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A lot can change in a decade.

The Acwlp sessions were certainly that of a tumultuous time.

Rife with seedy taverns, eviction, travel and romantic misadventures manifold my victories and lessons were nothing if not hard-won. I felt the pressure to make something definitive while constantly seeking to become the artist I was meant to be. Listening back today there’s many things I can see as prelude or perhaps I was earning my initial moniker of Premonition because many things did indeed come to pass.

The album’s only feature was Curly Castro years before ShrapKnel was ever a discussion. We really parlayed that track into something special huh? I recall fondly taking the J to Cav’s crib to listen to beats with Quelle. Quasi routinely linking with Dove and finally emailing the then enigmatic Small Pro. I met Fresh Kils at Sxsw that year and picked the weirdest beat in his pack. Not sure he ever liked that song but the miles we went on to log together was something to behold at the very least. Dug out one of the oldest beats A.M. Breakups ever sent me and pretty sure he laughed when I asked for the stems. Green and I further established our sonic link as he helped me piece together a mosaic that was without a doubt unapologetically… me.

I released this record myself and since only have truly done vinyl business with folks I’ve known over a decade. Woods & Backwoodz, Ceschi & Fake Four, Dove & Fused Arrow and now with my good friend Zilla Rocca and Three Dollar Pistol. It’s always more fun to win together. This wasn’t a perfect record then and it isn’t now but that’s never the point of making one. It serves as an accurate snapshot of an artist coming into his own and scripting a prologue to bigger things to come. You hear what’s next all over this record and the things I’d leave behind. Happy to share it in a find physical manifestation all these years later. A lot can change in a decade.

-Prem

Limited Edition, Blue Vinyl Edition.
Copy close to VG+
Includes booklet.

The symphony of scramblers, dreamers, and go-getters—andrew's latest solo album harmonizes the hustle of the working artist. These songs paint a picture of relentless ambition and the grind that defines Philly's essence: keep going cause no one is coming here to save you.

Once again fully produced by andrew and joined by a bevy of first time collaborators, "don't forget me, bluest." is his most polished album yet.

Three Dollar Pistol Music is proud to announce the release of "Rhino Xxl" on vinyl, the audacious auditory assault meticulously crafted by the unholy alliance of Infinity Knives and Brian Ennals. This auditory spectacle has already detonated the very foundations of indie rap.

In a world where mediocrity has become the status quo, Infinity Knives and Brian Ennals have joined forces to deliver a melodic, enchanting, and John Carpenter meets Too Short-infused masterpiece that transcends genres, leaving a trail of chaos and cacophony in its wake. "Rhino Xxl" is not just an album; it's a manifesto set to music. It's an album that defies convention, a symphony of chaos that demands your attention and allegiance!

Lyrically gifted, socially aware, and politically insightful, Talib Kweli is one of the most influential hip-hop artists of the last 25 years. His early collaborative albums with Mos Def and Hi-Tek were among the most important releases in the genesis of modern rap, forging a future for thought-provoking lyricism and raw soundscapes at a moment when mass commercialization threatened the soul of the genre. Now more than two decades into a thrilling solo career, Kweli has evolved creatively while maintaining his artistic integrity, working with top talent across the musical spectrum in the process. Known for classic collaborative albums with artists like J Dilla, MF Doom, and Freddie Gibbs, widely celebrated producer Madlib is a sampling savant who has crafted beats for the likes of Erykah Badu, Anderson .Paak, Tyler The Creator, Logic, De La Soul, and many more. After releasing a groundbreaking collaborative project back in 2006, Madlib and Talib Kweli are reuniting for the highly-anticipated follow-up Liberation 2. Expansive in concept, the album is a vivid exploration of revolution, love, pan-Africanism, music, spirituality, and more, with Madlib’s jazz-inflected instrumentals providing the perfect soundtrack. “The materialism and debauchery that is stereotypically associated with hip hop has lost some of its luster,” Kweli explains. ìNever has there been a better time for such honest, message driven music that pays tribute to the sounds that came before us.” A global call for unity through space and time, Liberation 2 features appearances by Q-Tip, Westside Gunn, Roc Marciano, Roy Ayers, Goapele, Wildchild, Pink Siifu, and more, plus a posthumous verse by Mac Miller. Not on traditional digital outlets, the album is now available in physical form for the first time ever.

