they kind of just formulate, you know, what are we going to do with this deal?

come up with it like that, whatever the music tells us to do, really. You know, you're always dropping new material, but even back then with KMD, like, every single had like a new bonus track. I was something new, you know, so you're always recording a lot of music. That is something just naturally just always feeling creative, always creating new things. Well, it's often on, you know, sometimes I get my blackout period, but the level of stuff that comes through, yeah, I just try to facilitate it.

I get an idea, I just try to go for it and do it. I guess it might seem like a lot compared to, or how, you know, maybe the average one fuck to be putting shit out, maybe a little at a slow taste or whatever. I'm like, yo, I just kind of report it as it hits me, you know what I mean? Yeah, cool. All right, so we move into the second album, BlackBastards.

What was the difference in making that album to Mr. Hood? Like, I remember reading in, like, an article, I guess, in the source, like, when BlackBass was coming out and you were saying, like, maybe the label, like, had, like, was trying to, like, kind of put you in the bracket of, like, the native tongue thing or whatever in promoting certain things from the album. and that Black Baster was more going back to what you were trying to do even before Mr. Hood.

So, like, what was the whole process like for going into making the second album? What was your mind state? Yeah, it was really like just giving, yo, the show on the raw sides. I mean, the first side was cool, you know, real positive direction as far as the message and whatnot. But, you know, everybody throws and changes. So we were going through a lot of changes at that time, adolescents going from, I think I'm out of 18, going to 19. We both had our first child, you know what I'm saying?

During the in-between time, you know what I mean? So a lot of things going on, you know, that we needed to report on, you know what I'm saying? And that's how we were approaching like, yo, no whole vaugh, you know what I mean? What was that with the Parker Lewis disc? What made you want to do that in the song? Oh, yeah, that's funny, yo. I remember, like, I remember, like, I think it was in the source. They did, like, a little, like, spiral on it talking about how he was rapping, like,

Parker Lewis can't lose on the, Mike or something like that. That cat, yeah, this is time, you know, you know, to me,

hip hop is like, yo, it's like, I'm, I'm, my mom's, like, you know what,

I mean? But yeah, go, it's like, don't be playing my mama close, you don't really know it like that,

you know what I mean? So it's like, at the time, who was at a party, me were curious. 96 in Broadway, Ed Lovell was having birthday party.

You know, kind of like a start-studdered affair, you know, guess list, kind of thing. You know, we were able to slide up in there. But you had, like, everybody that came was there. Like, everybody, everybody you can imagine.

Poo Bar, everybody. You know what I'm saying? Nice to spoon. So we're playing the bar. And, you know, everybody's on stage at one point. And everybody starts ramen, like, one of the time. And this, I guess, like, nowadays I would have took it different. I'm like, oh, hip is really, we're your new bounds.

You know, they got to be an actor-cats trying to do it. I feel kind of personal then, though. You know what I'm like, what? Don't even touch the mic. You know what I mean? He ain't allowed to. So this cat gets on the mic and there's a little rhyme and whatnot. But the thing that that really got me about it was that

Kane had just ripped him to bullshit. You know what I'm saying? He got a little, you know, he ain't get too much of a response from it. Then this cat comes down there just from the fact that he was a TV celebrity. You know what I mean? And his voice was wack. It was sort. It was kind of wack.

You know, nothing to really be a fun. The whole crowd was going crazy. And, you know, at the time his show was on, so like, I have to fake, yo. So I had to just, I had to pull the file. You know what I mean? Just to clear the end of that one, you know what I'm saying? You know, but it's nothing personal. All right, cool.

All right, this is one that was always in my head, like, since I heard that I, so I want to get that out. So I want to get that out. So what happened to, um, to honest, not, why were the way to hear a part of Black bastards? At that time, there's not stuff going on. Like, you know, like I say, it was a time when we go all coming into eight. being men and going in different directions in our lives, you know what I'm saying? And I guess he wasn't really ever really an emcee. I kind of hired him to do the job.

Right. And maybe he didn't have it his heart to go to the full length, obviously. You know, so for the second album, he just, when it was trying to start the album, it just he wasn't as present as he needed to be, to be part of it. So we just assumed, you know, okay, he don't want to do it anymore. He ain't going to stop us from doing it. So we just went on without him, you know what I'm saying? And he went on in his by rest of it.

All right, cool. So, of course, we all know the album had never come out. So when did you first get word of the conflict with the artwork? And, you know, once you heard about it, what was the whole process between that and then the album getting dropped? Hmm. Oh, it was like right after we finished the joint, a matter of fact.

You know what I mean? Sob had already went back to the essence through the accident or whatever. But I, when we had finished like, damn, 75%, 80% of the album anyway. Okay. But I still had to finish it. So after that, that happened was after the accident. Like, I finished the album, I did the video, you know, we just mastered the album maybe the week before.

And then we get a call to come into the, you know, they wanted to come and have a meeting in the office the next morning. But they already sent all the money, the homework has done. Everything was ready for packaging. ready to go. And then they hit them to that. Like, some reason they, the, uh, what was the exact, it's funny how he worded it. There's more along the lines of, uh, creative differences kind of.

