Wikipedia

Madvillainy

Madvillainyis the onlystudio albumby Americanhip-hopduoMadvillain,consisting of British-American rapperMF Doomand American record producerMadlib.It was released on March 23, 2004, onStones Throw Records.

Madvillainy
Grayscale photo of Doom's face behind his metal mask, with the word "MADVILLAIN" in pixelated black font at the top left corner and a small orange square at the top right corner.
Studio albumby
Madvillain
ReleasedMarch 23, 2004
Recorded2002–2004
Studio
Genre
Length46:08
LabelStones Throw
Producer
Madvillainchronology
Madvillainy
(2004) 		Madvillainy 2: The Madlib Remix
(2008)
Madlibchronology
Champion Sound
(withJ Dillaas Jaylib)
(2003) 		Madvillainy
(2004) 		Stevie
(2004)
MF Doomchronology
Vaudeville Villain
(2003) 		Madvillainy
(2004) 		Special Herbs + Spices Volume 1
(2004)
Instrumental release
Madvillainy Instrumentals
SinglesfromMadvillainy
  1. "Money Folder"
    Released: November 11, 2003
  2. "All Caps"
    Released: February 2004

The album was recorded between 2002 and 2004. Madlib created most of the instrumentals during a trip to Brazil in his hotel room using minimal amounts of equipment: aBoss SP-303sampler, aturntable,and a tape deck.[1]Fourteen months before the album was released, an unfinished demo version was stolen and leaked onto the internet. Frustrated, the duo stopped working on the album and returned to it only after they had released other solo projects.

WhileMadvillainyachieved only moderate commercial success, it became one of the best-selling Stones Throw albums. It peaked at number 179 on the USBillboard200,and attracted attention from media outlets not usually coveringhip-hopmusic, includingThe New Yorker.Madvillainyreceived widespread critical acclaim for Madlib's production and MF Doom's lyricism, and is regarded as Doom'smagnum opus.[2]It has since been widely regarded as one of the greatest hip-hop albums of all time, as well as one of the greatest albums of all time in general, being ranked in various publications' lists of all-time greatest albums, including at 411 onNME's list ofThe 500 Greatest Albums of All Time,[3]at 365 onRolling Stone's500 Greatest Albums of All Time,[4]and at 18 onRolling Stone's200 Greatest Hip-Hop Albums of All Time.[5]

Background

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In 1997, after the death of his brotherDJ Subrocand the rejection ofKMD's albumBlack BastardsbyElektra Recordsfour years previously, rapper Daniel Dumile (formerly known as Zev Love X) returned to music as the masked rapper MF Doom.[6]In 1999, Doom released his debut solo albumOperation: DoomsdayonFondle 'Em Records.[7]According toNathan RabinofThe A.V. Club,the album "has attained mythic status; its legend has grown in proportion to its relative unavailability".[8]Soon after release of the album, in an interview with theLos Angeles Times,Madlib stated that he wanted to collaborate with two artists:J Dillaand Doom.[9]

In 2001, after Fondle 'Em closed, Doom disappeared. During that time, he lived betweenLong Island,New York, andKennesaw,a suburb ofAtlanta,Georgia. Coincidentally, Eothen "Egon" Alapatt, who was the manager of Madlib's labelStones Throw Records,had a friend in Kennesaw. He asked the friend to give Doom (who did not know about Madlib and Stones Throw at the time) some instrumentals from Madlib. Three weeks later, the friend called back, telling him that Doom loved the instrumentals and wanted to work with Madlib. Soon, one of Doom's "quasi-managers" made an offer, asking for plane tickets to Los Angeles and $1,500. Despite the fact that the label didn't have enough money after buying the tickets, they immediately agreed. According to Egon, soon after arrival, the manager went to him demanding money, while Doom visited Madlib:[9]

The first thing his manager did was get me in my bedroom, which was also the office, and corner me about the 1,500 bucks. I realized that if she was in here, then Doom was with [Madlib], and the longer I kept up this charade with her, the longer they'll vibe and maybe it all might work out.