Lyrically gifted, socially aware, and politically insightful, Talib Kweli is one of the most influential hip-hop artists of the last 25 years. His early collaborative albums with Mos Def and Hi-Tek were among the most important releases in the genesis of modern rap, forging a future for thought-provoking lyricism and raw soundscapes at a moment when mass commercialization threatened the soul of the genre. Now more than two decades into a thrilling solo career, Kweli has evolved creatively while maintaining his artistic integrity, working with top talent across the musical spectrum in the process. Known for classic collaborative albums with artists like J Dilla, MF Doom, and Freddie Gibbs, widely celebrated producer Madlib is a sampling savant who has crafted beats for the likes of Erykah Badu, Anderson .Paak, Tyler The Creator, Logic, De La Soul, and many more. After releasing a groundbreaking collaborative project back in 2006, Madlib and Talib Kweli are reuniting for the highly-anticipated follow-up Liberation 2. Expansive in concept, the album is a vivid exploration of revolution, love, pan-Africanism, music, spirituality, and more, with Madlib’s jazz-inflected instrumentals providing the perfect soundtrack. “The materialism and debauchery that is stereotypically associated with hip hop has lost some of its luster,” Kweli explains. ìNever has there been a better time for such honest, message driven music that pays tribute to the sounds that came before us.” A global call for unity through space and time, Liberation 2 features appearances by Q-Tip, Westside Gunn, Roc Marciano, Roy Ayers, Goapele, Wildchild, Pink Siifu, and more, plus a posthumous verse by Mac Miller. Not on traditional digital outlets, the album is now available in physical form for the first time ever.

CALL ME IF YOU GET LOST: The Estate Sale is a limited edition 3 LP vinyl set, that features Tyler, The Creator’s original critically acclaimed CALL ME IF YOU GET LOST album plus 8 additional songs, pressed on Geneva Blue colored vinyl.
The discs are housed in a triple gatefold jacket with embossed cover, and foil detail, and includes a 28-page booklet.

Elwd presents his first ever collaborative project Monochrome - a transatlantic link-up featuring raps from Yungmorpheus, Vritra, Akai Solo, Nappynappa, Obijuan, Rahiem Supreme, Archibald Slim, and looms. In his own words: “Monochrome is about taking a step back, I wanted to create this unique atmosphere and feeling. Different to my other records, simple, yet complex in its thought and execution. I was thinking of monochrome as an idea instead of a visual meaning. Everything around us can be very complex but if you really narrow it all down it’s always two things - light and dark. Lancashire born, London based multi-instrumentalist and producer Tyler Ellwood uses a signature sample style blended with live instrumentation and never leans too much to one conventional style. Drawing inspiration from hip hop, jazz, the dreamy drift of ambient music, electronic, and yet eschewing conventionality and allegiance to any one genre.

Since they were just a child growing up on the banks of the Kagera, the huge river that curls throughout East Africa, Kenyan multi-instrumentalist, singer and producer Kabeaushé realized there was a sparkle inside that set them apart from their peers. As other kids assembled hierarchies and favored aggressive competition, Kabeaushé became obsessed with compassion, cuteness and ecstatic softness; uninterested in friction, they were driven by a search for bliss that, in time, directed them towards music. Inspired by Prince, Grace Jones, Bollywood soundtracks and, more recently, the boundlessly creative hybrid sounds of Tyler the Creater, Kabeaushé slowly began assembling a unique style that melts together music and theater, cooking up songs that are as supple and funky as they are gentle and self-aware."The Coming of Gaze" is Kabeaushé's ambitious debut statement, an album that's as meticulously conceived as an acrobatic stage-show, and as flexible as a silk scarf. Within seconds of opening track 'Andnoword' we're gifted a sense of Kabeaushé's genre-free vision, as gospel-funk chorals are punctuated with overdriven TR-808 thumps, chipmunked raps, angular guitar fuzz and dancefloor-ready rhythms. It's like an exuberant fusion of Kanye West, OutKast and Spank Rock, re-painted in East African neons. On 'Bully Me' Kabeaushé breaks down the complexities of their character, sweetly cooing over brittle Atlanta-influenced trills, flipping dexterously between earworm choruses and rubbery raps.They reinterpret the unmistakable "Trading Places" vocal sample (that was notoriously lifted on Masters at Work's influential 'The Ha Dance') on 'Caracas' re-Africanizing it and shaping it into sultry, futuristic funk in a contextual shift that characterizes the album's self-aware musical literacy. And you can hear Kabeaushé's knowledge of NYC rap bonafides on 'Dichotomous Key', a riff on The Notorious BIG's 'Hypnotize' that shifts from an inverted, fractured beat into bare minimal electro, simultaneously highlighting Kabeau...

