Madlib finds himself in a legal dispute over his iconic animated alter ego, Lord Quas. The artist behind the character, Keith Griego, asserts that Lord Quas was originally created for the cover of Madlib’s 1999 single “Microphone Mathematics.” Griego’s lawsuit, filed on April 19 and first reported by Seamus Hughes’ Court Watch and KTLA, claims that despite Lord Quas’s initial creation for a specific purpose, Madlib has since utilized the character extensively on album covers, music videos, merchandise, and even attempted to trademark the persona.
For almost 3 decades, Lord Quas has been part of Madlib’s brand and artistic creativity. Born Otis Jackson Jr., Madlib, hailing from Oxnard, has made significant contributions to hip-hop through collaborative projects with renowned artists like MF Doom, Freddie Gibbs, and J Dilla. Notably, Madlib’s alter ego, Quasimoto, features Lord Quas, whose distinctive pitched-shifted voice adds a unique dimension to his music. Despite Lord Quas’s prominence in Madlib’s work, Griego alleges that he has not received proper compensation or credit for the character’s continued use.
The outcome of this legal battle could have significant implications for both parties involved. If Griego prevails, Madlib’s copyright on Lord Quas may be invalidated, potentially leading to financial repercussions for the producer. As the case unfolds, the dispute underscores the complexities of intellectual property rights in the realm of music and visual artistry. Madlib and his representatives have yet to comment on the matter, leaving fans and industry observers eagerly awaiting further developments in this ongoing saga.
This past weekend, Madvillain’s Madvillainy celebrated its 15th-anniversary. Having released on March 23, 2004, the union of Madlib and MF DOOM marked a transformative moment in the careers of two Hip-Hop veterans with a passion for reinvention, character creation, and wildly inventive Rap music.
Both of these artists rarely speak to press about their music. However, DOOM gave a recent and rare interview to Spin‘s Will Gottsegen about the 2004 Stones Throw album. He recalled its creation and discussed the unreleased follow-up material he has made with Madlib. DOOM also speaks at length about his late son, King Malachi Dumile, who died in late 2017 at the age of 14. For fans of the MC who has some of the most asymmetrical rhymes in all of music, DOOM also explains how he treats writing verses like a game. As an artist who many believe is far-and-above his peers, Daniel Dumile has created a way to make songwriting fun and competitive, even if most MCs are not in his league.
MF DOOM is asked about the creative layout leading up to the LP. “Both of us are producers. We both have our set of equipment that we use. And Madlib be having drums and all kinds of sh*t in the crib. We were at a big house, and we could be anywhere in the house doing what we do.” DOOM was credited with production on intro “The Illest Villains,” and recording throughout the album. The rest of the beats belonged to Madlib, who the KMD co-founder refers to as “Otis” or “O.”
The Long Island, New York representative recalls writing and recording while puffing on Sour Diesel in particular. He and Madlib laid tracks in a space originally purposed as a bomb shelter. “There was a room we used to call the bomb shelter. There was no windows in there. It was like a real bomb shelter, like if something went off, you could be down there and you’d be alright. And that’s where we had some of the recording equipment, where we could actually record. We would only go in there when it was time to record. The rest of the time, I’m writing around the crib, listening to the beat on the deck, or in the whip, driving around. The whole house was the studio.”
Having worked with other producers, DOOM also explains the Madvillain aesthetic he formed with Madlib, as he recalls it. “Madvillain, the approach I took on that one is like, I’m talking to Otis. Like, ‘Yo O, check it out, ha ha.’ Making jokes at somebody, like I’m speaking to somebody audibly, out loud. So that’s the difference. That’s what I did to differentiate the DOOM realm, which is an in-thought realm, from Madvillain, which is more like an outside realm.”
DOOM, who has veiled his face following the death of his brother (and KMD band-mate) Subroc, recalls going out in Cali’ and leaving the mask back at the lab. “Most of the time I don’t go out, so the couple of times I did go out, it was memorable. We’d go to the club and listen to music, basically. Every once in a while, you get a clown in there. Otis is kind of popular; people know his face. I don’t get no problems; motherf*ckers don’t know me. But sometimes, when people know your face like that, they’ll target you. They might be like, ‘Yo, that ni**a be with my girl,’ or whatever, or be a little jealous, and sh*t like that. One time, some cat got jealous and sh*t, and he started trying to front on O. But he didn’t do nothing! He was about to get smashed, but I wasn’t rolling like that. That night, I parlayed. I was on some peaceful sh*t at that moment. O was alright; he wouldn’t care. Dude was jealous.” DOOM also admits that he only listens to one of the definitive albums in his catalog “every other year” or so.
