Unreleased MF DOOM Interview (Exclusive Premiere)

Summary

Podcast Title: Dissect
Host: Cole Cuchna
Episode: Unreleased MF DOOM Interview (Exclusive Premiere)
Release Date: December 3, 2024

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Introduction

In a special premiere episode of Dissect, host Cole Cuchna delves into an exclusive, unreleased interview with the legendary underground rapper and producer, MF DOOM. This hour-long interview, originally recorded in 2004 for Rhymesayers Radio, offers an intimate look into DOOM's artistic journey, inspirations, and the evolution of his music up to the release of his acclaimed album, MM..Food. Cuchna expresses his gratitude to Rhymesayers Records for granting access to this rare content, setting the stage for a comprehensive exploration of MF DOOM's legacy.

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Early Hip Hop Influences and Beginnings

00:36 – 05:04

MF DOOM reminisces about his earliest memories of hip hop, highlighting the significance of radio in shaping his musical tastes. He cites artists like Curtis Blow and groups such as Stetsasonic and Boogie Down Productions (BDP) as pivotal influences that inspired him to pursue a career in music.

MF DOOM [03:53]: "Curtis Blow was the first MC that really struck me. It's like, yo, that's fresh."

He discusses the transition from being a fan to becoming an artist, emphasizing the innate desire to "bang a beat out" and the natural evolution that led him to rap and produce.

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Formation and Evolution of KMD

07:19 – 13:31

The conversation shifts to the formation of KMD, DOOM's original group with his brother Sub-Roc. Initially part of a broader hip hop movement encompassing graffiti and breakdancing, KMD focused on the musical aspect as the scene matured. DOOM explains the addition of member Alex to enhance the group's vocal and intellectual dynamics, aiming for a more comprehensive sound.

MF DOOM [08:19]: "Recruited Alex to get down. He held it down for the role that I needed him to play."

He details their early successes, including the release of singles like "Gas Face," which played a significant role in securing their management under Dante Wolf of Tommy Boy Records. This partnership positioned KMD as trailblazers in the new school of hip hop.

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Challenges with Black Bastards Album

19:05 – 27:31

DOOM recounts the tumultuous period during the creation of KMD's second album, Black Bastards. Despite completing the album's majority, the label shelved it due to controversial artwork and content that pushed boundaries, similar to Time Warner's response to Ice-T's Cop Killer. This decision stemmed from the label's fear of backlash and the broader censorship issues in hip hop at the time.

MF DOOM [23:29]: "They saw where we were going and all that. They understood the concept, but they just couldn't have anything to do with it."

The fallout led to internal conflicts and the eventual dissolution of KMD, with DOOM transitioning into his solo persona, MF DOOM, to continue his artistic journey.

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Transition to MF DOOM and Artistic Development

27:31 – 40:14

During the hiatus between KMD and his solo career, DOOM immersed himself in studying hip hop and refining his craft. Influenced by the rise of solo artists like Biggie and the need to carve a unique niche, he developed the MF DOOM persona—an alter ego inspired by comic book villains. This character allowed him to explore complex themes and maintain creative control over his music.

MF DOOM [28:07]: "It's an offshoot of KMD. Doom came up as the result of our experiences with KMD."

He emphasizes the importance of simplicity and authenticity in his music, focusing on intricate wordplay and unique production techniques that set him apart from his contemporaries.

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Collaborations and Production Insights

40:14 – 55:27

DOOM discusses his approach to collaborations, valuing the chemistry and creative synergy with other artists and producers. He highlights his work with producers like Madlib, Blaze, and Pete Rock, praising their ability to complement his style while bringing fresh perspectives to his music.

MF DOOM [46:02]: "Madlib is one of my favorite producers. He sends me endless beats that inspire endless creativity."

He explains the differences between producing his own beats versus working with external producers, noting that external collaborations allow for diverse soundscapes and innovative approaches to his music.

MF DOOM [40:14]: "When somebody else provides the beats, I can listen and find what it gives me and go on that."

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The MM..Food Album and Food Drive Initiative

60:21 – 64:00

Discussing his 2004 album, MM..Food, DOOM elaborates on the concept of using food as a metaphor for various social and personal themes. The album's intricate storytelling and sampling techniques reflect his deep understanding of hip hop's roots and his desire to push its boundaries.

MF DOOM [60:21]: "The food drive is really just the live aspect of what it is, what the album is. It's like giving back."

He introduces the Food Drive initiative connected to the album, aiming to support communities in need by providing food resources. This project underscores DOOM's commitment to social responsibility and his desire to use his platform for positive change.

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Future Projects and Legacy

65:27 – End

Looking ahead, DOOM teases upcoming projects, including Operation Doomsday, which promises to delve deeper into his character's psyche and personal experiences. He reflects on his enduring legacy and the unwavering support from both old school aficionados and new fans alike.

MF DOOM [58:20]: "I never really think about it like that... I just do it for myself. Do for fun, come from the heart with it."

DOOM expresses confidence in his creative process, assuring fans of more innovative and heartfelt projects on the horizon. He emphasizes the importance of staying true to his artistic vision and continuing to evolve within the dynamic landscape of hip hop.

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Conclusion

Cole Cuchna's exclusive premiere of the unreleased MF DOOM interview provides a rare and comprehensive insight into the mind of one of hip hop's most enigmatic figures. From his early influences and the struggles with KMD to his evolution into MF DOOM and his commitment to social causes, the interview encapsulates the depth and complexity of DOOM's artistry. This episode is an invaluable resource for fans and newcomers alike, offering a profound understanding of MF DOOM's enduring impact on music and culture.

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Notable Quotes:

• MF DOOM [03:53]: "Curtis Blow was the first MC that really struck me. It's like, yo, that's fresh."
• MF DOOM [08:19]: "Recruited Alex to get down. He held it down for the role that I needed him to play."
• MF DOOM [23:29]: "They saw where we were going and all that. They understood the concept, but they just couldn't have anything to do with it."
• MF DOOM [28:07]: "It's an offshoot of KMD. Doom came up as the result of our experiences with KMD."
• MF DOOM [46:02]: "Madlib is one of my favorite producers. He sends me endless beats that inspire endless creativity."
• MF DOOM [58:20]: "I never really think about it like that... I just do it for myself. Do for fun, come from the heart with it."

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This detailed summary captures the essence of the exclusive MF DOOM interview, highlighting key moments, discussions, and insights that shed light on his profound influence in the hip hop industry.

Transcript

[Cole Kushna]

Welcome everyone to a special episode of Dissect. I'm your host, Cole Kushna. As you might know, the latest season of Dissect focused on the late MF Doom, breaking down every line of 12 of Doom's most beloved songs. You also might know that MF Doom's 2004 album MMM Food just celebrated its 20th anniversary, which was accompanied with an official re release that includes new artwork, remixes, and a handful of unheard interview clips recorded shortly before Food's original release. Well, today I have the extreme privilege to premiere this interview in its entirety right here on the Dissect feed. It's over an hour long and spans Doom's entire career up until 2004. It's a must listen for all Doom fans. A big thank you to Rhymesayers Records for this honor and opportunity. And so, without any further ado, please enjoy the world premiere of this never before heard interview with the one and only MF Doom. There they go.

[MF Doom]

The clown and the two thugs.

[Kevin Beacham]

This career spanning interview with MF Doom was originally recorded for a special broadcast on November 13, 2004 on Rhyme Sayers Radio, hosted by Sadiq and Buck Kac on KFAI Community Radio in the Twin Cities. This episode was anchored by an interview conducted by myself, Kevin Beacham. And being an avid fan since the days of Zeb Lover X with kmd, my goal was to dig deep into understanding Doom's inspirations, philosophies, challenges, goals and passions. The show, titled FM Mood, broadcasted live on the air the Saturday before the release of the mfood album. And it took listeners on a trip to explore the beginnings of before he even made music, leading into Zev LX and KMD and how that evolved into MF Doom, leading us to the release of the M Food record, which hit stores 11 16, 2004. But this interview also takes a glimpse into the future, including some things that we did see happen and some that yet still remain to be seen. Let's get into it. Give me a voice test there.

[MF Doom]

One, two, check, check.

[Kevin Beacham]

All right, cool. So basically we're going to try to go through your complete history as an artist so we can put together a whole like, you know, two hour segment on where you came from, where you are. So I guess a good way to start off is what's like your earliest hip hop memory you can think of.

[MF Doom]

I would just listen to the radio back, you know, back when, when the radio was playing stuff like Mr. Magic from Grover Washington Jr. Like, like when those records first came out, like Mardi Gras Bob, James and whatnot. Like when they first came out, they were just like regular joints that like how now a new song would come come out and they're throwing the radio. So that's. I mean those songs kind of evolved into like hip hop classics as far as like the DJs go. I guess that would be considered my earliest hip hop memory. But then hip hop is something that, you know, it's probably, we're probably born with. It's just that innate feeling when you just want to bang a beat out. It could be on the table, you know what I'm saying?