Coming off his breakout LPs "pop 1967" and "The Rain Knows What It's Doing", andrew seemed an unlikely production partner for Zilla Rocca's bourbon drenched punchlines and late '90s east coast rap lineage.

But that's the thing about chemistry: you can't explain it. You just know when it works.

Every beat andrew sent over became a song. Every song Zilla wrote referencing the touchstones of Italian heritage South Philly residents know too well built a new brotherhood. "Don't Wait For Me to Leave" are songs born of experience backed by the lushest beats in the indie rap lane.

"Dom Irrera" is a note on how your favorite local spots change into vape shops and laundromats over time but you stay the same. "No One Cooks on Friday" boasts how fly it is to order in and do nothing every weekend. "Actions of the Now" examines how failures teach you more than any college ever could on how to succeed.

Of course, there is Rapping! Zilla Rocca has never rapped this much non-stop in his long legged life, specifically on cuts "Draper Papers" and "The River Knows", going 80+ bars deep. andrew takes a look under the hood to add his signature gravel-paved melodious tones to "Dom Irrera", "No One Cooks on Friday", and "You Need Friends". But even off the mic, andrew's now trademark ear for beauty and funk shape the record undeniably.

The most versatile indie rappers of today check in to tell stories and add their signatures to the bottom of the painting - Alaska of Hangar 18/Atoms Fam, PremRock and Curly Castro of ShrapKnel/Wrecking Crew, Wally Clark, Rich Jones, Teller Banks, and Brian Ennals.

"Don't Wait For Me to Leave" is for people who always prefer local over national, neighborhoods over culdesacs, Sunday's with Sinatra over Journey at the dive bar.

Wiz Khalifa, Big K.R.I.T., Smoke DZA and Girl Talk have released their collaborative LP Full Court Press. The product of over a decade-long friendship among the artists, the new album is a timeless and upbeat rap record.

On the project’s lead single, March’s “Put You On,” the group drops bars about the come-up of their respective careers. Leading up to the release, they shared more songs and accompanying music videos, including a visual for the party track “Ain’t No Fun” directed by kee and Bawwse.

“Collaborating with Girl Talk, Big K.R.I.T., and Smoke DZA on this album has been a long time coming,” Khalifa said. “Putting it together and throwing the house party for the “Ain’t No Fun” video was the perfect way to wrap the album.”

Spanning ten singles in total, Full Court Press is a nostalgic throwback, featuring undertones of the seventies and eighties alongside the musical stylings of each individual contributor. The album also packs in an additional guest appearance Curren$y.

Following the commercial success of the 2021 album Unf*ckwitable and an overall banner year for the Detroit rapper, Babyface Ray comes with the aptly titled and highly anticipated album, Face, which sees him stake his claim as “The Face of the City.” Production on the twenty-track album is largely handled by 808 Mafia, DJ Esco and others, and features appearances from Icewear Vezzo, Yung Lean, Pusha T, G Herbo, Wiz Khalifa, 42 Dugg & Landstrip Chip. With an already impressive list of cosigns from artists such as Future and Tyler, The Creator, Babyface Ray continues his all-out assault to put Motor City on the map and isn’t taking his foot off the gas anytime soon.

10-inch, shaped picture disc. “Peach Fuzz” is Tyler, the Creator's reworked version of Prophet's “Wanna Be Your Man” produced by Prophet, Mndsgn, and Swarvy. The record has the two tracks on Sides A & B. The record is packaged in a poly bag with printed O-card.

