Once in a generation, we encounter a producer in hip-hop that has a mind of sounds like none of his other contemporaries. Whether it's his distorted view of sampling or experimenting different drum techniques or instruments the average emcee wouldn't dare rhyme over or producer wouldn't dare utilize in their productions. Enter Otis Jackson Jr., also known as Madlib. The Oxnard, CA native has been putting it down since the mid-nineties, but really came on the national scene with his crew Lootpack, and their debut album, Soundpieces: The Antidote. From there, it was two albums that would truly define his pending legendary status within the underground, The Unseen and especially Madvillainy. His style of using soul, jazz, and funk as a muse for his unconventional sampling and melodic techniques is something that makes him very special. As time would go on, he would be a part of a jazz group, Yesterday's New Quintet, as well as put out both hip-hop instrumental albums and jazz albums to show his appreciation for both genres. His brother, Michael Jackson (no lie), known professionally as Oh No, is a rhymer himself and has emerged as one of hip-hop's most underrated boardsmiths as well. Madlib can easily be among many people's Mount Rushmore, and it would be understandable. We will be highlighting the best EXCLUSIVELY produced Madlib albums ever. This will not include his dynamite collaboration with another innovative and monumental producer, the late, great James "J Dilla" Yancey as Jaylib, Champion Sound. Dilla did half the album, while Madliberator, as Yasiin Bey referred to him as on the amazing cut off his Ecstatic album, "Auditorium", did the other half. This will also not include any instrumental/beat albums, his jazz albums with the likes of his Yesterday's New Quintet ensemble, Last Electro-Acoustic Space Jazz & Percussion Ensemble band, and his other non-hip-hop projects. That's not to say that his outside projects aren't great because that would be all kinds of a falsehood (Shades of Blue is one of the most quintessential jazz instrumental, hip-hop influenced albums of modern times), but this is hip-hop folks, and that's what we focus on. Without any further ado, let's go!
20. Quasimoto
Yessir Whatever
Guests: N/A
We begin with the unusual, high-pitched alter ego of Madlib, Lord Quas, aka Quasimoto. In 2001, Quasimoto dropped the left-brained gem, The Unseen, that was filled with stoner humor mixed with juvenile insights. He continued this on the sequel to it, The Further Adventures of Lord Quas, with even more quirky sample work and soulful melodies. Both are considered abstract rap classics and garnered huge acclaim from the sub terrain. However, there were unreleased cuts from both sessions, and we get a taste of things with Yessir Whatever, a compilation of unreleased and cutting room floor cuts that effectively demonstrate the bizarre brilliance of Madlib and his shroomed out level of musically artistic thinking. Quasi is spitting over some of Liberator's most creative and resourceful production. He splits between Quas and himself on a few tracks including "Green Power", "Brothers Can't See Me", and "Sparkdala". Madlib's left-on-center approach with production often times walks the line of ingenious and incomprehensible to the average mind. However, he has fun with cuts like sexual escapades of "Broad Factor", which has Quas flipping Mad Skillz' "Nod Factor" to hilarious extensions. Is this the most groundbreaking bit of material from Madlib? Nope. Is it another example of how alternative his mind is when it comes to constructing his style of sounds within hip-hop? Better believe it. Through his stoned-out alter ego, Lord Quas, Yessir Whatever is the type of album that can best be enjoyed tripped out on shrooms or some of the finest trees, but when you're Madlib, he likely wouldn't mind it any other way.
19. Declaime
In The Beginning Vol. 3
Guests: Roc C, MED, God'z Gift, DJ Romes
Between '93-'97, Oxnard native, Dudley Perkins, now known as Declaime, was an emcee that was collaborating with Madlib before Liberator's Lootpack days. Declaime has delivered over two dozen projects dating back to the early thousands. Albums such as the R&B-fused A Lil' Light, Expressions, Conversations With Dudley, and Southside Story highlighted his talent of great penmanship, along with his occasional singing talents. Some of those projects had Madlib at the helm. Among those were the In the Beginning series with Mr. Jackson, a series of unreleased cuts that had these two recording during the early parts of their careers. The first installment was arguably seen as the best of the three, with Vol. 2 not far behind it. With Vol. 3, this series of unreleased material between the two concludes in pretty enjoyable fashion. With Madlib providing production that serves as more lo-fi soul, funk, and psychedelic samples with commanding basslines that were before the masterful workings of the likes of The Unseen, Madvillainy, and way before the likes of Pinata and OJ Simpson, Declaime handled his with this bumping production. Declaime is all about braggadocios lyrics with a sharp focus and wit about his rhyme structure and penmanship. the opening cut, "Ill Minded" is a blistering barrage of battle rhymes that Declaime lets be known he's not to be played without here. He continues this with tracks like "Laugh Now, Cry Later", "Next Episode", and "Too Much Clout", in which sharp drums, clever sampling, and thumping basslines make up the premise of the sounds of these and other similar sounding tracks. He links with CDP (his crew with MED, Madlib, and DJ Romes) for the snapping "Ass Will Get Dropped" over a laid-back track, which is complimentary to the fierce lyrical displays for both emcees. The majority of the album contains intros to some cuts and a couple of remixes, but as a whole, the album is worth the time to peep. For Vol. 3, it's more of the same if you peeped the prior two. Nothing changed, and nothing added nor subtracted, which can be good or not so good. At the very least, it's painfully consistent. Excellent production by the mad scientist himself in his early days and the emcee formerly known as Dudley Perkins spitting with precision makes this series as a whole a satisfying and enjoyable listen.
18. Percee P
Perseverance
Guests: Prince Po, Aesop Rock, Vinnie Paz, Guilty Simpson, Diamond D, Madlib
BX native, Percee P, is far from a rookie in this game. First showing up with the likes of Lord Finesse, Kool Keith, and Aesop Rock in the early to mid-nineties, Percee P has made a low-key name for himself for the last few decades. However, it was in '07 where he brought his debut solo album, Perseverance to the surface, some twenty years after his first appearance on a record. With Madlib exclusively behind the boards on this album, Percee P was faced with being an elder statesman at a time where southern crunk and trap was the rule. His command voice with seemingly breathless flow was a great compliment to the unfiltered and unconventional production of Liberator. Percee gets the tone ready with the dumb dope, "The Hand That Leads You", and from there keeps his foot on the pedal with great cuts such as "The Man to Praise", "Throwback Rap Attack", and "Who With Me". Never slighting on confidence, Percee spits with the self-assurance of someone who knows what he's doing, and always has. He goes into battle rap mode on a few cuts here and shows off his ability to come off as hungry as he was in the early nineties with cuts like "Mastered Craftsman": and "Put It on The Line", but he wasn't without substance as he gives love to his woman on "The Lady Behind Me", as well as gets honest with the vivid "Ghetto Rhyme Stories". With guests, he hangs and bangs with them all and never comes off as eaten or second best to any of them. On the track "Watch Your Step", Percee is joined by Vinnie Paz and (future) Madlib collaborator, Guilty Simpson and over a grimy-faced beat, Percee shows he's not to be played with alongside three vocally attention-grabbing emcees. Even when joined by the late, great Prince Po, "Last of The Greats", he may not have the venomous wordplay and technical blitzkrieg of Po, he also brings his own weaponry on this cut and these two together showed themselves in dope manner. As this album was almost twenty-one years in the making, Perseverance is a victory lap for the O.G. Madlib's brand of never repeating the same style of production twice per album sounds were distinctive for Percee, and he gave him some of the best production one could imagine at this time. Percee showed himself as, indeed, the man to praise.