You know, they saw where we were going and all that. The answer to the concept, but we just couldn't have anything to do with it. So they give us, you know, the rights to pull it out, you know, they want to, you know, you know, everything was straight with the budget and all that. You know what I mean? So I'm like, where? You know what I'm saying? content of a record or the content of the artwork,

the dots from me being coming out. But the same time of the time when Cop Killer had just came out, and it was like, to me, it was like the labels and the entities that were really backing this project, kind of like was entangled with that at the time. Let me tell you a story. A few years back, I heard about a rapper named Ice-T, whose Cop Killer's CD was about murdering police officers.

It was being marketed by no less than Time Warner, the biggest entertainment conglomerate in the world. Police across the country were outraged, rightfully so. But Time Warner was stonewalling because it was a cash cow hit CD for them. So the whole censorship issue surrounding hip-hop was real heated. Nobody wanted to really take no risks. Anything that seemed risky, they'd rather just not deal with it. You know, to them half a million dollars, it ain't really nothing, I guess. You know what I'm saying?

They put about that into the project and just whatever, you know what I mean? So I'm like, all right, you know, that's cool. So it took us a while to get around and putting it out, though, but it finally did come back out. We finally did put out in like 2000. Right, right. Yeah, it was cool. I mean, that was, I mean, at that time,

I mean, even, like, there was a big problem with the Kooji rap album, living that die, got held up for a while through that whole thing. There was a, they had to eventually do this koschling put out by themselves. And real politically charged music at that time. Yeah, so it was like a lot of people's album got sheds around that same time. So it was sort of the ongoing thing. So did you actually try to do a lot of shopping number album after a lecture? Or was that, you know, did you go to other labels and they just weren't happening or what?

It went to a couple of different labels, you know. And yeah, they're funny. You know, everybody's funny. You know what I'm saying? To me, it would have been a good investment. You would have made your money back. But I guess they were as scared of whatever it was as Electra. Electra is the time, even now, it's like a pretty big company, you know what I'm saying, compared to some of the other rap labels that was just starting up, like, loud and all that.

Right. I mean, so if Electra's not happening, you know, a lot of other cats, I guess, are just scared to take it on, you know what I mean? Right. So, like, while along at the same time, remember, like, you're talking about even doing a third KMD at that time. You said, Sereney's going to do a third KMD with, you and Grim. Did that even go to the recording process? Nah. So it was like, it was a plan that never even manifested.

Yeah, it got rewarded, you know what I mean? Okay. So basically it was our time between, I guess, like 94, 95, and then we didn't hear from you until, again, to 97, when by then you would become officially MF Doom. They go like, I hold mics, like niggas hold their girls type, but I ain't out the hub, probably your accurate pearl white. The hook or not.

So many times I'm split it To be specific More times the dime's in the brisnick When you broke north I crashed the barbecue like Riddick At the garden, true true That's the guard of me Pardon you

Cheebers I was told back Your whole game access to my beeper Call back my secretary gatekeeper Like I ain't beeper So there's anything In that two Two and a half year period

That was molding you into What we were here You know when we first heard Deadbin What was the process? Studying a hip-hip I've been studying flow. A lot of cats coming out.

A lot of soloists is coming out and getting money and blowing. Now, I was really rocking at the time. Mep came out. You know, the world soloist kind of like started blooding out. Biggie was out. It looked like a good time for the soloist. You know what I'm saying? That's when I was like really trying to find a slot.

A good angle that I could come at that would be different from everybody's style. It's something that's something that I could do without too much a problem, like a technique that I could just easily master with one. one formula, but still it would be different than anybody else's shit. You know what I mean? So that's when I came with the tomb shit. It was just like, really just simplicity at its finest, you know what I'm saying? Just strip anything down to just the raw essence of ramen, you know what I mean?

Like, no ad lives, like, I, when you're ramen, usually when we be ramen, it'd be like outside or at school and get right there live in a little circle or whatever. You know what I'm saying? That's how it was when we first started and whatnot. And that's like, to me, the essence of it. or like even on stage, a microphone or in a party, just you and the mic and the beat, you know what I mean? So I basically doing the doom style on that.

You know, no hat-liff, no call-ins, it was a verse. You know, to where if you were standing right then, it was just four of us. You would hear it the same as if you would hear it in a car or if you heard it in a stadium or a club or whatever. It's just that MC, that beat and them lines, the punchline. And, you know, if it's two MCs battling in that, kind of setting where it's like a circle and it's just two-h-one-b-ruggers going voice for voice and style and stop and stop.

No, nothing fancy. You know, two-emCs tie now at those times, you know what I mean? That's where, you know, there's no gimmicks, you know what I'm saying, involves. I took that instead of eye. Let me use that as the basis. A lot of cats are, you know, oversaturating choice with calluses and, you know, like, she's in the game up a little bit. I think cats started getting lazy.

You know what I mean? A lot of money came to the game for cats to get lazy to do a short versus, you know, you know, comedy. So I said, all right, we just burn it down. If you burn it down back like how when we was burning it down when everything first started, where you could, you know, any corner in Queens

had cats spitting if somebody would be real nasty, hitting it. Then-da-da-da-da-da-da-da-da-l. Probably for 20 minutes straight with no choruses over a beatbox. You know what I mean? If we could bring it to that level, then that's different enough to what I think the character was. stand out. You know what I mean? In the same time, bring the game back to what is, you know,

how I remember it. Do you look at Doom as something very different from KMD or evolution from KMD? Oh, I think it's an off-through to KMD. Doom come up, came up, the characters kind of spawned out of the result of the experiences of a KMD kind of experience, you know what I'm saying? I'm an industry experience and just having to come a second time of like, you know, Something might be considered like, oh, you got dropped or it's like a failure. And like, what comes out of that feel, you know?