[Kevin Beacham]

Yeah.

[MF Doom]

So, but that's, I think my, my closest memory that could put into a frame of reference like.

[Kevin Beacham]

Any, any particular lyrical or any sorcerer musical influences that really made you want to get involved in it, you know, yourself after being a fan.

[MF Doom]

Well, no doubt. Like at that time, Curtis Blow had joints out. He was the dude that was rocking.

[Kevin Beacham]

What did you say your name was?

[Cole Kushna]

I see that it's not clear for.

[Kevin Beacham]

You good buddies to clean out your.

[Cole Kushna]

Ears Listen very close while I pop more game Cause my name's in the hall of fame the K U R the T I S the first is the best I must confess the BLO and the W I make you want to catch the boogaloo these are the.

[MF Doom]

Breaks type shit, you know what I mean? Roller rink times. Times when I was still too young to even go to the parties, you know what I mean? But Curtis Blow, that's the first MC that really, you know, struck me. It's like, yo, that's fresh. Like that fucking do you know what I mean? But we was doing it before we heard that. It's something that, you know, like I say we should just do it for fun, right?

[Kevin Beacham]

So like, like we were going to like play a few songs, a few artists production wise and MC wise who represent like, you know, the biggest inspiration. Who, who would those besides curse below any other ones that you would think of that stood out to you?

[MF Doom]

Yeah, no doubt. You know, after a while, once, you know, times progressed and whatnot. Of course Stetsonic was an old hip hop band. They was doing things that was brand new daddy old touch of OMC to me still to this day. His voice and the way he projected his joints, like the, the whole presentation, Daniel is. Is nasty, you know what I'm saying? Right. And you know, groups around that time, it came out ultra magnetic, of course. Cool Keith said G choice of topics. It was flipping the, you know, monotone rhyme technique, a lot of different styles that they came with two Ultra. That was real influential. Or just kind of showed us the, you know, different. Different directions that it could go in. I have to say, BDP KRS is a soloist once. Once BDP came around as a group of. KRS is like the MC of the group.

[Cole Kushna]

So what's your problem? It seems you want to beat KRS2.

[Kevin Beacham]

From my point of view.

[Cole Kushna]

Backtrack, stop the attack.

[Kevin Beacham]

Cause KRS1ME simply won.

[Cole Kushna]

KRS. That's it. That's all solo single, no more, no less.

[MF Doom]

You know, it was real ill at that time. There wasn't really no solo was holding it down like that. Sharon kind of with Marley. But it was. It was different with KrF. Just like how Chuck came out with the toe pe time. This was right about when we was just about to come out with K and B joints in the early, earlier part of the 90s. 89, 90, you know what I mean? Started really finding ways to put records out and whatnot. But yeah, all them cats around that time was real influential.

[Kevin Beacham]

All right, cool. So, yeah, speaking. Let's get into the KMD thing. Obviously Sub was your brother, but how did the whole. Actually the group form and everything. And I guess I heard before that originally Rodan was a member of the group at some point, right?

[MF Doom]

Yeah, yeah, no doubt. Other Cat Onic. So I was a member of the group. But actually when KMB first started out, it was like a conglomeration of like hip hop as far as, like graffiti, break dancing, you know, the music side of the DJ environment. It was a whole, like, thing like that. Like a little joint movement type of thing we had going on. But then, you know, as the music part started to kind of like be more dominant in the game, you know, that's the part that we really stuck to and really started perfecting once we did the first record. It was originally was me and my brother Sub. But then I just felt like it would make a fuller view of it. You get a better view of it if I had one other partner to help me convey the vocal side of things and intellectual side of things. You know what I mean?

[Kevin Beacham]

Right.

[MF Doom]

So recruited Alex to get down. You know, at the time, he wasn't even rhyming or nothing. He was just like, my man, crazy as hell. I was like, yo, what's up? You ready to get in this Google? And he's like, all right. Started raming then. You know, we used to help him out here and there. And he held it down. He held his part down. You know what I'M saying for the. For the role that I need him to play. Definitely did it right, you know what I'm saying?

[Kevin Beacham]

He definitely couldn't tell that he would just. That was brand new to it. Like when came out, like he been like, he. He was, he was into his thing for sure.

[MF Doom]

Yeah, that's good. That's good. You know, Word. Hopefully I inspire him to come back out, you know what I'm saying? But yeah, so it was really like, really me and my brother is a real like architects.

[Kevin Beacham]

Most people like, you know, from that day's first strategy on the obviously the Gas Face joint. So how did that come about with their base and that whole thing? Because you were under their. Their management, correct? The riff.

[MF Doom]

Yeah, no doubt. What happened was he searched. I knew him for a while. Like, hey, man, I must have met him at a talent show maybe in like man 86, something like that. And you know, he used to come out to the town where we was at in rock, you know what I mean? And you know, we kind of looked at it like, yo, word, that's fresh. You know what I'm saying? So, you know, we knew this a lot of times from far rock with. So what happened was he came back after a couple of years talk to like 88, 89. I was like, yo, I got this group, you know, I'm saying I'm working with this Captain Nice. And you know, we got this deal on Def Jam. He's always known as the cat who found ways to put records out. He had so joined out on Idlers. I think the label hey, hey Girl or hey Boy or some. Some single he had album. He had ghetto fame for that. So everybody knew he was putting records out. So it was like, word, I'm with it. You know, he's like, yo, get on the joint with us and I'll let him hear some of the stuff we was doing. And he was really feeling it. So he took us on the management wing at that time. At the same time I did the guest of Paris on that third bass album. You know, A couple of months later, joint came out. Did you know Cross Court Rec Video was fun, you know what I'm saying? Real nostalgic hip hop memories, you know what I mean? Next up, Don, a special appearance by.

[Cole Kushna]

KMD's Sev Love a gas face can either be a smile or a smirk When a pair's a monkey Rich to work one's clockwork Perkin is grim to the rim of my cup don't tempt me, you're Empty. So fill her up as I'm talking. Call me or Coco Is you loco? Cash or credit for unleaded? That's a no go. KMD and third base is this ace in the hole. I mean sold. So make the gas Mason.

[Kevin Beacham]

So did Dualtra come following that appearance? It was basically. People heard you on there and then they got interested or. How'd that come about?

[MF Doom]

Well, actually, we were working on a deal prior to the. To the release of Gas Face or that Cactus album, which might get a deal somehow, you know, starts new enough people they had like a lot of inside people to where people's gonna pop up. Anyway, I think the Gas Phase joint kind of just helped it along a lot. It was Dante Wolf, who's the Aaron at the time of the Tommy Boy. And the Dayline right here just came out three feet high rising. And, you know, Dante had parts with that, you know, as far as, you know, a R and the project or whatever. So he had a little fame. And at first it was supposed to be on Tommy Boy, but then he left Tommy Boy for Elektra and with it he brought the roster that he's putting together. At the time, it was brand new, being leaders of the new school. And then kmd, that was his little, like, his little roster that he had, he's holding as a. As a trump card. And when he get, you know, he used that to. To really get on with electro and get that popping, and it worked like a charm.

[Kevin Beacham]

Y'all were the first group for that. Let you deal those groups, right? Y'all were the first one, right? Kmd.

[MF Doom]

Oh, oh, I'm not sure. I think.

[Kevin Beacham]

I think it was. I think you were the first brothers.

[MF Doom]

Probably to release something. Yeah, I think we would just happen to be ready sooner. That's all. We were all kind of like, could have been anybody, you know what I'm saying? It's a weird time. At that time, everything was happening spontaneously to now look back on it and see the impact that it had. You know what I mean? It's so weird. Everything could have went so differently or not happened at all. It's just ill to look back and see how everything turned out. But yes, it was Dante who. Before Gas Face came out. But once, you know, it was kind of like 85 done with the first album, Mr. Hoods, once gas Race dropped and we got the deal and all that whatnot and finished up the album real quick and put it out, you know.

[Kevin Beacham]

Speaking of. I guess it's really. I guess it's pretty popular. Because of the. It was a nice concept album with the character Mr. Hood. And how was this pieced together? And I, I really can't think of any detailed concept like before that where a character like kind of mapped the whole album out even. Well, Mr. Hood and then even had like the character of like Burton Bert even being a character throughout the album to keep it going. So what did the idea of I'm using the vocal sampling and using in that way where you actually interact with the characters come about. Where'd that come from?