17. Madlib
WLIB AM: King Of the Wig Flip
Guests: Prince Po, Guilty Simpson, Defari, Talib Kweli, Oh No, Georgia Anne Maldrow, Murs, MED, others
One of the signature music series within the label of BBE was the Beat Generation series. Released in association with acclaimed indie label, Stones Throw, the series started with the late, great Dilla with Welcome 2 Detroit. From there, producers such as DJ Jazzy Jeff, Marley Marl, will.i.am, and Pete Rock all released beat compilation albums to much acclaim (as well as Dilla's incredible, The Shining album). The final part of the Beat Generation series came in the form of Madlib's much anticipated, WLIB AM: King of the Wig Flip. After numerous unbelievable collaborations with the likes of Talib Kweli (Liberation), Dilla (Champion Sound), Percee P (Perseverance), and of course MF DOOM (Madvillainy), it was time for Madlib to show the game why he's one of the pure mad geniuses of hip-hop with this twenty-four-track jewel. Outside of his Quasimoto project, Madlib hasn't been truly highlighted himself. This is finally that project where he's the sole focus for this production. We now see people assisting him instead of people being in conjunction with him and being co-leads. In terms of production, you already know it's an unconventional and unpredictable. While his inspirations are consistently soul and jazz with some psychedelic thrown in there, Madlib will turn a simple sample into a left turn adventure. A sonic acid trip that will incorporates various atypical instruemnts and certainly warped, yet outstanding, sample flips. None of the beats on here sound the same. Not one. From the exciting horns of Guilty Simpson's "Blow The Horns On 'Em" to the hand-clapping, cosmic funk of MED's "The Ox", the simplistic and left-turned sample of "Rani Lah", "I Want it Back" by little brother, Oh No, the understated trumpet with more hand claps of Prince Po's "The Thang Thang", and the classic west coast swag of Murs' "Ratrace" that sounds like a track Nipsey Hussle would sink his teeth into. One particular highlight comes in the form of the Talib Kweli cut, "What it Do", which has Beat Konducta using a Dionne Warwick sample and flipping into a two to four note loop with effective strings over a snapping drum pattern. Kweli has one of the more impressive features on this album, and really showed how much of chemistry he and Madlib have. He not only shows his tremendous skills with hip-hop, but he has also just as much effectiveness on the R&B tip as well. Much like he did with "Eye" on Madvillainy, he replicates the same magic with the same vocalist from the aforementioned cut, Stacy Epps, on the elegant "The Way That I Live" in his own psychedelic soul aura. Liberator also gets busy with jazzy piano keys on the dusty drum crafted "The Plan Pt. 1" by equally talented singer/rapper/poet/producer, Georgia Anne Maldrow, and goes back to the funk with the disco nostalgic "Gamble On Ya Boy" by Defari. This is clearly a production showcase by Madlib as much as most of his other beat tape series such as Beat Kondukta, Madlib Invazion, and Madlib Medicine Show, but with a lot of guests that show and prove throughout the album. Expect creative and experimental sampling with WLIB AM: King of the Wig Flip, but then again, we wouldn't expect anything less from one of the most innovative production minds to ever exist in hip-hop.
16. Declaime
In The Beginning Vol. 2
Guests: CDP
With the second installment of the In The Beginning series with his fellow Oxnard native, Madlib, Declaime, aka Dudley Perkins, we get more of the same from the dope first installment of In The Beginning. Declaime doesn't waste any time getting to the lyrics on "2MC ornot 2MC" over a string-heavy track that Madlib executes with astute timing and a cold bassline, while other cuts like "As I Get Wild", "Temporary Rhyme Speech", and "WunTwo" exhibit his battle rhyme spirit over raw sounding production the likes of which Madlib was more centered lane than he eventually became. As with the first installment, Declaime would occasionally go the deep route, and those serve as arguably the biggest highlights. On "Enjoy Your Stay", he gets introspective and honest about his inspirations over a moody sample, while the breezy "Signs" has him and Lootpack emcee, Wildchild, spitting inspirational rhymes to believe in yourself out here. There's not a lot more that needs to be said about In The Beginning Vol. 2 being that this is more or less an extension of the first installment. Declaime is a dope emcee that not only means business, but also relates on a human, grown man level. Although not quite as bumping as the first installment, Vol. 2 is still a very satisfactory effort that showcases Declaime's tremendous mic abilities and Madlib's permeating production.
15. LMNO, MED, & Declaime as LMD
Flying High
Guests: DJ Romes, Fly Anakin, J. Rocc
Often times a very underrated emcee, MED is a fully talented artist whose skills have been generally respected within the west coast underground since his days of guesting on albums from Lootpack, Quasimoto, and his spot on the legendary Madvillainy album. The Oxnard representative linked up with another talented emcee. LA spitter, LMNO, is another subterrain dweller who has respect amongst his peers. Repping the Visionaries, LMNO has the most prolific catalog of his team. These two joined up with the mad scientist, Madlib, to deliver the album, Flying High, in 2022 and this was an album that was fun to listen to and highlighted bouts of distinctive chemistry between the two emcees and the exceptional producer. Nothing too heavy with this album folks. This is an album based on battle rhyming, braggadocio bars, and the occasional thinking man's cut. The production, for the most part, is mid to up-tempo, with hazy funk and soul samples that only Madlib could conjure up in the ways he can. One great example is the title track, in which MED and LMNO spit excellent rhymes while over a synth-heavy, slapping bassline track. A feel-good cut with feel good vibes is always a decent way to start an album off. The rest of the album is pretty similar in theme and concept. On the Fly Anakin-featured, "Kool", these cats spit about how fly and legit they are to the point where Morris Day would have to give them some props. Also, "The Cypher" is one for the smokers with its lush melody and stylish sampling. They do manage to spit some jewels on here as well such as "Duwop" and "Advice", both relegating around the love of music, but the dangers of the business concerning it, and other traps people fall for. With other enjoyable cuts like "Pop Fly", "Super", and "High Skates", LMD made a very dope album with Flying High. Madlib's signature brand of left-brained sampling mixed with the very talented pen games of LMNO and MED made for an album that should not be this slept on. It's worth the bump in the stereo, both for the whip and at home.
