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MF DOOM Achieves His First Solo Top 10 With ‘Mm..Food’ 20th Anniversary Release

November 29, 2024 by newhiphopnews

Petition Pushes To Name New York Street After MF DOOM

The late MF DOOM, a visionary in hip-hop, has posthumously achieved a career milestone with the 20th-anniversary re-release of Mm..Food, marking his first solo top 10 on the charts. Witnessing the resurgence of his work is a bittersweet moment, both a celebration of his legacy and a reminder of his profound absence. As someone who knew him during a pivotal time in my life, I reflect on how he offered not just music but wisdom and kindness, shaping those around him in ways that still resonate.

The 20th-anniversary edition of Mm..Food, released by Rhymesayers Entertainment, earned 31,000 equivalent album units in its first week of re-release, according to Luminate. Of those, 27,000 came from traditional album sales, giving MF Doom the best sales week of his career. The physical variants were especially popular, contributing 26,500 units, including 22,000 vinyl records sold. These figures catapulted the album to No. 5 on the Top Album Sales chart—his first top 10 entry there—and No. 2 on the Vinyl Albums chart.

The re-release includes the original 15-song tracklist alongside four remixes, including a Madlib rendition of “One Beer” and three versions of “Hoe Cakes.” Fans were also treated to seven spoken interview tracks with DOOM, offering a rare glimpse into the mind of a man known for his mystique. The anniversary edition also benefited from streaming activity, with 5.6 million on-demand U.S. streams, equating to 5,000 units.

In addition to Mm..Food landing at No. 18 on the Billboard 200—his highest career peak—the album made waves across multiple charts. It re-entered the Independent Albums chart at No. 1 and debuted at No. 4 on the Top Rap Albums chart. This marks a significant moment for the rapper, whose groundbreaking work often flew under the radar of mainstream success during his lifetime.

While Mm..Food is DOOM’s first solo project to hit the top 10 on the Top R&B/Hip-Hop Albums chart, he previously achieved the feat as part of NehruvianDOOM, his 2014 collaboration with Bishop Nehru. DOOM’s earlier solo albums, such as Operation Doomsday (1999) and Take Me to Your Leader (2003), were influential but commercially underappreciated. His breakthrough on the charts came with Vaudeville Villain (2003), which peaked at No. 99 on the Top R&B/Hip-Hop Albums chart, laying the foundation for a career that thrived on innovation and collaboration.

Born Daniel Dumile, MF DOOM was a British-American rapper who carved a unique niche in hip-hop with his distinctive wordplay, complex lyricism, and enigmatic persona. From collaborations with Madlib (Madvillainy), Danger Mouse (The Mouse and the Mask), and Czarface (Czarface Meets Metal Face), to his solo masterpieces, DOOM’s influence in the independent hip-hop space remains unparalleled.

Since his untimely death in 2020, his legacy has only grown stronger. The success of Mm..Food is a testament to his enduring impact and a reminder of the creative force he brought to the world. As fans continue to celebrate his life and artistry, it’s clear that MF DOOM’s mask may have been a mystery, but his music is a legacy.

MF DOOM FOREVER.

The post MF DOOM Achieves His First Solo Top 10 With ‘Mm..Food’ 20th Anniversary Release appeared first on The Source Magazine.

Camp Flog Gnaw Somehow Improved On Perfection

November 20, 2024 by newhiphopnews

flog gnaw(1024x450) — Getty Image/Merle Cooper

Tyler, The Creator’s Camp Flog Gnaw Carnival is already one of the best festivals in the world. So, for the festival’s tenth anniversary, how could the rebellious Los Angeles native possibly improve what is as close to perfection as it gets? The only way he knows how: By focusing on the fans to give them the experience he would want for himself. While that includes top-down conceptualizing like the always-excellent curation of the festival’s lineup of artists Tyler actually enjoys, it also means ensuring that everything from the facilities to the food stands out, meeting the best-in-class standard Flog Gnaw has set for the past ten years — and will hopefully continue to do so for many more. Here are five takeaways from the tenth Flog Gnaw.