[MF Doom]

Well actually the first time I heard, I have to credit that to late night radio back listening to WHBI at the time World Famous Supreme Team Show. This is the world's famous Supreme Team show broadcasting live on WHBI 105.9 on your dial. Now everybody listen. Everybody listen. You know, I mean, came on like 3 o'clock in the morning. We must have been. Man, I was young, I mean too young to be staying up so late so much. Stand up late like that. I'll be like, what you doing boy? You know. But it wasn't like what, 845 or something like that. And they, they used to do this kind of like segment on their show towards the latter lateral hours in the show where they'll just be spinning on hip hop like, like, like breaks, like substitution and joints like that or like funky for you and the little ill ill breaks. But then what they would do is play vocal records like you know, stand up comedy records or like other type of records that have vocals on them over it, you know, sitting on the background. So you get the drums spinning back and forth. But then you get these little like comedy skits going on.

[Cole Kushna]

The World Famous Supreme Team Show 10024 New York, NY well, as I stated.

[MF Doom]

Richard Fryer, he's in the house tonight. Hey Richard Fryer, would you like to tell us if you can remember about.

[Cole Kushna]

What happened to you when you was.

[MF Doom]

A little boy down there in Illinois? I can remember when I was a kid back in Peoria, Illinois.

[Kevin Beacham]

I mean no movie ever opened that.

[MF Doom]

I didn't sneak in and see. And that's the first time I ever heard that, you know what I'm saying? So I gotta give credit where credit is due. I kind of took that concept and just, you know, incorporated them to short little skits where we do our own beats, you know, and then put little vocal samples, snippets from other stuff to make a storyline or a short, you know, like a short breakdown of whatever the scene is using Other voices, you know what I mean?

[Kevin Beacham]

He does some pretty. Some pretty intricate sentences in the way it spiced together. Is that pretty difficult to do?

[MF Doom]

Well, yeah. You know, it's funny. It's like a little formula tool. It's kind of like the less you do, the more. The more it makes sense. Like the less you try to do it, the more it does itself. Kind of like, you know what I mean? So most of the time I'm just a spectator. I'm just digging, playing different stuff. But I'll just hear something that says, oh my God, how the hell you know? Yeah, I'll be just as shocked and I'll just put it in place. You know what I'm saying? It takes a bit of research as far as just, you know, recording a lot of different vocal pieces that are rare. I don't go for like, you know, stuff that you can find easily. It's gotta be something bugged out. Then it's the bugged out up the bugged out.

[Kevin Beacham]

My name is Mr. Hood. What is your name?

[Cole Kushna]

Yeah, I'm Zumwup X from kmd.

[MF Doom]

I am pleased to meet you.

[Cole Kushna]

Oh yeah, likewise. How you doing anyway?

[Kevin Beacham]

Perfectly well, thank you. And you?

[Cole Kushna]

Oh, I'm just chilling, you see. But I got one problem. I come in here to pull on this bracelet, see. Cause this Robin for Nickels business ain't making it. What I need is a job. What do you work at? They hiring.

[Kevin Beacham]

Follow this avenue.

[Cole Kushna]

Yeah.

[MF Doom]

Turn right at the corner, go to.

[Kevin Beacham]

The left when you reach the square.

[MF Doom]

So out of all of that, it kind of like does itself. Once you have enough stuff, just continue to play around with it and the story will tell itself.

[Kevin Beacham]

So beyond that, how was the production, actual music handled for the KMD albums? Was it you and sub splitting it or how was that working?

[MF Doom]

Yeah, the way we did it. Well, yeah, we just do beats like we would do. Beats were fun. I mean, I get my rack through like four, eight beats in a row, according to dad. And then the next week I might not do nothing, but that'd be the week that he's in there rocking. You know, we just go back and forth like that until we had enough instrumentals and then kind of just formulated goals, you know, what are we going to do with this beat? Come up with it like that. Whatever the music tell us to do, really.

[Kevin Beacham]

You know, you're always dropping this new new material. But even back then with kmd, like every single had like a new bonus track or there was something new, you know, so you're Always recording a lot of music. That is something you just naturally just always feeling creative, always creating new things.

[MF Doom]

Well, it's off and on, you know, sometimes I get my blackout period. But the level of stuff that comes through that, yeah, I just trying to facilitate it. I get an idea, I just try to go for it and do it. I guess it might seem like a lot compared to how, you know, maybe the average between out, maybe a little at a slower face or whatever. I'm like, yo, I just try to report it as it hits me. You know what I mean?

[Kevin Beacham]

Yeah. Cool. All right, so we're moving into the second album, Black Bastards. What was the difference in making that album to Mr. Hood? Like, I remember reading in like an article, I guess in the source, like when BlackPass was coming out and you were saying, like, maybe the label, like, had like, was trying to like, kind of put you in the bracket of like the native tongue thing or whatever and promoting certain things from the album. And that Black Bastard was more going back to what you were trying to do even before Mr. Hood. So, like, what was the whole process like for going into making the second album? What was your mind state?

[MF Doom]

It was really like just to be, yo. I mean, the first time was cool, you know, real positive direction as far as, like the messaging and whatnot. But, you know, everybody grows and changes. So we was going through a lot of changes at that time. Adolescence, going from. I think I might have been 18 going to 19. We both had our first child, you know, saying during the in between time, you know what I mean? So a lot of things going on, you know, that we needed to report on, you know what I'm saying? And that's how we approach it. Like, yo, no hold Vaughn, you know what I mean?

[Kevin Beacham]

What was up with the Parker Lewis disc? What made you want to do that in the song?

[MF Doom]

Oh, yeah, that's funny. Yo, I remember like this.

[Kevin Beacham]

I think it was in the Source, like they did like a little. A little like spiral on it, talking about how he was rapping like, Parker Lewis can't lose on the mic or something like that.

[MF Doom]

The cats. Yeah, this is the time, you know? You know, to me, hip hop is like, yo, it's like, I'm its baby. Hip hop is my mama. Kind of like, you know what I mean? So it's like, don't be playing my mama close. You don't really know it like that. You know what I mean? So it's like at the time it was at a party, me and Kunis 96 in Broadway Ed Lover was having a birthday party, you know, kind of like a star studded affair, you know, guest list kind of thing, you know, was able to slide up in there. But you had like everybody in that cane was there, like everybody, everybody, you can imagine, Poobah, everybody, you know what I'm saying? Nice and smooth. So we playing the ball and, you know, everybody's on stage at one point and everybody starts rhyming like one at a time. And. And this I guess, sort of like. I guess nowadays I would have took it different. I'm like, oh, hip hop is really reaching new bounds. You know, they got these active cats trying to do it. I think it's kind of personal then, though, you know what I'm saying? I'm like, what, yo, don't even touch the mic. You know, you ain't allowed to. So this guy gets on the mic and a little rhyme and whatnot. But the thing that really got me about it was that Kane had just ripped some dope, you know what I'm saying? He got a little, you know, he didn't get too much of a response from it. Then this cat comes on there just from the fact that he was a TV celebrity, you know, I mean, his verse was whack. It was short. It was kind of whack, like, you know, you know, nothing to really be a partner. The whole crowd is going crazy, you know, at the time the show was on. So like, oh, that's fake, yo. So I had to just. I had to pull the file, you know, just to clear the air, that one, you know what I'm saying? You know, but it's nothing personal.

[Kevin Beacham]

All right, cool. All right, this. This is one. I was always one that was always in my head, like, since I heard that. So I wanted to get that out. So what happened to honest? Not why was he a part of Black Bastards at that time?

[MF Doom]

There's a lot of stuff going on. Like, you know, like I say, it was a time when we were all coming into AIDS and being men and going in different directions in our lives, you know what I'm saying? And I guess he wasn't really ever really an emcee. I kind of like, I kind of hired him to do the job right, you know, and maybe he didn't have it in heart to go for length, obviously, you know, so for the second album, he just. When it was time to spot the album, he wasn't as present as he needed to be to be part of it. So we just assumed, you know, okay, he don't want to do it no more. It ain't gonna stop us from doing it. So we just went on without him, you know what I'm saying? He went on in his direction.

[Kevin Beacham]

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

[MF Doom]

Oh, it was like right after we finished the joint, matter of fact, you know, I mean, Sub had already went back to the essence through the accident, whatever, when we had finished, like, damn, 75, 80 of the album anyway.

[Kevin Beacham]

Okay.