14. Declaime & Madlib
In The Beginning Vol. 1
Guests: MED
Fellow Oxnard native, Declaime, is often times not mentioned enough when it comes to respected underground Cali representatives. The artist formerly known as Dudley Perkins actually grew up with Madlib and brother Oh No, as both of their fathers were tight. Declaime and Madlib never lost the unique bond of music, and many years after first stepping in a booth to test this rap thing out, Madlib delivered their first official recording together, In The Beginning Vol. 1. The recordings were apparently done in the mid-nineties, even before Madlib went on the join up with DJ Romes and Wildchild to become Lootpack. There's a certain nostalgic flair with practically all of the cuts on here, as you clearly hear very early Madlib with lo-fi production and thumping basslines and drums. Way more conventional than sounds we would end up hearing later within the inventive discography of Madlib, In The Beginning Vol. 1 has more than enough thump for your speakers and enough snap for your neck. Some adequate cases include the opener, "Enuff", the hungry "Wake Up", and "One On One". Declaime isn't about a ton of fluff. His formula is simple: lyricism that revolves around braggadocio themes with occasionally deeper imagery. He goes deeper, as previously noted, on cuts like "Black" that examine the racial tensions the average Black American faces, while "2 To the Head" dips into crime and poverty. If you exclude the skits and interludes, this isn't a long album, which means Declaime has little room for error. Fortunately, thanks in large part to Madlib's excellent production, Declaime does a dope job of making the album flow very well. This is definitely the best of the three-part series and is more sustainable. The first in the three-part In The Beginning series starts off greatly and, as we would see later, Mr. Dudley Perkins would be an underappreciated lyrical hero within the bright underground of Cali.
13. Blu, Madlib, & MED
Bad Neighbor
Guests: MF DOOM, Oh No, Hodgy Beats, Phonte, Anderson.Paak, others
Earlier, we featured longtime Oxnard representative, MED, on a project with LMNO and The Beat Konducta, Flying High. As nice as that album was, there was another album MED was a part of where he linked up with another highly talented emcee. This one happened to be highly acclaimed LA rhymer, Blu. Blu will forever be associated with one of the underground's most prized treasures of the past two decades, Below The Heavens, with exquisite producer, Exile. Much like Madvillainy made DOOM more of an acclaimed emcee than ever before, Below The Heavens put Blu on the map, not to mention Exile's clout went up a few notches as well. Since then, Blu has emerged as one of the most prolific emcees in all of hip-hop. His discography includes excellent albums such as Jesus, the lo-fi, dusty sounding My Favorite Colo(u)r, his collab with Mainframe, Johnson&Johnson, Good To Be Home, and his dumb dope collab with Oh No, A Long Red Hot Summer Los Angeles Night. That's not mentioning his further collaborative albums with Exile of True & Livin', the mixed bag that was Give Me My Roses While I Can Smell Them, the superb Miles, and the most recent addition, Love (the) Ominous World. These two emcees joined up with the almighty Beat Konducta to deliver Bad Neighbor, and this was quite the dope listening experience indeed. The fifteen-track effort has more guests than tracks they do my themselves, but when they are just handling business by themselves, they show they're low-key tremendous chemistry. One example is "Birds", in which Blu and MED come off like together like a well-oiled west coast machine. The thickness of Madlib's basslines is quite the thumper in the car stereo, and the emcees are just rhyming for the sake of good rhyming. This laid-back, feel-good vibe is actually relevant throughout the album. It's not concept heavy, nor is an overly violent, drug-plagued, misogynistic filled project. It's just two emcees (and friends) pulling off their best EPMD impersonation and they did quite excellent in other places on the album. Cuts like the Oh No-assisted, "Streets", the Frank Nitty-guested, "Get Money", and the slightly contagious "Peroxide" with Lootpack DJ, DJ Romes and west coast funk musician, Dam-Funk have them sounding like a duo that have been doing this for decades instead of a few years up to this point. More relaxed, yet boastful, cuts such as the Phonte-assisted, "Finer Things" (we need a Phonte & Madlib album like YESTERDAY), the Anderson.Paak-collaborated "The Strip", and the Aloe Blacc-crooned "Drive In" are fairly fun tracks that are mostly trying to show off their pimp-esque imagery, but Blu and MED come off more Baby Powder than Huggy Bear. The true standout is the funk-meets-eighties Pop of the MF DOOM-assisted, "Knock Knock". While DOOM is clearly skating on this unique and neck-moving track, Blu and MED aren't slouches beside the late, great emcee. They keep up lyrically with him, albeit DOOM traditionally has always been as left brained on the mic as Madlib would be behind the boards, thus the reason (one of MANY) why Madvillainy is one of the true staples of modern underground hip-hop. As for Bad Neighbor, Blu and MED show themselves to be an impressive tandem together. With Otis on the boards with his brand of unconventional, left of center sampling, these three artists delivered an album that is one to be easy going and light-hearted. Something the game needs to be more of in today's time especially.
12. Strong Arm Steady
In Search Of Stoney Jackson...
Guests: Phonte, Talib Kweli, Planet Asia, Fashawn, TriState, Chace Infinit, Guilty Simpson, Sick Jacken, others
Cali underground vets, Strong Arm Steady, have been well known in west coast underground circuits for many a year. The trio of Phil Da Agony, Krondon, and Mitchy Slick are a tandem that has been respected and heralded. Originally a crew led by Mr. X to the Z, the crew maintained by being a trio and dropped their debut album, Deep Hearted, in '07 to respectable acclaim. The crew are basically from the Alkaholiks school of emceeing, in which we have west coast emcees with east coast lyricism. Over mostly thumping production, Deep Hearted put them on some radars, but it was what they would drop in 2010 that would be their best effort to date. They linked up with Madlib to deliver In Search Of Stoney Jackson, which in this writer's opinion is one of the greatest titles in hip-hop history. The title is an homage to former actor/comedian, 227 star, Stoney Jackson, and although the title is grand, the music is even more grand. Way grander in fact. Madlib presented them, reportedly, with over two hundred beats to choose from, and eighteen ended up making the final cut. These eighteen are fantastic folks. We start with the bumping Phonte-assisted, "Best Of Times", but the minimalist-sounding "Cheeba Cheeba" is a snapping cut with strings and a bassline that won't stop. For those very familiar with Madlib's brilliant eccentricity on the boards, this album is a little simpler and plain for his standards, which is still unbelievable compared to most of his peers. The slick "Chitlins & Pepsi" is contained with an understated sample and a neck-cramping drum pattern, Obscurity is the biggest characteristic of this album, as many of his samples are so obscure and cleverly snuggled in that you would think that Madlib was dialing himself back from his usual left-brained assassinations. On the other hand, the slickness of the sampling is likely the point. It takes a constant thinker to be able to pull stuff out the way nobody expected, and cuts like "True Champs", "Questions", and "Pressure" shine because of this vision. On the crazy Roscoe and Guilty Simpson-assisted "Needle in the Haystack", SAS come equipped with very good lyrics, as do the guests, but once again it's Madlib that steals the show with the fun, seventies sampling that allows for all emcees to go for theirs on this cut. On the closer, "Two Pistols", the crew goes for dolo on the sharply- chiseled sample that is over a heavy bassline and a psychedelic backdrop, and the group sound confident, yet slightly underwhelming in their mic approaches. Overall, In Search of Stoney Jackson is a fun album that displays Madlib's unconventional style going in another direction to which it's more Paul's Boutique than Madvillainy, which isn't a bad thing. Madlib was clearly the star of this show, as Strong Arm Steady did well, but keeping up with the bizarre yet captivating nature of Madlib production isn't for everybody. That being said, SAS handled their business and was a great further exposing of one of Cali's most underrated groups.
