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From Spotify and The Ringer, this is Dissect, long-form musical analysis broken into short, digestible episodes. This is episode four of our season-long dissection of MF Dune. I'm your host, Cole Cushman. and interviews throughout... His decades-long career, Daniel Duhamelet often made it a point to distinguish himself not as a rapper, not as a musician, but a writer. In 2005 he told The Wire I'm an author. It just so happens that what I write is in rhythmic form and it's over music. In 2009, Dumoulin told HipHopDX quote writers are born and we're not

doing it like, yeah, I think I'll be a writer today. We can't help it. If I had another job, if I was a gardener or a city worker, I would still be writing rhymes. As we noted earlier This season, Daniel's innate love for the written word can be traced all the way back to the third grade when he carried a notebook dedicated to putting words together for fun. That youthful fascination with language would sustain his entire life, manifesting at a macro and micro level. With both Dumoulet's author -- Of a multi-character musical universe with interacting narrative-driven albums and the anomalous poetic lyricism of his intricately composed verses, where each line is rich with literary devices like alliteration, synecdoche, enjambment, and of course high-density multi-syllabic rhyme. And there's perhaps no better example of Daniel Dumoulin's relentless line after line display of linguistic mastery than Madvillainy's third track, the subject of our episode today.

Meat Grinder According to Stone's Throw's art director Jeff Jank, Meat Grinder was the first song Doomin' Madlib composed for Madvillainy after meeting up in LA. Madlib begins the track with an excerpt of the 1969 song Doomin' Madlib. Sleeping in a Jar by the Mothers of Invention, a band led by the legendary musician Frank Zappa. Madlib pitches this sample up and executes a repeating half-naked song.

Measure stutter before letting the sample play at length. The Mothers of Invention were an acclaimed experimental group that incorporated a wide spectrum of musical genres, including orchestral symphonies, free jazz, blues, doo wop, and sleeping in a jar at night. Is exemplary of their often bizarre lyrical imagery. As the track's sparse text reads as follows... Of the night and your mommy and your daddy are sleeping, sleeping in a jar. The jar is under the bed. Between the bed and the bed, the bed is a bed of a jar. The jar is under the bed. The group's genre fluidity and their quirky, surreal take on horror imagery, The Mothers of Invention slots perfectly into Mad Villainy's musical universe, which takes a similar whimsical, bizarre approach to its own brand of villainous horror.

After a quick fade down, the Sleeping in a Jar excerpt is immediately juxtaposed with a new sample taken from an obscure record called Hula Rock by Lou Howard and the All Stars. Madlib also pitches this sample up, alternating between a 4 measure loop and an extended 6 measure loop. This sound every once in a while, which is sampled from the end of the Sleeping in the Jar song. Like we heard in the harmonically sound loop of the previous track Acordian, Madlib's ear once again identified a loop with inherent musical integrity. Specifically, it's the heart. Harmonic minor bass line that shines here. It contains a total of four two note phrases. The first two ascend, they get higher

higher. The second two descent they get lower and lower. So overall we have a really nice melodic arc. It climbs up, hits a peak, and then Now what's cool is that the peak of this arc, that jump to a high B. Flat occurs at the exact halfway point of the loop. A nice symmetrical detail to the sound structure of this two bar bass line. Now these details on their own Particularly virtuosic. However, like our accordion beat analysis, what I'm trying to draw your attention to is Madlib's talent for identifying small, interesting, musically sound excerpts. It's because these excerpts are so musically

sound that we actually enjoy hearing them looped over and over. This to me is Madlib's true superpower. He's widely considered one of the best Sample bass producers of all time and not because he's the most technically proficient. I mean the bass is a bit more than a bass drum. It's a bit more of a bass drum. It's for Meat Grinder is simply the loop from Hula Rock. From what I can tell, he doesn't add any additional instruments to the original excerpt. But that's because he didn't have to. He found Sample that was self-contained and didn't feel pressure to overproduce it. Because his true gift is his ear, his ability to hear potential and what others ignore, to mine gold from obscurities. Forgotten records otherwise lost to history. Like a gravedigger lifting jewels from the decomposing bodies of the

Dead. Before beginning his verse we first hear Doom inhale deeply. It's a bit of theatrics that pairs with his opening line, tripping off the beat kinda. In other words, this beat is dope, and Doom is inhaling it. As if he were hitting a pipe, finding lyrical inspiration in his musical trip. He could Thanks for watching. Announces the jars under the bed and the perpetual grind and swirl of the hypnotic baseline.