[MF Doom]

But I still had to finish it. The. It was after that. That happened after the accident. Like, I finished album, did the video, you know, we just mastered out maybe the week before. And then we get a call to. To come into the. You know, they wanted to come have a meeting in the office the next morning, but they already said, all the money, the homework is done. Everything was ready for packaging and ready to go. And then they hit it. Too bad. Like, some reason, they all the exact. It was funny how they worded it. There's more along the lines of creative differences, kind of. They, you know, they saw where we were going and all that. They understood the concept, but they just couldn't have anything to do with it. They give us, you know, the rights, put it out, you know, they want to, you know. You know, everything was straight with the budget and all that, you know, I mean, so I'm like, what? Odd, you know what I'm saying? The content of a record or the content of the artwork stops it from even coming out. But at the same time was a time when Top Killer had just came out. And it was like, to me, it was like the labels and the entities that were really backing this project kind of like was entangled with that at the time. Let me tell you a story. A few years back, I heard about a rapper named Ice T whose Cop Killer CD was about murdering police officers. It was being marketed by no less than Time Warner, the biggest entertainment conglomerate in the world. Police across the country were outraged, rightfully so. But Time Warner was stonewalling because it was a cash cow hit CD for them. So the whole censorship issue surrounding hip hop was real heated. Nobody wanted to really take no risks. Anything that seemed risky, they rather just not deal with it, you know, to them, half a million dollars ain't really nothing, I guess, you know, saying they put about that into the project and just whatever, you know, I mean, so I'm like, all right, you know, that's cool. So took us a while to get around to putting it out, though. But it finally did come back out. We finally did put out like 2000.

[Kevin Beacham]

Right, right.

[MF Doom]

Yeah.

[Kevin Beacham]

What's great, I mean, like, that was. I mean, at that time, I mean, even, like there was a big problem with the Coogee rap album. Living that Died, got held up for a while, did that whole thing. There was a. They had to eventually do this coach put out by themselves and real politically.

[MF Doom]

Charged music at that time.

[Kevin Beacham]

Yeah. So it was like a lot of people's album got shelled around that same time. So it was like it was sort of the. The ongoing thing. So did you actually have. Did you actually try to do a lot of shopping of the album after you. After a lecture or was. Was you. Was that. You know, did you go to other labels and they just weren't having it or what?

[MF Doom]

They went to a couple of different labels, you know, and yeah, they funny. You know, everybody's funny. You know what I'm saying? To me, it would have been a good investment. You would have made your money back. But I guess they were as scared of whatever it was as Elector Alexa at the time. Even now it's like a pretty big company, you know what I'm saying? Compared to some of the other rap labels that was just starting up, like Loud and all that. Right. I mean, so if Electric not happening, you know, a lot of other cats, I guess, is just scared to take. Take it on, you know what I mean? Right.

[Kevin Beacham]

So like right around that same time, remember, like, you're talking about even doing a third kmd at that time. You saw, you said, he's gonna do a third KMD with you and Grim. Did that even. Even go to the recording process?

[MF Doom]

Nah.

[Kevin Beacham]

So I was just like. It was like it was a plan that never even manifested.

[MF Doom]

Yeah, it got. Got thwarted. You know what I mean?

[Kevin Beacham]

Okay, so basically it was that time between, I guess like 94.95 and then we didn't hear from you till again to 97 when you. But by then you would become officially MF doom.

[Cole Kushna]

It go like I hold mics like hold their girls tight but I ain't after her probably your Acura Pearl White the hook or nod as many times on the split it to be specific, more times than dimes in the brisnet when you broke north I crashed the barbecue like Riddick at the Garden True troll Ask the Garden me pardon you cheaper I was told back your Whole G access to my beeper, call back my secretary, gatekeeper like I ain't people I said, darling, you stupid.

[Kevin Beacham]

So is anything particular happening in. In that, like two, two and a half year period that was molding you into what? We were here, you know, when we first heard Dead Ben. What was the process?

[MF Doom]

Studying hip hop and studying slow. A lot of caps coming out, a lot of soloists coming out and getting money and blowing kn really rocking at the time meth came out, you know, the Woo solo is kind of like started, but now Biggie was out. It was like a good time of the soloist, you know what I'm saying? That's when I was like really trying to find a slot, a good angle that I could come at that'd be different from everybody's style or something. Something that still I could do without too much a problem. Like a technique that I could just easily master with one formula, but still it would be different than anybody else's, you know what I mean? So that's when I came with the thune shit. It was just like really just simplicity at its finest, you know what I'm saying? Just stripped everything down to just the raw essence of rhyming, you know what I mean? Like, no ad libs. Like, all right, when you rhyme, usually when we be rhyming, it'd be like outside or at school, and you're right there live in a little circle or whatever, you know what I'm saying? That's when. How it was when we first started and whatnot. And that's like to me, the essence of it or like even on stage, a microphone or in a party, just you and the mic and the beat, you know what I mean? So I'm basically doing the doom style on that, you know, no ad libs, no callers. It reverse, you know, to where if you were standing right there and it was just four of us, you would hear it the same as if you would hear it in a car or if you heard it on in a stadium or a club or whatever. It's just that MC that beat in them lines and punchlines and, you know, if there's two MCs battling in that kind of setting where it's like a circle and it's just two motherfuckers going voice for voice and style to style. No, nothing Fancy, you know, two MCs. Time out at those times, you know what I mean? That's where, you know, there's no gimmicks, you know what I'm saying? Involved. I took that and said, all right, let me use that as the basis. A lot of casters, you know, oversaturating joints with choruses and, you know, like, season the game up a little bit. I think Cats started getting lazy, you know, I mean, a lot of money came into the game, so Cats are getting lazy doing short versus, you know, you know, kind of tv. So I said, all right, I'll just burn it down. You burn it down back like how when we was burning down when everything first started, where you could go, you know, any corner in Queens and head cats spitting and somebody be real nasty hitting it, then probably for 20 minutes straight with no choruses over Beatbox, you know, I mean, if you could bring it to that level, then that. That's different enough to what I think the character would stand out, you know what I mean? At the same time, bring the game back to what it's. You know, how I remember it.

[Kevin Beacham]

Do you look at Doom as being something very different from KMD or evolution from kmd?

[MF Doom]

Oh, I think it's an offshoot of kmd. Doom come up, came up. The character kind of spawned out of the. Out of the result of the experiences of a KMD kind of experience, you know what I'm saying? I'm an industrial industry experience and just having to come a second time of like a, you know, something might be considered like, oh, got jobs or failure. And like, what comes out of that failure? It's like nothing is ever done, Nothing is ever finished. Doom is that super villain that always comes back.

[Kevin Beacham]

Are there any particular KMD songs on either album that you think best represent, like, a sort of a warning sign of that doom was to come? Like, even style wise. Like, there are probably a few songs I listen. I've been listening to God lately and, like, there's certain songs that style to me, like, maybe like, oh, I can see now where doom will come from. Like, when hearing this song, you want to take a sound to you.

[MF Doom]

Yeah, yeah. I would say, oh, suspended animation, totally. Doom. Doom prototype.

[Cole Kushna]

Tastes like cancer in my tongue in front. I'm fried up I got to get fried up I've been sober since the last month Dried up so light up.

[Kevin Beacham]

Constipated monkey is a good one too, because it's pretty erratic.

[MF Doom]

Yeah, yeah, it'll be just that. That killer verse type of.

[Cole Kushna]

So props might develop from the duels. No clues ahead. Swallow I dwell uptown it's like a jungle I'm immune to the fever though Whoopsie daisy number lazy. So.

[MF Doom]

Yeah, yeah, that was definitely like Prelude To Doom. You know, at the same time, Sub was about to come with his solo too. And man, if we ever had a chance to hear that, that would have been even more ridiculous. His style, his direction was going crazy at that time. I was in doubts trying to keep up with him.

[Kevin Beacham]

There's at least a couple unreleased tracks in that time period, isn't there? I remember, I remember hearing one on Bobby that I never heard that came out. There's one was ill. I had like only a 22nd piece of it from Bobby the Show and I was always mad. I had like. They had like six bars, six and a half bars of it. Yeah, and I've been looking for it ever since. I gotta like dig it up and figure out what it is.

[MF Doom]

But yeah, yeah, it's probably all that's going on. I forget the title and I know.

[Kevin Beacham]

I heard it like in 90. I heard I had on a tape from like a Bobido show in 96.

[MF Doom]

Popcorn, I think it was called Popcorn. That's the one that didn't make down, but it was raw as hell.

[Kevin Beacham]

Okay. So of course Doomsday came out on final number Barbido. And you'd already been associated with him before because you were part of the hit you up management with, with still with Pete Nice and everything for a while. Right. So when it came time to do Doomsday, like had you like pretty much been recording stuff in this, you know, album or you know, how'd it work out? Pretty much, yeah.

[MF Doom]

The way, the way that came out.

[Kevin Beacham]

I knew Bob for a long time.