11. Talib Kweli & Madlib
Liberation
Guests: Strong Arm Steady, Res, Consequence
After doing some impressive work on Talib Kweli's album, Eardrum, Madlib and the aforementioned emcee decided to do a whole project together entitled, very appropriately, Liberation. This free mixtape-turned-album dropped just after the release of Eardrum and became quite the companion piece for it, if it not better than that album, and that's saying something considering how tremendous Eardrum was. As for Madlib, he was still floating off the landmark critical success of Madvillainy three years earlier, but also doing work with Declaime, Planet Asia, the second Quasimoto album, and De La Soul among others (not to mention his epic "One Beer" from MF DOOM's quirky, yet incredible, concept album, Mm...Food?). On Liberation, Madlib incorporated a lot of the same that garnered him the praise and acclaim he had been getting up to this point, but this time he made his beats a bit more accessible than in his more recent productions. Although still incorporating soul and jazz samples and flipped them wonderfully, cuts like the cosmic funk-flavored, "Over The Counter", the breezy, Consequence-assisted "Engine Running", and the Res-blessed "Soul Music", which screams of being one of the best cuts within the career of Mr. Talib Greene. With such an excellent closer in "What Can I Do", Talib Kweli and Madlib's pairing on Liberation was a damn tremendous showcase in what could be one of hip-hop's best put together pairings. Madlib's unconventional methods of producing mixed with Kweli's soulfully charged lyrics are a force to be reckoned with together. While we would later see these work together again on the long-awaited Black Star reunion with Yasiin Bey, No Fear Of Time, and the stunning sequel to this album, Liberation 2, this was a hell of an introduction to what the 'Lib brothers can do together.
10. Oh No & Madlib
The Professionals
Guests: Elzhi, Chino XL, Adub
It was only right for Madlib and little brother, Oh No, to eventually get together and do a project together, and did just that with The Professionals. While Oh No has become a fairly fantastic producer in his own right (just check his album with Elzhi in 2021 and his work with Alchemist as Gangrene), this was a Madlib-driven affair with Oh No being the effective rhymer. Oh No has proven himself to be a not bad wordsmith, at least better overall than Liberator, and his board work has grown and developed to be quite the crazy talent as well (check his resume on all Gangrene albums, especially their latest outstanding effort, Heads I Win, Tails U Lose). Did the Jackson brothers pull off a classic? Well, we're definitely on a great ride to start off with on the opener "My House" as well as "The Pros". Madlib's avant-garde style of production isn't the most consistent here, but there's way more hits than misses, and when it hits, it SLAPS. Take for instance, the dark sounding, lo-fi drums of "Buggin'" have little brother, Michael, shit talking and causing drama with little dips of soundbites of characters with voices sped up throughout the outstanding instrumental. On the soulful "Away Too Long", Oh No is in full mode over handclap grooves and an effective vocal sample in which the sample is as much of the story as Oh No and Gangrene brother, The Alchemist. The natural cohesion between big brother and little brother continues to elevate on other fantastic cuts such as "Timeless Treasure", "Tired Atlas", and "Give N Take", but we get a little more solemn on "Dishonored Valor", in which Oh No details his experience with the military and how it's affected him since, as well as friends of his that have experienced PTSD as a result. The Jackson brothers shine very brightly on The Professionals, and with Madlib's ever-off center, yet very highly effective, production and Oh No's impressive pen game, this album made for quite the excellent debut effort of the two of them together. This was hopefully just the beginning of other albums with the two of them together, as this chemistry is second nature and is special, this the album title, The Professionals, damn sure fits.
9. Black Star
No Fear Of Time
Guests: Black Thought, Yummi Bingham
Back in '98, while critics and fans alike were doing backflips over the otherworldly epic that was Aquemini and the official commercial arrival of Jay-Z with Vol. 2...Hard Knock Life, there was another album that was a low-key game shifter. Brooklynites Talib Kweli and Mos Def (now Yasiin Bey) came together to become Black Star, and their album, Mos Def & Talib Kweli are Black Star was an immediate classic and has only gotten finer with the years going by. With topics such as Black love, Afrocentricity, socio-political views and the love of hip-hop, this was a backpacker's version of Here My Dear or Songs in the Key Of Life. Flawless in production, lyricism, and overall execution, this was as close to a whole perfect album as one could imagine. With Bey and Kweli both delivering unforgettable moments of their own with Black On Both Sides and Train Of Thought respectively, subsequent albums would follow and those would range between pretty good to outstanding. Of course, heads of the two were wondering if we were going to ever get another Black Star album. For a couple of years, rumors were circulating that there was an album in the works and that Madlib would be in charge of the production. Immediately, people were clamoring in anticipation over not just a Black Star reunion, but one exclusively produced by Madliberator himself. Rumors turned to facts, as Black Star promoted the album, No Fear Of Time, for Kweli's Luminary podcast subscription service. While definitely an unpopular decision, it was simply a joy that we got the album we had been waiting for...or did we? It becomes clear after some time that the album sounded like an album that wasn't fully finished in terms of mastering and mixing, however, the upsides are more and better than the downsides. No folks, they aren't the same youthful mid-twenty-year-olds from '98, but they are the late forties/early fifty-year-olds that still sound like a great tandem together. Cuts such as the opening cut "O.G." and "So be It" and you can hear traces of their chemistry from their phenomenal debut. These two have a lyrical complementary charm about them that makes their styles almost bounce off each other just like before. Even when they do their solo efforts on here (Kweli's "Supreme Alchemy" and Bey's "My Favorite Band"), they sound inspired and with some flair inside of them. Madlib's brand of eclectic soul mixed with wonderfully chopped samples is practically all but complete perfection with Black Star, especially on such as the aforementioned "So What Now", "Yonders", and the Black Thought-assisted "Freequency". Gone is the overall mood of Black wholesome love and hip-hop appreciation. We get more along the themes of spirituality, Black consciousness and socio-political awareness throughout this album. This makes for more of a focused and serious tone, but Madlib's incredible boardwork provoke an urgent, yet meticulous, aura about it to where you're entranced by the production, but not to where you're not intrigued by the rhymes at the same time. Both also showcase their own MVP verses as well, with Kweli spitting the album's most socially coherent rhymes on "So be It", while Bey is his most honest self on "O.G." If you're looking for a direct sequel of their debut album, you won't necessarily get it on No Fear Of Time, but what you will get is an excellent display of the tag team craftsmanship Black Star still possess twenty-plus years after their debut. It's okay for them to not have the same vigor that they had in '98. Life has happened. Drama has happened. Loss has happened. Yet, Black Star, as Bey says in the end of "Hater Players" from Mos Def & Talib Kweli are Black Star, "Keep shining."