The rarely accessible MC/producer gives an interesting answer when asked if he would change anything about Madvillainy. “Nah, I can’t change nothing on it. It’s perfect the way we did it. I remember when we was doing it, I remember the days, and things that was going on. When I was hearing a beat that day, like a Sunday, it might have rained a little bit that day, it was wet on the ground a little bit. Very quiet up there in them hills, so we could focus and think. To me, if I would say, ‘Oh, I would change that now,’ it’s like changing part of the day. Even if you had a day when you stubbed your toe, when you stubbed your toe you met that girl after that. If you ain’t stubbed your toe, would you have met that girl? You know what I mean? I wouldn’t change anything about it, it was perfect, it was the way how a day would go.”
Gottsegen brings up DOOM’s intricate rhyme writing, a quality that glows on Madvillainy. “You have to go the extra mile to use a technique like [I do] in your writing. When you’re looking at quality of wordplay, you’re looking at, how many words repeat in a bar, or two bars? How many syllables can you use that still make sense in a song?” DOOM says that he equates writing rhymes to word-based board games. “In certain ways, you get a triple-word-score. You know how in Scrabble, you have triple word score joints, the way you get points based on words, and how they correlate on the board? It’s similar to getting points like that, if you really take it to the next level.”
He continues, “What I be looking at is the quality of the rhyming word: phonetically, how the tone is, in the pronunciation of the word. Regardless of language—you can be fluent and speaking Spanish, Arabic, whatever. You can use an Arabic word to rhyme with a Spanish word and have English slang all in between it. As long as the word itself rhymes, you still get points for that word. And the reference is another way of bringing that same thing home. How many references can you cross and still stay on topic? And still rhyme? The more complex the subject matter and wordplay is, that’s where you get your points.” He puts it simply, “I’m a rhymer, so I go for points.”
Notably, DOOM also describes why he favors certain subject matters that stand out in Rap. “I ain’t going to be talking sh*t about the next dude, or bragging about sh*t I got. I talk broke sh*t, I talk about sh*t I don’t got, or things I’m striving for.Say you’re speaking from a point of view where you’re talking to yourself, in maybe a sad mood. How do your tones come across? Can people feel what you’re saying? Can they hear what you’re saying? Are you well pronounced? Maybe you purposely were a little bit sloppy with it, to bring the point across. Can you bring the point across and still get the rhyme points? It’s like gymnastics on paper.”
“I don’t really do music at home,” DOOM reveals later in the conversation. “I do that sh*t just to get money. I write rhymes and sh*t to get money. Other than that, I don’t listen to Hip-Hop music. I listen to Jazz music and instrumentals and sh*t like that. I only do this for the simple fact of points-per-rhyme, the point game. It seems to be a profitable thing these days, and nobody else is really paying attention to it. You can be about your points, and if nobody else can do it, you can get some change off that joint, because you’re the only one doing it like that. That’s what I get out of the rhyming.”
He continues, “I didn’t know it was gonna be such a popular thing. It’s something we used to do for a side hobby, to keep your mind fresh. Word games. You might be walking down the street, playing with words in your mind, so you throw them back and forth, and words that rhyme just come to you. It’s something we did as a hobby, like practicing thoughts, brain exercises. Word searches and things like that, studying different languages, where words come from.” Looking at a career that’s been active for more than 30 years, the artist who in the 2000s called Georgia his home continues, “I’m blessed to be part of this whole thing, from this Hip-Hop experience.”
Metal Face also spoke about his late son, who was born in the same year DOOM and Madlib recorded. “I had a chance to be there when he was born, and then I went out to L.A. to do the record, for a month or two or three, some sh*t like that,” he remembers. “When a baby’s first born, they be so little. You can hold him, but you can’t really do nothing. By the time I came back, he was a little older, but he wasn’t walking yet.”