[MF Doom]

I met Bob around the same time I met Pete. Pete Nice. Both of them working up at Def Jam. Well, Pete had a deal against the Def Jam and Bob was kind of like the radio guy there, you know, I mean that's when I met Bob through Pete and Search and we're friends overstairs Bob with Katie. Dude, say I met Bob, I met George. Yeah, I mean both of them crazy, you know, they were cool as hell. So, you know, me and Bob stayed in contact throughout the years, you know, and we always had the same interest in music, you know, funk and like the good old Stevie Wonders doing those joints, you know what I mean? So through just being a contacting music, he was like, yo, what's up? You got something you working on? I always had little tapes or whatever, but I always bless him so you can hear it. And this is before he started to follow him. Then like a year after I started sending him stuff, he was like, yo, I got this label working on and this is, ah, you know, what's up. We wanted to put some out and we wanted. I want to rock it. So I'm like, all right, yo, feel like you want to rock it. I can use the word, you know, right? And I hit him with the rawest versions of the dual stuff. He was feeling it and just Off Daddy set it off. I didn't. The communist and the way he was running his label and just the stripped down style. When I came with the bullshit, it just was a Mac Made in Heaven type, you know what I mean? Did no promotion. It was a straight white label. Put it out, played on his show, you know what I mean? And then if cats want to buy it, they'll buy it off of the. Off of the rect. Or off of like, yo, did you hear that? You gotta go find it. Just that old, good old digging aesthetic that was attached to it, I think, helped it flow like it was just a good way of presenting this particular project, you know what I'm saying? Wait, wait, wa.

[Kevin Beacham]

Don't say a word before record button.

[MF Doom]

Is engaged, cuz I don't want to.

[Kevin Beacham]

Miss a word of what my man.

[MF Doom]

MF Doom has to say. Fresh word.

[Cole Kushna]

Big up, big up, big up.

[MF Doom]

Zoom. How you doing, man?

[Cole Kushna]

Chilling, man.

[Kevin Beacham]

How y'all?

[MF Doom]

Haven't seen you that much recently.

[Cole Kushna]

Yeah, yeah, I know. I've been getting those, doing my thing.

[MF Doom]

You know what I'm saying?

[Cole Kushna]

Staying fresh.

[MF Doom]

Yeah, yeah.

[Cole Kushna]

How you b. Selling?

[MF Doom]

I'm selling.

[Kevin Beacham]

You work with some different MCs on the regular, you know that you got Victor Vaughn that you work with, and you got the King Ghidra. Why don't you kind of give us a difference between, you know, when you. When you're producing the Doom project or when you're doing those other projects. What's the difference in doing those and how does it work out?

[MF Doom]

Yeah, each one of them has, you know, serves a different purpose. Doom is like a cat. He's like the old school cat that sticks to the certain rules, you know what I'm saying? Like an older cat OG in the game type, peace of mind. But it's always like something that hold. The guy might say, you know what I'm saying? Yeah, I really came up with the other characters just to facilitate other points of view that I want to get across that if I was to use Doom, it would seem like he was really, really crazy, you know what I mean? So I said, instead of like trying to like have this one character have these different points of view, let me split it up. You know what I'm saying? Come up with a younger cat who might have different. Different agendas, you know what I'm saying? Or different ways of looking at things. You know, I'm saying this way. It's a whole new style. I could flip, throwing a whole new, totally new direction with words and all of that, you know what I'm saying? It's really just to facilitate the creative flow that was happening. Anytime I get an idea, like, where is the old Pam, what if this happened? Or what if this happened? Anytime I come up with a what if I gotta do an album on it? You know what I'm saying? All right.

[Kevin Beacham]

So of course, you know, you might know for doing a lot of your own production, but over the last couple years, you've done some albums with outside producers and outside projects. So I'm sure, like, you know, you know, being like, you know, there'd be a lot of people who want to work with you. You get a lot of offers. How you decide which projects you're going to do? And how's that different from doing, like, you know, like, you know, regular Doom album when you're doing it all yourself? Well, used to be pros and cons, I guess.

[MF Doom]

Yeah, yeah, no doubt, definitely. But it used to be a lot easier. I mean, now get so busy, I don't get a lot of time that I have to really be careful which ones. I know I definitely can't do all of them, you know what I mean? But it's really based on the vibe of the person, you know, the vibe of the group, of the producer, the direction that they're trying to take music to in general, you know what I mean? And, yeah, it don't necessarily have to be the same view as mine. Like, when I first started listening to the Madness stuff, they sent me a packet before I even. I didn't really know about his music until they sent me the package on it. Wanted to do some work and I, you know, I got time to listen to that stuff, the future jazz stuff that he's doing with, like, Mad Ill Ill Ill Ill Ill Ill. It's kind of like it was something that was familiar, but it was so new at the same time. It's almost like a obvious direction where everything should be going in. But he actually made it to where we could listen to it and hear it, you know, like, he. A slice of the future, almost like, you know what I mean? He still kept it raw, you know what I'm saying? So with cats like that, you know, it's like, it has to happen, you know, I mean, it's just like the jazz days, when Cats is just going to do jam sessions, just hook up and just, you know, set it off, make up quartets and make albums really spontaneous. Like, that is how I try to keep it as of late. It's became real busy. So, you know, I can't. I can't rock with everybody, right. As much as I would want to. But, yeah, generally off the feeling, you.

[Kevin Beacham]

Definitely have, like, your own, like, way of going about your production that fits what you do. So is it harder sometimes when you work with other producers and trying to mold into what their production is?

[MF Doom]

I would have to say to me, from MC point of view, it's easier when somebody else is providing the beats and I can just listen to their beat, find what it gives me and go on that. When I'm the producer, it's like, all right, I may do the B verse, or I may have the verse first. And it kind of like, sometimes it gets tricky. I'm like, you got to separate the two sometimes. You know what I mean? Sometimes it gets too integrated. But at the same time, that enough integration of the two, being that they're both in one body kind of thing on one mind, it could come up with interesting results. Like, a lot of that is on this doom album, this new the Food shit. I mean, a lot of that melding of the producer, MC on these songs that you wouldn't get if I just got the beat from somebody and did it.

[Cole Kushna]

As you call them. They call you when they need something Trees for the blunt to GS for the front I found a way to get peace of mind for years and left the hell alone Turn a deaf ear to the cellular phone Send me a letter or better we can see each other in real life Just so you can feel me like a steel knife at least so you can see the white of the eyes Bright was surprised.

[Kevin Beacham]

It seems like there's always, like, on, like, the side projects is. There's more like decim. Season aside one, is that more a choice of yours? That's more like, with the people doing other projects, they're getting other people that they want to work with involved with them or more so that's. Maybe you want. You know, how's that work out? Like, the guest art. Get some season on the albums.

[MF Doom]

Oh, that's more like, yo, it'd be like, most of the time, it's the man who I know that rhymes. And they need. You know, I'm like, yo, all right. They trying to get on. And I see that they're artists that got that fire that's like they ready to do it. And I look at it like MCS gave me the chance when they had they was on. Like back when searching the third base, he was saying off, you know, it was always about, yo, you know, helping and helping the next guy if he could see his struggle, see where he's going with it. MC's a real breed. When you catch an MC, a real rhyme of that, that rhyme regardless. Not just rhyming because hip hop happened to be the now you gotta see that rhyme for real. Like they would be rhyming if the was elite, you know what I mean? So those cats are not cats that keep me on my toes, that I rhyme with sometimes just on the humble, you know what I'm saying? Versus back and forth practicing when nobody but just only us there practicing for nothing, really, you know what I'm saying? Just for the sake of just staying sharp, you know what I'm saying? Those are the tracks that I say, all right, yo, get on this record, you know what I mean? Usually mcs like that, that need to be heard that probably wouldn't have had more the chance to be heard.

[Kevin Beacham]

Now my name is Austin Workwear. If you want to just give me like something about the experience of his unique artist or one line about the artist or anything. So start off with the obvious. Third base. Working with third base.

[MF Doom]

Yeah, the cat was real, like real hard workers, real lyrical wordsmith, you know what I mean?

[Kevin Beacham]

Mf Grim.

[MF Doom]

Grim. I'm a word Smith. Real intelligent brother, you know, Real life. Yeah, he got real, real good imagination. Song, songwriting, storytelling, niche, you know what I'm saying? You know, real life. Good work ethic too, you know, we go in there and get busy, knock it out.

[Kevin Beacham]

Cool. My style and zest.

[MF Doom]

Everybody I know from, from, from that time on, that era right there, it's cats who I've been riding with, man, since we was in elementary school, you know, I mean, so it's one that rhyme for real. Like we all be broke drinking beers and just ramen like, you know what I'm saying? So, yeah, it was fun about working with them cats like that, you know.