Egon's plan was successful, and Doom and Madlib began working together. Soon after, Stones Throw Records managed to collect the money necessary to pay Doom and a contract to the label was signed, which was written on a paper plate.[9]

Recording

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Doom and Madlib started working onMadvillainyin 2002. Madlib created one hundred beats in a matter of weeks, some of which were used onMadvillainy,some were used on his collaboration album with J DillaChampion Sound,while others were used forM.E.D.'s andDudley Perkins' albums. Even though Stones Throw booked Doom a hotel room, he spent most of the time in Madlib's studio, based in an old bomb shelter inMount Washington, Los Angeles.When the duo was not working on the album, they were spending free time together, drinking beer, eatingThai food,smoking marijuana,[9]and takingpsychedelic mushrooms.[10]"Figaro" and "Meat Grinder" were among the songs recorded during this time.[11]

In November 2002, Madlib went toBrazilto participate in aRed Bull Music Academylecture,[12]where he debuted the first music from the album by playing an unfinished version of "America's Most Blunted".[13]Madlib also went crate digging during his time in Brazil, searching for obscurevinyl recordshe couldsamplelater, with fellow producersCut Chemist,DJ Babu,and J.Rocc.[14][15]According to Madlib himself, he bought multiple crates full of vinyl records, two of which he later lost.[14]He used some of these records to produce beats forMadvillainy.Most of the album,[14]including beats for "Strange Ways", "Raid", and "Rhinestone Cowboy", was produced in his hotel room inSão Paulo,using a portableturntable,a cassette deck, and aBoss SP-303sampler.[9]While Madlib was working on the album in Brazil, the unfinished demo was stolen and leaked on the internet, 14 months before its official release. Jeff Jank, Stones Throw's art director, remembers the leak in the interview withPitchfork:[9]

Those were the early days of internet leaks, and we thought it would completely ruin sales. People were approaching Doom and Madlib at shows to tell them how much they liked the album, so they were like, 'Fuck it, I'm done.' Madlib started on other stuff, and Doom, well, you never know what he's doing.

Doom and Madlib decided to work on different projects. Madlib releasedChampion Soundwith J Dilla, while Doom released two solo albums:Take Me to Your Leader,as King Geedorah, andVaudeville Villain,as Viktor Vaughn. Nevertheless, after the release of these albums, they decided to return toMadvillainy.For the final version of the album, Doom altered his voice, described byPeanut Butter Wolfas going from "really hyper, more enthusiastic" to "a more mellow, relaxed, confident, less abrasive", and changed some lyrics to coincide with this change. Madlib was also asked by the label to change some instrumentals, but told them that he forgot the samples he used, in order to allow for them to remain on the album. Additionally, the label also requested the duo make a proper ending for the album, forcing them to rent a studio for the recording of "Rhinestone Cowboy".[9]The beat used, however, was produced in Brazil.[16]

Production

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Madlib (pictured in 2014), producer of the album and half of the duo

Madvillainywas produced almost entirely byMadlib,except the first track, which he produced in collaboration with Doom.[17]On the album, Madlib incorporates his distinctiveproductionstyle, based on usingsamples,[18]mostly obscure, from albums recorded in different countries.[19]Aside from sampling records by American artists,[20]namely fromjazz[21]andsoul,[22]Madlib also usedIndian(for example, "Shadows of Tomorrow" samples "Hindu Hoon Main Na Musalman Hoon" byR. D. Burman) andBrazilianrecords ( "Curls" samples "Airport Love Theme" by Waldir Calmon) forMadvillainy.[13]In regards to Madlib's production on the album, he stated in an interview:

I did most of the Madvillain album in Brazil. Cuts like "Raid" I did in my hotel room in Brazil on a portable turntable, my303,and a little tape deck. I recorded it on tape, came back here, put it on CD, and Doom made a song out of it.[1]