He adds that while he was not an MC, King Malachi upheld his father’s trade as far as words. “[King Malachi] didn’t ever like that kind of music. But he was a word game-type dude. Every morning, he would write down his dreams, and that would keep him writing. He worked on a book of short stories, and he was just about to get it all in order so he could publish it. He turned out to be quite the young writer. I’m really proud of him, still, right now. And I’m definitely going to make sure that book gets published, and his ideas come out.” DOOM reveals that his child never cursed, even when he tried to prompt him.
DOOM admits that he did sign permission for 2008’s Madvillain remix album, with new beats by Madlib. However, for fans wondering if a beloved 2000s duo can make its return, MF DOOM gives hope. “Since then, we’ve recorded a lot more stuff. There’s a few of them we could put out as whole albums. I’m just looking for the right time. It’s hard to choose a time, as far as the manufacturing side, and the business side. Once that’s all out of the way, people will hear more of it. It’s a ton of stuff that we got.” In the last decade, Madlib left Stones Throw to release many projects through his Madlib Invasion imprint. Meanwhile, DOOM has independently released projects through Metal Face Records along with various labels.
DOOM could not specifically recall when he last recorded with Madlib for Madvillain (which reportedly included one summer-long residency in California). However, he does claim that there are three or four albums worth of material in the vaults. “If you heard them back to back, it would sound like both of them are interchangeable [with Madvillainy]. All three of them, there’s actually three or four of them by now.” Several songs claiming to be Madvillain tracks have leaked in the 2010s. Although it is unclear of their authenticity.
Last week, Stones Throw Records founder Peanut Butter Wolf appeared on Questlove Supreme. The San Jose, California native addressed the original, leaked version of Madvillainy, known as “The Retarded Hard Copy.” He also described Madlib’s creative intricacies and the MC/producer/DJ’s relationship with Stones Throw today.
This past weekend, Madvillain’s Madvillainy celebrated its 15th-anniversary. Having released on March 23, 2004, the union of Madlib and MF DOOM marked a transformative moment in the careers of two Hip-Hop veterans with a passion for reinvention, character creation, and wildly inventive Rap music.
Both of these artists rarely speak to press about their music. However, DOOM gave a recent and rare interview to Spin‘s Will Gottsegen about the 2004 Stones Throw album. He recalled its creation and discussed the unreleased follow-up material he has made with Madlib. DOOM also speaks at length about his late son, King Malachi Dumile, who died in late 2017 at the age of 14. For fans of the MC who has some of the most asymmetrical rhymes in all of music, DOOM also explains how he treats writing verses like a game. As an artist who many believe is far-and-above his peers, Daniel Dumile has created a way to make songwriting fun and competitive, even if most MCs are not in his league.
MF DOOM is asked about the creative layout leading up to the LP. “Both of us are producers. We both have our set of equipment that we use. And Madlib be having drums and all kinds of sh*t in the crib. We were at a big house, and we could be anywhere in the house doing what we do.” DOOM was credited with production on intro “The Illest Villains,” and recording throughout the album. The rest of the beats belonged to Madlib, who the KMD co-founder refers to as “Otis” or “O.”
The Long Island, New York representative recalls writing and recording while puffing on Sour Diesel in particular. He and Madlib laid tracks in a space originally purposed as a bomb shelter. “There was a room we used to call the bomb shelter. There was no windows in there. It was like a real bomb shelter, like if something went off, you could be down there and you’d be alright. And that’s where we had some of the recording equipment, where we could actually record. We would only go in there when it was time to record. The rest of the time, I’m writing around the crib, listening to the beat on the deck, or in the whip, driving around. The whole house was the studio.”
Having worked with other producers, DOOM also explains the Madvillain aesthetic he formed with Madlib, as he recalls it. “Madvillain, the approach I took on that one is like, I’m talking to Otis. Like, ‘Yo O, check it out, ha ha.’ Making jokes at somebody, like I’m speaking to somebody audibly, out loud. So that’s the difference. That’s what I did to differentiate the DOOM realm, which is an in-thought realm, from Madvillain, which is more like an outside realm.”
