MF DOOM
Mm..Food ? - (2004)

You could call the proper follow-up to 1999's heralded Operation: Doomsday highly anticipated if it weren't for the wealth of side projects, pseudonyms, bootlegs, and mixtapes MF Doom unleashed afterward. Still, every bit of Doom output has the underground's tongue wagging, and as usual, the metal-fingered villain doesn't disappoint. Part of the reason for this is that MM..Food? is unconcerned with the hype and doesn't try too hard. It's actually one of Doom's least ambitious releases and a lot more fun than his previous ones, especially anything released under his dark Viktor Vaughn moniker. Food references and a ton of samples and scratches from old Fantastic Four read-along records keep the album light as Doom takes tired hip-hop topics like "keeping your hoes in check" and turncoat friends and screws with them. Backstabbers get their due on the Whodini-sampling "Deep Fried Frenz" while guest Mr. Fantastik gives fakes a proper whooping on the excellent "Rapp Snitch Knishes." Doom's behind every beat here, whipping up a busy brew of screw-loose samples and late-'90s beats. The mostly instrumental middle of the album is a fantastic, playful ride and more fresh evidence the man is never swayed by fads. Fans looking for his next big statement might be let down at first listen, but MM..Food? is as vital as anything he's done before and entirely untouched or stymied by the hype.

http://www.mediafire.com/?0tyfmwimdnn

MF DOOM
Operation: Doomsday - (1999)

Simultaneously hailed as an underground classic and cast aside as poorly produced backpack rap, Operation: Doomsday inaugurated the reign of MF Doom in underground rap from the early to mid-2000s. The pretext for the album is very similar to that of Marvel Comics supervillain Dr. Doom; after MF Doom, then known as Zevlove X, had been devastated by the death of his brother and K.M.D. accomplice, DJ Sub-Roc, in the early '90s, Elektra dropped his group and stopped the release of its second album, Black Bastards, due to its political message and, more specifically, its cover art. Doom was left scarred with a lingering pain that didn't manifest until the late '90s as hip-hop's only masked supervillain on Bobbito Garcia's Fondle 'Em Records. Carrying the weight of the past on his shoulders, Doom opens and closes Operation: Doomsday with frank and sincere lyrics. In between, however, many of the villain's rhymes are rather hard and piercing. On his subsequent material, he developed a more steady and refined delivery, but on this debut, Doom was at his rawest and, lyrically, most dexterous. The out-of-left-field edge of Doom's production — which features '80s soul and smooth jazz mixed with classic drum breaks — is indeed abstract at times, but his off-kilter rhymes are palatable and absent any pretentiousness. In fact, the album arguably contains some of the freshest rhymes one might have heard around the time of its release. There are more than enough obscure but fun references (i.e. "quick to whip up a script like Rod Serling" on "Go with the Flow" or "MCs, ya style needs Velamints" on "Dead Bent") and quotable jewels from the "on-the-mike Rain Man" to feed on. Nevertheless, one would be hard-pressed to overlook the low-budget mixing that mars some of the LP's presentation. For the hardcore Doom fans, the recorded-in-the-basement quality is appealing and representative of his persona as the underdog who "came to destroy rap." In contrast, given his contributions to hip-hop during the 2000s, the masked villain offers this explanation on "Doomsday": "Definition: supervillain/A killer who loves children/One who is well-skilled in destruction as well as buildin'." Even though this album is certainly not for everyone, you can easily respect from where the man is coming. (allmusic.com)

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335ca3359af18f470ebf6