8. Quasimoto
The Further Adventures of Lord Quas
Guests: MF DOOM, MED
Following up the eccentric masterwork that was The Unseen would not be an easy task whatsoever. Madlib's high-pitched, often times stones alter ego, Lord Quas, was quite the intriguing character and the "two" of them as Quasimoto presented The Unseen and Madlib presented some of the rapper/producer's most clever boardwork ever and it set the stage, in many cases, for albums such as Madvillainy later on. Looking to ride off the momentum of the debut effort of The Unseen, Quasimoto delivered its sequel, The Further Adventures of Lord Quas, which in many aspects was as eclectic as the first album, if not even more experimental this time around. Liberator stretched his artistic boundaries out as far as he could imagine taking them within the scope of his ingenious mind with this album. This album was even more psychedelic feeling, more eccentric, and more densely layered than The Unseen, and that tends to work as both a gift and a curse at times. Within this twenty-seven-track piece lies more than a few standouts. Such examples are the opener "Bullyshit", "Hydrant Game", the ever so stripped back, "Greenery" and "Shroom Music". Many of the samples Madlib uses within the scope of this album are strategically placed on here like chess pieces, and the design of them being on there will likely fly right over you if you don't repeat the tracks a few times to get where he wanted to go musically. Although vintage soul and jazz samples are the majority rule, how they're flipped, chopped, and executed are what walks the line of brilliant and quirky. Quas, himself, is back to his stoner rap mixed with his commentary of various subjects that paint him as a juvenile that says things for kicks and giggles. Quas hits particularly shining moments such as "Rappcats Pt. 3, as he shouts out several old school emcees that he was influenced by and remaining ones that he admired. Over quite ambitious sounds and melodies, Quas throw the occasional one-liner in there per track that makes you rewind it due to absurdity, but this helium-pitched aardvark/alien is wigged out, although save for the occasionally modest performances with the likes of MED and especially the MF DOOM-assisted, "Closer" (which really sounds like it could've belonged on the actual Madvillainy album even more so than their effort, "America's Most Blunted". The cosmic, albeit slightly dysfunctional, fun continues with cuts like the bumping "Raw Addict Pt. 2", "Bartender Say", "Players of The Game", and "Fatbacks". Much like The Unseen, The Further Adventures of Lord Quas isn't for everybody. It's not for those that expect generic raps with mundane, bland, formulaic production. It also isn't for those that like their hip-hop conventional via lyricism or production. Quasimoto created a lane for the nerds, geeks, backpackers, stoners, and weirdos, and between The Unseen and The Further Adventures..., Quasi represented abstract, atypical hip-hop at its most daring. With The Further Adventures of Lord Quas, it's a continuation of the stellar mind-fuck that was The Unseen, and even pushed the sounds to levels that only Madlib could be that masterly within, thus establishing a lane that only he can comfortably dwell.
7. Guilty Simpson & Madlib
OJ Simpson
Guests: Frank, Strong Arm Steady
Detroit's own, Guilty Simpson, has been known to collaborate with a number of notable producers within his career. Most notably the late, great phenomenon known as J Dilla. He's also been known to work with the likes of fellow Detroit sons, Apollo Brown and Black Milk for thunderous projects. In 2010, Guilty took a trip to Oxnard to link up with Madlib to deliver their debut collaborative effort, OJ Simpson (a spin of both of their names, in all its clever appeal), and this was quite a prized effort. Guilty's raw, street rhymes were excellently meshed well with Madlib's eccentric, yet incredible, production. It's only fitting that Guilty collabs with the other half of the Jaylib duo, and although we never did get an entire album from Guilty and Dilla together, we did get Madlib and Guilty together for a whole effort and the results were beyond dope. He starts off with fire on the very intriguing "prelude". After the introduction, we go right into the title track, and Guilty comes correct over Lib's scaled back, bass heavy track. He likewise tears into Madlib's cosmic-sounding "Coroner Music" with an inspired delivery that reminds us of his commanding mic presence, while "Mic Check 313" has Guilty going for his over a split beat that is equally as raw as it is left-brained. While Guilty's prior album, Ode to The Ghetto, was an exercise in Guilty being a storyteller and a great writer bringing different sides of the streets from both aggressive and introspective viewpoints, OJ Simpson is just straight up cutthroat. Braggadocious rhymes mixed with a gun in his waist and both hands closed into fists ready to knock the listener on his ass with his presence. One great example is "Trendsetters", in which the brief track has him cutting the track with his vocals as Madlib provides him with more of the quirky funk that he's so synonymous with. Perhaps both artists excel the best together on the neck-cramping "New Heights", in which both Guity and Madlib show why this union is prodigious and something to be more interested in. Lib supplied Guilty with the most fitting beat on the album for Guilty with unconventional samples and chops over a THUMPING drum pattern with Guilty snapping basically. What's also a highlight here are the interludes and how they mesh into the vibe of the album. The soul samples and the spoken quotes of the skits may throw the listener off that may be just content with non-stop beats and rhymes, but Madlib felt the need to put his signature on the album besides his production, and it may not work for everyone, but it's definitely effective in its approach. Easily as impressive as Guilty's album with Apollo, Dice Game, and as good or better than Ode to The Ghetto, OJ Simpson is an engaging affair with Madlib being the director of the musical vision he had with Guilty being his Will Smith, or more so Denzel in Training Day, as the villain you may not like, but you can't help but root for him in all his trifeness.
6. Lootpack
Soundpieces: Da Antidote
Guests: Dilated Peoples, Tha Alkaholiks, MED, Oh No, Quasimoto, Declaime, others
The Cali underground scene in the late nineties/early thousands was mostly acts like Dilated Peoples, Hieroglyphics, and Strong Arm Steady, with more well-known non-gangsta acts like Tha Alkaholiks were appreciated more critically than commercially. Another crew that was checked for was Lootpack, which consisted of emcee Wildchild, DJ Romes, and producer/occasional emcee Madlib. Seen as Madlib's first true nationwide release and exposure, this was the perfect time for Madlib to get his spotlight on and he did so excellently. The crew's debut album, Soundpieces: Da Antidote, was an album filled with Wildchild and guests spitting hard over mostly soul and funk-inspired production, far from the more experimental and psychedelic production we would come to know and expect from Madlib. The album is mostly boom-bap centered with elements of soul, jazz, and funk sampled in wonderfully and with tremendous forward-thinking. With the opener, "Questions", we get a glimpse of what's to come with a well-grooved, piano-sampled cut with Wildchild and Madlib spitting with confidence and chemistry between them. Once we get that out the way, it gets better from there, as they get assistance from Dilated Peoples on the dope "Long Awaited", the psychedelic bump of "Anthem", the sci-fi feel of "Crate Diggin'". and the minimalist-sounding collab with MED and Oh No, "Level Zero". Wildchild and Madlib aren't playing games on the mic, as they expose wack emcees and show why they're the best crew of them all on just about every track. Nothing deep here, nor is it necessary to be that here. Over an experimental beat, Madlib and Wildchild keep their momentum going on "Speaker Smashin'", while they get busy along with God's Gift over the lo-fi drums, stripped back, "Verbal Experiments", and the dumb thumping collab with big bros, Tha Alkaholiks and Defari, "Likwit Fusion", where it's just a full lyrical cypher of very impressive rhyming and focused deliveries. Even Lord Quas shows up on arguably the best beat on the album, "Questions", and it's an interlude cut, foreshadowing the Quasimoto project, The Unseen. For those looking for guns, bitches, blunts, and all the troupes that are typically associated with west coast hip-hop, you won't find it with Soundpieces: Da Antidote. Lootpack delivered a fun, back to basics album that's strictly beats and rhymes. Nothing heavy, just fundamental. Madlib's production was crazy throughout this album and set the stage for future classics to come that he would be responsible for behind the boards. Not to mention, this is the album that put highly respected label, Stones Throw Records on the map, and without albums like this, there's no Madvillainy or Champion Sound quite possibly.