Getting To The Festival Is A Breeze

Tyler rarely puts out environmental messages or talks about civic duty — that would be at odds with his image as a devil-may-care, mischievous menace — but his priorities are plain from the moves he makes in support of the Flog Gnaw festivities. This year, the festival partnered with LA’s local public transit network to provide a free shuttle from the city’s historical Union Station to the festival grounds at Dodger Stadium, where the fest returned for the fourth year. While Metro itself sort of dropped the ball with this due to some needed improvements on one of the rail lines (specifically, the one I use to get to Union Station), necessitating an additional transfer, the shuttle service somehow managed to corral those hundreds of exuberant 20-somethings (and one grumpy 40-year-old) and keep things moving along fairly efficiently. There aren’t too many other local festivals as ideally situated, but I would love to see more of them duplicate similar services.

Dodger Stadium Is The Perfect Venue

In the four years since the festival moved to Dodger Stadium from Exposition Park, gradual improvements to its layout and grounds have made it the ideal venue for such an event. Last year, someone figured out that sticking all three stages in the north parking lots offered the best version of the layout, and this year, that stuck, with the Camp Stage situated in the center of the event space, flanked by the Flog stage to the west and Gnaw to the east. There’s still plenty of space to move around, and the landscape is dotted with even more rides and games, giving the festival a true carnival feel. While in line for the shuttle, I overheard nearby attendees discussing whether VIP passes were worth it, ultimately coming to the conclusion that there’s plenty of bang for your buck thanks to the VIP-exclusive rides, which had shorter lines — although only two stages have dedicated VIP sections (Gnaw is situated in such a way that it really wouldn’t make sense to add one there).

Themed Pop-Up Restaurants Even Make Eating Fun

While browsing social media posts about the festival, I saw quite a few posts responding to the MF DOOM’s MM..FOOD Diner menu with skepticism and derision. I assume most of these posts were just from commenters salty they weren’t at the fest and didn’t get to try the food for themselves. Consisting of items named after tracks from DOOM’s 2004 concept album, the menu was similar in price to the other concessions around it, and each item offered enough food to feed two people. My partner and I ordered the Rap Snitch Kniches, which turned out to be chicken and waffles with a twist — the chicken was INSIDE the waffle. This is momentous stuff. This needs to be a real restaurant, stat. Another artist-themed offering was Pusha T’s Grindin coffee, which cleverly tied into the artist’s persona in a similar way.

Meanwhile, even with the usual assortment of festival foods, we never waited in line for anything for longer than 10 or 20 minutes (the line for MM..FOOD was the longest, but the meal was in our hands almost as soon as we ordered it). The food booths are also ideally located to keep lines from overlapping any of the activations or stage crowds, so it was as close to a hassle-free experience as it gets. I would like to see more tables, but logistically, I understand potential safety hazards.

The Merch Is Enviable And Actually Looks Great

Flog Gnaw has always presented enviable merch options in comparison to a lot of other festivals. While it’s likely that not everybody in the fest’s target demographic can justify the cost of a $100 sweatshirt commemorating their attendance, the designs are undoubtedly among the coolest I’ve seen at the 20 or so fests I’ve covered in my time at Uproxx. My partner came away with one that cheekily reads “Save The Bees,” which doubles as both another ironic-but-sincere environmental message endorsed by Tyler and a reference to the cover of his 2017 breakout album Flower Boy. I still have yet to come away with a stuffed Tyler toy (there are all kinds of different ones, from his ski-masked Goblin alter ego to more recent album era-inspired looks), but perhaps next year will be my year. Meanwhile, even the general stores dotting the grounds had some unexpected treats; I haven’t seen another festival selling collapsible stools before, but I wouldn’t be surprised if they started showing up at more events in the future — and let me tell you, they are lifesavers no matter how old you are.

The Music Remains The Star Of The Show

The thing that makes Tyler so distinctive as an artist is that he’s such a huge fan of music, in general. Too often in hip-hop, there’s this cool-guy mindset: “I don’t really listen to music.” And I guess it’s an effort not to look cringe or like you’ve been inspired by someone else — you’re a one-of-one, completely original — which is why T not doing that is so dang cool (and kind of ironic, considering his seeming abhorrence of anything cringe or too sincere). He listens to everything; you can experience a sampling of his personal playlist by hanging around the Camp stage between sets. And he knows that just because you enjoy the jazz styling of André 3000’s latest album, doesn’t mean you won’t also get absolutely wrecked to Playboi Carti or Denzel Curry’s approach to thrash rap.