DOOM, who has veiled his face following the death of his brother (and KMD band-mate) Subroc, recalls going out in Cali’ and leaving the mask back at the lab. “Most of the time I don’t go out, so the couple of times I did go out, it was memorable. We’d go to the club and listen to music, basically. Every once in a while, you get a clown in there. Otis is kind of popular; people know his face. I don’t get no problems; motherf*ckers don’t know me. But sometimes, when people know your face like that, they’ll target you. They might be like, ‘Yo, that ni**a be with my girl,’ or whatever, or be a little jealous, and sh*t like that. One time, some cat got jealous and sh*t, and he started trying to front on O. But he didn’t do nothing! He was about to get smashed, but I wasn’t rolling like that. That night, I parlayed. I was on some peaceful sh*t at that moment. O was alright; he wouldn’t care. Dude was jealous.” DOOM also admits that he only listens to one of the definitive albums in his catalog “every other year” or so.
The rarely accessible MC/producer gives an interesting answer when asked if he would change anything about Madvillainy. “Nah, I can’t change nothing on it. It’s perfect the way we did it. I remember when we was doing it, I remember the days, and things that was going on. When I was hearing a beat that day, like a Sunday, it might have rained a little bit that day, it was wet on the ground a little bit. Very quiet up there in them hills, so we could focus and think. To me, if I would say, ‘Oh, I would change that now,’ it’s like changing part of the day. Even if you had a day when you stubbed your toe, when you stubbed your toe you met that girl after that. If you ain’t stubbed your toe, would you have met that girl? You know what I mean? I wouldn’t change anything about it, it was perfect, it was the way how a day would go.”
Gottsegen brings up DOOM’s intricate rhyme writing, a quality that glows on Madvillainy. “You have to go the extra mile to use a technique like [I do] in your writing. When you’re looking at quality of wordplay, you’re looking at, how many words repeat in a bar, or two bars? How many syllables can you use that still make sense in a song?” DOOM says that he equates writing rhymes to word-based board games. “In certain ways, you get a triple-word-score. You know how in Scrabble, you have triple word score joints, the way you get points based on words, and how they correlate on the board? It’s similar to getting points like that, if you really take it to the next level.”
He continues, “What I be looking at is the quality of the rhyming word: phonetically, how the tone is, in the pronunciation of the word. Regardless of language—you can be fluent and speaking Spanish, Arabic, whatever. You can use an Arabic word to rhyme with a Spanish word and have English slang all in between it. As long as the word itself rhymes, you still get points for that word. And the reference is another way of bringing that same thing home. How many references can you cross and still stay on topic? And still rhyme? The more complex the subject matter and wordplay is, that’s where you get your points.” He puts it simply, “I’m a rhymer, so I go for points.”
Notably, DOOM also describes why he favors certain subject matters that stand out in Rap. “I ain’t going to be talking sh*t about the next dude, or bragging about sh*t I got. I talk broke sh*t, I talk about sh*t I don’t got, or things I’m striving for.Say you’re speaking from a point of view where you’re talking to yourself, in maybe a sad mood. How do your tones come across? Can people feel what you’re saying? Can they hear what you’re saying? Are you well pronounced? Maybe you purposely were a little bit sloppy with it, to bring the point across. Can you bring the point across and still get the rhyme points? It’s like gymnastics on paper.”
“I don’t really do music at home,” DOOM reveals later in the conversation. “I do that sh*t just to get money. I write rhymes and sh*t to get money. Other than that, I don’t listen to Hip-Hop music. I listen to Jazz music and instrumentals and sh*t like that. I only do this for the simple fact of points-per-rhyme, the point game. It seems to be a profitable thing these days, and nobody else is really paying attention to it. You can be about your points, and if nobody else can do it, you can get some change off that joint, because you’re the only one doing it like that. That’s what I get out of the rhyming.”
He continues, “I didn’t know it was gonna be such a popular thing. It’s something we used to do for a side hobby, to keep your mind fresh. Word games. You might be walking down the street, playing with words in your mind, so you throw them back and forth, and words that rhyme just come to you. It’s something we did as a hobby, like practicing thoughts, brain exercises. Word searches and things like that, studying different languages, where words come from.” Looking at a career that’s been active for more than 30 years, the artist who in the 2000s called Georgia his home continues, “I’m blessed to be part of this whole thing, from this Hip-Hop experience.”
Metal Face also spoke about his late son, who was born in the same year DOOM and Madlib recorded. “I had a chance to be there when he was born, and then I went out to L.A. to do the record, for a month or two or three, some sh*t like that,” he remembers. “When a baby’s first born, they be so little. You can hold him, but you can’t really do nothing. By the time I came back, he was a little older, but he wasn’t walking yet.”