5. Talib Kweli & Madlib
Liberation 2
Guests: Westside Gunn, Roc Marciano, Q-Tip, Wildchild, Diani, Pink Siifu, Amani, Mac Miller, Meshell NDegeocello, Goapele, Roy Ayers, others
Earlier, we highlighted Talib Kweli and his collaborative effort with Madlib, Liberation. The mixtape was a great offering, but many feel there was a classic they were sitting on with that album. Somehow possibly sensing this, Kweli and Madlib piggybacked off their previous effort, as well as their effort with Yasiin Bey as Black Star for the previously mentioned No Fear of Time for Liberation 2. This was exactly the album this should've been for the first Liberation. Madlib's soulful and jazzy production that contains some of his most brilliantly put-together samples blended beautifully with Kweli's sharp and technical lyrical prowess and the results were marvelous. This was more focused and more cohesive than both albums previously mentioned almost by far. From the jump, the scintillating "Asata's Code" is a fantastic spoken word piece by Kweli's daughter, Diani, who's featured on a few other cuts on this album, including the outstanding keyboard-driven "Ad Vice" (in which he refers to himself as the unapologetic man we've ever seen) which also features Pink Siifu dropping a verse. His concepts of socio-political topics, Afrocentricity, the Black community and the love of hip-hop is what has him among the most conscious emcees of modern hip-hop, and this is clearly all over here as well. Another example would be the bouncy "Nat Turner" with Sean Kuti and Cassper Nyovest as he calls us to action to silence our oppressors and proclaim our strength. With "One 4 Biz", Kweli is spitting impressive bars while sharing the mic with Madlib's former Lootpack member, Wildchild and the legendary Q-Tip doing his best Marley Marl impression saluting the late, great Biz Markie, while on the fantastic duet with the underappreciated Meshell Ndegeocello (who delivers a killer spoken word piece), "Marathon Through Babylon", he reminds us of how we tend to forget who we are with scathing commentary. Madlib gets back in his soulful sampled bag with other cuts like the Goapele-assisted "Loop Digga's Revenge", his double-time rhyming "Something Special", and the collab with his son, Amani, "After These Messages" with wonderful melodies and samples that exemplify why Madlib is in a lane all his own as a mad scientist. The most touching moment may be in the form of the glorious "The Right To love Us", which features a posthumous verse by the late, great Mac Miller that reminds us, once again, that he was truly a very dope talent gone too soon. The lovely nature of "Wild Sweet Love" is just hypnotic, from the gorgeous backdrops to Kweli's honest lines towards his assumed lady, while "Richies Pt. 2" has him, Roc Marciano, and Westside Gunn spitting over the same beat previously used on Gunn's Hitler Wears Hermes 8: Side B and the three of them sound unique together yet it works well. It's hard not to call this album the best album of Kweli's career since the days of Train Of Thought or even Quality at least, but Liberation 2 may be just that. With Madlib supplying him some extraordinary and consistent production that range from making your neck cramp to making you break out the good wine, Liberation 2 is a return to focused form for Kweli and shows again that Madlib is an all-timer behind the boards.
4. Quasimoto
The Unseen
Guests: MED, Wildchild
When it comes to alternative/abstract hip-hop that only a certain type of demographic and niche can fully appreciate, certain albums come quickly to mind. Albums such as Madvillainy, None Shall Pass, So the Flies Don't Come, and others simply are the immediate images of the sub-genre. Similarly, The Unseen has to be in the same instant conversation. Madlib came up with his high-pitched, helium-voiced alter ego as he reportedly was dumb high off a month of shrooms. Other reports state that he did vocal pitching in playback when he was rhyming to give his voice more clarity since he was known for his deep voice. Lord Quas is an animated aardvark-looking creature that pleasure in giving hilarious commentary on serious social and community issues and is often quite high off weed, shrooms, pills, and whatever else he can get his hands on. The debut album from Quasimoto, The Unseen, is heralded as one of the most influential psychedelic rap albums of the decade and really gave Madlib a sound that was his own. Quas is simply a unique emcee, even apart from the helium-pitched voice. His views on the world are both weird and quite humorous. His oddball quirks first show up on the first single, "Microphone Mathematics", in which he "used to smack chicks, now he just bag dips" over a neck-snapping, horn-sampled beat. Quas doesn't give a damn about direction or focus. He's just rhyming for the sake of rhyming, and at times, that's okay. He lets loose in such left-brained capacity on cuts like "Return of the Loop Digga", "Come On Feet", and "Low Class Conspiracy", but the heavy emphasis is more so on Madlib's leftfield, experimental production and how it's an essential part of Quas' style of imagery. Not a single cut sounds like the other, and on cuts like "Real Eyes", "Good Morning Sunshine", and "Bad Character", Madlib shuffles the deck to provide sounds that aren't necessarily soul, not necessarily jazz, not necessarily anything you'd box in, and that's point. Samples here are wonderfully cut, chopped, blended and pieced together to form outstanding moments sonically such as the bumping aforementioned "Low Class Conspiracy", the brief organ sampled "Discipline 99 Pt. 0", and the snapping "Basic Instinct". What you'll also notice on here are a lot of scratches and quotes mixed in to several cuts on here such as the aforementioned "microphone Mathematics", "Basic Instinct", and the piano-laced "Bluffin'", but his beat structuring gets eccentric and unconventional on other cuts like "Astro Travelin'" and the xylophone-heavy "Green Power". What Madlib/Lord Quas do for The Unseen is what we would see later with other alternative-based hip-hop monsters such as Madvillainy, The Ugly Truth, and Black Up. Madlib is way too easily dismissed for his writing abilities, when he shouldn't be, but with Lord Quas acting his more brazen mouthpiece, along with the blunted-out charm of Quas, Quasimoto is certainly an intriguing creation of Madlib and The Unseen is one of the decade's most innovative and enjoyable moments.