The same crowd that vibes out to Omar Apollo can get roasted by Vince Staples (do not, under any circumstances, forget that rap is Black music). Syd and Orion Sun can offer dreamy R&B, Raye can demonstrate her vocal virtuoso, Earl Sweatshirt can get deeply lyrical, and Mase can bring out the hits — some of which are older than half of Flog Gnaw’s attendees — and all of them can resonate with the diverse, eclectic crowd (some more than others, true). The weekend’s standouts, in addition to the above-mentioned names, were Doechii, who continued her campaign for rap’s upper echelons, and Sexyy Red, who made believers of even the most skeptical listeners, according to the results of my recap-related ear hustling. Oh, yeah, Tyler performed a bunch of his new songs from Chromakopia, and I can’t wait for that tour. “Sticky” is a hit.

Undoubtedly, the coolest part for me was seeing a full orchestra paying homage to the masked man who unexpectedly inspired so many of the artists who appeared on this bill, MF DOOM. There’s no way to describe it for those who weren’t there, but the vibes were immaculate — and elevated by an appearance from Erykah Badu, fresh off her main stage set, to reproduce the interpolation from his signature hit “Doomsday.” Also, yes, there was an actual accordion. For me, the set encapsulated the best thing about Camp Flog Gnaw: acknowledging the past, enjoying the present, and imagining a(n Odd) future where both can coexist and complement each other. That future is always on the way, thanks to Tyler The Creator.

Check out exclusive photos from Camp Flog Gnaw 2024 below.

Daniel Caesar

Denzel Curry

Doechii

Earl Sweatshirt

Erykah Badu

Faye Webster

Kaytranada

Kenny Mason

Laila!

Lithe

Mustard

Omar Apollo

Orion Sun

Raye

Sampha

Sexyy Red

Syd

The Marias

Wisp

Yves Tumor

Playboi Carti

Today in Hip Hop History: MF DOOM Dropped His Fifth LP ‘MM…FOOD’ 20 Years Ago

November 16, 2024 by newhiphopnews

On this date in 2004, MF DOOM dropped his fifth full-length studio release MM..FOOD. Put out on the underground Rhymesayers Entertainment label, some songs from the project were previously released under the name Madvillian on another label. The album featured classic samples from several superhero cartoons including the Fantastic Four, Spiderman and Superman.

The album featured production mainly from DOOM himself, with Count Bass D and Madlib on the help out on just two tracks on the 15 track project. Some of the standout tracks include “Hoe Cakes”, “Guinnesses”, which featured Tennessee born/ATL bred femcee Empress StaHHr and 4ize, and the kaleidoscopic “Fig Leaf Bi-Carbonate.”

Salute to DOOM and everyone involved with this timeless album!

The post Today in Hip Hop History: MF DOOM Dropped His Fifth LP ‘MM…FOOD’ 20 Years Ago appeared first on .

MF Doom’s Estate Shares Remixes & Interview Soundbites On 20th Anniversary Edition Of “MM..Food”

November 15, 2024 by newhiphopnews

A rap icon like no other is being celebrated today with a special rerelease of a beloved project. The estate of English born rapper and producer MF DOOM is celebrating and remembering MM..FOOD with a 20th Anniversary Edition out everywhere now. The 2004 album tends to get overlooked a bit by the release of Madvillainy that same year. However, make no mistake, MM..FOOD is a halo release within his decorated discography.

MF DOOM’s team certainly is doing this project right with this special edition with some exclusive remixes and rare soundbites. The latter were taken from the same interview, with him answering questions about his standing in rap, the process of making music, and more. Then, there’s the remixes, and they feature production chops from the likes of frequent collaborators Madlib and Ant, as well as Jake One. “One Beer” and “H*e Cakes” are the tracks receiving such treatment. However, the music isn’t the only thing that DOOM’s estate is offering with this drop. There are multiple variants of the anniversary pressing on vinyl on gasdrawls.com.

MM..Food (20th Anniversary Edition) – MF Doom

MM..FOOD (20th Anniversary Edition) Tracklist:

Disc 1

Beef Rapp
H*e Cakes
Potholderz with Count Bass D
One Beer
Deep Fried Frenz
Poo-Putt Platter
Fillet-O-Rapper
Gumbo
Fig Leaf Bi-Carbonate
Kon Karne
Guinnessez with Stahhr, 4ize
Kon Queso
Rapp Snitch Knishes with Mr. Fantastik
Vomitspit
Kookies

One Beer – Madlib Remix
H*e Cakes – Ant Remix
H*e Cakes – Jake One Remix
H*e Cakes – Beatboxapella

The Evolution From Zev Love X to MF DOOM
Being Embraced by a Diverse Fanbase
Conquering Writer’s Block
Doing Production vs. Working with Producers
The Making of MM..FOOD
MM..FOOD Favorites
The Future with Metalface Records, Gas Drawls, & Rhymesayers

[Via] [Via]

The post MF Doom’s Estate Shares Remixes & Interview Soundbites On 20th Anniversary Edition Of “MM..Food” appeared first on HotNewHipHop.