The album consists of 22 songs,[17]most of which are under 3 minutes and contain nohooksorchoruses.[13][22]Sam Samuelson ofAllMusiccompared the album to a comic book, "sometimes segued with vignettes sampled from 1940s movies and broadcasts or left-field [marijuana]-toting skits". He also noted that some instrumentals on the album "[seem] to be so out of time or step with a traditional hip-hop direction".[23]The A.V. Clubcompared the album to a buffet, where "Madlib and Doom are interested in throwing out ideas as fast as they have them, giving them as much attention as they need, and moving on to the next thing".[13]Tim O'Neil ofPopMatterspraised Madlib's instrumentals and said that they "make the album a sonic feast".[21]

Lyrics

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"Meat Grinder"
A sample of "Meat Grinder", described byPopMattersas "a tongue twister, with multiple contrasting internal rhymes and almost nonsensical verses jammed together in a way thatalmostsounds silly but doesn't ".[21]HipHopDXpraised the instrumental, based on a sample of "Hula Rock" by Lew Howard & The All-Stars, and called it a "particularly sinister piece".[24]
Problems playing this file? Seemedia help.

Doom's lyrics onMadvillainyarefree-associative.[25]According toStereogum,the album "is about using sound to craft semi-indecipherable vignettes that are situated somewhere between the real and the mythical".[22]Despite originally featuring a more enthusiastic, exciteddelivery,the leak prompted Doom to go with a slower and more relaxed flow on the final version of the album. This move has been praised by various publications, includingPitchfork,which said that it was "ultimately better-suited" than the original.[12]

Throughout the album, Doom uses a number ofliterary devices,includingmultisyllabic rhymes,internal rhymes,alliteration,[26]assonance,[27]andholorimes.[28]Music critics also noted extensive use ofwordplay[13]anddouble entendres.[29]PopMatterswrote, "You can spend hours poring over the lyric sheet and attempting to grok Doom's infinitely dense verbiage. If language is arbitrary, then many of Doom's verses exploit the essence of words stripped of meaning, random conglomerations of syllables assembled in an order that only makes sense from a rhythmical standpoint", the critic added.[21]The Observerstated that "the densely telegraphic lyrics almost always reward closer inspection" and that Doom's "rhymes miss beats, drop into the middle of the next line, work their way through whole verses" allowing for a smooth listen.[30]

Artwork

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The album cover art was created by Stones Throw's art director Jeff Jank, based on a grayscale photo of Doom in his metal mask. In an interview withEgo Trip,Jank said:[31]

Back then, 2003, Doom didn't really have public image. Hip hop heads knew he wore a mask, that he'd been in KMD a decade earlier, but he really was a mystery. So, I really wanted to get a shot of him on the cover, just to make a definitive 'Doom cover'. Specifically, I was thinking of a picture of this man, who happened to wear a mask for some reason, as opposed to 'a picture of a mask'. I don't know if the distinction would occur to anyone else, but to me it was a big deal. I mean, who the hell goes around with a metal mask, what's his story?

The photo was created by photographer Eric Coleman at Stones Throw's house in Los Angeles, and edited by Jank. While working on theMadvillainyalbum cover, Jank drew inspiration fromKing Crimson'sIn the Court of the Crimson Kingartwork. However, following its completion, he noticed the artwork eerily resembledMadonna'sMadonnaartwork. Despite this, Jank stuck with the original artwork, labeling it as the "rap version ofBeauty and the Beast".A small orange square was added to the final version ofMadvillainy,due to Jank's thinking that the artwork "needed something distinctive", comparing it to the orange "O" on theMadonnacover.[31]

