Si hay una lección que aprender del intento de David Bowie por desaparecer dentro de la música hard rock de Tin Machine, es que los alter egos generalmente señalan reinvenciones de poca calidad, inclusive para el Duque Blanco. Pocos artistas se dan cuenta demasiado tarde de que todas las riquezas del mundo no pueden restaurar la simplicidad de una vida anónima, o el nombre de arte libre de expectativas.

Oxnard, California, al artista hip-hop Otis Jackson Jr., conocido también como Madlib, entiende esto, quizás, demasiado bien. Lejos de ser una marca registrada, el perfil de Jackson es inversamente proporcional a su reputación como productor: cuanto más es apreciado su trabajo, más elusivo parece volverse, astillándose en un millón de pequeños alter egos, cuyo único punto de conexión con el mundo parecen ser, esos bizarros sonidos que flotan desde su laboratorio con una regularidad abrumadora.

Jackson nació en 1973 en Oakland, California, hijo de dos músicos. Su padre fue un notable cantante, conocido por sus trabajos como sesionista de David Axelrod y H.B. Barnum, mientras que su tío Jon Faddis, trompetista, trabajo con Dizzy Armstrong, Charles Mingus y Bob James.

En su adolescencia, mientras vivía en Oxnard, un somnoliento pueblo en las afueras de Los Ángeles, había poco con lo cual obsesionarse salvo hacer música. En 1990, Jackson fundó el grupo Lootpack con sus amigos DJ Romes y Wildchild, y produjo beats para los Alkaholiks.

En las entrevistas, se comprueba que su reticencia no es actuada; cada minuto lejos de sus discos y estudio, parece ser un verdadero desafío. Da la impresión de que sabe realmente poco de lo que sucede en el mundo, salvo de que existe en algún lugar fuera de las puertas de su estudio. Las modas circulares del hip hop le interesan aún menos. Alguien del sello de Jackson, Stones Throw Records, una vez sugirió que la mejor manera de sacarle información, era simplemente, iniciar una conversación sobre jazz, y asentir a sus iluminados desvaríos.

Al final de los 90, poco distinguía el estilo de Madlib de las docenas de productores/excavadores que trabajan en la escena independiente. Eso cambio en 1999, cuando Lootpack lanzó su primer álbum, Soundpieces: The Antidote. Recibido con gran aceptación, el disco, con sus atmosferas difusas y sus beats extraños, marcó un punto de quiebre, un refinamiento en la técnica de Jackson.

Sepultada entre las polvorientas odas a la hierba (Weededed) y las explosiones de amor fraternal (“Episodes,” “Likwit Fusion”) estaba la increíble gema llamada Answers, que presentaba un sidekick con voz de alimentada a base de  helio llamado Quasimoto. Muchos pensaron que era un truco, pero cuando Jackson lanzó un disco entero de Quasimoto, llamado The Unseen, quedo claro que había dejado de preocuparse por lo que los demás pensaban de él.

Si la belleza esta en el ojo del que mira, entonces estoy realmente interesado en lo que Jackson fuma cuando hace sus discos. The Unseen, se alza como uno de los discos más intrigantes de la década pasada. Junto con su continuación, Further Adventures of Lord Quas (2005), los discos a nombre de Quasimoto parecen habilitarnos un vistazo en la caótica e inconclusa mente de Jackson.

Las canciones empiezan a mitad de camino o presentan vigorosas discusiones con los personajes de Melvin Van Peebles (”Hydrant Game,” “Bartender Say”), mientras que otras consisten de poco más que listas que enumaran los músicos favoritos de Jackson (”Jazz Cats, Pt. 1,” “Rappcats, Pt. 3″).

Mucho de ello no suena ni siquiera a música, son pensamientos que convergen mientras se encuentran en movimiento, ideas bosquejadas sobre un tablero de dibujo, descartadas, y vueltas a utilizar.

El siguiente año, Jackson, formó Yesterdays New Quintet, un combo de jazz electrónico un tanto difuso, constituido por algunos canosos, agotados, y totalmente inventados, músicos de sesión. Sin embargo, como los alter egos no eran suficientes; inclusive los falsos músicos del YNQ tenían cada uno su falso nombre, acompañado por su falso pasado. Aspirando a reproducir los momentos más funkies del jazz-fusión de mitad de los ‘70, YNQ evolucionó en un espacio para que Jackson practicara su capacidad para componer música.