Graff Rap: Five MCs That Are Known Wall Writers

November 13, 2024 by newhiphopnews

“Cause I’m playin ball or bobbin’ in the hall/ or just writin’ my name in graffiti on the wall..”

– Rakim “My Melody” circa 1986

Very few of today’s Hip Hop enthusiasts understand the history and impact of aerosol art or graffiti on the culture that we all know and love. As the eldest of Hip Hop’s original four pillars, its visual self expression is rooted in some of the roughest streets of New York and Philadelphia, depending on who you ask.

Then you have the youngest of the four pillars, emceeing, which is the verbal expression of the street culture and the euphemism “the handwriting on the wall” is told from the POV of the MC. In the 80s and 90s, there several of the era’s most prolific emcees began their “careers” in Hip Hop as graff artists. Some of them have continued to pursue their love to paint and some will give you a tag when you request an autograph.

The Source has decided to compose a list of five emcees that you may or may not know have hand styles for miles and Old Gold can control!

KRS -ONE

Brooklyn-born/Bronx-raised Hip Hop legend KRS-One was a graffiti writer before he was known as the “Blastmaster” of Boogie Down Productions, scribing his name all over the streets of Brooklyn and the Bronx during his time at a men’s shelter where he met the late DJ Scott La Rock.

Fat Joe

The Bronx is widely known to have produced some of MYC’s greatest graffiti writers and Fat Joe aka Joey Crack aka CRACK TS is a part of that legacy. The Terror Squad was originally a street crew and with graffiti being apart of their outfit, you could find CRACK TS pieces and throw ups near Forest Projects as late as 1993 when Joe dropped his first single “Flow Joe”. Above, you can see a throwie that CRACK painted in Lil Wayne’s home.

MF DOOM

One of the most revered and worshipped figures on the Hip Hop landscape is the late MF DOOM. Formerly known as Zev Love X from the conscious trio KMD, DOOM later established himself as a solo artist, but his assumed nom de plume DOOM became more of a staple of his identity. DOOM throwies could be found around lower Manhattan, Queens, Brooklyn and even other countries with his CM(Criminal Minded) crew inscribed in his piece. The DOOM throwie is still a seminal piece of the MF DOOM/Metalface brand and will be always be one of the most recognizable throws in the graff game.

DJ KAY SLAY

The illustrious “Drama King” DJ Kay Slay(R.I.P.) was an integral part of the graffiti culture long before he was known for terrorizing the mixtape scene in the late 90s and early 2000s. Known among writers as Dezzy Dez aka DEZ TFA, Slay appeared in the 1983 NYC graffiti introduction documentary Style Wars as a 16-year-old graff expert, even schooling a younger artist named TRAP to the tricks of the trade almost four decades ago. No, he isn’t an emcee, but we had to pay homage to a true pioneer of Hip Hop culture. Rest In Paint Kay Slay

TAME ONE

As one half of the lyrical Newark-based duo The Artifacts, TAME was just as active with a can, if not more, as he was on the mic. As a member of NJ graff crew BOOM SKWAD, TAME’s name could be seen as large as full productions and as small as marker tags all over Newark, East Orange and Irvington while he and El Da Sensei worked their two albums , 1994’s Between A Rock And A Hard Place and 1997’s That’s Them. TAME ONE aka Raheim Brown will forever be remembered as one of the best bombers to pick up a mic. R.I.P.

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Madlib Sues Former Manager Egon For Alleged Mismanagement And Financial Impropriety

November 1, 2024 by newhiphopnews

Legendary producer Madlib filed a lawsuit against former manager Egon on October 31, the four-year anniversary of MF DOOM’s death. He chose the date to honor DOOM, whose family is currently in a legal battle of their own with Egon. In a complaint, Madlib accused Egon of several inappropriate business practices. The practices include allegedly mismanaging his finances, abusing his power by “taking a fee off the top” from money generated by his recorded music and locking him out of several “key music business platforms” like Apple Music, YouTube, BandCamp, Instagram and Facebook.