It's like nothing that's ever done. Nothing is ever finished. Doom is that super villain that always comes back. Um, I don't really particular, um, KMD songs on either album that you think best represent, like a sort of a warning sign of that Doom was to come, like, even style-wise. Like, there are probably a few songs I've listened to the album about lately. And, like, there's certain songs that start to me, like, maybe like, oh, I can see now where Doom will come from, like, when hearing this song.

How do you want to take a song to you? Yeah, yeah, I would say, oh, suspended animation, totally doomed, Doom prototype. Conspirated monkeys are a good one, too, because it's pretty erratic. Yeah, yeah, it would be just that killer verse type of shit. Yeah, yeah, it was definitely like preludes to Doom, you know. At the same time, Sub was about to come with his solo shit, too. And then, if we ever had a chance to hear that shit, that shit would have been even more ridiculous. His style, his direction was going crazy at that time.

I was like, I was trying to keep up with him. There's at least a couple. I'm really stressing that time period. I remember hearing one on Babito. I never heard that came out. There's one that was, you. I had, like, only a 22nd piece of him from Barbito show. And I was always mad.

I had, like, six bars, six and a half bars of it. And I've been looking for it every sentence. They got to, like, dig it up. I got where it is. But, yeah. Yeah, it's probably, all that's on. I forget the title. on the street.

I know I heard it like in 90, I had on a tape from like a Bavito show in 96. Popcorn, I think it was called Popcorn. That's the one that didn't make down, but it was war as hell. Okay. So, of course, Dune's Day came out on a final number of Babito, and you already been associated with him before because you were part of the hit you off management

with, was still with Pete Nice and everything for a while, right? So when it came time to the Dune's Day, like, had you, like, pretty much been recording stuff from this, you know, by the middle of an album, or we know how they work out pretty much. Yeah, the way that came out, I knew Bob for a long time. I met Bob, the same time I met Pete,

Pete Nice, both of them were working up at Def Jam, well, Pete had the deal against the Deaf Jam. And Bob was kind of like the radio guy there. You know what I mean? So that's what I met Bob through Pete and surf, and we're friends over since. Bob was a crazy dude. Say I met Bob, I met George.

You know what I mean? Both of them crazy, you know? You know, it was cool us out. So, you know, me and Bob stayed in contact throughout the years, you know, and we always had the same interest in music, you know, funk and like the good old Stevie Wonder is doing. So good old junk, you know what I mean? So who's just been in contact with music. He was like, yo, what's up? You got to be working on it.

I always had little tapes or whatever, but I always could bless him so he can hear it. And this is before he started to follow him. They're like, yeah, after I started sending him stuff, he was like, yo, I have to live working on and then now. Oh, what's up? We want me to put some shit out, and we want to rock it. I'm like, hi, yo. You're like, you want a rocket? I can use the work, you know?

Right. And I hit him with the raw versions of the dooms stuff. He was feeling it. And just off that, he set it off. I did the combination of the way he was running his label and the strip-down style, when I came with the dooms shit, it just was a Mac Man in Heaven type of shit.

You know what I mean? Did no promotion. There was a straight white label. Put it outplayed on his show. You know what I mean? mean and then if cats want to buy they'll buy it off of the off of the wreck though or for like you hear

that and you got to go find it just that old good old digging aesthetic that was attached to it I think helped it blow like it was just a good way of presenting this particular project you know what I'm saying wait wait wait don't say a word before

the record button is engaged because I don't want to miss a word I'm what my man MF Doom has to say Fresh. MF2. Big up, big up, big up. Zoom, how you doing, man?

I haven't seen you so much recently. Yeah, yeah, I know. Yeah, I know. Yeah, I love to get in doing my thing. You know what I'm saying? Staying fresh. Yeah. Y'all, y'all.

Are you, Bob? I'm chilling? I'm selling. You work with some, um, different MCS on regular. You know, that you got Victor Vaughn that you work with, and you got the King Gidre. Why don't you kind of give us a difference between, you know, when you, when you're producing the Doom project or when you're doing a,

those other projects, what's the difference in doing those and how's it work out? Yeah, each one of them serves a different purpose. Duma has a little cat. He's like the old school cat that sticks to the certain rules, you know what I'm saying? Like an older cat, O.G. in the game type of shit. This is mine, but it's always like something that an older guy might say, you know what sad. Yeah, I really came up with the other characters just to facilitate other points of view that I want

to get across that if I were to use Duma, it would seem like he was really, really, really crazy. You saw, I said, instead of, like, trying to, like, have this one character, have these different points of view, we split it up, you know what I'm saying? Come up with a younger cat who might have different, different agendas, you know what I'm saying, or different ways looking at things, you know what I'm saying? This way, it's a whole new style like a flip, going a whole new, totally new direction with words and all of that, you know what I'm saying?