Su trabajo dentro del jazz, bajo la etiqueta madre de YNQ, suena, en algún sentido, acústico. Es decir: se regodea en contrapuntos de gran riqueza entre ese entretejido electrónico y los sonidos despojados de sus instrumentos o de algunos de los músicos que participan en sus discos. “Yesterdays New Universe”, “Stevie”, “Shades Of Blue”, “Sound Directions” o cualquiera de los discos de Madlib, ponen en escena si no el rumbo excluyente del jazz actual por lo menos uno de los caminos posibles. Y lo hacen con una creatividad que trasciende ampliamente el look de modernidad.

Todas estas herramientas son, en sí mismas, tan positivas como negativas. La cuestión tiene que ver con el tiempo: cuándo detener un momento, cuándo congelarlo y cuándo exprimirlo.

Los discos están, de alguna manera, más cercanos a lo que podría esperarse de un disco de jazz. Allí la electrónica rehuye de las marcaciones rítmicas de club, por lo menos de manera obsesiva, y, en cambio, se observa un trabajo de exquisitez artesanal. Cada momento, más que cada timbre, es esculpido con cuidado extremo y algunos de los puntos más altos se manifiestan en los cruces entre los procesos de laboratorio y los instrumentos acústicos. Una especie de romanticismo concentrado, que se articula en un discurso fragmentado, entrecortado, que resiste los gestos amplios y sin embargo guarda una poderosa cuota de lirismo. También, de un impecable sentido percusivo, donde notas y acordes funcionan, muchas veces, más como golpes, como señales rítmicas, que como pasos en alguna secuencia melódica o armónica.

Su condición de multiinstrumentista y compositor, sin olvidar su enorme cultura musical, hacen de él una figura imprescindible para los que quieran conocer el panorama underground del hip hop. A pesar de ser, en ese contexto, una especie de recluso, los últimos y mejores discos de Jackson fueron colaboraciones. En 2003, el, junto al fallecido productor de Detroit J Dilla, se fusionaron como Jaylib, enviando por correo electrónico las partes vocales y los beats, para emerger con uno de los mejores discos del año, Champion Sound. Al siguiente año, Jackson y el rapper y productor MF Doom tentaron descubrir cual de los dos era el más extraño con Madvilliany, editado bajo el pseudónimo de Madvillian.

Obviamente, Jackson, ama el sonido en todas sus formas. Sonidos que ponen en juego emociones y es la combinación entre ellos lo que lo interesa. La originalidad, la diferencia y la particularidad del sonido de cada disco suyo, es lo que lo vuelve interesante.

Otis Jackson Jr. gilt zu Recht als einer der ausgeklügelsten Musik-Produzenten der Welt. Egal unter welchem Pseudonym Madlib, Loopdigga oder Beat Konducta bei seinen Projekten auch auftritt: mit seinem Sampler hantiert er dabei stets wie mit einem hochexplosiven Bombenbaukasten. Gemeinsam mit DJ J.Rocc, dem Initiator des Turntablisten-Kollektivs The Beat Junkies, hat die Beatkoryphäe aus Los Angeles nun Teil fünf und sechs der Beat Konducta-Reihe eingespielt. Das simple Konzept dabei: Ältere Rohbeats sollten in die Form eines Albums gebracht werden. Nicht weniger als 42 Tracks sind dabei entstanden, die alle dem 2006 verstorbenen Produzenten J Dilla gewidmet sind. Um diese Fülle an geeigneten Loops von alten Jazz-, Funk- und Soulplatten aufspüren zu können, muss Madlib etliche Tage und Stunden in seinem legendären Keller verbracht haben. Dabei hat das Aushängeschild des Stones Throw-Labels wieder derart komplexe Konstruktionen kreiert, dass die Rauchschwaden der abgefackelten Blunts förmlich zu sehen und riechen sind. Wie es sich für ein Tribut gehört, tragen die kurzweiligen Arrangements Titel wie Dilla’s Still Here, Two For Pay Jay, Dil Cosby Interlude oder Dill Withers Theme.

Welche raren Rillen Madlib als Rohmaterial verwertet, verdeutlicht beispielsweise Rolled Peach, bei dem deutlich das warme Knistern der Schellackplatte durchdringt. Mit dem absoluten Brett So Much, präsentiert sich der Beat Konducta einmal mehr als unverbraucht und innovativ: Bläser harmonieren hier mit einem melancholischen Sample eines Soul-Chors und gehen anschließend Hand in Hand mit der dumpfen Bassline. Obwohl die auferlegte Richtlinie für die Hommage an den „King of the Beats“ daraus bestand, vom Einfluss her möglichst nah an den soulhaltigen Dilla-Stücken zu bleiben, wechseln die Grooves hoch und runter, wie derzeit die Börsenkurse. Von Krise ist hier allerdings nichts zu spüren – insgesamt eine gute Zusammenstellung.