Secondary wordplay in off the beat, a phrase used when a musician isn't playing in time. In this reading, tripping would mean physically stumbling, a play on someone falling off beat. Since Doom is the one tripping here, it seems he's referring to himself, to his own opening line. This interpretation would explain the displacement of the final word kinda. Traditionally, the adverb kinda is placed before the adjective, as in I'm kinda hungry. So technically, Doom's Kinda is semantically off the beat. And he also says the word on the actual musical offbeat. In fact, the word beat falls directly on beat, while Kinda is said offbeat. The wonky phrasing and delivery of tripping off the beat kinda is the direct result of the very trip he's speaking of. Trippy, right? The trip extends into the following line, dripping off the meat grinder, which is a perfect seven syllable rhyme with tripping off the beat

This is known as a hollow rhyme where every syllable in one line rhymes with every other syllable in another. Initially, dripping off of the syllable is a very common one. The meat grinder appears to be Doom claiming his rhymes are fresh, as if they've been just processed through a meat grinder. As we'll see shortly, the verse to come does spew out an abstracted, jumbled, mashed form. Out a meat grinder. Between the reference to Mad Lib's beat in line 1 and now his own lyrics in line 2, it appears that together the couplet is referencing the couple or duo mad villain. But it's likely that Doom is also directly Referencing the initial sample source as the song Sleeping in a Jar comes off an album called Uncle Meat which Doom seems to use as inspiration for the track's opening line. The villain then begins twisting syllabic meat out of his lyrical grinder, rapping Heat Niner, Pimping, Stripping, Soft, Sweet Miner. China was a neat signer. E-Kinda Meat Grinder Scheme is sustained in Heat Niner, Sweet Miner, China, and Neat Siner, while Soft rhymes with the previous Off.

Also interjects a new rhyme in pimping and stripping. Impressively, all 22 words in the verse so far have rhymed. Now if we're to attempt a summary of these lines, Doom the villain carries a 9mm gun or heat niner and serves as a pimp to an underage stripper named China, who signs for him. Considering the contextual criminality, it's likely that this courtesan helps Doom forge checks or prescriptions. Pills. We should also recognize how a stripper gives a secondary meaning to the title meat grinder, of a lap dance on a patron's meet. Doom's description of China then gets increasingly absurd as he raps trouble with the script digits double dipped bubble lipped subtle nisp midget. Once again, every syllable rhymes. The dominant

Rhyme is the new three syllable trouble with which continues into the rapid fire double-dipped bubble lip subtle lisp while digits and midget complete the standard end rhyme. It's possible trouble with the script digits denotes a handicap or deformity of her fingers or digits while bubble lip subtle lisp describes her voluptuous lips along with evoking a bubbles round shape It's possible bubble is shorthand for bubblegum, in which case Doom would most likely be alluding to bubblegum pink lips or her vagina. Given that Chyna is a sex worker, double dip might allude to her being with multiple partners in quick succession. While the term midget is now considered offensive, we acknowledge that being perfectly PC isn't Likely the villain's highest priority. However, what I think is most fascinating about this increasingly psychedelic description of China is the way in which the constraints of form give rise to these unusual, almost spontaneous descriptors. Doom clearly has prioritized the game's performance.

Advertising rhyme over all else in this verse. And this restriction, this aim of rhyming every syllable, forces him to be imaginative, leading him to discover new creative territories he himself likely couldn't have planned. And out are predicted. I mean, did Doom really set out to write about pimping a disfigured little person with a lisp named China? Or is it more like... The scenario was born out of the rhyme scheme itself, from Doom's openness and letting his imagination take the reins regardless of where it led him. In the hands of a great artist, a creative restriction becomes a tool for innovation. Like a magician escaping a straitjacket, where witnessing doom take on the lyrical challenge of rhyming every syllable while staying on topic, even if that topic is admittedly and purposely absurd.