He adds that while he was not an MC, King Malachi upheld his father’s trade as far as words. “[King Malachi] didn’t ever like that kind of music. But he was a word game-type dude. Every morning, he would write down his dreams, and that would keep him writing. He worked on a book of short stories, and he was just about to get it all in order so he could publish it. He turned out to be quite the young writer. I’m really proud of him, still, right now. And I’m definitely going to make sure that book gets published, and his ideas come out.” DOOM reveals that his child never cursed, even when he tried to prompt him.
DOOM admits that he did sign permission for 2008’s Madvillain remix album, with new beats by Madlib. However, for fans wondering if a beloved 2000s duo can make its return, MF DOOM gives hope. “Since then, we’ve recorded a lot more stuff. There’s a few of them we could put out as whole albums. I’m just looking for the right time. It’s hard to choose a time, as far as the manufacturing side, and the business side. Once that’s all out of the way, people will hear more of it. It’s a ton of stuff that we got.” In the last decade, Madlib left Stones Throw to release many projects through his Madlib Invasion imprint. Meanwhile, DOOM has independently released projects through Metal Face Records along with various labels.
DOOM could not specifically recall when he last recorded with Madlib for Madvillain (which reportedly included one summer-long residency in California). However, he does claim that there are three or four albums worth of material in the vaults. “If you heard them back to back, it would sound like both of them are interchangeable [with Madvillainy]. All three of them, there’s actually three or four of them by now.” Several songs claiming to be Madvillain tracks have leaked in the 2010s. Although it is unclear of their authenticity.
Last week, Stones Throw Records founder Peanut Butter Wolf appeared on Questlove Supreme. The San Jose, California native addressed the original, leaked version of Madvillainy, known as “The Retarded Hard Copy.” He also described Madlib’s creative intricacies and the MC/producer/DJ’s relationship with Stones Throw today.
At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.
Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”
Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.
“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”
As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”
Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”
Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”
The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.’” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”
Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.’” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others. The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.
At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”
Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.
At the 37:00 mark, Questlove brings up Lootpack, the Oxnard, California collective of Madlib, Wildchild, and DJ Romes. The trio that first appeared on Tha Alkaholiks’ 21 & Over went on to release a full-length on Stones Throw in 1998. That collection, Soundpieces: Da Antidote, prompted J Dilla to call Soulquarians collaborator Questlove late one night shortly after its release. “I met my match, man,” Dilla reportedly told The Roots’ band-leader. At the time, Quest’ recalls purchasing four copies at Downtown Manhattan’s Fat Beats store, and listening to the album alongside D’Angelo, presumably at the Electric Lady Studios where they were recording Voodoo. Five years later, Madlib and Dilla would form JayLib together.
Wolf explains, “I was going through the demos recently; the demo versions were all just recorded the way Madlib wanted it. Then we went to like a bigger studio and they multi-tracked it, and mixed everything [differently]. Madlib is like the nicest guy—like he won’t always speak up for what he wants sometimes, so you won’t always know what he really he wants—at least he was back then. So the engineer that did Lootpack, he mixed it a lot differently than the way Madlib’s demo sounded. Madlib cannot listen to [Soundpieces: Da Antidote]; he hates it because of the [mix]. Everything is too perfect and clean for him—clean for the [Emu Systems SP] 1200 anyway.”
Wolf, who is an accomplished artist, DJ, and producer says that Madlib’s subsequent control of the mix grew challenging as Stones Throw tried to shop him to artists. “After that, he would never give [engineers or artists] multi-tracks. I was trying to get Madlib beats to Nas and Q-Tip and people at the time, and it couldn’t happen ’cause he wouldn’t multi-track it.” One placement was in 2004, on De La Soul’s The Grind Date. “I remember with De La [Soul], when they did the ‘Shopping Bags’ [single], they wrote to it after I gave them just the two-track of it. They’re like, ‘Alright, we [are ready] for the multi’s.’ There are no multi’s. They were upset with me; I was kind of caught in the middle ’cause it was miscommunication where they assumed I was gonna give them multi’s on it.” Phonte says that in his experience with Madlib, he has witnessed this to be true. He says that as a longtime fan, he appreciates the aesthetic.