It's really just to facilitate the creative flow that was happening. Anytime I get an idea, I'm like, words, you know, oh, damn. what if this happened? What if this happened? Anytime I come up with a what if, I got to do an album on it, you know what I mean? All right. So, of course, you know,

you're money-in-lawful, but in the last couple of years you've done some albums where outside producers and outside projects. So I'm sure, like, you know, being like, you know, there being a lot of people

who want to work with you, you get a lot of offers. How you decide which projects you're going to do and how's that different from doing, like, you know, like, a regular Doom album when you're doing it all yourself? Well, it used to be...

pros and cons, I guess. Yeah, yeah, no doubt, definitely. But it used to be a lot easy. I mean, now if you get so busy, I don't get a lot of time that... I have to really be careful which ones I know. I definitely can't do all of them, you know what I mean? But it's really based on the vibe of the person,

you know, the vibe of the group of the producer, the direction that they're trying to take music to in general, you know what I mean? And, yeah, it doesn't necessarily have to be the same view as my... When I first started listening, to the Maddleth stuff, they sent me a target. Before I even, you know, I don't really know about his music until they sent me the trackers on it when he wanted to do some work.

And, you know, I got a chance to listen to that stuff. The future jazz stuff that he was doing with, like, mad, ill, ill, ill. It was something that was familiar, but it was so new at the same time. It's almost like an obvious direction where everything should be going in. But he actually made it to where we can listen to it and hear it. You know, like, he's a slice of the future almost like, you know what I mean? Yeah. And he still kept it raw, you know what I'm saying?

So with cats like that, you know, it's like it has to happen. You know what I mean? It's just like the jazz days with cats. You just going and do jam sessions, just hook up and just, you know, set it off, make a quartets and make albums. Really spontaneous like that is how I try to keep it on. As of later, it's just me getting real busy. So, you know, I can't rock with everybody. Right.

As long as I would want to, if I'm not, but, um, that's generally off the feeling. You definitely have your own way of going about your production that fits what you do. So is it harder sometimes when you work on other producers and trying to mold into what their production is? I would have to say to me, from my MC20 view, it's easier when somebody else is providing the beats. And I can just listen to their beat, find what it gives me and go on that. When I'm the producer, it's like, all right, I may do the beat verse or I may have the verse first. And it kind of like sometimes it gets tricky.

Like, you got to separate the two sometimes, you know what I mean? Sometimes it gets too integrated. But at the same time, that enough integration of the two being both in one body kind of thing or one line, it could come up with interesting results. Like, a lot of that is on this doom, this new shit, the food shit. I mean, a lot of that melding of the producer, MC, are on these songs that you wouldn't get if I just got the beat from somebody and did it. As you call them, they call you when they need something,

for the blunt to jeez for the front. I found a way to get peace of mind for years and left the hell alone. Turn a deaf ear to the cellular phone. Send me a letter or better. We can see each other in real life just so you can feel me like a steel knife. At least so you can see the white of their eyes.

Bright with surprise. It seems like there's always like on like the side projects so there's more like a desk and sees on the side ones. Is that more a choice of yours? That's more like with other people doing other projects. They're getting other people that they want to work with involved with them or more so there's people you want, you know, how's that work out?

to guess art, guess some season on the albums. Oh, that's more like, you know, it'd be like, most of the time it's for a man who I know that Ron and they need, you know, I'm like, yo, all right, they're trying to get on. And I see that they're all right, they're trying to get on. And I look at it like, until you gave me the chance when they had, they was on.

Like, back when it starts with third base, he was setting off. You know, it was always about, you know, helping the next guy, kind. If he could see his struggle, see where he was. going with it. MC is a rare breed when you catch

an MCMCM. A real rhyme that rhyme regardless not just rhyming because hip hop happened to be the shit now. You got to see that rhyme for real

like there would be rhyming if the shit was elite. You know what I mean? So those cats that I catch that keep me on my toes that I rhyme with sometimes

just on the humble, you know what I'm saying? Stitting versus back and forth practicing when nobody was just only us there practicing for nothing really.

You know what I'm saying? For the sake of just staying sharp, You know what I'm saying? The older the captain, I say, all right, yo, get on this record. You know what I mean? Usually I'm saying like that that need to be heard, they'll probably wouldn't have had no chance to be heard.

Now my name is an awesome work with. He wants to give me like something about the experience that was unique, or it's one line about the artists or anything. So start off with the obvious, third base, working with third base. Yeah, the captains real, like real, all workers, real lyrical, wordsmith, you know what I mean? MF grim. Grim. Grimma,

word, Smith, real intelligent brother, you know, real, like, there, he got real,

real, real good imagination for song, writing, storytelling, uh, niche, you know what I'm saying?

You know, real, like, good work ethic, too, you know, so we go in and get busy,

knock it out. Cool, uh, my style and Zars. Everybody I know from, from that time and that era right there,

is cats who I've been wrong with, man, since we was in elementary school. You know what I mean? So, it's, motherfucking guy, we're hot for real.

Like, we all be broke, drinking beers and just vrimand, like, you know what I'm saying? So, yeah, it was fine. It's about working with them cats like that, you know? All right, cool. So how about the production team for the Victor Ron, the King Honey, Heat Rain, and Cister. How about that project?

King Honey, yeah, my man. It's beautiful filial if you're like, King Honey. He's funny, but he's really, his beats is like an old point. To change the beat joint, it's crazy. A modern day Marvel, but terrible. Better horrible. When he grabbed the mic from Sun and crushed up all his metal carbos.