The description of China continues with borderline schizo, a five-syllable phrase that rhymes completely with the next five-syllable phrase, sorta fine tits. Though. Internal rhyme that's punctuated by completing the standard end rhyme Let's Go which rhymes with a previous schizo and titztho. The next line ever Since 10-11, Glad She Made a Brethren, suggests that Doom has known her since she was 10 or 11 years old, and that she actually considers Doom a big brother. This seems to allude to Stockholm syndrome.

From. College of the Line was likely inspired first by wordplay, as 10/11 continues the upward count that began with 9 and the previous line quarter to 9. The counting motif continues subtly in the next line, then it's last down, 7-alligator-7. The surface play is on flag football, where last down refers to the fourth and final down, and 7-alligator-7 plays on the common counting method in which alligator, like Mississippi, is used to ensure defenders are counting full seconds before they rush the quarterback. But in Doom's previous count, 9-10-11, The next number would be 12, the equivalent of midnight, which is commonly used to denote time running out, like Cinderella's magic expiring at the stroke of midnight. Motivally, this aligns with the idea of a fourth down, a last chance before your opportunity to score or advance expires. Thus we get to the heart of the

double metaphor. Doom is trying to score with China and his time is running out to do so. To the following line, at the gates of heaven, knocking, no answer. There's a few things going on here. As a subtle religious motif that began with his use of brethren, the term for fellow Christians, and continued with the number 7, which is heavily related to God and the Bible. The line also nods to Bob Dylan's hit song Knocking at Heaven's Door. But given the scenario of Doom's sexual advances on China, Heaven's Door is clearly being used as a euphemism for sex or China's vagina. And since Doom admits there's no answer to his knocks or advances, it appears he's been rejected. This leads us to Slow Dancer, Hopeless Romance. And the most popular of the two.

Narrative. Turns out Doom might have actually had feelings for China while China saw Doom as a brother or brethren. The self-descriptor hopeless romancer is used as a pivot point. As the verse will now shift away from the China narrative to Doom boasting about his lyrical ability, a turn perhaps inspired by the ego bruise of China's rejection. Incredibly, he rhymes all five syllables of hopeless romancer with dopest flostanzas, an inventive way to flex his lyrical skills, which he directly compares to poetry, as stanza is traditionally used when describing poetic structure. Now we have to call out the fact that the verse's hard pivot from China to boasting occurs precisely at the song's halfway point, a minute and five seconds into the two minute and ten second song. We should also just keep track of the rhyme density of the verse as we go. At this point, 118 out of 121 syllables rhyme. That's a

Astonishing 98%. Doom's dopest flow stanza is turned into a true or false question as he raps Yes, No, Villain, Metal Face to Destro as if to answer his own question. He calls himself out by name and then places himself in a lineage of villainy from metal face doom to Destro

Villain from GI Joe who also wears a mask. Doom's next line, guess so, still incredible and escrow has some interesting history behind In the original recording of Meat Grinder, Doom rapped Still incredible, how sesquro Recall that part of Madvillain's Still incredible, how sesquro Leaked in late 2002, causing a year-plus long delay in its official release, with escrow denoting an interim period in which money or property is withheld, it would seem that Doom changed this lyric to refer to the Mad Villainy album itself. He's flexing that he's still the most incredible MC in the world. Even when the album was in an escrow period, perhaps since the leak only added hype and anticipation for the official release. It's a scarce brand of self-reference only made possible by the album's unique circumstances that 1. It leaked. 2. Doom decided to re-record his vocals.

3. Doom is clever enough to execute this subtle wink to his most loyal listeners who had noticed this small alteration. Along with this meta reference, this couple might contain my personal favorite rhyme in the entire song, where Doom unthinkably rhymes metal villain with still incredible. Notice how he merges the word still with the first syllable and incredible to get to rhyme with villain meanwhile the remaining syllable is credible a rhyme with metal so not only Is doom rhyming nearly every syllable across entire lines. He's now splicing syllables from one word and finishing. Using them with another to complete his rhymes. Doom here is putting on a masterclass of penmanship. The lyrical assault continues Just say ho, I'll test the yayo. Wild west style fest, y'all best to lay low. This appears to depict a live show setting where it's commonplace that the audience is commanded to say hey and ho. Because Doom has the dopest flow stanzas, he has no

Problem quality controlling the dope or yayo. Wild West Style Fest likely refers to Mad Lib's West Coast affiliation and the location of Los Angeles where they made the album. Best to lay low plays off the gunfights of the actual Wild West as Doom cautions the crowd lest they catch a stray from his rapid-fire rhyming assault. He continues Hey bro, Dayglow, set the bet, pay dough. Before the cheddar get away, bet To get Mako. Here we have to acknowledge the mileage he's gotten out of the two syllable rhyme that began with yes/no, which do not have a word for it. Now rhyme 10 times. Destro, Gesso, Escrow, Sejo, Yayo, Laylo, Hey Bro, Dayglo, Paydo, and May- Meanwhile the secondary rhyme I'll test has now been rhymed five times. Wild West, Style Fest, Y'all Best, Set the Bet, Best to Get.