Andreas Margara (3. März 2009)

Madlib – So Much

Intro:

Soundpieces: Da Antidote! is the first studio album released by hip hop group Lootpack (Madlib, Wildchild, and DJ Romes) and was released in June 29, 1999. This is the first CD that Justin has suggested we review that I haven’t heard before (usually I am the one introducing Justin to something new). I am somewhat familiar with Madlib but I have never heard of the other guys. Here’s the review.

- Derek

Summary:

Soundpieces: Da Antidote! is underground Hip Hop perfection. Madlib’s production is absolutely brilliant. Wild Child and Madlib are consistent throughout the entire album and compliment the beats with synergy that remains off the charts. With tracks like HitYaWitDat, it’s hard to deny Madlib’s mastery of ill samples and neck breaking drum loops. There’s enough content here to last hungry Hip Hop fans for awhile and for me, this is an album that will stay near the top of the crate.

- Justin

Top picks: HitYaWitDat, Questions, Episodes

Track-by-track Review:

1 – Da Antidote

Derek: Weird intro/skit but since it’s Madlib, I’m sure weed was involved.

2 – Questions

Derek: First introduction to the two rappers. Wildchild is clearly the more skilled MC but Madlib is the producer so it’s expected. Solid verses by the two with Wildchild spitting better lines, “Now ease down off the treble and go threes up on the bass and/We’ll drop universal for the whole Likwit organization/Y’all gonna be facing (soundpieces) forms of manifestation/We’ll run up in ya station and give messages to the nation” Good track.

Justin: A dope sample and laid back drums introduce us to Lootpack.  The synergy is off the charts here and the gritty verses just flow perfectly with this sick underground track.

3 – Long Awaited ft. Dilated Peoples

Derek: Lots of lyricism on this track. I really like this hook. All four MCs go in pretty strong with Rokka of DP spitting my favorite line “Yo if my peeps’ are in the trenches then I’m where the battle is/Rokka Iriscience A.K.A. the Catalyst/The weight of the world’s on my shoulder like I’m atlas/Dealing with the villainous tactics of the facists” Very strong track.

Justin: Another laid back drum loop with a minimal sample that lets these emcees rip this track apart. I love this underground sound and it’s executed so well here. Dilated Peoples make a great guest spot on this track.

4 – B-Boy Theme

Derek: This is a short 1 verse song by Wildchild. Nice track.

Justin: Minimal beat that works for this short track.

5 – WhenImOntheMic

Derek: Wildchild takes over this track again spitting both verses. I like his flow and rhymes over the nice beat. “All of your jaws get broken, styles no jokin’/Battling straight up battling is what I’m provokin’/But I’ll die before these wack MC’s infect thee/Hip Hop industry to the point I cannot breathe” I really liked this one. Great track.

Justin: The bass on this track is simple but the vocal part of the sample, while subtle, really saves it from mediocrity. Wild Child does this track justice and the hook is great.

6 – The Anthem

Derek: This album is starting off very strong. Here is another lyrical standout. Wildchild’s style is so on point on this track, “Yo, I live in hip hop day to day because I feel it/Can’t understand wack MC’s out there, they try and kill it/I’ll steal it, take it home, package it and seal it/Bring it out on a daily basis and fry it on a skillet” Great track.

Justin: Lootpack is 5/5 for quality underground tracks so far. There’s something charming about the simplicity of the sample, and the complimentary drums.

7 – Level Zero ft. Oh No, Medaphoar

Derek: Another four verse song with great lyrics. Wildchild opens very strong “Yo, guess who’s pullin’ plugs on thugs who’s greedy,/With their Wheaties, spraying rhymes like graffiti,/Formally known as the CDP Assassins/DJ Romes is in effect and yo his ass is in/Charge of the plastic” and the other MCs follow suit. Another good track.

Justin: 6/6, simple drums and sample and a pure reckless flow that is good for my ears.

8 – Crate Diggin’

Derek: I envision this to be Justin’s track. Madlib is a pretty weak MC and his flow is pretty slow. The concept of crate digging is still pretty tight. Compared to previous tracks, this falls short. Average track.

Justin: Madlib graces this track with his flow dedicated to crate diggin’. This beat sounds extremely weeded and I’m sure that can be explained in his lyrics.