He said he ain't mean it, totally by accent. After the show, he didn't follow where y'all tax he went. Will us be available on wax axe max mill? They all in opposition to his ass-wax tax bill. But will it pass the Senate, slum loyal tenant in the super like one a. Everything I deal with that cat, you know what I'm saying? It's really, really, really, really, um, innovational.

It's like really that, that was the first group of my father that I worked with his producers that did things totally. different than I would have did it. You know what I mean? Just the whole approach to the production style, like, that was like the era where, oh, they from the age where they were more influenced by a lot of shit that was out in my times,

you know what I'm saying? They started later, but perfected it in their own little way, like, you know, with computers and other machines, you know what I'm saying? Other ways getting done, high-tech stuff, real high-end stuff. You know what I mean? And, yeah, it's really, really, really hell with this,

you know what I'm saying? It was fun. All right. How about the Vitt Devon, too, the Insomniac crew or whatever? Yeah, my man is who put that one together. I wasn't really familiar with the beat makers on that joint. It was a real quick joint. Didn't join in like 45 days total.

You know, so he sent me a beast, and some bees got rejected. I tried to pick the best ones out of the back, you know. But it's really my man, Israel from Insomniac magazine. You know what I'm saying? Like, just to do him the favor of just getting busy. He came to me like, like, yo, I got this amount of paper. I'm trying to do this project. Be with it.

And I'm like, I'm like, alright, fuck it, let's do it, let's do it. All right, you kind of

get a little bit on Madlib, but when anything else to the Madlip thing, we're working with Madlip?

Yeah, that dude, I, that's far that's my favorite producers, he's my favorite producer beside myself.

You know, and I would say he's my favorite producer all around, but, you know, I gotta fuck myself. No doubt.

You know what? But that cat owners believe me, like, doing the Mad Villan project, like, his job would have done

from day one. He didn't really have to do that. All his beats is done. He hit me with the CD of like maybe four beats at first. Then he hit me with another CD of another like eight. Then I got a city like 50s. There's two cities with 50 apiece. There's another two city is a 50 apiece.

So you can imagine that the amount of stuff that I got instrumental with this dude and I just had to choose the one that fits the theme of the way the record seemed like it was going. But man, like I got enough beats from this dude to do like 10 more.

Yeah, that's a good combination, too. That came out real good. How about Perfuge, 73, and Aisop Rock? You did the one track with them. Even my flow is used for practice. Even so we still top choice off the tracklist. Far as I know we've been blackless. For as long as the Earth rotate on a 23-degree axis.

All in together now. Some of the misadventures of a father's crop, my Parana Charles Clousing. See, I'm going to stop that gut reaction. Bound in Sackackackack. Yeah. Yeah, pre-fuse. Yeah, I'm working on the E.T with that dude.

Man, he got some ill beats, too. He definitely is his ill. H-stop. Yeah, my first time, you know, rhyming with that dude. He's with, he's witty with his, you know what I'm saying? You know, it's fun. When they called me off guard was non-fiction. Yeah, yeah, they had them cats here from Brooklyn and whatnot.

Yeah, cool cats, you know what I'm saying? Go texting them dudes out there, big up, you know what I mean? He's like the supervisor. Workplace, no more breaks, Violet got work space for smirk face. You're bad. You didn't mean to throw your concentration. All stay the same.

We're just enough game. Jason Mason on. Yeah, we kind of met up. How about me these dudes? Just in the New York City circuit. You know, bouncing around, they had a studio that we used to work out of, you know. We used to retire from them.

And I think, you know, we're just kind of like, they asked me for a verse and I just whipped it up. One day, like half a day, you listen to that. How about the deal I saw joint? Oh, the DeLai joint, that's a long time coming. For sure. Yeah, man.

Yeah, I was on the town a little tour this summer, and they got the same manager. I got Corey. So Corey's like, yo, got this beat for y'all. He popped up with his beat. Like, yo, Dale, I want to just rip on this joint. Their verses are already on there. Oh, okay. I had like two weeks to do it.

So I'm like, all right, you know, I get a call. Like, yo, you're done, yo, you're going to have it done. I'm like, oh, that shit. I was just in that time. I was like, oh, I almost got a gun. I wasn't like, really, that day, the day before I had to fly out there and do it. And I flew out to New York,

met up with them cats, ripped my parts, you know. And that was it. Next two months, I should was out. Use when it comes to who's more cleverer. Used to whatever goose feet with the fur of collar. And charged the fee for loose leaf, words per dollar, you heard holler.

Broader, dude, we need food. Each of your team's for sure The streets Or seem rude For fan like the partridges Pardon him for the mixup Battle for your Tari cartridge They got Prince Blix up

This Reddish foe Cutts is foe like keen out How about Chris Poe? Oh the Pris Poe joined off danger beat Yeah it was same way similar Like he had the beat And Poe's part already ripped So

You know They want me to get on it And the way Polated down Like man It was like, all right, how much, you know, you gotta really step up to the plate, though. I think we matched with well. I just a guy know you report of Count Base D. Dwight Spitz.

Yeah, Dwight, good guy. You know what I'm saying? We share a lot of production tips. You know what I'm saying? Real close to front of the family and whatnot. I'm not Dooms, brother, but I'm rocking sub-woofer. That's why they call me Count base. I'm not Dooms, brother, but I'm back your sub-woofer.