The lines in question continue the Wild West motif with a Benton collection scenario gone awry, with Doom suggesting Mako, the auto body repair and paint shop, to imply the getaway car better be in top shape to ensure a clean escape. Doom then slows his flow to deliver an impressive four syllable scheme, the worst hated god who perpetrated odd favors. He describes himself as the despised deity, aka a villain. Who commits crimes insinuated by the use of perpetrated, a term most commonly used to describe criminal acts or odd favors. Rhyme extends into demonstrated in the perforated rod-lavers in all quad flavors. This is a reference to Doom Shoes, the Adidas rod-laver signature tennis shoe, which feature perforated leather mid-soles. Now this isn't a reference that just happened to fit

In the photoshoot for Madvillainy, Doom can actually be seen wearing this exact model of shoe in the white and navy blue colorway, though it appears he owns all quad flavors, or four colorways of these kicks. After another brief pause, Doom punctuates the current rhyme scheme with Lord save us, pronouncing lord in the colloquial laud and stretching it into two syllables phrase fits the four-syllable scheme. Notice how Lord here ties into the previous, worst-hated God and also calls back to the brethren-heaven religious motif present in the China narrative. Because Laud comes directly after flavors, it's likely Doom is also using it as a homophone for lard, fat use for cooking. Thus, we now recognize yet another motif running through the past handful of lines, as cheddar, dough, flavors, and lard all relate to cuisine. So not only is Doom rhyming nearly every single syllable of every word, not only is he staying on topic, he's doing it all the time.

So while maintaining multiple motifs, adding more and more juggling balls to this impressive display of virtuosic lyricism. The more slowed, relaxed delivery of this section functions as a welcome respite from the onslaught of rapid rhymes, and gives Meat Grinder's single extended verse a natural break. We'll take a break too, and dissect the rest of the verse when we come back. Welcome back to Dissect. Before the break we reached a natural rest in Meatgrinder's extended verse. However, this break doesn't last long, as Doom quickly picks up right where it's at. Left off. Doom plays on the fact that he took a brief pause rhyming Still back in the game like Jack LaLanne. Think you know the name? Don't rack your brain.

Jack Lelane was a famous weightlifter who sold a branded juicer into his 90s like Doom or Dan and mil dumale. He's been in the game for a long time. But don't rack your brain attempting to remember Doom's former alias or government name. Let us know he's been and will be around a long time like Lilane. With Lilane being a weightlifter, rack becomes a double entendre, referring to thinking hard but also to racking weights. Finally, these lines pay homage to the 1994 track Sweat and Bullets by Bran Nubian, which also named... Text Lelane and rhymes it with rack your brain. To an older hip-hop track extends into a blatant nod to another. Wrath of Cain by Big Daddy Cain. Doom raps on a fast track to Half Insane either in a slow beat or at the speed of Wrath of Cain. Kane. He's boasting that he can rap at any speed, either slow or fast, using Kane's track as an example of up-tempo rapping.

Of Cain serving to exemplify fast rapping. It also extends the ongoing religious motif we discussed. As Cain is an important character in the book, Cain is a very important character in the in the Old Testament whose wrath was felt when he murdered his brother Abel. Now Doom continues the verse with one of my personal favorite couplets on Mad Villainy. Huktuing songs lit in the booth with the best host doing bong hits on the roof in the west coast. It's another hollow rhyme Every syllable rhymes and describes a stone's throw house in Los Angeles, the West Coast, where the album was created. Hock Toon Song's lit is a remarkably ingenious phrase, as Doom converts an onomatopoeia for spit into a present participle verb by adding an -ing. Meanwhile, lit implies what Doom's spitting is fire lyrics in the song. Booth, igniting the bestos madlibs gasoline soaked beets into flames. The simplified spark or fire creates a through line to the bong hits on the roof, as fire The roof patio on the Los Angeles house is where Doom wrote his lyrics for Madvillain,