Release and promotion

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Two singles fromMadvillainywere released before the album release: "Money Folder"bundled with" America's Most Blunted ",[32]and "All Caps"bundled with" Curls ".[33]The first single peaked at number 66 on theBillboardHot R&B/Hip-Hop Songschart.[34]Madvillainywas released on March 23, 2004.[35]DespiteStones Throw Recordsbeing a relatively small label, the album achieved moderate commercial success, which was big for the label. According toPitchfork,"after two years of hectoring Stones Throw for making unsalable records, distributorEMIcouldn't keepMadvillainyin stock. "[9]The album peaked at number 179 onBillboard200[36]and sold approximately 150,000 copies,[9]making it one of the label's best-selling albums.[37]Its success allowed Stones Throw to open an office inHighland Park, Los Angeles.[9]

Four official videos were created for the album upon its initial release: "All Caps"(directed by James Reitano)," Rhinestone Cowboy "and"Accordion"(both directed by Andrew Gura),[17]and "Shadows of Tomorrow" (directed bySystem D-128). "All Caps" and "Rhinestone Cowboy" appear on theDVDStones Throw 101[38]along with a hidden easter egg video for "Shadows Of Tomorrow" as a special bonus feature. An impromptu video for "Accordion" was filmed in 2004 but was not released until 2008'sIn Living the True GodsDVD.[39]In November 2024, Stones Throw re-released "Rhinestone Cowboy" and "Accordion," to their YouTube channel, both remastered by director Andrew Gura from the original files to 4K resolution.[40]

Aninstrumentalversion of the album was released in 2004 only in vinyl format and digitally through various online stores, with the tracks "The Illest Villains", "Bistro", "Sickfit", "Do Not Fire!", and "Supervillain Theme" being omitted. It was re-released in 2012 on vinyl with picture sleeve.[41]

In 2014, in honor of the 10th anniversary ofMadvillainy,Stones Throw released a special edition of the album on vinyl.[42]The album re-enteredBillboard200 chart, peaking at number 117,[43]higher than it did originally. The same yearMadvillainywas also released onCompact Cassettes,as part of theCassette Store Day.[44]

Remixes

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Severalremixesof the album were released.[17]Two remix EPs ofMadvillainywere released on Stones Throw in 2005.[45]The remixes were done byFour TetandKoushik.[17]Madvillainy 2: The Madlib Remixwas released on Stones Throw in 2008, containing a complete remix of the album by Madlib as a part of a Madvillain box set.[46]According toStereogum,it was Madlib's "attempt to get Doom excited enough to work on a true follow-up",[22]recorded after he got tired of waiting for Doom to record the official sequel.[47]

Critical reception

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Professional ratings
Aggregate scores
SourceRating
Metacritic93/100[48]
Review scores
SourceRating
AllMusic[23]
Alternative Press5/5[49]
Entertainment WeeklyB[50]
Mojo[51]
The Observer[30]
Pitchfork9.4/10[12]
Q[52]
Rolling Stone[53]
Slant Magazine[54]
The Village VoiceA−[55]

Madvillainywas met with widespread critical acclaim from music critics and became one of the most critically acclaimed projects of both artists.[56]AtMetacritic,which assigns anormalizedrating out of 100 to reviews from mainstream critics, the album received anaveragescore of 93, based on 20 reviews; it was the year's best-reviewed rap album and third highest reviewed album overall, according to the website. It also was the second most acclaimed rap album at the time of its release, behindOutkast'sStankonia.[48]Sam Samuelson ofAllMusicwrote that album's strength "lies in its mix between seemingly obtuse beats, samples, MCing, and some straight-up hip-hop bumping" and that "MF Doom's unpredictable lyrical style fits quite nicely within Madlib's unconventional beat orchestrations".[23]Will HermesofEntertainment Weeklycalled it "indie rap blowing session by two guys near the top of their game".[50]Alternative PresspraisedMadvillainyas "all invention and no indulgence",[49]whileHipHopDXdubbed it an "experimental, eclectic, raw, spontaneous" classic.[24]Mojopraised the album, calling it "a symphony of such densely constructed chaos" and noting that "Madvillainy's very opacity is part of its brilliance ".[51]

