Tag Archives: M.F. Doom

Operation Doom Discography 2000-2005

Operation Doom Discography 2000-2005

by Dan-O

M.F. Doom was so active during this period of time I am going to have to separate this into stuff you need to hear and stuff you absolutely don’t.

Must hear:

King Geedorah-Take Me to Your Leader=Simply put one of the best produced independent albums ever. Doom is on the boards for every song producing, arranging, mixing and mastering and he is so utterly perfect that the skits will bring tears to your eyes. He drills down on sampling the Godzilla universe and finds soundscapes no one before or after could. The downside is Doom doesn’t rap on every song but he does rap on over half which is more than enough to carry it. Other voices put in admirable work (Hassan Chop on I Wonder and Mr. Fantastik on Anti-Matter). It is not nearly the cluttered hostile thesaurus fight of Monsta Island Czars.

MF Doom-Mm…Food=All but 3 tracks are produced by Doom. This was actually the first Doom album I heard and like all solo Doom ventures (I’ve encountered thus far) it surpasses its mission statement. This should be a fun exercise in food metaphors but he can’t himself One Beer is fire with lines like “Crooked eye mold nerd  geek with a cold heart/probably still be speaking in rhymes as an old fart.” These songs are not jokes Deep Fried Frenz is a must hear peak into the diminishing relationships you experience on the way up. It is jam packed with quotable lines delivered with his trademark icey cool.

Viktor Vaughn-Vaudeville Villain & Venomous Villain=Upon first listen I really dug these albums. They took Operation Doomsday’s development of the villain character and pushed it meaner. Doom doesn’t produce any of the songs (the production style is less soulful and more jagged than other projects but that fits for the content) so he gets to let his pen fire. Venomous Villain has songs like Back End, Ode to Rage, and the startling story song Bloody Chain (where Poison Pen should have refused to rhyme after him). Vaudeville Villain has songs like The Drop (where he warns never trust no Kardashian back in 2003!),  Raedawn, and G.M.C. All the songs listed are so unforgivingly lyrical so vividly actualized I couldn’t help but question if he was the utter evolution of Biggie able to threaten in ways that shake your bones switch up make you belly laugh with a silly reference, tell a crime story that pushes you to the edge of your seat and pulls you back by the end. These are not the known classics of Doom’s catalog but they are classics.

DANGERDOOM-The Mouse and The Mask=most reviews I saw for this framed it as a gag album. It comes out at the height of Adult Swim fanfare and is a perfect nerd fantasy. Danger Mouse is still in his daring try-anything-cool mind state and Doom still destroys all available space his voice fills. Too many funny crazy interesting lines to quote, and you get to hear Ghostface rhyme with Doom (I have a theory that Doom influence revived Ghostface and helped kick off his best period. Supreme Clientele drops a year after Operation Doomsday DANGERDOOM & Madvillain drop right around the Pretty Tony/Fishscale time period(Doom produced my favorite beat on Fishscale 9 Milli Bros).

Madvillain-Madvillainy=I expected the importance of this album but I was still awed by the structure of it. It reminds me of the debut album Pink Flag by the punk/art rock band Wire. All the songs are short and feed into one another. Neither Doom nor Madlib is even thinking about hooks. Lyrically I see Madvillainy as a cut off. He is now being reviewed by Spin and Rolling Stone so he backs away from the personal content of Operation Doomsday and stays in pocket just hammering away at the craft; dizzying verse after dizzying verse he is more a master of ceremony than ever but less the person we got to know. It’s not as bad a trade off as you would think (think Reasonable Doubt Jay v. Blueprint Jay).


MF EP(Doom and Grimm)=I really don’t have much affection for M.F. Grimm. The 2000 collaboration between the two is way too much Grimm who is a product of his time. In an interview he described the difference between the two of them very well. He said when they started rapping together Doom was on that conscious ish and he was rapping about breakin’ dudes legs. That is exactly the problem with Grimm. His ceiling as an MC is just over his hairline.

Monsta Island Czars-Escape From Monsta Island!=Easily my least favorite step on the journey. On The Mouse and The Mask Doom mocked his M.I.C. days calling them “Midgets Into Crunk” and they are that kind of joke. This album has 20 songs on it with just under an hour run time and no actual driving point. Only six tracks are produced by Doom including skits (under his moniker King Geedorah). My favorite of those beats is the rich and tense 1,2…1,2 but he doesn’t rap on it. This album did illuminate how special Doom is as an MC for me. One after another of this crew (King Caesar, Rodan, Gigan, Megalon, Kong, Spiega, it never ends) spat dour threatening verses with killer scrabble words dressed to impress and it was awful. On the one song he gets to himself Geedorah roars, muses, brags, is hilarious and distances himself from this mountain of average dudes he knows from around the way. This album illuminated the stark contrast between the average 90’s/early 00’s rapper and M.F. Doom.