Madlib signed to Stones Throw Records and released his first single with the label, “Microphone Mathematics,” in 1999. Egon was working there as an executive. He became the general manager of Stones Throw in 2000, remaining in that role for the next decade. After Madlib left and Egon was fired, Madlib brought him on as his manager. They started Madlib Invazion in 2010, which is where the majority of his work has been released since. Additionally, they started Madicine Show and Rappcats.

Madlib Sues Former Manager Egon Over Mishandled Funds

Madlib has filed a lawsuit against his former manager Eothen “Egon” Alapatt on the fourth anniversary of MF Doom’s death

More: https://t.co/fQsrWMozzx https://t.co/fQsrWMozzx

— Rolling Stone (@RollingStone) November 1, 2024

Because of Egon’s alleged mishandling of Madlib’s finances, the legendary Oxnard-based producer is seeking compensatory damages, including attorney fees. As the complaint explained, Madlib “desires a declaration from the Court determining that none of the Defendants owns or has any continuing right or interest in the above and that he has lawfully terminated any rights he may have granted therein to any of the Defendants. Such declaration is necessary and appropriate at this time to confirm and protect Madlib’s interest in his creative work and the goodwill associated with his professional career, as well as his name and likeness, and so that Madlib may ascertain the rights and duties of the parties relating thereto.”

In October 2023, MF DOOM’s widow, Jasmine Dumile Thompson, filed a lawsuit of her own against Egon. Thompson’s suit alleged that the former family friend stole 31 of the iconic rapper’s notebooks. Those bookers were used to write some of his most well-known songs, including music from Operation Doomsday, Madvillainy, MM…FOOD. The books also included unreleased song ideas and “other creative ideations.” Madlib’s suit is the latest piece of what has been a lengthy falling out between Egon and the families of his two closest collaborators in hip-hop.

[Via]

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Why Is Madlib Suing His Former Manager Egon?

November 1, 2024 by newhiphopnews

Yesterday, Billboard reported that veteran underground rap producer Madlib had filed a lawsuit against his former manager, Eothen Alapatt — better known to rap fans as Egon of Stones Throw Records. According to Madlib’s lawsuit, Egon used his role as an executive at Stones Throw to self-deal, claiming profits for himself that were otherwise due to Madlib.

Madlib allegedly trusted Egon to set up two entities: Madicine Show, which would handle Madlib’s musical interests, and Rapp Cats, which would manage sales of Madlib’s merchandise. The producer says that he recently learned that Egon was abusing his privileged position by skimming profits for himself, either hiding accounts or providing false accounts of his work to Madlib about his compensation, and not giving written agreements to his business partner.

In another example of his alleged mismanagement, Egon supposedly secured a single lawyer and accountant to represent both partners in the two enterprises, then instructed them not to work with Madlib and only deal with him, even after Madlib secured new representation of his own. After reviewing accounts from 2018-2022, Madlib says his new team found irregularities and lack of hard copy that amounted to “several hundred thousand dollars” listed as “‘consulting,’ ‘commissions,’ ‘fees’ or ‘reimbursements’” for Egon.

‘Lib also accused Egon of locking him out of his digital accounts for services like Apple Music, Bandcamp, and Ingrooves, allowing Egon to take half of the producer’s royalties. Madlib’s complaint says he “demanded that Madicine Show and Rapp Cats be wound up and dissolved,” and that Egon instead told Madlib to buy him out.

Egon was also sued last year by the widow of the late MF DOOM, whose Madvillainy album with Madlib was put out through Stones Throw during Egon’s time there. Jasmine Dumile claimed Egon refused to return DOOM’s rhyme books, insisting on donating them to a digital archive rather than keep them secret as DOOM intended. Egon has derided that claim as “baseless and libelous” through his attorneys, but has yet to respond to Madlib’s newly filed suit.

The Best Vinyl Releases Of October 2024

October 31, 2024 by newhiphopnews

Anybody who thought the vinyl resurgence was just a fad was mistaken: The industry has experienced a legitimate revival. As a result, music fans are interested in physical media in ways they may not have if the decades-old medium hasn’t made a comeback. That doesn’t mean everybody is listening to just their parents’ old music, though. That’s part of it, sure, thanks to rereleases that present classic albums in new ways. A vital part of the renewed vinyl wave, though, is new projects being released as records, of which there are plenty.