Quantity: 2000
Release type: RSD Exclusive Release

The collective has completed many tours together, and its debut album Escape From New York comes across as a collection of high level cyphers from Joey Bada$$, Nyck Caution, Kirk Knight, CJ Fly, Flatbush Zombies & more. Not surprising as the Brooklyn natives, a lot of them friends since childhood, have never shied away from the lyrics-centered tradition of New York hip-hop.

Their distinctive voices and skills on the mic, as well as NY-centric storytelling drive the album, and the chemistry is undeniable. The production is tight, but this is also where the supergroup shifts away from musically, perhaps what the title of the project is alluding to. Erick Arc Elliott, Power Pleasant, Sam Wish, and Tyler Dopps lay down slick, bouncy instrumentals as opposed to boom bap, and it's refreshing and fun to hear the group expand its sound. Check out "Distance," "Left Hand," "Snow In The Stadium," "Far Away," and "Coast/Clear."

The RSD Black Friday edition features 2LPs on translucent orange color and a Beast Coast Sticker.

Vinyl edition of Tyler The Creator’s first ever No.1 album.

Grammy Award winner 2020 in the category "Best Rap Album"! Also his first ever No.1 album

The cover is a placeholder as we don't know yet which one got picked for the vinyl pressing.

Staten Island New York Rap Veteran Fes Taylor is known for releasing project after project, covering a variety of styles and concepts, showing a consistently quality “from the streets” Hip-Hop sound. For the Summer of 2019 however, he decided to move a bit more slowly and consolidate only the best music for his new album, Generations At War. The focus here is on the message, as well as great tracks to showcase his lyrical virtuosity along with some of the younger artists he’s been collaborating with. Generations At War immediately speaks to the struggle of urban youth from Fes’ generation to the present day youth, and all the drama and political struggles they have gone through and continue to deal with.

Tyler The Creator remains controversial, handles the producttion of Flower Boy entirely by himself, and features guest vocals from a range of artists, including Frank Ocean, ASAP Rocky, Anna of the North, Lil Wayne, Kali Uchis, Steve Lacy, Estelle, Jaden Smith and Rex Orange County.

The album featuring A$AP Rocky, Frank Ocean, Lil Wayne, Estelle, Kevin Abstract & Rex Orange County.

Reissue without hype sticker! Janelle Monae, Vic Mensa, James Fauntleroy, Kaytranada and Tyler, the Creator are aboard!

Includes download code! Janelle Monae, Vic Mensa, James Fauntleroy, Kaytranada and Tyler, the Creator are aboard!

As wikipedia says: The album features uncredited guest appearances from Schoolboy Q, Charlie Wilson, Kali Uchis, Kanye West, Lil Wayne and Pharrell Williams ... so check it out!

Madvillainy is the debut and only studio album by Madvillain, a collaboration between legendary rapper MF DOOM (Daniel Dumile) and acclaimed producer Madlib (Otis Jackson Jr.), released on March 23, 2004 by Stones Throw Records. The album is often hailed as a masterpiece of underground hip-hop, characterized by its unconventional structure, eclectic production, and MF DOOM’s intricate, surreal lyrics.

Madvillainy was a highly anticipated project in the underground hip-hop scene, bringing together two of its most respected figures. MF DOOM, known for his complex wordplay and villainous persona, and Madlib, celebrated for his experimental and sample-heavy production, combined to create a dense, atmospheric album.
The project was recorded over several years, with Madlib working on beats while traveling and MF DOOM crafting his lyrics with a stream-of-consciousness style.
The album has a lo-fi aesthetic, featuring short, fragmented tracks, many of which do not follow traditional song structures like verses and hooks. Instead, Madvillainy is more of a collage, with some tracks acting as interludes or musical sketches.

Madlib’s production is eclectic and layered, drawing from jazz, soul, Brazilian music, obscure soundtracks, and 1970s psychedelia, creating a moody and experimental backdrop for MF DOOM’s vocals.
The album’s beats are sample-heavy, often gritty, and feature unorthodox tempos and time signatures. Madlib also uses interludes and vocal samples from obscure sources, giving the album a cinematic, almost comic book-like feel.
MF DOOM delivers his signature abstract and multi-syllabic rhymes, filled with internal rhyme schemes, pop culture references, and complex wordplay. His delivery is intentionally offbeat, which complements the nontraditional structure of the production.