On to the next phase!



Operation Doom Discography: Operation Doomsday

Operation Doom Discography: Operation Doomsday

by Dan-O

Operation Doomsday will last because it is one of those instances where an album saved the form as well as the person who made it. The promise of K.M.D. ended with the death of Zev Love X’s brother and group member DJ Subroc who was killed by a car getting across the Long Island Expressway. Zev Love X was crushed and took years off, dealing with depression addiction issues and homelessnes. He came back years later completely obscured by a persona that perfectly fit him. Dr. Doom is the scarred genius of the Marvel universe he is acknowledged by all creators as smarter than Tony Stark or Reed Richards but his pain feeds his anger and his reputation. Doom as a persona gave him the ability to slide into anger and sadness without having to clear a whole track or album for it.

In 1999 we were used to the confessional conscious rap album we were used to the hardcore NY goon rap album and the glossy Bad Boy shiny suit event music. Doom didn’t want to do any of that. He wanted to stretch his legs and be nerdy. Hey! Is a beat made out of the Scooby Doo Theme song and he does Shaggy’s zoiks in his verse. On Greenbacks he lets all references fly “What a fella! Like Salt, Pepa, Spinderella/I came to spark the deaf, dumb and blind like Helen Keller/If I’m not with George of the Jungle, if he not with Stella/Or either Priscilla, I’m doing dips on Godzilla.” On Go With The Flow he says one of the nerdiest things in the history of rap “That’s quick to whip up a script like Rod Serling.” 100% of Rod Serling references are about him hosting Twilight Zone not his PEN GAME(which was impressive if you check IMDB). Beyond nerding out he just loves rapping, the one liners are efficient concise and packed to unpack. Rhymes Like Dimes is the best example of this. These are some of my favorite one-liners from just this one short song.

  • “keep a pen like a fiend keep a pipe with him.”
  • “Classic slapstick rappers need chapstick”
  • “Only in America could you find a way to earn a healthy buck and still keep your attitude on self-destruct.”

Doom produces every song and Rhymes Like Dimes is a warm and lovely Stevie Wonder sample where he erupts all over the song and lets NY legendary hip hop DJ Bobbito talk crazy at the end and yell “MASHED POTATOES!” It is genuinely fun to listen at him push his talent to without any regard for whether we are catching all of it or tracking all the meanings. Doom lets us listen to him do whatever he wants. He doesn’t just feel as broken as Dr. Doom or as angry he also demands that level of control over his surroundings. Every track is a room in his Latverian lair.

The production is like the dark side of J Dilla. Both take soul samples and mutate them, Dilla made them even more handsome than they were originally while Doom makes them squeak screech and twist until they sound like how he feels (example:Dead Bent) .

When Doom does give you a window into the hole in his heart it is truly profound. The chorus on the title track “On Doomsday! /Ever since the womb til I’m back where my brother went/That’s what my tomb will say/Right above my government: Dumile/Either unmarked or engraved, hey, who’s to say? ” The earnest moments are in a sloppy mountain of pulsing incisive observations, wild jokes, and old tv shows and that feels more real than a lot of the “I love my Mom” rap songs from the 90’s did.

Doom’s last verse on ? absolutely haunts me especially the last line which rolls around in my head all the time.

“By candlelight my hand will write these rhymes ’til I’m burnt out

Mostly from experience, shit that I learned about

Topics and views, generally concerned about

With different ways to come up and earn clout

I take a look at my life and pace the trails

From Tablik and savage females with fake nails to face veils

You out your frame but still bagging ’em too

You know I know, these hoes be asking me if I’m you

Like my twin brother, we did everything together

From hundred raka’at salats to copping butter leathers

Remember when you went and got the dark blue Ballys

I had all the different color Cazals and Gazelles

The “SUBROC” three-finger ring with the ruby in the “O”, ock

Truly the illest dynamic duo on the whole block

I keep a flick of you with the machete sword in your hand

Everything is going according to plan man”

Its deeply genuine but doesn’t need to be. I was blown back by The Finest where he says “MF like Mike Frank Corleone” explaining to my wife how deeply nerdy it is to refer to the middle name of a fictional character. In all the world of Godfather references in hip hop verses I’d never heard Michael’s middle name. I didn’t even know at that time that the M.F. in M.F. Doom Stands for Michael Francis and that reference, the depth of the reference defines his very character.  Recently his fourteen year old son Malachi Ezekiel Dumile passed and it’s hard to hear. Someone who changed hip hop broke the format of thoughtful v. Gangsta into shards by taking his tragedy and articulating it his way is still being beaten back it. Wherever he is I hope he never loses sight of how important his perseverance is to all of us.