![]() This album was hugely influential too, it was essential in establishing the Grime niche in (UK) Hip Hop.ĭizzee Rascal’s achievement is all the more impressive knowing he was not even 18 years old when he wrote most of this album. ![]() It also sounded way ahead of its time when it came out – still sounds ahead of its time today. With strong influences of typical British musical styles like Garage, Techno, and Dancehall, Boy In Da Corner sounds absolutely different from the usual Hip Hop fare. More accessible than King Geedorah’s Take Me To Your Leader, Vaudeville Villain is one of 2003’s best albums and the most underappreciated album in MF DOOM’s catalog. The opening track “Vaudeville Villain” starts off the album brilliantly, and the quality doesn’t let up all the way through. The album is filled with crazy creative imagery, humor, and dope punchlines, DOOM once again proves lyrically he is in a lane of his own. Nothing wrong with the musical backdrops on Vaudeville Villain by the way – a lot of dirty, dusty drums and snares, just as can be expected on an MF DOOM record – but it’s DOOM’s lyrics that steal the show here. For production duties, DOOM enlisted Sound-Ink record label members Heat Sensor, King Honey, and Max Bill, with the exception of “Saliva”, which was produced by RJD2. ![]() Where the King Geedorah album had its focus on DOOM’s beats – which at times overpowered the lyrics by mostly guest emcees – Vaudeville Villain focuses more on DOOM’s lyrics. 2003 saw two releases from the man, under two new aliases. ![]()
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