9 – Law of Physics

Derek: After a mediocre verse from Madlib, Wildchild comes back with yet another impressive verse, “Time that I represent, lyrically non-hesitant/To grab a conscious style of rap and straight up represent/Like this, I don’t stop or quit/Lootpack got props to get, soon as we drop the hit” Nice track.

Justin: This beat is so raw and dramatic. Madlib and Wild Child rip this one proper.

10 – Frenz vs Endz ft. Kazi

Derek: On this one the MCs take on wack MCs taking over the radio as Kazi raps, “Let’s check your background, no outlook on future plans/That’s why you won’t last cuz your hip hop is jammed/Plugged up with wackness, how could you let this happen?/I thought you was the man, now I hold your rhymes for target practice“. I am astonished on how solid this album has been.

Justin: Extremely laid back track that makes Madlib and Wild Child’s flow sound almost like spoken word. Nevertheless, they still manage to make this a dope track.

11 – Interview with Kurt

Derek: Skit explaining what Lootpack means and what they stand for.

12 – Speaker Smashin’

Derek: They go right back in with more sick flows and rhymes. Madlib actually spits the best verse on this track, “We bust with tight lines, going through my rhymes like Red Vines/But instead minds, be off the hook like some bed crimes/The auditory wakes ya up and takes ya enzymes/I pin my rhyme to the wall, rehearse it ten times” Good track.

Justin: Not the best beat so far but still great. Both flows are on point here.

13 – New Year’s Resolution

Derek: Another Wildchild solo joint. Not the strongest lines on this one but still decent, “There’s no advantage one gains when sustaining two faces/
The disadvantage of being two-faced, you can’t be in two places” Average track in comparison to previous tracks.

Justin: A more upbeat track in comparison to the previous ones. Wild Child has an invigorating flow that is a nice change up from just dope underground verses.

14 – Answers ft. Quasimoto

Derek: After a lazy, slow verse from Madlib, Wildchild spits an average verse with some fierce punchlines, “Step two times to the left, throw up ya fists/Direct ‘em towards those wack MC’s please as I reminisce/You might have more dollars than you have common sense” Above average track.

Justin: Again, not the greatest beat but the synergy just remains so far off the charts that I can’t say anything negative. The drums are great as are the flows.

15 – Likwit Fusion ft. the Alkaholiks, Defani

Derek: I am feeling the tracks with guest verses cause it means more dope verses with many different flows. Tash opens the track on fire, “Well it’s the slider, the slipper, the malt liquor sipper/The nigga in the corner waiting for this turn to rip ya/I’ll flip it to the mode with that wino rhyme flowI know ya niggas be bouncing to my vinyl” The other MCs are very sick as well. Great track.

Justin: The drums and bass on this track will have your head bobbing with no effort. Solid track.

16 – HitYaWitDat

Derek: Madlib solo track. He spits some nice rhymes on this one though, “Every day, every place, got my pants saggin’/For y’all niggas that be strictly braggin’/Up at the spot so eager to grab the mic with the breath of dragon/Niggas be walkin around waggin’ there tail taggin’/Along trying to get their mail laggin’/Make me wanna disrespect and check/Grab that nigga’s neck and start gaggin’” Good track.

Justin: One of the most neck snapping, spine shattering, head bussin’ beats I’ve ever heard. This is some of Madlib’s best work. The spacey sample and booming bass will impress any Hip Hop fan and this beat solidifies this album as classic status for me.

17 – Verbal Experiments ft. God’s Gift

Derek: I can’t get past this irritating sample placement. The verses are still silky smooth but this beat is killing me and makes this almost unlistenable. Below average track.

Justin: An experimental track that doesn’t work as well as intended. Flows are on point but the sample tends to take away from the emcees. Not one of the better tracks on the album.

18 – Stylewild

Derek: Another short 1 verse Wildchild joint. The whole verse rhymes and it’s a good track but went by too fast.

Justin: More underground goodness.

19 – Weededed

Derek: This album is not slowing down. More great lyrics from Wildchild, “Silly mortals, coming through portals yabbin’ at the lip/Even if their ass was Asian, they still couldn’t flip/Some old lyrical, my spiritual rhymes be physical/Kickin’ metaphorical, my style’s historical/It’s better for a cool brother to say he saw me in an article”  Great track.

Justin: This beat is really “groovy” and the dominant bassline carries the flow of the track. Flows work well here.