PitchforkcalledMadvillainy"inexhaustibly brilliant, with layer-upon-layer of carefully considered yet immediate hip-hop, forward-thinking but always close to its roots", noting that "the samples are smart and never played-out, and the production and rhymes reveal a determined sense of cooperation, as MF Doom spouts off his most brilliant lyrical change-ups and production-conscious playoffs".[12]Qcalled Madlib "the most innovative beatsman sincePrince Paul",who created" an oddball, cartoon-heavy backdrop for MF Doom's mellifluous wordplay ".[52]Rolling Stonedescribed Madlib's tracks as, "fuzzy and crackling with dust", and praised MF Doom, whose flow was commended as "a particularly elegant slur, with syllables spreading over a beat, not crisply adhering to it".[53]Eric Henderson ofSlant Magazinecalled it "a chameleonic masterpiece that alone validates the artistry of sampler culture".[54]Robert Christgau,writing forThe Village Voice,praised the album as "a gloriousphantasmagoriaof flow ".[55]Blender'sJody Rosencalled it a "torrid album that marries old-school rap aesthetics to punk-rock concision."[57]

Madvillainyalso attracted positive reviews from several publications with infrequent coverage of hip-hop music.[58]David SegalofThe Washington Postcalled the album "hysterical, [...] perplexing, arresting, thought-provoking or just plain silly".[59]Kelefa SannehofThe New York Timescalled it "a delirious collaboration" and hailed MF Doom as a rapper who "understands the deformative power of rhyme" and "delivers long, free-associative verses full of sideways leaps and unexpected twists".[60]Sasha Frere-JonesofThe New Yorkerpraised the album, noting that "the point ofMadvillainyis largely poetic—celebrating the language of music and the music of language "and that while the album's beats are based on samples of records, it's" hard to say which ones, even in a general way ".[26]

Accolades

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Several publications includedMadvillainyin their lists of the best albums of the year.Pitchforkranked it number six on their list of the 50 best albums of 2004, stating that "the collaboration brings out the best in both men, without copying anything in their catalogs".[61]Prefixranked the album first on its list of the 60 best albums of 2004, stating that "when Doom and Madlib combine, they form likeVoltron".[62]PopMatterspositioned it at number nine on their list of the 100 best albums of 2004, commending MF Doom's "royal, pop culture-laden flow" and Madlib's "beat-mining expertise".[63]Spinranked it number 17 on their list of the 40 best albums of 2004, praising Madlib's production, "thick, woozy slabs of beatnik bass", that "keeps things hotter than an underground volcano lair".[64]Washington City Paperranked Madvillainy number one on their list of the top 20 albums of 2004.Stylus Magazinenamed it the second best album of 2004.[65]InThe Village Voice'sannual pollPazz & Jop,which combined votes from 793 critics,Madvillainywas ranked number 11 on the list of the best albums of 2004.[66]The Wire[67]andAllMusic[68]also included the album in their unordered lists of the best albums of the year.