Lyrically, Madvillainy is a blend of surrealism, humor, and complex storytelling. MF DOOM’s persona as the masked supervillain is ever-present, with much of the album reflecting his mischievous, sardonic view of the world.
His lyrics often appear cryptic, with layers of meaning that reward close listening. He plays with words in ways that defy conventional hip-hop norms, eschewing clear narratives in favor of dense, puzzle-like rhymes.
Themes in the album include betrayal, paranoia, and the villain’s perspective, often narrated from a detached, almost nihilistic point of view. However, DOOM’s approach is often playful, filled with irony and wit.

Key Tracks and Highlights:
"Accordion" – A minimalist, standout track where MF DOOM delivers one of his most well-known verses over a sparse accordion loop. The track captures DOOM’s style perfectly, with cryptic, tightly-packed bars and Madlib’s minimalist approach.
"Meat Grinder" – A haunting, jazz-infused beat serves as the backdrop for MF DOOM’s dense wordplay, as he raps with a stream-of-consciousness flow, dropping surreal imagery and twisted humor.
"America’s Most Blunted" (featuring Quasimoto) – A playful, weed-themed track featuring Madlib’s alter ego, Quasimoto. The track is both funky and chaotic, with vocal samples interspersed between DOOM and Quasimoto’s verses.
"Curls" – One of the shorter tracks, with a smooth, almost nostalgic beat. DOOM’s verses are filled with detailed, vivid descriptions, encapsulating his ability to turn everyday observations into poetic rhymes.
"All Caps" – Perhaps the most iconic track on the album, known for its booming beat and DOOM’s punchy, comic book-inspired verses. The title refers to MF DOOM’s alias, urging fans to spell it in all capital letters, reinforcing his larger-than-life persona.
"Rhinestone Cowboy" – The album’s closer, featuring a soulful, downtempo beat and some of DOOM’s most introspective and reflective lyrics. It’s a contemplative end to an otherwise chaotic and fragmented album.

Madvillainy is a nonlinear album, with many of the tracks flowing directly into each other without clear transitions. It’s constructed more like a sonic collage, making the album feel like a continuous, abstract narrative rather than a collection of separate songs.
The album contains numerous interludes and brief tracks, some less than a minute long, but all contributing to the overall mood and atmosphere. Tracks like "Sickfit" and "Do Not Fire!" are instrumental breaks that give Madlib’s production room to shine.

Upon release, Madvillainy was met with widespread critical acclaim. It was praised for its innovation, lyrical complexity, and cohesive production, with critics noting its departure from conventional hip-hop formulas.
It quickly became regarded as one of the most important and influential underground hip-hop albums of all time, with its influence extending beyond just hip-hop into broader experimental music.
MF DOOM’s and Madlib’s artistic approach on Madvillainy helped solidify their reputations as avant-garde artists, unafraid to push the boundaries of the genre.
The album is frequently included in lists of the greatest hip-hop albums of all time and is particularly beloved by fans of alternative and underground hip-hop. It has been noted for its lasting influence on the sound and style of future hip-hop artists, especially in the abstract, lo-fi, and experimental spaces.
Impact on MF DOOM and Madlib's Careers:
MF DOOM further cemented his legacy as one of hip-hop’s most enigmatic and talented lyricists. His use of the supervillain persona, combined with his intricate rhyming style, made him a cult figure in the genre.
Madlib also gained widespread recognition for his unique production style, which merged elements of hip-hop, jazz, and experimental music. His ability to create deeply layered and textured beats without sacrificing their lo-fi charm became a hallmark of his production style.
Madvillainy’s success paved the way for other projects in the underground scene and inspired a new wave of artists who saw hip-hop as a medium for abstract, avant-garde expression.

Madvillainy continues to be revered as a benchmark in underground hip-hop. Its influence can be heard in the work of countless artists, from Earl Sweatshirt and Tyler, The Creator to more experimental producers and MCs who were inspired by Madlib's and MF DOOM’s fearless approach to crafting an album.
The mystique surrounding MF DOOM, especially after his untimely death in 2020, only added to the album’s legendary status, with Madvillainy often considered his definitive work.
The album’s blend of complex lyricism, unorthodox production, and nontraditional structure helped redefine what could be done in the hip-hop genre, making it a timeless work of art.
In summary, Madvillainy is a landmark album in hip-hop, pushing the boundaries of both lyricism and production. Its influence is far-reaching, and its status as one of the greatest underground albums remains unchallenged. The partnership between MF DOOM and Madlib resulted in a project that is as dense, surreal, and captivating as it is groundbreaking.