3. Freddie Gibbs & Madlib
Bandana
Guests: Yasiin Bey, Black Thought, Pusha T, Killer Mike, Anderson.Paak
Straight from Gary, IN comes a rugged, yet technically furious, emcee named Freddie Gibbs. His brand of unfiltered, no holds barred gangsta hip-hop resonates to those that like that ignorant, street shit that conjures up giants such as Scarface, Beanie Sigel, The Game, and Roc Marciano. Although albums of his such as Babyface Killa, his collab with Statik Selektah, Lord Giveth, Lord Taketh Away, and his acclaimed, Cold Day In Hell, it was his unforgettable collaborative effort with Madlib, Piñata, that put him or more people's radar and officially put him amongst the elite of the current hip-hop crop at the time. From then, he delivered strong releases such as Shadow of a Doubt, Freddie, You Only Live 2wice, and his simply excellent collab with prolific southern emcee, Curren$y, and The Alchemist, Fetti. All that time, heads were waiting on the second part of the trilogy, Bandana, and in 2019, this happened, and the anticipation was met with an incredible follow-up to Piñata. Although Piñata was clearly an album that was reveled in sounds associated with the Blaxploitation era, Bandana is not as seemingly menacing, yet still maintains an aura of grittiness and bleak soul, as is evidence with stellar cuts such as the searing "Flat Tummy Tea", "Cataracts", and "Half Man, Half Cocaine". Much like several instances on Piñata, Madlib splits the beats up in halves on some songs, and when he does, the results are damn near unparalleled, but more than anything, it's Madlib's quirky soulful ear that makes this album especially more impactful for Gibbs to spit over. On "Crime Pays", Gibbs has a very rhythmic flow to him that fits like a hand in glove, while harking up memories of cuts from Piñata such as "Thuggin" and "Uno", but also Gibbs isn't afraid to let us in to his mind on deeper levels at time. Take the dumb dope cut, "Situations", where he brings us into when his cousin was murdered in front of him and the effects of it as well as other visuals such as his uncle stabbing a man and his father hitting someone with a motorcycle. Similarly, on "Fake Names", Gibbs details the harrowing imagery of the streets, while the other half of the cut has him basically reveling in his cocaine sells and him being the man in the same streets that took his homie out in the narrative due to a drug deal gone bad. This is one of the cuts previously mentioned that Liberator cut the song in half with the first half being more of a slick thump and the second half being more melodic and strangely ethereal. As far as Gibbs rhyming his guests, he more than holds his own. On the crazy "Education", while modern rhyme legends Black thought and Yasiin Bey take it back to their nineties fire, Gibbs delivers in his own right over a wonderful soul sample done as only Madlib can concoct. Likewise, he gets busy with Killer Mike and Pusha T on the sinister sounding "Palmolive", with Gibbs truthfully outshining the other two emcees to a point where they were trying to catch up with him on his skills level here. With the final cut, "Soul Right", Gibbs embraces what he felt he had to do to come up in the streets but expresses that he now has go down the right path and reach higher levels as a man. There's not a single flaw that can be readily counted for on Bandana. What Gibbs and Madlib did here was raise the stakes for every producer/emcee duo in the game at the time and showed how lethal of a pair they really are together.
2. Freddie Gibbs & Madlib
Piñata
Guests: Scarface, Domo Genesis, Earl Sweatshirt, Ab-Soul, Danny Brown, Raekwon, Casey Veggies, Mac Miller, BJ The Chicago Kid, others
Before Gangsta Gibbs dropped Bandana in 2019, Freddie and Madliberator linked up to drop the first of the three-part saga, Piñata. While Bandana was certainly more polished and cohesive, Piñata was straight up and down raw. Fresh off underground favorites from him such as the aforementioned Cold Day In Hell, ESGN, and Str8 Killa, Piñata is the most accessible he had sounded up to this point, and this is still a highly soulful affair in a very bleak atmosphere. Madlib brings some of his best work since the almighty Madvillainy album, and that's saying a lot. Not the abstract, unconventional earth-splitter that Madvillainy was in terms of production, Madlib does, however, provide some of eerie, dark, yet funky and soulful, soundscapes for Gibbs to spit his technically blistering bars over. Just based upon the first single, "Thuggin", Gibbs isn't about all that playing, as he indulges in his gangsta lifestyle over a sneaky snare drum with an effective sample. He embraces, if not flat-out revels, in the streets and his lifestyle on other hitting cuts such as the seventies-sampled "Scarface", "Shitsville", and the dumb dope "Uno". We get a little venomous on the track "Real", which has Gibbs brutally going after former mentor, Jeezy, over a neck-snapping split beat, in which the second half is the clear winner. The ever-soulful "Robes" has Gibbs in a zone over a wonderful vocal sample alongside former Odd Future emcees, Domo Genesis and Earl Sweatshirt (it can be argued that Earl won this cut but Gibbs came correct as well), while the nicely placed "Lakers" and "Knicks" provide stark opposites of the come-up, as "Knicks" has Gibbs detailing his hustling ways, while the Ab-Soul-assisted, "Lakers" has him in more relaxed mode enjoying the sights and sounds of L.A. Arguably the most introspective moment on this album comes in the form of "Broken", in which and he and the legendary Scarface do excellent jobs detailing the struggles of the come up over a somber sounding backdrop complete with a great vocal sample. There's no denying going into this album that the Gary, IN native was tremendously talented and waiting on a breakout album to expose him to more fans, and Piñata was the beginning of the rise of Gibbs. A classic by all standards for both emcee and producer, Piñata set a new benchmark for both, and this was just the beginning of a monster partnership, and Bandana absolutely picked up where Piñata left off and then some. Here's to hoping that the third part of this trilogy, Montana, finally drops this year and it'll be the instant classic we believe it will be.
1. MF DOOM & Madlib are Madvillain
Madvillainy
Guests: Quasimoto, MED, Wildchild, others
Perhaps not a single, solitary album within this century has had more of an impact within the underground than the otherworldly collaborative effort between Madlib and the late, great MF DOOM. Together, they came together as Madvillain, and their first, and only, album, Madvillainy, came out in '05, and immediately the impact was felt. Simply put, this album was a complete game changer as it showed both the emcee and producer in arguably their highest performance levels to date. DOOM's methodical, yet technically perfect, rhyme style mixed with the abstract jazz and soul chops of Madlib made more arguably the most incredible emcee/producer duo of the thousands. Considering the two cult classics DOOM delivered up to this point with Operation: Doomsday, Vaudeville Villain under his Viktor Vaughn alias, and Take Me to Your Leader under the King Geedorah alias, labeling this as the most amazing project of DOOM's career is a major deal. Although the album was listed at twenty-two tracks, this album goes by fast with the average cut barely over the two-minute mark. Each and every cut on here is filled with obscure, yet dazzling, samples and chops. As unconventional as the sounds are, they all perfectly match up with DOOM's left-brained lyricism. The album is as innovative as it is a salute to the old school aesthetic of just amazing beats and equally amazing rhymes, even if both are a bit left of center, and that's the point. The production has bits of dark and sinister mixed with clever arranging and sampling, along with thumping basslines and obtuse, yet dense, melodies. With "Meat Grinder", the outstanding sampling with this presents a brooding backdrop with sliding guitar sample that gives this track a chef's kiss while DOOM goes in his bag delivering multisyllabic rhyme patterns and exceptional internal rhyme structure, as he does throughout this entire album. On "Fancy Clown", Madlib delivers a fantastic flip of ZZ Hill's "That Ain't the Way You Make Love" and chops it to the gods while DOOM (playing the role of one of his two alter egos, Viktor Vaughn) details of an ex that cheated on him with DOOM, ironically. Humorous, but incredible sonically. Another cut that is a true highlight is the first single, "All Caps", in which DOOM goes ham with riding the beat and spitting excellent assonance and consonance, while double and triple entendres were all around. He concludes by reminding the listener, "Don't forget all caps when you spell the man's name" over a neck-bobbing track that contains a delightful sampling of a crime scene in an old movie that fits. Other amazing cuts such as the accordion-sampled "Accordion" (ironic right?), "Figaro", "Strange Ways", and stripped-back, drum heavy "Money Folder" are all examples of DOOM's creative lyrical penmanship that goes off as both effective and imaginative, albeit cleverly complex. When it comes to cuts like "America's Most Blunted" featuring the appearance of Lord Quas himself and "Shadows Of Tomorrow", the basslines are the story as well as the dense and obtuse sounds with both cuts. The closer, "Rhinestone Cowboy", is a drum-less, bassline driven, sample heavy masterclass in DOOM's technical expertise and calculation in his rhyme structure. This, ladies and gentlemen, is the genuine article of hip-hop within the underground, and maybe even above the sub-terrain. What Madlib and DOOM did with Madvillainy is easily as influential and impactful as other legendary albums such as Illmatic, 36 Chambers, and The Chronic, while also easily comparable to abstract classics such as The Low End Theory, De La Soul Is Dead, Aquemini, Bizarre Ride II Tha Pharcyde and Mos Def & Talib Kweli are Black Star. Sampling-wise, one has to mention this album with the same lines as the CRIMINALLY underappreciated Paul's Boutique and Critical Beatdown. As you can see, Madvillainy is quite the iconic album that continues to be the landscape shifter to this very day. DOOM became a household name based on this project, and Madlib officially staked his place as one of hip-hop's truly ingenious and innovative producers. While we may never see what was to come of Madvillainy 2, the first one will hold us over forever.