Numerous publications includedMadvillainyin various lists of the best albums.Clashpositioned it at number 47 in their list of top 100 albums ofClash'slifetime, calling it "slapdash and dilapidated, wholly unconcerned with making sense", "defined by its flippancy and attitude to professionalism".[69]The magazine also listed it on their list of ten best hip-hop albums ever, calling it "one of this decade's finest hip-hop albums" that "elevated the profile of both [artists] to whole new levels".[70]Complexplaced the album in their list of 100 best albums available onSpotify,calling it "dusty, weeded up, 22-song masterpiece that stood alone and brought us all into its own little world" and stating that "Madlib and MF Doom's classic wasn't meant for the radio, but it was too good to be kept to theunderground".[71]The magazine also listed it among 25 albums of the decade that deserve classic status, describing it as "a classic record that had a goofy cartoony unpredictability, balanced with moments of oddball sincerity" and 71st on the list "The 100 Best Albums of the Complex Decade".[72][73]HipHopGoldenAgeranked it first in their list of the Top 150 Hip Hop Albums of the Decade, calling it "a perfect example of what can happen if two left-field geniuses combine powers."[74]The A.V. Clubfeatured the album on the list "The Best Music of the Decade", referring to the album as "an instant masterpiece".[75]Factranked it number 14 at their list of 100 best albums of the 2000s and praised it as "a perfect synergy between raw beats and incredible rhymes".[76]The magazine also named it the second best album on their list of 100 best indie hip-hop records ever made, stating that it was "arguably the signature moment from the signature rapper and signature producer of the entire movement".[77]Heavy.comranked the album number 9 on their list "The Top 10 Hip-Hop Albums of the Decade", stating that "MF Doom has never sounded better than he did when he teamed up with Madlib for this little ditty of WTF hip hop".[78]Slant Magazineplaced the album at number 39 on the list "The 100 Best Albums of the Aughts", calling it the "undisputed pinnacle of aughts underground rap".[79]Stylus Magazineranked the album number 13 on its list "The Top 50 Albums: 2000-2004".[80]Factranked the album 14th on its "The 100 Best Albums of the 2000s" list, praising it as "a perfect synergy between raw beats and incredible rhymes that in the minds and hearts of many, neither party has yet to surpass".[81]The Guardianincluded the album in their list of 1000 albums to hear before you die, describing it as "a colourful window into Dumile's world", while praising its "busy unpredictability and stoned comic-book mythos".[82]HipHopDXincluded the album in two lists: top 10 albums of 2000s[83]and the 30 best underground hip-hop albums since 2000, describing it as "the super rap album, reaching unforeseen creative heights" that "elevated [Doom and Madlib] into Gods for many core Hip Hop heads".[84]Rolling Stonefeatured it on their list of 40 one album wonders,[85]and in 2020, ranked the album at number 365 in their revised list ofthe 500 Greatest Albums of All Time.[86]

NMEranked the album number 411 on their list ofthe 500 greatest albums of all time,describing it as "stoner humour and mind-bending beats from a hip-hop dream team" and stating that "MF Doom and Madlib might not have invented underground rap, but they damn well perfected it".[87]Pitchforkranked the album at number 13 in their list of the top 100 albums of 2000–2004, commenting, "While Madlib's special power played tricks on your ears – a sample you were sure was the sound of cars rolling by on the street might sound like the hiss of a record on a different day (" Rainbows ") – MF Doom unfurled his clever lyrics like a roll of sod on earth... and the album curved in on itself like a two-way mirror."[88]Pitchforkalso rankedMadvillainyas the 25th best album of the 2000s, describing it as "a preternaturally perfect pairing of like-minded talents" who "have each been responsible for tons of great, grimy underground hip-hop".[89]Tiny Mix Tapesconsidered the album the fourth best of the 2000s.[90]Rhapsodyranked the album 1st on its "Hip-Hop's Best Albums of the Decade" list.[91]PopMatterspositioned it at number 49 on their list of the 100 best albums of the 2000s and praised MF Doom, who "free-associates culture high and low, fromHemingwaytoRobh Ruppel,across tongue-tied internal rhymes ", and Madlib's" fusion breaks, psych soul, andSteve Reich",and called the album" the best chemistry of either's career, and one of the best of hip-hop, period ".[92]In 2016QlistedMadvillainyamong the albums that didn't appear in their list of the best albums of last 30 years, stating that "underground hip-hop's cracked geniuses, Madlib and MF Doom, unite on a labyrinth of weed-stained vignettes that combine invention and accessibility".[93]Spinranked it number 123 on their list of the 300 best albums of the past 30 years (1985–2014), calling it "a genius cross-pollination of seemingly divergent styles".[94]The magazine also positioned the album at number eight on the list of the 50 best hip-hop debut albums sinceReasonable Doubt.[95]Stylus Magazineranked the album number 13 on their list of the top 50 albums of 2000–2005, praising Madlib's production, based on "an endless supply of funk, soul, and jazz samples", and stating that the album was "displaying the future of hip-hop".[96]