[Kevin Beacham]

All right, cool. So how about the. The production team for the Victor V, the King Honey, Heat Ray and Sensor. How about that project King Honey.

[MF Doom]

Yeah, my man King Honey, what he do, but really his beats is on point to change the beat joints crazy.

[Cole Kushna]

A modern day marvel, but terrible. Better, horrible. When he grabbed the mic from Son and crushed up all his metal carpals. He said he ain't mean it Totally by accident after the show he didn't follow where y'all taxi went. Will this be available on Wax, Ax, Max, Mill, they all in opposition to his ass whack tax bill. But will it pass the Senate? Sloan, Lord Tenant in the super like 1A.

[MF Doom]

Everything I did with that cat, you know what I'm saying, is really, really, really innovational. It's like really, that. That was the first group of mothmotors that I worked with as producers that did things totally different than I would have did it, you know what I mean? Just the whole approach to the production style, like that was like the era. Where are they from? The age where they were more influenced by a lot of that was out in my time, you know what I'm saying? They started later, but perfected it in their own little way. Like dealing with computers and other. Other machines, you know, I'm saying. Other ways of getting it done. High tech stuff, real high end stuff, you know, I mean. And yeah, really, really, really ill with this, you know what I'm saying? It was fun.

[Kevin Beacham]

All right, how about the Victor Vaughn too? The Insomniac Crew or whatever.

[MF Doom]

Yeah, my man is who put that one together. I wasn't really familiar with the beat. The beat makers on that joint. It was a real quick joint, did the joint like 45 days total, you know. So he sent me beats and some beast got rejected. I try to pick the best ones out of the batch, you know, but it's really my man Israel from Insomniac magazine, you know what I'm saying? Like, just. Just to do him the favor of just getting busy. He came to me like, yo, I got this amount of paper. I'm trying to do this project, be with it. And I'm like, all right, it, let's do it, let's do it, let's do it.

[Kevin Beacham]

All right. You kind of already give a little bit on Mad Lib, but you want to add anything else to the Madlip thing? We're working with Mad Lib.

[MF Doom]

Yeah, that dude. All right. That's one out of five producers. He's my favorite. He's my, my favorite producer beside myself, you know. And I would say he's my favorite producer all around, but, you know, I gotta, I gotta myself. No doubt, you know, but that cat orders, believe me, like, doing the MA project, like, all his job was done from day one. He ain't really have to do nothing. All his beats was done. He hit me with the. With the CD of like, maybe four beats at first. Then he hit me with another CD. Another like, eight. Then I got a CD, like, 50. Then two cities were 50 a piece. Another two cities are 50 a piece. So you can imagine that the amount of stuff that I got instrumental with this dude, and I just had to choose the one that fit the theme of this, the way the record seemed like it was going. But, man, like, I got enough beats from this dude to do, like, 10 more.

[Kevin Beacham]

Yeah, that's. That's a good combination, too. That came out real good. How about profuse 73 and a side rock? You did a one track with them.

[Cole Kushna]

So we still top choice off the track list. Far as I know. We've been blacklist for as long as the earth rotate on a 23 degree axis.

[MF Doom]

Yeah, pre. Yeah, I'm working on EP with that dude, man. He got some little beats too. He definitely is ill. He stopped. That's my first time, you know, rhyming with that dude he's with. He's Woody with his. You know what I'm saying? You know, it's fun.

[Kevin Beacham]

When they caught me off guard was non fiction.

[MF Doom]

Yeah, yeah, yeah. Them cats here from Brooklyn and whatnot. Yeah, cool cats, you know what I'm saying? Go texting them dudes out there, big up. You know, I mean, he's like the.

[Cole Kushna]

Supervisor in the workplace. No more breaks. Violet got workspace with Smurf face.

[MF Doom]

Oh, yeah, we kind of met up. I meet these dudes just in the New York City circuit, you know, bouncing around. They had a studio that we used to work out of. You know, we used to work time from them dudes. And I didn't say, you know, we just kind of like. They asked me for a verse, and I just whipped it up one day, like half a day.

[Kevin Beacham]

How about the De La Soul joint?

[MF Doom]

That's a long time coming, for sure. Yeah, man. Yeah, it was on. I was on the Talib tour this summer, and they got the same manager, Corey. So Corey's like, yo, got this beat for y'all. He pops up. He was in Vegas. He pops up with this beat like, yo, Dale, I want you to just rip on this joint. Their verse is already on there.

[Kevin Beacham]

Oh, okay.

[MF Doom]

I had, like, two weeks to. To do it. So I'm like, all right. You know, I got a call like, yo, you done in the next few days? You gotta have it done. I'm like, oh, I see. I wrote it just at that time. I wasn't. I'm like, oh, I almost Got it done. I only wrote the shit. Like really that day, the day before I had to fly out there and do it. Then I flew out to New York, met up with them cats, ripped my parts, you know. And that was. That was it. Next two months that shit was out.

[Cole Kushna]

Pay dues forever. Slay Hughes when it comes to who's more cleverer used to wore a lever goose be with the fur collar and charged a fee for loose leaf words per dollar you heard holla broad or dude we need food Eat your team for sure the streets or seem rude for fam like the Partridges Pardon him for the mix up battle for your tari cartridges.

[Kevin Beacham]

How about Prince Po all.

[MF Doom]

Prince pole joint on Danger B. Yeah, it was the same way similar. Like he had the beat and and post part already ripped. So you know, they wanted me to get on it. And the way he pulled, laid it down like man, it was like all right, how am I you know, you gotta, gotta really step up to the plate. So I think it was cool though. I think we matched with well came.

[Cole Kushna]

With that bin back the big rim track your back post. Is that so the first hip hop chat show Whoever talks slick if they lip pop by fat soul bum feel the sting linger rope is humdinger with a dislocated bling finger still king of the hill it's the doom hour when he came to spit more gibberish than boom how mine wigs a bleed with the quick speed Drag him backstage like the tiger did Sick free this is.

[Kevin Beacham]

God know you work with a while Count Base D twice Spitz.

[MF Doom]

Yeah, Dwight Spit guy. I'm saying we share a lot of production tips, you know saying real close friend of the family and whatnot.

[Cole Kushna]

I'm not Doom's brother but I rock your subwoofer that's why they call me Count Bass I'm not Doom's brother but I rock your subwoofer that's why they call me Count Bass I'm not Doom's brother but I'm rocking subwoofer that's why they call me Count Bass I'm not.

[MF Doom]

Doom's brother yeah, it's always fun working with that dude. I'm working on the album with that with him as well. A real collaborate meld of production and you know what I'm saying.

[Kevin Beacham]

Let's be asking more about your production. Actually you've done obviously you've done like stuff yourself. You've done like a good portion of MF Grim album Monster and Zage record. Of course all Your special herbs. You just recently did a Sage Francis remix. So are you interested in getting more involved in production? Like will we see you like actually start producing other more albums and more artists in the future? That's what you want to do more of?

[MF Doom]

No doubt. I want to expand that side as, you know, make it as. At least bring it to the, to the, to the level of the rhyme side or you know, try to keep them both at least neck and neck, you know what I'm saying? Production to me is more fun, kind of like, you know, it's easier kind of. But then it's more. I wouldn't even say easier in that aspect. But when it comes to Ramen though, it's such a real like, you know, it's your voice, like you know every word, you know it has to be a certain way, but at the same time every kick and snares and hi hat has to be a certain way as well. But there's something that's that non vocal about the whole beat making process that I think captures something by being the way I'm not speaking, I'm speaking with my hands, you know what I'm saying? Where I could. Plus other MCs are they voicing their opinions and their thoughts on it. So it's like I get a myriad of different ideas and different angles on it. I always like diversity, you know what I'm saying? From real hardcore street shit to maybe more underground kind of like, you know, funny, humorous style stuff to maybe even more like, like positive, intelligent rhyme styles, you know what I'm saying? Like all types of different mCs, you know what I'm saying? A lot of them, it's like a lot of them is real nasty. No matter what they'd be talking about. Those are the characters that I try to produce, male and female, you.

[Kevin Beacham]

But not many MCs get the love and respect and admiration from like the old school heads to the new crowd, even the fans and even the artists who both, you know, like pretty much everyone's a Doom fan. How's that make you feel?

[MF Doom]

I never really think about it like that, you know, good to know that it's always good to be appreciated by your peers as well as the fans, you know what I'm saying? The new fans, you know what I mean? Hard to please everybody, you know what I mean? The angle, I really look at it like, yo, what I would want to hear, you know, I mean from the first inception of idea, you know, you know, if it sound whack or not, just don't do waxes, you know, figuring. You know, I really just do it for myself. Regardless what anybody think about it, do for fun, come from the heart with it. I think people recognize that, you know what I'm saying? Not to mention just sticking to certain formulas. Stick to certain formulas that you master. After a while, people see the pattern and kind of like catch on to where you're going with it, you know what I mean?