That's why they call me Count Base. I'm not Dooms, brother, but I'm back in sub-woofer. That's why they call me Count-Cound. Yeah. fun working with that dude. I'm working on the album with that with him as well. A real collaborative of production and and, um, you know what I'm that?

I'll speak actually more about your production actually. You've done obviously you've done like stuff for yourself. You've done like a good question of the MF Graham album. A Monster and Zaj record. Of course, all your special herbs. He's recently did a stage Francis remix. So are you interested in getting more involved in production?

Like when we see you like actually start producing other, more albums and more artists in the future. That's what you want to do more of? No doubt. I want to expand that side, you know, make it as, at least bring it to the level of the rhyme side or, you know, try to keep them both at least neck and neck, you know what I'm saying? Production to me is more fun, kind of like, you know, it's easier kind of, but then it's more, I wouldn't even say easier in that aspect. But when it comes to rhyming, though, it's such a real, like, you know, it's your voice and, like, you know, every word, you know, it has to be

start away. But at the same time, every kick and snares, and, you know, and, you know, it's just a little bit. The high hat has to be a certain way as well, but there's something that's that non-vocal about the whole beat-making process that I think captures something by being the way I'm not speaking. I'm speaking on my hands, you know what I'm saying? Well, because I'm Caesar, their voice in their opinions and their thoughts on it. So it's like I get a million of different ideas and different angles on it. I was like diversity, you know what I'm saying, from little hardcore street shit to maybe more. underground kind of like, you know, funny humorous style stuff to maybe even more like, like, positive, intelligent, rhyme style, you know what I'm saying?

Like all types of different MCs, you know what I'm saying? A lot of them, it's like, a lot of them is real nasty no matter what they be talking about. Those are the cats that I try to produce. Male and female, you know? But not many of emcees get their love and respect and admiration from like the old school heads to the new crowd,

even the fans and even the artists who both, you know, like pretty much everyone's a Doom fan. How's that make you feel? I know,

I don't really think about it like that. Good to know that. It's always good to be appreciated by your peers as well as the fans, you know what I'm saying? The new fans, you know what I mean? Hard to please everybody,

you know what I mean? The angle I'm really looking at it like, yo, what I would want to hear. You know what I mean? From the first inception of idea, You know, you know if it sound whack or not, just don't do wax shit, you know what I'm figuring. You know, I'm really just doing for myself regardless what anybody think about it, do for fun, come from the heart with it.

I think people recognize that, you know what I'm saying? Not to mention just sticking to certain formulas. Stick to certain formulas that you master. After a while, people see the pattern and can kind of like catch on where you're going with it. You know what I mean? Yeah, because not to me, people can, within a few months, have a bit. record out with De La Searle and then a, you know, a remix with stage Francis, like, which, you know, it's like the golden age to the, the, who's popular now, who's popular then?

So it's like, you know, a lot of people are, like, get locked in the box. They got to like this or like that. They can't like both. But then you're both or not, you're on both, so they're a doom fan. They got to check out both, you know? I don't know, punk. Because MCs are appreciating MCs, you know what I'm saying? You all around the board.

We all word-smiths, you know what I mean? Really, I got to thank De Laugh for reaching out to me and, like, you know, you know, recognizing and being like, yo, that cat, you know what I mean? They ain't had to do that.

They, they kind of like, they hop their head where they get hired a motherfucker that just to get on some shit just to blow. But they still

based on, yo, the MC, you know what I'm saying? We know, we know each other from back in the days kind of like,

you know what I'm saying? We cross-past a few times. You know, it was just cool for them to holler, you know what I'm saying? All right,

so are there any other, like, you know, that you can be complimentary to their style? Caduceers are emcees? Yeah, no doubt, no doubt. Man, so numerous.

Man, I love to work with a brother Dick from X-Klan. Just on the production tip with him and the MC could be real, real ill. You know what I mean? Verbs of power. Now, here's the sum of another drum. Now, models are aware. Not but prepare for a logical son. My works of power are the spirit to spank.

My deep, deep blackness, your mind gets dank. Revelation to Genesis. Something you cannot dismiss. Keys to crossroad. Come to abyss. and find a birds, sticks swinging while I'm living, giving the rhythm, heed the word and the bass drop given.

Um, well, like, uh, I love to work with, uh, Pete Rock, I think. I've seen the matter of fact, we did a show with Dayline and that's wrong in New York and saw Pete Rock backstage. I haven't seen that brother, the lecture days, you know what I'm saying? Seel smooth with him, Katwin.

When Reminis came out, like, around that time, you know. So just for, you know, you know, he sees me, like, yo, don't you know, and so I came off stage, They're like, oh, shit, this, man. He's like, yo, we gotta do something. Kids are like, you know, it's almost like picking up when I left off where I left off, you know what I'm saying?

Right before the hiatus, you know, Luke. MP Rock, I was saying, the producer, Blaze, you know, I've been talking to just Blaze. Real cool cat, you know what I mean, got some thorough beats. He respect the lyrics. Dream guy to ice cream spills off Mrs. Paul's Pie to Nice Dreams, for real.

You click a hardcore on a... Maybe ghosts, you know what I mean? Okay. Yeah, people want to hear that. for a minute, I think. That's been like, I've been hearing the rumors about that. Like, people just like, man, I love to hear those two on the track together. Yep, they, they down to get it.

