[MF DOOM & Interviewer]
Basically, it was a time between
I guess, like, '94, '95, and then we didn't hear from you until, again, to '97
When by then you would become officially MF DOOM
So was there anything particular happening in that
Like, two, two-and-a-half-year period that was molding you into what we were here
You know, when we first heard Deadbent?
What was the process?
Studying hip-hop and studying flow a lot of cap is coming out
A lot of soloists is coming out and getting money and blowing
Now I was really rocking at the time, Meth came out you know the Wu solos were kind of
Like started budding out Biggie was out it was like a good time for the soloist you know what I'm saying um and uh you know that's when I was, like, really trying to find a slot, a good angle that I could come at that would be different from everybody's style. It's something that, you know, I could do without too much of a problem, like a technique that I could just easily master with one formula, but still, it would be different than anybody else's shit. You know what I mean? So that's when I came with the DOOM shit. It was just like, really just simplicity at its finest. You know what I'm saying? Just strip everything down to just the raw essence of rhyming
You know what I mean? Like, no ad-libs
Like, aight, when you rhyming, usually when we be rhyming, it'd be like outside or at school and you're right there rhyming in a little circle or whatever
You know what I'm saying?
That's how it was when we first started and whatnot
And that's like, to me, the essence of it or like even on stage a microphone and or in a party there's you and the mic and the beat you know what I mean?
So it's really, I basically, doing the doom style on that it's just um you know no adlibs, no chorus it'll you know, to where if you were standing right there, there was just four of us. You would hear it the same as if you would hear it in a car or if you heard it in a stadium or a club or whatever
It's just that MC, that beat, and them lines, them punch lines
And, you know, if it's two MCs battling in that kind of setting where it's like a circle and it's just two motherf*ckers going voice for voice and style for style, no nothing fancy, you know, two MCs trying out at those times, you know what I mean? For sure. So that's where, you know, it's no gimmicks, you know what I'm saying, involved. I took that and said, all right, let me use that as the basis. A lot of captains you know, oversaturated in choice of choruses and, you know, like, cheesing the game up a little bit. I think captains started getting lazy. You know what I mean? A lot of money came into the game for captains getting lazy doing short verses, you know. You know, kind of cheesy. So I said, alright, I'm going to just burn it down. If you burn it down, back like how when we was burning it down when everything first started where you could, you know, kind of cheesy. So I said, all right, I'm going to just burn it down. If you burn it down back like how we was burning it down when everything first started, where you could, you know, any corner in Queens, you can't catch spitting and somebody would be real nasty hitting it. Da-da-da-da-da-da-da-da-da. Probably for 20 minutes straight with no choruses over a beatbox. You know what I mean? I said, all right, if we can bring it to that level, then that's different enough to where I think the character would stand out you know what I mean at the same time bring the game back to what is you know how I remember it
The Evolution From Zev Love X to MF DOOM Video (MV)
MF Doom - The Evolution From Zev Love X to MF DOOM Lyrics
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[MF DOOM & Interviewer]
Basically, it was a time between
I guess, like, '94, '95, and then we didn't hear from you until, again, to '97
When by then you would become officially MF DOOM
So was there anything particular happening in that
Like, two, two-and-a-half-year period that was molding you into what we were here
You know, when we first heard Deadbent?
What was the process?
Studying hip-hop and studying flow a lot of cap is coming out
A lot of soloists is coming out and getting money and blowing
Now I was really rocking at the time, Meth came out you know the Wu solos were kind of
Like started budding out Biggie was out it was like a good time for the soloist you know what I'm saying um and uh you know that's when I was, like, really trying to find a slot, a good angle that I could come at that would be different from everybody's style. It's something that, you know, I could do without too much of a problem, like a technique that I could just easily master with one formula, but still, it would be different than anybody else's shit. You know what I mean? So that's when I came with the DOOM shit. It was just like, really just simplicity at its finest. You know what I'm saying? Just strip everything down to just the raw essence of rhyming
You know what I mean? Like, no ad-libs
Like, aight, when you rhyming, usually when we be rhyming, it'd be like outside or at school and you're right there rhyming in a little circle or whatever
You know what I'm saying?