20 – 20 Questions ft. Quasimoto

Derek: Madlib solo. Quasimoto is annoying to me and I’d prefer if Madlib would just rap normally. Average track.

Justin: Simple, “interlude” shout out track that has a consistent Madlib flow.

21 – Break Dat Party ft. Declaime

Derek: More of the same on this one. Three strong verses with Wildchild standing out, “I’m the Wild Child, I hear wack styles, time to get agile/I’ll come back with thumbtacks cuz hip hop’s mad fragile/And then I’ll cause accidents, mind state of a chameleon/So I can come back and say Larry Parker got me one million“. Good track.

Justin: Not one of the better beats on the album. Very simple drums and bass. The flows return to their underground nature and are certainly great, but this track could almost be considered filler.

22 – Wanna Test ft. Medaphoar

Derek: Medaphoar returns to give a solid hook. Madlib delivers another solid verse, “While ya rhymes sound like Fisher Price/Heist, I run a shiesty pon mice/When the design hit nice/I’ll bet none of your lines can suffice/In my realm of darkness, use you as a sacrifice” Good track.

Justin: I’m sure Rza has sampled this track in the past as this immediately sounds like a Wu Tang beat. Lootpack does it justice as always.

23 – Episodes ft. Kazi, God’s Gift, Declaime, Oh No, Medaphoar

Derek: LOOOONG ending to the album that returns a lot of the guests from earlier. Madlib puts on several different beats for the different “episodes” and the MCs have their way on each with different flows. All episodes are noteworthy. Outstanding ending to a good album.

Justin: The beat changes multiple times throughout the course of these “episodes” but all of them are consistently dope and have that solid underground sound. All the flows are on point as usual.

Total Score:

Derek: 8

Justin: 10

During the ‘90s when Lootpack was around, Wildchild christened Madlib’s younger brother “Oh No the Mischievous Rebel.” Now, he’s simply Oh No and has put out Exodus into Unheard Rhythms, his second full length release on…(FULL ARTICLE)

(Water Colour, Tea, Coffee on Paper)

Latest Painting of who I think is.. the best producer alive, Madlib aka Otis Jackson Jr, The Beat Konducta, Quasimoto, DJ Rels, Da Bad Kid, Ahmad Miller, Monk Hughes, Malik Flavors or Joe McDuphre.

His music & beats are unbelievable, I had the “Beat Konducta Vol. 1 &2″ on repeat while painting this.

Check out his discography it’s huge

Quasimoto (Madlib) – Basic Instinct

Lootpack was an underground hip hop trio from the 90s that’s probably best known as the first group Madlib was in. Madlib is an amazing underground producer who I’ll talk about in a second, but watch this video first.

Lootpack — Whenimondamic

(The music video actually includes two songs. “Whenimondamic” starts at 1:07.)

Did you notice during the second verse in the car, where the guy rapping takes both his hands off of the wheel and Madlib seamlessly takes the wheel from the passenger seat? (Go to 2:48.) I thought it was hilarious.

Anyway, Madlib is incredible. He’s had some sick releases as Quasimoto, he formed his own fictional band (in which he plays all of the instruments) called Yesterday’s New Quintet, he did a jazz remix album, etc.

I’m a big fan of this beat in particular. In fact, it was one of the first songs I listened to when I was getting into hip hop. Which is to say, it is on the soundtrack for Tony Hawk’s Pro Skater 4.

I admit it: a skateboarding videogame is largely responsible for getting me into hip hop. But look at who’s on that soundtrack: Aes Rock, De La Soul, Gang Starr, Public Enemy… really good stuff.

Anyway, by far my favorite Madlib release is Madvillainy. I’m sure I’ll talk about the album in depth in a future post, because it’s my favorite alternative hip hop album of the 2000s. For now, check out these two tracks. Ridiculous.

: : : : : : : : : : :

Duane Johnson Jr. stammt aus dem Süden von Kalifornien und unterrichtet normalerweise Jugendliche an der Inglewood High im Fach Geschichte. Nebenbei ist er unter dem Namen Defari zusammen mit Leuten wie Xzibit, Declaime, King T, Lootpack und den Alkaholiks Mitglied der renommierten Likwit Crew. 1999 gelang ihm mit der Veröffentlichung von “Focused Daily” ein Album, das seinen Platz in jeder Lieblingsliste eines Rapfans ganz weit oben findet. Nachdem der Ausnahme Lyricist mit den bassgetriebenen Beats dann mit seinem zweiten Release “Odds & Evens” 2003 deutlich unter den hohen Erwartungen der Kritiker blieb, dropt er nun sein drittes Album “Street Music”, um im Level wieder an “Focused Daily” anzuknüpfen. Produziert haben deshalb auch wieder die bewährten Alchemist, Dilated Peoples Evidence & Babu, sowie E-Swift von den Alkaholiks.