[Kevin Beacham]

Yeah. Because not too many people cannot, within a few months, have a record out with De La Soul and then a, you know, a remix with Sage Francis, like, which, you know, is like the golden age to the. The who's popular now? Who's popular then? So it's like, you know, a lot of people, like, get locked in the box. They gotta like this or like that. They can't. Like both. But then you're. But now you're on both. So they're a Doom fan. They gotta check out both, you know, I know punk.

[MF Doom]

It's just MCs appreciating Mcs, you know what I'm saying? Y'all around the board. We all Word Smiths, you know what I mean? Really? I gotta thank Dayla for reaching out to me and like, you know, recognizing and being like, yo, that cat, you know, I mean, they had to do that. They. They kind of like, they up there where they could hire a. Just to get on some. Just to blow, but they still base it on your mc, you know what I'm saying? They know we know each other from back in the days. Kind of like, you know, man, we crossed past few times, so, you know, it was just cool for them to holler, you know what I'm saying?

[Kevin Beacham]

I saw. Are there any other, like, artists like, you know, that you could be complimentary to their style? Producers or MCs?

[MF Doom]

Yeah, no doubt, no doubt. Man. So numerous, you know, man, I love to work with a brother, Jason X Clan, just on the production tip with him and his mc could be real, real ill, you know what I mean?

[Cole Kushna]

Verbs of power now here's the sum of another drum Now Mortals aware Not.

[Kevin Beacham]

Prepared for a logical son My verbs.

[Cole Kushna]

Of power Are the spiritual spank My deep, deep blackness your your mind gets dank Revelation to Genesis Something you cannot dismiss Keys to crossroad Come to abyss.

[Kevin Beacham]

And find a verb stick swinging While I'm living Giving the rhythm Heed the word and the bass drop given who else?

[MF Doom]

Like, I would love to work with Pete Rock. I think I seen a matter of fact, we did a show with Daylight. Not too Long ago New York and saw Pete Rock backstage. I haven't seen that brother since the Electric days, you know what I'm saying? Feel smooth of them cats when, when reminiscence came out like around that time, you know. So just for, you know, you know, he sees me, he's like, yo, boom, yo. I came off stage, I'm like, oh. He's like, yo, well we gotta do something. Kids was like, you know, it's almost like picking up when I. Where I left off, where we left off, you know what I'm saying? Right before the hiatus, you know, P Rock, I would say the producer Blaze, you know, I'm the code with just Blaze. Real cool cat, you know what I mean? Got some thorough beats. He respect the lyrics.

[Cole Kushna]

It might seem ill feeling to be a dream guy until ice cream spills off Mrs. Paul's pie. Tonight's dreams for real. You can see the steam off his nice mean grill A ill flick of hardcore Lorna Doom hot on a platter or either raw on a spoon. It's on, son. Take out Friday Chinese Fortune with the slit that goes.

[MF Doom]

Maybe ghost, you know what I mean?

[Kevin Beacham]

Okay, if you've been wanting to hear that for a minute, I think that's been like. I've been hearing the rumors about that like people just like, man, I'd love to hear those two and attract together.

[MF Doom]

Yeah, they. They bound to get it. I think their request about to be answered.

[Kevin Beacham]

That's beautiful.

[Cole Kushna]

New York, New York, the best place of the century of energy. New York, New York, the best place of the century. Salud. Most of the life is dooms is dead. Some folks being polite, some rude. Instead the melting pot is overflowing with lead. In the winter it's brick. The summertime is like a swing hot.

[Kevin Beacham]

Bed for me personally. Like when I listen to like every time I hear like winging new records, like, I'm always like impressed with how you like just can weave the words together and make it seem so effortless and seamless. And I'm like, all right, he's out. There's no way he can come with another album and do it again. And then bam.

[MF Doom]

Yeah, same thing. I'll be thinking.

[Kevin Beacham]

I'm like, he's done.

[MF Doom]

I heard with the Vaughn, I was.

[Kevin Beacham]

Like, all right, I heard I'm Madden. Like, he's done. There's no way he can do it. Then I heard them food.

[MF Doom]

I was like, oh, he did it again.

[Kevin Beacham]

He's gotta. He's gotta be almost done. Do you ever worry about like, man, I Bet I'm gonna. I'm gonna run out of ways to say words. You ever worry about writer's block?

[MF Doom]

Every time. Like, after every record, like, you know, it always happens, but then I highlight, you know, for a couple of months, I might be stuck in that. In that zone. And my wife would tell you, she'd be like, yo, every time I say the same thing, like, oh, I don't know how I do it. What am I gonna do? I go on for months, and then I'll keep it down to the basic format. It's like, yo, the English language is so vast, not to mention the different dialects of slang. Mental vulnerability. Plus, when you get other languages mixed with English and their dialects and the slang that came from the, like, people migrating into America, just all the different types of people, you know what I'm saying? There's no way you can ever run out of stupid shit to say, you know what I'm saying? That's really what it's based on. It's like something that can make somebody laugh, that we can all relate to, but it's a real thing, you know what I'm saying? Almost like outstanding comedians do it. So it's like, based. If you base it on real life and things that happen naturally in life, it's forever. So, you know, it's just a matter of just not thinking too hard about it. And I just got to keep a pen and pad around me for when I get those little stupid thoughts and write them down. You know what I mean? Right.

[Kevin Beacham]

Okay.

[MF Doom]

But, yeah, I think it's another ending stream of it. But it's even. Even now, it's like, I don't know what I'm gonna say on the next job, but I know that I'll catch enough doings, I got no time, and I'll do my research, you know what I'm saying? I think I have more faith in it. Now we need food.

[Kevin Beacham]

Of course. Right now, the thing is coming. This is all about. Is about the food record. So you want to talk about that record. Any things that stand out to you in doing it. And I guess I've seen interviews that you're saying is sort of a turning point. Unless, you know, like, you're gonna officially just become Doom and the MF will be no more. And. And, like, you know, what sparked that and everything like that.

[MF Doom]

Yeah, it's really just focusing. It's really. Well, you know, he'll always be MF Doom. I couldn't even shake it. Cav is still calling MF Doom. If I took that shit off. There's no way I could really do that. But I really mean it more like in the sense of just being personalized, you know what I'm saying? It's like doomed to do the person if you could ever really get close to know this cat, you know what I mean? Like, that's why I figured this Food album is like, in the most thoughts and personal kind of opinion, more than general, just battle lines, you know what I'm saying? Kind of went into what he thinks about ticks more, what he thinks about, you know, the game more, you know, I think it gets into more of the character, you know what I'm saying? So. And through the album's a real, real personal album.

[Kevin Beacham]

You about to go on a little mini tour to support it. And then you got the. Also the food drive connected. You want to speak a little bit about that. And you know, you know how that. Why did you want to do the food drive to connected? And you know what people expect on. On this tour when they go out to the shows.

[MF Doom]

Yeah, the food. The food drive part is really just to, you know, I thought that was food, you know, I was kind of like, you know, many. All the different angles I could use to facilitate the idea in a positive way. Having a message in each song, like a double meaning, but, you know, it's based on food, but there's still a message in each song. And then the food drive is really just the live aspect of what it is, what the album is music, you know what I'm saying? It's like a giving back or sharing, you know what I'm saying? Yeah. So, you know, plus just growing up poor, you know what I mean? And having to go to, like, Salvation army to get clothes and food, you know what I'm saying? And time when that saved the day, like food stamps. Even just growing up with food sometimes being a problem, like, you know, saying free lunch in school, like. Like that. That, you know, in a way that it was kind of embarrassing at one point, kind of like if you look at. But then now I look back as an adult, you know what I'm saying? Times that there was food available was real key times. And if we didn't have them, kind man, you know. So I just want to really make sure that that's still happening. There's always going to be people that need food. Food is something that we all need. You know, we can't go 12 hours without eating, without partners, really go panic mode, you know? Right. So, you know, it's Such a general topic that ties everybody together, you know, of different races, different species, even animals. Everything needs food. So, you know, I said, let me just do a food job. That. That's like something that gives that.

[Cole Kushna]

Oh, that. I think that's beautiful because, I mean.

[MF Doom]

I'm quite sure there's a lot of.

[Cole Kushna]

MCs that might do something similar, but it's good, the fact that he's capable of bringing it to the forefront now that he's more visible.

[MF Doom]

So it's a beautiful thing because, you.

[Cole Kushna]

Know, there's no other reason to do this, man. I mean, everybody could be the greatest MC in the world, or the baddest or the toughest, but when you're capable of building and making something and helping the babies or family, that mean more. That mean more than platinum, mean more than Grammys. That's everything.