Long out of print on vinyl, Tyler, The Creator’s classic album Wolf finally receives an official repress. The album is pressed on two pink-colored LPs in a gatefold jacket with printed inner sleeves and a 12”x 12” insert.

The package also includes an oversized sticker of Tyler’s face.

Woof, woof, the original OFWGKTA Wolf is back!

Still sealed with hype sticker. With CD.

Original inner sleeves. With CD.

Wolfgang or Odd Future or OFWGKTA or whateveryoumightcallem come up with their first proper release: Tyler, The Creator's Goblin on XL Recordings … includes the 4 million-youtube-surprise 'Yonkers'!

Wolfgang or Odd Future or OFWGKTA or whateveryoumightcallem come up with their first proper release: Tyler, The Creator's Goblin on XL Recordings … includes the 4 million-youtube-surprise 'Yonkers'!

Wolfgang or Odd Future or OFWGKTA or whateveryoumightcallem come up with their first proper release: Tyler, The Creator's Goblin on XL Recordings … includes the 4 million-youtube-surprise 'Yonkers'!

Madvillainy is the debut and only studio album by Madvillain, a collaboration between legendary rapper MF DOOM (Daniel Dumile) and acclaimed producer Madlib (Otis Jackson Jr.), released on March 23, 2004 by Stones Throw Records. The album is often hailed as a masterpiece of underground hip-hop, characterized by its unconventional structure, eclectic production, and MF DOOM’s intricate, surreal lyrics.

Madvillainy was a highly anticipated project in the underground hip-hop scene, bringing together two of its most respected figures. MF DOOM, known for his complex wordplay and villainous persona, and Madlib, celebrated for his experimental and sample-heavy production, combined to create a dense, atmospheric album.
The project was recorded over several years, with Madlib working on beats while traveling and MF DOOM crafting his lyrics with a stream-of-consciousness style.
The album has a lo-fi aesthetic, featuring short, fragmented tracks, many of which do not follow traditional song structures like verses and hooks. Instead, Madvillainy is more of a collage, with some tracks acting as interludes or musical sketches.

Madlib’s production is eclectic and layered, drawing from jazz, soul, Brazilian music, obscure soundtracks, and 1970s psychedelia, creating a moody and experimental backdrop for MF DOOM’s vocals.
The album’s beats are sample-heavy, often gritty, and feature unorthodox tempos and time signatures. Madlib also uses interludes and vocal samples from obscure sources, giving the album a cinematic, almost comic book-like feel.
MF DOOM delivers his signature abstract and multi-syllabic rhymes, filled with internal rhyme schemes, pop culture references, and complex wordplay. His delivery is intentionally offbeat, which complements the nontraditional structure of the production.

Lyrically, Madvillainy is a blend of surrealism, humor, and complex storytelling. MF DOOM’s persona as the masked supervillain is ever-present, with much of the album reflecting his mischievous, sardonic view of the world.
His lyrics often appear cryptic, with layers of meaning that reward close listening. He plays with words in ways that defy conventional hip-hop norms, eschewing clear narratives in favor of dense, puzzle-like rhymes.
Themes in the album include betrayal, paranoia, and the villain’s perspective, often narrated from a detached, almost nihilistic point of view. However, DOOM’s approach is often playful, filled with irony and wit.