Whatever you might be into, each month brings a new slew of vinyl releases that has something for everybody. Some stand out above the rest, naturally, so check out some of our favorite vinyl releases of October below.

Weezer — Blue Album 30th Anniversary Edition

Weezer is celebrating three decades of their iconic debut album this year, and they’re doing it big. A new anniversary reissue of the album is packed with goodies, including newly released archival recordings, all in a massive box set that has four LPs, a 10-inch vinyl, and a 7-inch vinyl. Many of the formats, including the box set wrapped in a sweater and the zoetrope edition have sold out already sold out, but the half-speed remaster is still available for pre-order online, or you can head to your local record store starting on 11/1 to see what they have.

Get it here.

Utah Saints — Utah Saints (Reissue)

Utah Saints, pioneers in the UK electronic scene, released their self-titled debut album 30 years ago now, so they’re giving it a big, fancy reissue to mark the occasion. The rerelease has been remastered and extended with rare cuts and remixes from folks like David Morales, CJ Bolland, and Andrew Weatherall, all housed in “special limited edition mirror board packaging.”

Get it here.

Jimmy Eat World — Futures: Phoenix Sessions and Surviving: Phoenix Sessions

Jimmy Eat World performed their classic album Futures in full earlier this month, and that’s because the album just turned 20 years old. The group has also unveiled an anniversary vinyl in honor of the project (and of Surviving), which is taken from the band’s 2021 livestream event, during which they played the album.

Get it here.

Girls — Album (Reissue); Father, Son, Holy Ghost (Reissue); and Broken Dreams Club (Reissue)

Girls had a strong run from 2007 to 2012, and now that era is being immortalized: They released two albums — Album and Father, Song, Holy Ghost — and an EP — Broken Dreams Club— and they’ve all gotten vinyl reissues. This is the first time the albums have been pressed since their initial releases. And, if you want to see what Christopher Owens is up to now, he just dropped his latest, I Wanna Run Barefoot Through Your Hair, which is also available on vinyl now.

Get it here.

MF DOOM — MM..FOOD (20th Anniversary Edition)

MF DOOM’s legacy continues to grow (even, unintentionally, in the realm of popcorn buckets), and part of that legacy, 2004’s MM..FOOD, is getting some love on its 20th anniversary. The new anniversary edition, available in vinyl and digital editions, comes with new artwork by Sam Rodriguez.

Get it here.

Green Day — American Idiot (20th Anniversary Deluxe Edition)

American Idiot was a massive album back in its day… era-defining, even. That was somehow 20 years ago now, and Green Day is giving the album the love it deserves with a significant new reissue, an 8LP (and 2-Blu-ray) box set that has previously unreleased demos, rare B-sides, bonus songs, and unreleased live recordings.

Get it here.

Neil Young — Freedom (Reissue), Ragged Glory (Reissue), Weld (Reissue), and Arc (Reissue)

Last year, Young re-released four beloved albums from the late ’80s and early ’90s as Official Release Series Volume 5, but now he has made all of those albums available independent of the collection. The box set marked the first time these albums were remastered for vinyl, so this is the best these albums have ever sounded in this medium.

Get it here.

George Michael — Careless Whisper EP

“Careless Whisper” is one of the more iconic songs ever, so fans are in for a treat with this one: It’s the song’s 40th anniversary, so there’s a new EP celebrating it, and it includes a previously unreleased live recording of the classic.

Get it here.

Bronski Beat — The Age Of Consent (40th Anniversary Edition

“Smalltown Boy” has been dubbed one of the best dance songs ever, and the album it comes from, Bronski Beat’s The Age Of Consent, is now 40 years old. There are a few new editions out now in light of this, including a 2LP version that also features the follow-up remix album, Hundreds & Thousands.

Get it here.

Jackson 5 — Third Album (Reissue)

Motown has been on a tear reissuing a bunch of albums from their classic catalog, and of course the Jackson 5 are part of the proceedings. Among the October offerings is Third Album, home of the iconic hit “I’ll Be There.” They also offered up new pressings of The Supremes’ A Bit Of Liverpool (Mono edition) and The Temptations’ Sky’s the Limit, continuing a run to get some of the best music ever created in fresh circulation.

Get it here.