[Kevin Beacham]

So, any particular upcoming projects? I know you missed something throughout the interview, but you're like, what do you think is gonna be the. You know, after the. What are some of the next things we're gonna start seeing from you?

[MF Doom]

Yeah, man, I don't know if it's too early to talk about this stuff. You know, a lot of times I'll leak a title out there, we'll have no songs for it, and everybody be talking about that album. I'm like, damn, they thought, yo, I'm forced to do it, but start your store, you know what I'm saying? But this is how I've been working on the next doom one. Of course, you know, I'm already cracking on that concept. And it's more of the direction, man. It's going, even get closer to the character, you know what I'm saying? Title of that one is is going to be Do Own. It's like, to do meditation. Like, it moves away from the drunken doom kind of, you know, the whole little drug shrouded cloud kind of thing. It's like moving more in the direction of my life. Once the party is over, you know, saying, what do you do then? What are you doing? You drank too much, you're starting to feel dizzy, and you need some air. You do all. You know, that's what I'm trying to go back to. Meditation is go back to water, you know what I'm saying? You know, that's the next challenge, you know what I'm saying? Like you said, how am I gonna do it? I don't know yet, but I know that. And that's like the. The basics, and I'm just coming with the thunder up behind that.

[Kevin Beacham]

I want to just mention that this remain albums.

[Cole Kushna]

You're done.

[Kevin Beacham]

If you want to tell me any like songs that stand out on each album. Mr. Hood, what songs that would best represent you as a. I guess as an artist and a lyricist. On Mr. Hood.

[MF Doom]

Mr. Hood, I would have to say Sub Rock's mission, which I ain't even rhyme on, but sub rip that shit.

[Cole Kushna]

Help me out I'm hazy OCLX give me applause. What are you doing on the mixing board?

[MF Doom]

Are you crazy?

[Cole Kushna]

Crazy in temple with the universe yeah, that's me. I'll give little Mike a chance to stay on beat I'd like to dance.

[Kevin Beacham]

And have my chicken but they won't.

[Cole Kushna]

Keep in rhythm what is it? This is the mission of today.

[MF Doom]

In fact, it's the mission. This is the mission of such a snapshot of what was going on. Because he was cutting hair at the time, right out the crib, you know, that was his hustle. Hell was I doing? I think I was like, you know when cats would paint the names on the pants for the girls and whatnot?

[Kevin Beacham]

Yeah, yeah.

[MF Doom]

Join a little character on the side. That's what I used to do. My side hustle. So I like $10, whatever. But you know, of course you get more head head cut clients than. Than pans clients. Like maybe a week to do one set of pants, $20. You know, this cat cutting hair $10 ahead. Like five, six heads an hour, you know. So he kind of had me beat on the stack, but. But yeah, that's the block. Mrs. Song was the one that stood out to me as far as Sub on that album. If it was me lyrically, I would say something like, who me? Tricky.

[Cole Kushna]

Tricky must be part of the Gas Face series. The same one who started Black Cat Bad luck theories. Yeah, he done it. This place, he runs it. And I'm guilty alcatraz400 judging not the unjudged is where he slipped the real guilty is filthy Egypt Egypt blew the nose right off the Sphinx now winning inks ugly as when all hair kinks.

[Kevin Beacham]

I'm black Bastards Black Bastards Title C.

[MF Doom]

Black Bastards and see I became underground.

[Cole Kushna]

Since the life in the street the love of the beat Large is the fleet that will remain underground for all my boys who soul sleep six feet deeper than the soles of my fetus like that never the whack an actual fact is like this Sweet as a kiss as if you got the knack I thought I seen the worst with the pimps and the Macs and the cracks and stone pack suckers keep popping at I ain't black, I ain't right.

[MF Doom]

I ain't black, I ain't white, I ain't black, I ain't white, I ain't black, I ain't white, I ain't black, I ain't white, I ain't black, I ain't a white, I ain't black, I ain't. Give me the rock. Oh, it sounded like a rock. The rock solo joint N murder.

[Cole Kushna]

Ah, yeah, there it is. There it is, buddy. Yeah.

[MF Doom]

Huh?

[Cole Kushna]

Yeah, yeah, yeah. It seems to know the time but let's see Thing, yo, it's my thing the way I swing not even around.

[Kevin Beacham]

Okay. Operation Doomsday.

[MF Doom]

Oh, Doomsday to title cut Doomsday rhymes like don's and voice better bust out.

[Cole Kushna]

Laughing at the bed for no reason you get cussed out like Tourette yet type flow to make her bad ass stutter or even crack a smile from a mad fast cutter But a word places third grade age Back when we used to play bang open birdcage, hip hop, Benny Hill, Sip Henny straight, get every penny weight, Denny Chill at any rate my metal face holds with tongue all these iring do yourself I will continue to do my thing like kung fu fighting everybody was biting and the super villains strike again like lightning.

[Kevin Beacham]

Yeah, that's a joint. Okay.

[MF Doom]

Victor Vaughn, Vic Lick upon drop and then joint the rj. What's that joint again?

[Kevin Beacham]

Saliva.

[MF Doom]

Yeah, Saliva. Saliva Joint.

[Cole Kushna]

Great balls of fire Guess who just crawled out the bumper Maya that can make you trust a liar a real sucker Jiba Vaughn never been a duck and diver he spit on the mic.

[MF Doom]

Yuck. Saliva.

[Kevin Beacham]

Victor Vaughn too.

[MF Doom]

Joint. All right now. Nah, nah. Iz had titled these joints so I don't really know the titles for sake. Beside road rage he kept that one the same.

[Kevin Beacham]

Yeah, that's the one I thought was the best one on there.

[MF Doom]

You know, it's just stupid kid. All those songs really quickly written play. Those are the best songs when you're doing quick like that, you know what I'm saying? Just stick with the topic. Like if it was like a little joke, you know, Little jokes to just carry on for a second. Yeah, just like that. So Road Rage and then our bloody chain offense. Matt Villain, Grindstone. The last song I did is throwing my favorite ones on there.

[Cole Kushna]

Villain the smile Stunning chick while he put herself in your shoes Run your kicks, you heard it on the radio Radio, Tape it, play it in your stereo, your crew will go ape.

[MF Doom]

Raw lyrics.

[Cole Kushna]

He smells them like a hunch, the same intuition that tells them spikes, curses.

[MF Doom]

The accordion joint and so many on there. America Blooded Thunder, you know what I'm saying?

[Kevin Beacham]

King Ghidra. King Ghidorah.

[MF Doom]

My man Hassan, he got the joint on there called I Wonder. Yeah, I produced it. He ripped it. Oh, of course, the fine print, man. That. That just sums up the whole thing, you know, that sums up Gidra in a nutshell. Yo, render unto Ghidra.

[Cole Kushna]

What is Ghidra's tend to when he sees you through a beaker and a tweezers Read the fine print and be like, what's the big deal? Spun wheels of steel since broken wheel, big wheel Back when it was greasy S curl now it's easy dread had a rhyme on how they used to tease him about his peasy head yes, yes, y'all to the beach well, I.

[MF Doom]

Like to mention a couple of joints of the Food album one there. Okay, man. Whole cake in its own right, you know what I'm saying? Of course, friends like songs like that. They're a little more challenging.

[Kevin Beacham]

Yeah, that's a good one.

[MF Doom]

Vomit Spin is the last joint I put on there. Kind of speed I went on after the leak.

[Kevin Beacham]

So.

[MF Doom]

New Zoo joint.

[Cole Kushna]

It'S the beat he hear it in his sleep Sometimes Blare it in your jeep so your peoples can stare at them Rhymes, real rhymes not your everyday hologram Even one ribs was touching Never swallowed the ham he'd rather eat a sand sandwich Salad it might need salt like your man's bland ballad A lot of stuff happens that the news won't tell yous Blues on L Juice Snooze on Hell.

[Kevin Beacham]

Anything else particular about you that people should know?

[MF Doom]

No, I'll let you know. Ain't never gonna question Gonna be more and more coming out so, you know, ready your headsets and your own and your speakers. Make sure your monitors are in good working order. When you put the CD in, it don't bust and, you know, definitely coming, like, ain't gonna be no shortage of yeah. 1. Before you leave, let me just say I like to thank Rob says speaking. The whole staff over there, like, this whole collabo that we're doing in this. This kind of, like, merging kind of thing is really going to really bring it to a head out here with the music. Music stuff like the two companies, it's the way that they're set, you know what I'm saying? In hip hop, like, started them with the right intent. I mean, going in the right direction. And this is a crossroads. So it's going to be a whole lot of good stuff coming out of that that came up right?