Key Tracks and Highlights:
"Accordion" – A minimalist, standout track where MF DOOM delivers one of his most well-known verses over a sparse accordion loop. The track captures DOOM’s style perfectly, with cryptic, tightly-packed bars and Madlib’s minimalist approach.
"Meat Grinder" – A haunting, jazz-infused beat serves as the backdrop for MF DOOM’s dense wordplay, as he raps with a stream-of-consciousness flow, dropping surreal imagery and twisted humor.
"America’s Most Blunted" (featuring Quasimoto) – A playful, weed-themed track featuring Madlib’s alter ego, Quasimoto. The track is both funky and chaotic, with vocal samples interspersed between DOOM and Quasimoto’s verses.
"Curls" – One of the shorter tracks, with a smooth, almost nostalgic beat. DOOM’s verses are filled with detailed, vivid descriptions, encapsulating his ability to turn everyday observations into poetic rhymes.
"All Caps" – Perhaps the most iconic track on the album, known for its booming beat and DOOM’s punchy, comic book-inspired verses. The title refers to MF DOOM’s alias, urging fans to spell it in all capital letters, reinforcing his larger-than-life persona.
"Rhinestone Cowboy" – The album’s closer, featuring a soulful, downtempo beat and some of DOOM’s most introspective and reflective lyrics. It’s a contemplative end to an otherwise chaotic and fragmented album.

Madvillainy is a nonlinear album, with many of the tracks flowing directly into each other without clear transitions. It’s constructed more like a sonic collage, making the album feel like a continuous, abstract narrative rather than a collection of separate songs.
The album contains numerous interludes and brief tracks, some less than a minute long, but all contributing to the overall mood and atmosphere. Tracks like "Sickfit" and "Do Not Fire!" are instrumental breaks that give Madlib’s production room to shine.

Upon release, Madvillainy was met with widespread critical acclaim. It was praised for its innovation, lyrical complexity, and cohesive production, with critics noting its departure from conventional hip-hop formulas.
It quickly became regarded as one of the most important and influential underground hip-hop albums of all time, with its influence extending beyond just hip-hop into broader experimental music.
MF DOOM’s and Madlib’s artistic approach on Madvillainy helped solidify their reputations as avant-garde artists, unafraid to push the boundaries of the genre.
The album is frequently included in lists of the greatest hip-hop albums of all time and is particularly beloved by fans of alternative and underground hip-hop. It has been noted for its lasting influence on the sound and style of future hip-hop artists, especially in the abstract, lo-fi, and experimental spaces.
Impact on MF DOOM and Madlib's Careers:
MF DOOM further cemented his legacy as one of hip-hop’s most enigmatic and talented lyricists. His use of the supervillain persona, combined with his intricate rhyming style, made him a cult figure in the genre.
Madlib also gained widespread recognition for his unique production style, which merged elements of hip-hop, jazz, and experimental music. His ability to create deeply layered and textured beats without sacrificing their lo-fi charm became a hallmark of his production style.
Madvillainy’s success paved the way for other projects in the underground scene and inspired a new wave of artists who saw hip-hop as a medium for abstract, avant-garde expression.

Madvillainy continues to be revered as a benchmark in underground hip-hop. Its influence can be heard in the work of countless artists, from Earl Sweatshirt and Tyler, The Creator to more experimental producers and MCs who were inspired by Madlib's and MF DOOM’s fearless approach to crafting an album.
The mystique surrounding MF DOOM, especially after his untimely death in 2020, only added to the album’s legendary status, with Madvillainy often considered his definitive work.
The album’s blend of complex lyricism, unorthodox production, and nontraditional structure helped redefine what could be done in the hip-hop genre, making it a timeless work of art.
In summary, Madvillainy is a landmark album in hip-hop, pushing the boundaries of both lyricism and production. Its influence is far-reaching, and its status as one of the greatest underground albums remains unchallenged. The partnership between MF DOOM and Madlib resulted in a project that is as dense, surreal, and captivating as it is groundbreaking.

Rap’s Big Bang, the action that made it the dominant musical force of the 21st Century, was helped along by Steven Tyler putting his mic stand through the wall in the video for ‘’Walk This Way.'' The metaphor was big and dumb and direct: the walls between rock stars and rap stars were coming down, and rappers were on the same level as rock ‘n’ rollers known for excess. But that moment doesn’t have the same kind of impact—Run-D.M.C. were immediate stars—if the album it came from wasn’t the first masterpiece rap album in the history of the music, an album so perfect, so aesthetically sharp, that it lead to everything that has come since. The shell toe Adidas sold out, Run and DMC and Jam Master Jay became legends, and Raising Hell became the first platinum rap album ever.

SOURCED FROM THE ORIGINAL MASTER TAPES AND PRESSED ON MOFI SUPERVINYL
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe



Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.