I think they request about to be asking. That's beautiful. New York, New York, the bad as a place of a century. Bad as good. Good as it good. Evil urge and a shout, I wish a nigga word. New York the baddest place of the century. Salute.

Most of the lives as dudes is dad. Some folks being polite, some mood instead. The melting pot is overflowing with lad. In the winter is brick The summertime is like a sweltering hot For me, person, like when I listen to my hair Like, when you new records I'm always, like, impressed with how you, like,

just can weave the words together and make it seem so effortless and seamless And I'm like, oh, he's out. There's no way he can come with another album and do it again. Then bam. Yeah, same thing I be thinking. I'm like, he's done.

I heard with the line, I was like, I haven't heard I imagine, like, he's done. There's no way he can do it. Then I heard the end food. But I was like, oh, he did again. He's got to be almost done. So you ever worry about, like, man, I bet I'm going to run out of ways to say words.

You ever worry about riders' block? Every time, like after every record. Like, you know what I mean? Always happened. But then I, you know, for a couple of months I might be stuck in that zone. And my wife would tell you, she'd be like, yo, every time say the same thing, like, oh, I don't know how I do, what am I going to do? I'm going for months and then I'll shoot it down for the basics on that.

It's like, yo, the English language is so vast, not to mention the different dialects of slang that's involved. Plus, when you get other languages mixed with English and their dialects and the slang that came from the, like, people migrating into America. Just all the different types of people, you know what I'm saying? There's no way you can ever run out of stupid shit to say, you know what I'm saying. That's really what it's based on. It's like something that could make somebody laugh that we call it related to, but it's a real thing, you know what I'm saying? They're almost like outstanding comedians do it. So it's like, if you base it on real life and things that happen naturally in life, it's forever.

So, you know, it's just a matter of just not thinking too hard about it. And I just got to keep a pen and pat around me for when I get those little stupid thoughts and write them down. You know what I mean? Right, okay. But yeah, I think it's another ending stream of it, but even now it's like, I don't know what I'm going to say on the next job. But I know that I'll catch enough good ones. I got no time and I'll do my research, you know? I think I have more faith in this now.

We need food. Of course right now, the thing is covered with this is all about, it's about the food record. So, um, you want to talk about that record and, like, things that stand out to you and doing it. And I guess I've, I've seen interviews that you're saying as sort of a turning point out of us, you know, like you're gonna officially just become doom and the MF would be no more.

And like, you know, what, what's, what's spark that and everything like that? Yeah, it's really just focusing, it is, it's really, He'll always be M. M. M. Doom. I couldn't even shake it. The Cavs still calling him if I took that shit off. There's no way I can really do that. But I was really meaning more like in the sense of just being personalized. You know what I'm saying? It's like doomed to the person.

If you could ever really get close to know this cat. I mean, like, that's why I figured his food album is like, in the most thoughts and personal kind of opinion, more than general just battle lines. You know what I'm saying? Kind of went into what he thinks about the chicks more, what he thinks about, you know, the game more. You know, it gets into more of the character, you know what I'm saying?

So, and the food album's a real, real personal opportunity. You're about to go on a little mini tour to support it, and then you got also the food drive connected. You want to speak a little bit about that, and, you know, how, how do you want to do the food drive connected and, you know, what people expect on this tour when they go out to the shows? Yeah, the food drive part is really just to, um,

You know, I talked to the album, New Foods, you know. I was kind of like thinking out many different angles I could use to facilitate the idea in a positive way. Having a message in each song, like a double meaning, but, you know, it's based on food, but there's still a message in each song. And then the food drive is really just the live aspect of what it is, what the album is music.

You know what I'm saying? It's like a giving back or sharing, you know what I'm saying? Yeah, so, you know, plus just growing up poor, you know what I mean, and having to go to, like, Salvation Army to get clothes and food, you know what I'm saying? And time when that saved the day, like, food staffs you're going to, just growing up with food sometimes being a problem, like, you know what I'm saying, free lunch and school, like, shit like that, you know, in a way that it was kind of embarrassing at one point, kind of like, but then now I look back as an adult, you know what,

saying them, times that there was food available. It was real key times. And if we didn't have them time, man, you know, so I just want to really make sure that that's still happening. There's always going to be people that need food. Food is something that we all need, you know, then we can't go 12 hours and I eat without starting to really go panic mode. So, you know, it's such a general topic that ties everybody together,

you know, some different races, different species, even animals, everything, needs food. So, you know, I said, let me just do a full job. That's like something that gives that. I think that's beautiful because, I mean, I'm quite sure there's a lot of emcees that might do something similar. But it's good, the fact that he's capable of bringing it to the forefront now that he's more visible. So it's a beautiful thing. Because, you know, there's no other reason to do this, man.

I mean, everybody can be the greatest MC in the world or the baddest or the toughest. But when you're capable of building and making something and helping him, the babies or family, that mean more, that mean more than Platinum, mean more than Grammys, that's everything. So any particular upcoming projects, I know you've mentioned something throughout the interview, but you're like, what do you think is going to be the after the Oomphood? What are some of the next things we're going to start seeing from you? Yeah, man, I don't know if it's too early to talk about this stuff, you know.

A lot of times, I'll leak a paddle out there. We won't have no songs for it. And everybody will be talking about that album. I'm like, damn, that's just the thought. I was forced to do it, but start to start, you know what I'm saying? But this is how about them working on the next doom one, of course, you know, I'm already cracking on that concept. And it's more of the direction, man, it's going to even get closer to the character, you know what I'm saying?