Legacy and influence

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Graffitiof Doom fromMadvillainycover inLittle Haiti, Miami, Florida

Madvillainyinfluenced a generation of artists.[97][98]Among some of them are rappersJoey Badass,the lateCapital Steez,Bishop Nehru,Tyler, The Creator,Earl Sweatshirt,[9]Danny Brown,[99]Kirk Knight,[100]producer and rapperFlying Lotus,[101]producer and DJCashmere Cat,[102]neo soulcollectiveJungle,[103]indie rockbandCults,[104]andRadioheadsingerThom Yorke.[9][105]The singerBilalnames it among his 25 favorite albums.[106]According to Earl Sweatshirt,Madvillainyinfluenced his generation the same wayWu-Tang Claninfluenced the rappers of the 1990s with their albumEnter the Wu-Tang (36 Chambers).[107]In 2009 a video ofMos Defworking on his albumThe Ecstaticin a studio was released. In the video he praised Doom, saying that "he rhymes as weird as I feel", and recited some of Doom's lines, including the ones fromMadvillainy.[108]He added:[9]

Dude, I swear to God, when I saw that Madvillain record, I bought it on vinyl. I ain't have a record player. I bought it on vinyl just to stare at the album. I stared at it and I just kept going, 'I understand you'.

In 2015, in honor of the release ofAll-New, All-Different Marvelcomics line and to pay homage to classic and contemporary hip-hop albums,Marvelreleasedvariant coversinspired by influential albums.[109][110]One of them was variant cover ofThe Mighty Thorcomics, based onMadvillainycover. It used grayscale image of Jane Foster's face behind the metal mask, with a picture ofMjolnirin a small orange square on top right corner and "THE MIGHTY THOR" text in pixelated font on top left.[111]In 2024, Marvel comics released Doom #1, which opens with the line "living off borrowed time, the clock ticks faster," in direct reference to the track "Accordion".[112]According toComplex,MadvillainySpotify's streams have increased by an average of 73 percent, year over year, starting with 183 thousands streams in 2009 (Spotify's first full year in operation), and reaching 226 million streams in 2023.[113]In total,Madvillainyhas accumulated over 975 million all-time streams on Spotify,[114]and songs from the album have been featured in over 8.2 million playlists.[113]

Track listing

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All tracks written byDaniel DumileandOtis Jackson Jr.,except where noted; all tracks produced byMadlib,except "The Illest Villains", produced by Madlib andMF Doom,and voice skits produced by Doom.[115]

No.TitleWriter(s)Length
1."The Illest Villains"1:55
2."Accordion"
1:58
3."Meat Grinder"2:11
4."Bistro"1:07
5."Raid" (featuringM.E.D.aka Medaphoar)
2:30
6."America's Most Blunted" (featuringQuasimoto)3:54
7."Sickfit" (Instrumental)Jackson1:21
8."Rainbows"2:51
9."Curls"1:35
10."Do Not Fire!" (Instrumental)Jackson0:52
11."Money Folder"3:02
12."Shadows of Tomorrow" (featuringQuas)2:36
13."Operation Lifesaver AKA Mint Test"1:30
14."Figaro"2:25
15."Hardcore Hustle" (featuringWildchild)
1:21
16."Strange Ways"1:51
17."Fancy Clown" (featuringViktor Vaughn)1:55
18."Eye" (featuring Stacy Epps)1:57
19."Supervillain Theme" (Instrumental)Jackson0:52
20."All Caps"2:10
21."Great Day"
  • Dumile
  • Jackson
  • Lord Scotch 79
2:16
22."Rhinestone Cowboy"3:59
Total length:46:22

Personnel

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Credits are adapted from the album's liner notes.[115]

Madvillain

  • MF Doom– MC, production(track 1, voice skits),recording
  • Madlib– beats, production, recording