Advil in the album photos, there's a shot of this roof where you can actually see the bong on the patio table. In another shot, Doom's notebook is captured on the same table, and it's turned to the page that contains a draft of this very lyrical couplet. But instead of hauktuing songs lit in the booth, it says Doing Songs/Hits in the In this early version, Doom was primarily playing on the double use of hits. A bong hit and a song that's a hit. The idea being that Madvillain were doing both simultaneously. However, compared to the extremely clever, hauk-tuing songs lit, Doing song hits is somewhat plain, and this small window into Doom's creative process reveals that he wasn't just writing a verse and recording it immediately. He sought to improve his rhymes with revision. Doom then acknowledges his penmanship in the next lines, which present you.

At another near-hollow rhyme. Doom continues, He's at it again, mad at the pen. Notice how mad here doubles as a callback to the previous half-insane, yet another motif woven into Meat Grinder's complex lyrical fabric. He then rhymes, Glad that we win, a tad fat and a bad hat for men. Posting Madvillain's successful partnership, Doom describes himself as slightly overweight and wearing an unfashionable hat, which he often did perhaps in part to cover his balding head. Doom once joked about the actual reason he wore a mask, saying, The real reason is, I'm so ugly. I don't want to distract the crew.

When I go out on stage. I don't know if I'd even get a song done. Motherfuckers would be thrown tomatoes. Next Doom pivots to a puzzling line. Grind the cinnamon Manhattan warmonger. Peace. Is aggression and violence, which seems fitting for a villain. Grind the cinnamon is a little less clear. When considering it's paired with the warmonger phrase, it's perhaps being used as an image of violence, as cinnamon sticks or ground to a powder, just like Doom smashes his competition Grind also calls back to the song title and the opening line of the verse which feels appropriate here near its end. The next line you can

find the villain in satin congas makes a little more sense with the knowledge that when he performed it live, Doom usually said you can find the villain in satin playing congas. It's a riff on drum circles where players often wear satin garments. Among the aims of a drum circle are spiritual growth which seems to play into the next sequence of lines. The van screeches, the old man preaches about the gold sand beaches, the cold hand reaches for the old tan alesis. When asked about these lines specifically, Doom explained how they related to the idea of personal improvement, about striving to find inner peace with the classic gold sand beach and his personal Grail tan alesis sneakers representing an idyllic state of mind. Quote, It's almost like reaching that vacation place where we're all at total peace, but then the cold hand reaches for the old tan alesis. That's almost like saying, 'Oh that's where I want to be at, but where I'm at is cold.'

I'm somewhere, probably in the city, at a sneaker store and I'm looking for these kicks. I look at it like any metropolis is the lowest you can be. To me that's like a hell. But Elise had the butter all beige sneakers at one time. They look like Stan Smith's almost, only in tan. I was young and broke at the time when they came out. Now I have the paper to get them. I'm trying to find them and I can't get them nowhere, man. It's almost reaching for that gold sand beach, you know what I mean? But the fact that you're always trying to get there is good in itself. That's how I be. The struggle. Google is almost the answer in itself. By the way, Doom was serious about his search for those tan elises. In live performance as a meat grinder, after reciting this final line, he would often tell the crowd to look out for the meat grinder.

For a pair in size 10.5. Now we on to the next one. Observe the subtle structural detail of this final line referencing an Elise tennis shoe. Recall that Meat Grinder's extended verse contained a brief pause after Doom rhymed demonstrated in the perforated rod lavers and all quad flavors, Lord save us. Now here at the end of the verse Doom cites another tennis sneaker creating subtle symmetry between the verses and in its middle break. And similar to Lord save us, Doom caps off Meat Grinder's We've been tracking the religious motif running throughout the song ever since the China narrative, so along with The Old Man Preaches, this final Jesus is an incredible punctuation of this motif.