The title of that one is going to be due home. It's like to do meditation, like it moves away from the drunken doom kind of. You know, the whole little drug shrouding bee, cloud. kind of thing. It's like moving more in the direction of all right. Once the party is over, you know what do you do then? What do you do when you drank too much? You start to feel dizzy and you need some air.

You do home. That's one time to go back to meditation and go back to water. You know what I'm saying? You know, that's the next challenge, you know what I'm saying? Like you said, how am I going to do it? I don't know yet, but I know that. I don't know that. I don't know that's like the basics.

And I'm just come with the thunder up behind that. I want to just mention that the different Amish Dyn, if you want to tell me any, like, songs that stand down on each album? Mr. Hood, what songs that would best represent you as, I guess, as an artist and lyricist on Mr. Hood? Mr. Hood, I would have to say,

Sub-Rock's mission, which I ain't even rhyme on, but sub-lipped that shit. What is it? Such a snapshot of what was going on. Because he was cutting here at the time. Right out the crib, you know, that was just hustling. I tell what I'd do.

I think I was, like, you know, when cats were painting. names on the pants for the girls and whatnot. Yeah. Joard a little character on the side. That's what I used to do. My side hustle, like $10, whatever.

But, you know, of course you get more head cut clines than, than, uh, cans client. It's just like, maybe a week to do one set of a pad, $20, you know? This cat cut in here, $10 a head. Like, five, six heads an hour,

you know? So he kind of have your beat on the stack. But, um, but yeah, that's a song was the one that stood out to me as far as sub. On that Mr. The album, if it was me literally, I would say something like, um, who me? Tricky, tricky, must be part of the gas face series. The same one who started Black Cat Place he runs it.

The unjust is where he's... I'm Black bastards. Black bastards. Title Cup, Black Vastres and Bitches. Operation Dunez Day. Or Dunes Day. Rhy. Rimes like Dones and a head voice.

For no reason to get cussed out like Tourette. Yet wordplay since third grade age. Backroom used to play, bang, open birdcage. Hip-hot, Benny Hill, sippani straight. Get every penny weight, then he chill. At any rate, my middle face holds with tongue, or least iron. Do yourself, I will continue to do my thing like kung fu fighting.

Everybody was biting. And the super villain strike again like, like the... Yeah, so, John, okay. Victor Vaughan. Vigot. A big shit, lickaporn, drop, and then joined the audience. Saliba? Yeah, saliva.

saliva going. Victor Warned War II. We want two, right? Now, now, now, is had title these guys. I don't really know the titles were safe. I thought Rogen. He kept that one the same. Yeah, that's the one thought was the best one on there.

Yeah, it was just stupid, kid. All those phones really quickly written. Those are the best song. You're doing quick like that, you know what I'm saying? Just stick with the topic, like, if it was like a little joke, you know, one of those jokes to just carry off for a second. Just like that. So roll rage and then our bloody chain off that.

Mad villain. Navillan. Mindstone. The last song I did is throwing all my favorite one on there. Villain, the smile, stun your chick, while he put herself in your shoes, run your kicks. You heard it on the radio, tape it. Play it in your stereo, your crew will go eight.

The accordion He smells him like a hunch The same intuition That tells him Spike the punch Curses He's true The accordion of joy

And there's so many On there There's so many on there Man, Godin You know what I'm saying King Gidra My man Hassan He got to join

On their cordon I wonder Yeah I produced He ripped it Oh of course The fine print Man

That just Summers up the whole thing You know That sums up Giza in the nutshell Yo. Rendo unto Gidro, what is Gidress? 10 to 1 he sees you through a beaker and a tweezers.

Read the fine print and be like, what's the big deal? Spun wheels are still since broke wheeled wheeled. Back when it was greasy ass curl, now it's easy dread. Had a rhyme or how they used to tease him about his peasy head. Yes, yes, y'all. Well, I like to mention a couple of joints of the food album. One dare. Okay.

Man, whole cakes in its own right. You know what I'm saying? Of course, friends, like, things like that are a little more challenging. Yeah, that's a good one. Vomit spin is the last joint I put on there, kind of a speed I went on there after the league. So, new, new join. Hear it in his sleep sometimes, blare it in your jeep so your peoples can scare it them rhymes.

Real rhymes, not your everyday hologram. Even when ribs was touching, never swallowed the ham. You'd rather eat a sand sandwich salad. They might need salt like your man's bland ballad. A lot of stuff happens that the news won't tell you. Anything else particularly about you that people should know? No. I'll let you know.

The villain ain't never going to quit and be more and more coming out. So, you know, ready your head sex and your own and your speakers, make sure your monitors are in good working order. When you put the CD in it don't bust and you see, you know? Definitely coming. Like, there ain't going to be no sort of music. A music, no music. Yeah, one before you leave, let me just say, I'd like to thank Lomsen and speak and the whole staff over there. Like, this whole collabo that we're doing,

and this, this kind of like merging kind of thing, is really going to really bring it to a head out here with this music stuff. Like, the two companies, it's the way that they're set, you know what I'm saying, and hip-hop. Like, started them with the right intent, and we're both going in the right direction, and this is just a crossroads.

So it's going to be a whole lot of good stuff coming out of that game up right there. All right.