Additional personnel

  • Peanut Butter Wolf– executive producer
  • Allah's Reflection – additional vocals(track 17)
  • Dave Cooley – mixing, mastering, recording
  • James Reitano – illustration
  • Egon – project coordination
  • Miranda Jane – project consultant
  • Eric Coleman – photography
  • Jeff Jank – design

Madvillainy Demo Tape / Madvillainy Demos

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Madvillainy Demo Tape
Demo albumby
Madvillain
ReleasedSeptember 15, 2008(withMadvillainy 2: The Box)
September 7, 2013
November 29, 2024(asMadvillainy Demos)
Recorded2002
StudioThe Bomb Shelter (Glendale, California)
Genre
Length32:37
LabelStones Throw
Producer
Alternative cover
Madvillainy Demoscover

On July 23, 2008Stones Throwannounced the release ofMadvillainy 2: The Box,a box set containing, among other things, a cassette of the leakedMadvillainydemo tape.[116]The box was later released on September 15 of that year, marking the first official release of theMadvillainydemo. The demo was given a standalone release on September 7, 2013, in celebration of the first annualCassette Store Day.[117]

On October 28, 2024, Stones Throw announced a vinyl release of the demo tape, now titledMadvillainy Demos,with a new album cover featuring a photo of Dumile from theMadvillainycover shoot.[118]The vinyl was put up for preorder the same day and shipped on November 29, 2024, later being widely released on January 31, 2025. The demo features a slightly altered sequence from the cassette tape, now featuring the unreleased demos for "Do Not Fire!" and "Bistro" as the first two songs.

Side 1
No.TitleLength
1."One False Move" ( "Great Day" demo)2:40
2."America's Most Blunted"3:28
3."Operation Lifesaver" ( "Operation Lifesaver AKA Mint Test" instrumental demo)1:24
4."Figaro"2:42
5."Rainbows"2:59
6."Just for Kicks" ( "Meat Grinder" demo)2:17
Side 2
No.TitleLength
1."Fancy Clown"3:57
2."Shadows of Tomorrow"3:00
3."Money Folder"4:16
4."Stakes" ( "Supervillain Theme" demo)1:29
5."All Caps"2:12
6."One False Move" (Instrumental) ( "Great Day" instrumental demo)2:13
Total length:32:37
Madvillainy Demostrack listing
No.TitleLength
1."Do Not Fire!"1:33
2."Bistro"1:08
3."One False Move" ( "Great Day" demo)2:12
4."America's Most Blunted"3:53
5."Operation Lifesaver AKA Mint Test" (instrumental demo)1:25
6."Figaro"2:33
7."Rainbows"3:02
8."Just for Kicks" ( "Meat Grinder" demo)2:46
9."Fancy Clown"3:30
10."Shadows of Tomorrow"4:02
11."Money Folder"3:16
12."Stakes" ( "Supervillain Theme" demo)1:18
13."All Caps"2:20
14."One False Move" (Instrumental)3:11

Charts

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Album

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Original release

Chart (2004) Peak
position
USBillboard200[36] 179
USBillboardTop R&B/Hip-Hop Albums[119] 80
USBillboardTop Independent Albums[120] 10
USBillboardTop Heatseekers Albums[121] 9

2014 re-release

Chart (2014) Peak
position
USBillboard200[122] 117
USBillboardTop Catalog Albums[123] 17

Later entries

Chart (2019–2025) Peak
position
Belgian Albums (UltratopFlanders)[124] 67
Canadian Albums(Billboard)[125] 64
French Albums (SNEP)[126] 116
German Albums (Offizielle Top 100)[127] 75
UK Albums(OCC)[128] 58
UK R&B Albums(OCC)[129] 3
USBillboard200[130] 73

Singles

edit
Song Chart (2003) Peak
position
"Money Folder" USBillboardHot R&B/Hip-Hop Songs[34] 66

Certifications

edit
Region Certification Certified units/sales
United Kingdom (BPI)[131] Gold 100,000‡
United States (RIAA)[132] Gold 500,000‡

‡Sales+streaming figures based on certification alone.

References

edit
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