It also voices our own amazement at the end of this phenomenal display of masterful lyricism where a grand total of 318 out of the verses 350 syllables rhyme. That's a ridiculous 91%. As we heard throughout our analysis, Doom's exercise and high-density rhyme birthed a number of unlikely idiosyncratic phrases. Phrases like dopest flow stanzas, sorta fine tits though, or hawk-toothing stanzas. Songs lit. As we discovered, these unusual phrases aren't just random combinations of words forced together to fulfill a complex rhyme scheme. Even in the song's most abstract moments, we uncovered an intended, or at least possible, meaning. Than not, they were part of a larger motif or subject being developed. However, what we didn't talk so much about today is the pure aural aesthetic value of the verse, the almost primal, brain-tingling pleasure of hearing these relentless, well-crafted rhyming rhythms. In linguistics, this is what's known as euphony, which generates a more

Really refers to the pleasing, harmonious arrangements of sounds in a text. While this aspect is a little hard to formally analyze, So much of our enjoyment of Meat Grinder, and really Doom's lyricism as a whole, lies in his extraordinary ability to create these long chains of words that just sound good together. Thus, our experience of Doom's lyricism is often like viewing an abstract painting. Where the primary aim isn't necessarily to identify a subject, but rather have an immersive, visceral, emotional experience of color and shape and texture and scale. A similar analogy might be a jazz solo, where we're not concerned with the meaning of the notes. Rather, our primary enjoyment lies in experiencing the soloist's command of their instrument and their ability to manipulate tone and rhythm. Together long combinations of riffs and scales that interact with the harmony and rhythm of the instrumental accompaniment. Likewise, Doom's lyricism is often best enjoyed among the artists.

Mercifully, and allowing the rhapsodic, rhyme-guided stream of consciousness to cascade over us in all of his euphony-filled glory. Having settled into the world of Madvillainy with the illest villains, accordion and meat grinder, the album continues with a theatrical. Interlude titled Bistro where our master of ceremonies M.F. Doom formally introduces the duo as performers at a fictional club with a name that rolls right off the tongue. The mad villain Beastro Strobe Bed & Breakfast Bar & Grill Cafe Lounge on the water. In terms of production, be sure to check out our website for more information.

Bistro's sultry beat is a loop extracted from 1983's Second to None by Atlantic Star. Also heard in Bistro is a brief exchange sampled from an episode of Macmillan and Wife, an NBC police procedural show. From the 70s.

The What You Do sample is singled out as Doom introduces Madlib, as if Madlib is saying hello to the audience through the sample. On to list the duo's other aliases as performers on the Knights' bill, including King Ghidorah, Dumile's character based on the Japanese three-headed monster, and Victor Vaughn, the young Time-traveling street hustler whose name stems from Victor Von Doom, the birth name of Marvel's Doctor Doom. Quasimodo refers to Madlib's rapping alter-ego with a pitched-up voice, and yesterday's new quintet is Madlib's jazz group in which All five fictional members are played by Madlib himself. Impressively, each of the aliases in this list had put out a full-length album by the time of Madvillainy's release. And Doom's union in the form of Madvillain represents a Marvel-like merging of these two musical universes. Great bit of winking world building that doesn't take itself too seriously, even ending with an inside joke as Doom dedicates their next song to a few oddly named songs.

Fellows in the audience. So according to Jeff Jank, the art director at Stones Throw who created the Mad Villainy He and Doom had made an arrangement during the album's recording. Jang told Ego Trip magazine quote had this side hustle with Doom where we did a trade. I made him a painting in exchange Using a few challenging key words in his lyrics. Those words shall remain a secret, but I am he gave a shout out to a couple of my cartoon characters, Hookie and Baba in the lounge track Bistro. In another interview, Cenk also claimed this comic was exclusively sold at San Francisco. Francisco area laundromats, which explains Doomsaying, Big Hookie and Bhabha from the Bistro seamlessly bridges into Mad Villainy's next number, an appropriately jazzy piece that slots perfectly into the piano lounge-like atmosphere as if

Forming it live from the bistro itself. This is of course Madvillainy's next track, Raid. A song we'll examine note by note, line by line, next time on Dissect. Today's episode of Dissect was written by Camden Ostrander and me, Cole Cushna. If you enjoyed the episode, please tell a friend about the new season or share on social media tagging @dissectpodcast. It really helps.

Production Assistance by Justin Sales. Audio Editing by Kevin Poulin. Theme Music by Biro Craddock. Alright, thanks everyone, talk to you next week.