Aphex Twin — Selected Ambient Works Volume II (Expanded Edition)

Aphex Twin is reissuing Selected Ambient Works Volume II in a number of new editions. The 4LP box set is the most impressive configuration, as it features four black LPs in polylined inner sleeves, a fold-out poster, and a “sticker sheet and booklet containing development sketches for the original artwork concept by designer Paul Nicholson,” all in “a hinged oak case with a bespoke chemical etched and eroded copper plate and engraved logo with paint infill.”

Get it here.

Creedence Clearwater Revival — Willy And The Poor Boys (Vinyl Me, Please Reissue)

CCR was hustling in 1969: Willy And The Poor Boys was the third and final album they released that year. It was a winner, too, featuring two of the band’s signature songs: “Fortunate Son” and “Down On The Corner.” The new Vinyl Me, Please edition is a winner, gorgeously pressed on “washboard marble” vinyl.

Get it here.

Metalface Records And Rhymesayers Announce MF DOOM ‘MM..FOOD’ 20th Anniversary Edition

October 8, 2024 by newhiphopnews

In celebration of its 20th anniversary, MF DOOM’s 2004 classic, MM..FOOD, lauded for its seamless blend of humor, wit, and social commentary that ushered listeners into a bizarre world of food-related metaphors, has been fully repackaged with all new artwork by Sam Rodriguez. The MM..FOOD (20th Anniversary Edition) vinyl and digital deluxe editions will be available on on November15th via Rhymesayers Entertainment.

The digital deluxe version of MM..FOOD will feature the original tracklist plus rare remixes of “One Beer” and “Hoe Cakes” by Madlib, Jake One and Ant, along with unreleased MF DOOM interview clips. Today, you can hear one of the remixes featured on the digital deluxe edition of the album, “One Beer” (Madlib Remix).

A limited deluxe edition of the 20th anniversary vinyl is also available exclusively via MF DOOM’s site, gasdrawls.com. The MM..FOOD deluxe 2xLP picture disc vinyl is housed in a 12″ tip-on case-wrapped matte gatefold jacket with anti-scratch lamination treatment and silver foil stamped numbering. The deluxe vinyl also includes a bonus 7″ picture disc vinyl featuring the rare original version of “Kookies” as well as the Just Blaze remix, housed in a custom kraft paper pastry sleeve with plastic window, and a QR code sticker linking to an MM..FOOD Diner AR experience.

Additionally, the long out-of-print classic “Hoe Cakes” 12-inch vinyl will be reissued with its original artwork, now pressed on a “bug juice blend” colored vinyl. The 12-inch single includes “Hoe Cakes,” “Potholderz” (feat. Count Bass D), and the “Hoe Cakes Remix” produced by Ant, along with instrumentals for all. Taking its name from the sweet, hot water cornmeal patties whose origins can be traced back to pre-colonial America, “Hoe Cakes” is one of DOOM’s finest and most delightfully strange moments on wax.

The post Metalface Records And Rhymesayers Announce MF DOOM ‘MM..FOOD’ 20th Anniversary Edition appeared first on .

AMC’s Popcorn Bucket For ‘Gladiator 2’ Is Giving Rap Fans MF DOOM Vibes

October 8, 2024 by newhiphopnews

The 20th anniversary of MF DOOM‘s fifth album MM..FOOD is right around the corner, and there’s a whole ton of new merch coming to celebrate — including, apparently, a popcorn bucket…?

Okay, so AMC isn’t really releasing one of its infamous custom concession containers to commemorate DOOM’s high-concept, edible-inspired album… but you can pretend it is with the bucket for Gladiator 2, which fans have noted bears a distinctive resemblance to the rap supervillain’s trademark mask.

The ‘GLADIATOR 2’ popcorn bucket has been revealed. pic.twitter.com/5yziaJLmY6

— DiscussingFilm (@DiscussingFilm) October 8, 2024

Of course, there’s an obvious reason for the MF DOOM vibes coming from the Gladiator 2 bucket: DOOM’s mask was a modified prop from the first Gladiator film worn by the titular protagonist played by Russell Crowe. It just so happens that in the intervening 24 years since the first film, the design has become much more associated with DOOM in pop culture, leading to similar, very funny misunderstandings such as the time actress Sharon Stone posted a photo on social media wearing the mask, generating a slew of jokes about her actually being the iconic underground rapper.

In reality, DOOM was the not-so-secret identity of Daniel Dumile, formerly known as Zev Love X from the early ’90s rap group KMD. However, he still did manage to keep one aspect of his civilian identity out of the public record: His birthday, which rap fans mistook for decades before his death in 2020.