“That’s how Madvillain was created. That’s how JayLib, all the Quasimoto [albums too],” continues Peanut Butter Wolf. “When Madlib told me he wanted to work with DOOM and Dilla, that was our job to find those two guys and make it happen.”
As the discussion progresses into 2004’s Madvillainy, Wolf brings up what is known as “The Retarded Hard Copy” version of the collaborative project between MF DOOM and Madlib. “There’s a whole other version of [Madvillainy]; I don’t know if you ever heard it. But originally, DOOM rapped the whole album in like a hype tone. That version leaked. And I don’t know if DOOM felt like since it leaked he was gonna re-do the whole album or—I don’t know. But for whatever reason, he went back and did the whole album in a laid back way.”
Despite the released version’s accolades, some who have heard both were reportedly hesitant. “The initial response was, ‘I liked him better hype. Why’d he do that? He ruined it.’ But for the people who never heard the hype version, they really responded to it.”
Wolf continues, “That album, JayLib, Quas’, and several other albums were all done at the same time using 150 beats that Madlib had put on three CDs. It was like 50 beats per CD. And it was all like 30-second snippets and stuff.” The guest then explains how and why the onetime flagship artist of Stones Throw stays so prolific. “They’re all done so quickly. He used to live with another producer. That other producer would spend so much time on a track, and Madlib would hear, through the walls, the same song over and over again. He would get so frustrated and sick of hearing the same song. So Madlib’s [approach is] everything is just 10, 20 minutes, and then on to the next track, on to the next track.”
The discussion also reveals that 2000’s Unseen became a breakthrough project by accident. “Quasimoto, that was like on the back. Wildchild gave me a Lootpack tape; Quasimoto happened to be on the back. Then I asked Madlib about Quasimoto. He’s like, ‘Oh, you weren’t supposed to hear that,’ like he was embarrassed. I was like, ‘Nah, I want to do that; yo, I love that.’” Peanut Butter Wolf continues, “[The Unseen was recorded] to cassette. The engineer didn’t want to mix it because—he didn’t want his name on it. ‘I’ll lose business if I put my name on this as the engineer.’ There’s all that hiss and everything.”
Back in the mid-1990s, when Wolf was working at a distributor in addition to releasing beat records for DJs. House Shoes, another artist, DJ, and producer, called him on behalf of a Detroit, Michigan producer, Jay Dee. “Shoes was like ‘I’m sitting on all these unreleased Jay Dee remixes. Because the major labels ask him to do remixes and then they never accept them.’ So Q-Tip was [J Dilla’s] manager, hookin’ him up with a lot of stuff. So [House Shoes] was like, ‘Me and Jay Dee want to a vinyl [release] of this, and we just want to do 1,000 copies.’” Released with a green label, the limited edition pressing contained a remix of D’Angelo’s “Me And Those Dreamin’ Eyes Of Mine,” Das EFX, Masta Ace Incorporated, and others. The relationship would build over the next decade-plus. Just days before his 2006 death, J Dilla released Instrumental Hip-Hop album Donuts on Stones Throw Records.
At 1:32:00, Phonte asks Peanut Butter Wolf about parting ways with Madlib and Stones Throw’s former label manager, Eothen “Egon” Alapatt. Throughout his career, Madlib has done projects outside of Stones Throw, including Blue Note and BBE. However, in the early 2010s, he began to release much of his material outside the Los Angeles, California-based label. “It’s kind of a long story,” begins Wolf. “With Madlib and Egon, who used to run [Stones Throw Records], things weren’t creatively working out between Egon and I, and I had to let Egon go. He basically took Madlib with him. He gave Madlib his own deal, his own label. Madlib’s stuff theoretically comes out on [Madlib Invasion]. He still does some stuff for us. He scored the movie [Our Vinyl Weighs A Ton] and did the soundtrack for that. It’s a loving relationship, but you know. Egon’s more involved in that.”
Stones Throw remains active. In 2018, they released Homeboy Sandman & Edan’s Humble Pi. Elsewhere in the interview, Peanut Butter Wolf reveals that Rawkus Records was pursuing acquiring Stones Throw in the 2000s. He says he flew to New York to meet with the label founders but was not interested. Wolf also describes his current roster. He also discusses plans to open a vinyl bar, featuring 7,000 of his personal records. Guest DJs will be required to use the music library during sets.