Defari versteht sich selbst als einer der wenigen Non-Gangster Rapper der West Coast. Seine Texte variieren dennoch zwischen easy-geflowten pack-a-bowl Lyrics bis hin zu anspruchsvolleren Reimkonstruktionen, mit denen er auf intelligente Weise soziale Kritik zu vermitteln weiß. Besonders auffallend bei “Street Music” sind die zahlreichen religiösen Referenzen (Hardworker, Either Dead Or In Jail). Die gerappten Gastfeatures, zum Beispiel von Dilated Peoples, J-Ro oder B-Real, passen gut in das Gesamtkonzept und das Niveau der Beats ist klar im oberen Drittel anzusiedeln. Etwas nervig vielleicht, dass Babu bei einem der besten Tracks Vultures, das schon etwas verbrauchte Carla Thomas Sample (Lootpack – Answers, Blumentopf – 6 Meter 90) erneut aufgreift. Während West West vermutlich etwas zu seicht als Anwärter für die neue West Coast Anthem ist, finden sich keine wirklich schlechten Stücke unter den 16.

Bei Defari Fans wird das Album sicherlich gut ankommen und auch den Ein oder Anderen Kritiker überzeugen. Insgesamt präsentiert sich Defari allerdings weniger innovativ als zu früheren Zeiten und wirkt stellenweise mit abgehacktem smoked-out Flow eher ausgebrannt, als dass “Street Music” ähnlichen Status erreichen könnte wie “Focused Daily”.

Andreas Margara (29. August 2006)

2tall, DJ Clockwork and Kper present a decades worth of quality hip hop in a megachuck of a downloadable mixtape, yeah, it’s still called a mixtape even though tape bit of the mix ain’t been used since last week.

What’s on it?

Dilla, Spacek, Mos-Def, Co-Flow, El-P, Flying Lotus, Matty G, Loefah, Samiyam, GLK, Ras G, Mike Slott, Danny Breaks, Nosaj Thing, Group Home, High & Mighty, Shawn J. Period,  J-Zone, Lootpack, Madlib, Pete Rock, Cannibal Ox, Rdj2, DJ Shadow, Boards of Canada, DJ Vadim, Busdriver, Pharoah Monch, Slum Village, Jaylib, De La Soul+MF Doom , Dabyre, Vast Aire, Roots Manuva, Prefuse 73, The Bug, Boom Bip, Oh No, Georgia Anne Muldrow, Modeselektor, Onra, Rustie, Jneiro Jarel plus about three giga more.

Download here

Thanks to Daily Swarm for the heads up.  How goes it Todd?

Lootpack feat. Quasimoto – “Answers” ["Soundpiece: Da Antidote!", Stones Throw Records, 1999; producer: Madlib]

samples

Lee Mason & His Orchestra – “Shady Blues” ["Music By Lee Mason", Chappell, 1971]

Reality “Ceca” Check

Madlib is one the dopest producers around. His music speaks for itself. He’s worked with Talib Kweli, MF Doom, J Dilla, Ghostface, the list goes on for a while. Ask me my personal story about ‘Lib next time you see me, it’s one of my favorites to tell! In the meantime, here are some favorite joints of mine as well as some information at the Stones Throw site about his new joint coming out soon with Guilty Simpson as OJ Simpson.  If you like these, check out the Jaylib album with Jay Dee and his work as the crazy blunted out alter-ego Quasimoto.

Madlib with Blue Note – Stepping Into Tomorrow (2003)

Lootpack – Answers (1999)

Madlib and Talib Kweli – What Can I Do (2006)

Madlib and MF Doom as Madvillian – Strange Ways (2004)

Hey, just gotta emphasize the importance of listening to THIS podcast, also found in the RSS feed from Stones Throw Podcast, to the right –>

This playlist was looped the entire previous night, ’cause I couldn’t sleep

Enjoy, btw. there where a couple of songs that Spotify hasn’t gotten their lazy ass out and gotten rights to, so until they have music I like, I’m on a quasi-boycott of Spotify(Which means I won’t even consider getting a Premium account until they get a REAL archive, not only T-Pain and f***ing Indie bull-ish………

Can’t beat these cats.

Enjoy…Es’Q