It's more than obvious that Madlib is among the most sonically creative and forward-thinking producers hip-hop has ever experienced. His approach to crafting sounds that distinguish him from any other producer out there is tremendously apparent. With soul, blues, funk, and jazz permeating within his bones to cook up unique sounds based on how differently he flips samples is only the most deranged would conjure up within their brains, but Madlib is just that insane mixed with brilliance. With a true all-timer under his belt with Madvillainy, and other benchmark setting albums such as Pinata, The Unseen, and Bandana, Otis Jackson Jr is one boardsmith that just when you think you have figured out that "Madlib" sound, he throws you a curveball, and that's all the reason to keep us on our toes, as you never know what type of food he has cooking and the type of ingredients most people wouldn't even think of to make the food even better. Future projects reportedly include the long-awaited posthumous project from the late, great Mac Miller, MacLib, the third installment of the Gibbs/Madlib saga, Montana, his collaborative efforts with Black Thought, Fly Anakin, Your Old Droog (set for later this year), Planet Asia, and REPORTEDLY mixing down the long-lost sequel to Madvillainy, Madvillany 2. The last item in this list alone is enough to keep our interest towards this evil scientist at its zenith during these next twelve months. Madlib truly is one of the most captivating producers of all-time. Until next time!
Here's a look (and listen) to some of the best cuts Madlib had to offer and within his catalog:
Madvillain- "Fancy Clown"
Lootpack feat. Tha Alkaholiks- "Likwit Fusion"
Freddie Gibbs & Madlib- "Thuggin'"
Oh No- "Chosen One"
Quasimoto- "Microphone Mathematics"
Freddie Gibbs & Madlib- "Flat Tummy Tea"
Your Old Droog- "Waves Crashing"
Talib Kweli & Madlib feat. Diani, Pink Siifu- "Ad Vice"
Black Star- "So Be It"
Jaylib- "The Official"
Madvillain- "All Caps"
Declaime- "Move It"
Your Old Droog feat. Yasiin Bey- "Care Plan"
Quasimoto- "Shroom Music"
Meyhem Lauren- "Wild Salmon"
Snoop Dogg- "Cadillacs"
Talib Kweli & Madlib feat. Mac Miller- "The Right To Love Us"
Your Old Droog- "The Return Of Sasquatch"
Open Mike Eagle feat. Still Rift, Video Dave- "Circuit City"
MF DOOM- "Absolutely"
Fly Anakin- "No Dough"
Talib Kweli & Madlib- "Engine Running"
Your Old Droog feat. Denzel Curry, Method Man- "DBZ"
Strong Arm Steady & Madlib feat. Phonte- "Best Of Times"
Talib Kweli & Madlib- "Wild Beauty"
Declaime- "Laff Now, Cry Later"
Freddie Gibbs & Madlib- "Cataracts"
Prince Po- "Too Much"
Talib Kweli- "Eat To Live"
Lootpack- "The Anthem"
Meyhem Lauren- "African Pompano"
Freddie Gibbs & Madlib feat. Yasiin Bey, Black Thought- "Education"
MED- "Medical Card"
Yasiin Bey (Mos Def)- "Revelations"
Talib Kweli & Madlib feat. Strong Arm Steady- "The Function"
Declaime- "Reasons"
Percee P- "The Man To Praise"
Westside Gunn- "Horses On Sunset"
Guilty Simpson & Madlib- "New Heights"
Lootpack- "Crate Diggin'"
Freddie Gibbs & Madlib feat. Killer Mike, Pusha T- "Palmolive"
The Professionals- "Buggin'"
Madlib feat. Roc C, Oh No- "Take That Money"
Strong Arm Steady feat. Chace Infinit, Planet Asia- "Ambassadors"
Madlib feat. Your Old Droog, Black Thought- "REEKYOD"
Talib Kweli & Madlib- "Funny Money"
The Professionals- "Give N Take"
Wildchild feat. Percee P, MED- "Knicknack 2002"
Guilty Simpson & Madlib- "Hood Sentence"
Quasimoto feat. Madvillain- "Closer"
Madlib feat. Prince Po- "The Thang Thang"
Blu, MED, & Madlib- "Birds"
Westside Gunn- "Gunnlib"
Yasiin Bey (Mos Def) feat. Slick Rick- "Auditorium"
Kanye West feat. Kendrick Lamar- "No More Parties In LA"
Freddie Gibbs & Madlib feat. Raekwon- "Bomb"
Jaylib- "Survival Test"
Quasimoto- "Astro Black"
Madvillain- "Meat Grinder"
Tha Alkaholiks feat. Lootpack- "Tear Down"
Meyhem Lauren- "Sunday Driving"
Mach-Hommy & Tha God Fahim- "Sous Vide"
Jaylib- "Heavy"
Freddie Gibbs & Madlib feat. Scarface- "Broken"
Westside Gunn- "Derrick Boleman"
Guilty Simpson- "Pigs"
Declaime- "Dayzend"
Tha Alkaholiks- "Mary Jane"
Freddie Gibbs & Madlib- "Real"
MF DOOM- "One Beer"
MED- "J.W.F."
Black Star- "Sweetheart, Sweethard, Sweettodd"
Roc Marciano- "The Sacrifice"
Guilty Simpson- "The American Dream"
Westside Gunn- "Ferragamo Funeral"
Freddie Gibbs- "CIA"
Quasimoto- "Green Power"
Tyler the Creator- "What A Day"
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