That's how it was when we first started and whatnot
And that's like, to me, the essence of it or like even on stage a microphone and or in a party there's you and the mic and the beat you know what I mean?
So it's really, I basically, doing the doom style on that it's just um you know no adlibs, no chorus it'll you know, to where if you were standing right there, there was just four of us. You would hear it the same as if you would hear it in a car or if you heard it in a stadium or a club or whatever
It's just that MC, that beat, and them lines, them punch lines
And, you know, if it's two MCs battling in that kind of setting where it's like a circle and it's just two motherf*ckers going voice for voice and style for style, no nothing fancy, you know, two MCs trying out at those times, you know what I mean? For sure. So that's where, you know, it's no gimmicks, you know what I'm saying, involved. I took that and said, all right, let me use that as the basis. A lot of captains you know, oversaturated in choice of choruses and, you know, like, cheesing the game up a little bit. I think captains started getting lazy. You know what I mean? A lot of money came into the game for captains getting lazy doing short verses, you know. You know, kind of cheesy. So I said, alright, I'm going to just burn it down. If you burn it down, back like how when we was burning it down when everything first started where you could, you know, kind of cheesy. So I said, all right, I'm going to just burn it down. If you burn it down back like how we was burning it down when everything first started, where you could, you know, any corner in Queens, you can't catch spitting and somebody would be real nasty hitting it. Da-da-da-da-da-da-da-da-da. Probably for 20 minutes straight with no choruses over a beatbox. You know what I mean? I said, all right, if we can bring it to that level, then that's different enough to where I think the character would stand out you know what I mean at the same time bring the game back to what is you know how I remember it
Basically, it was a time between
I guess, like, '94, '95, and then we didn't hear from you until, again, to '97
When by then you would become officially MF DOOM
So was there anything particular happening in that
Like, two, two-and-a-half-year period that was molding you into what we were here
You know, when we first heard Deadbent?
What was the process?
Studying hip-hop and studying flow a lot of cap is coming out
A lot of soloists is coming out and getting money and blowing
Now I was really rocking at the time, Meth came out you know the Wu solos were kind of
Like started budding out Biggie was out it was like a good time for the soloist you know what I'm saying um and uh you know that's when I was, like, really trying to find a slot, a good angle that I could come at that would be different from everybody's style. It's something that, you know, I could do without too much of a problem, like a technique that I could just easily master with one formula, but still, it would be different than anybody else's shit. You know what I mean? So that's when I came with the DOOM shit. It was just like, really just simplicity at its finest. You know what I'm saying? Just strip everything down to just the raw essence of rhyming
You know what I mean? Like, no ad-libs
Like, aight, when you rhyming, usually when we be rhyming, it'd be like outside or at school and you're right there rhyming in a little circle or whatever
You know what I'm saying?
That's how it was when we first started and whatnot
And that's like, to me, the essence of it or like even on stage a microphone and or in a party there's you and the mic and the beat you know what I mean?
So it's really, I basically, doing the doom style on that it's just um you know no adlibs, no chorus it'll you know, to where if you were standing right there, there was just four of us. You would hear it the same as if you would hear it in a car or if you heard it in a stadium or a club or whatever
It's just that MC, that beat, and them lines, them punch lines
And, you know, if it's two MCs battling in that kind of setting where it's like a circle and it's just two motherf*ckers going voice for voice and style for style, no nothing fancy, you know, two MCs trying out at those times, you know what I mean? For sure. So that's where, you know, it's no gimmicks, you know what I'm saying, involved. I took that and said, all right, let me use that as the basis. A lot of captains you know, oversaturated in choice of choruses and, you know, like, cheesing the game up a little bit. I think captains started getting lazy. You know what I mean? A lot of money came into the game for captains getting lazy doing short verses, you know. You know, kind of cheesy. So I said, alright, I'm going to just burn it down. If you burn it down, back like how when we was burning it down when everything first started where you could, you know, kind of cheesy. So I said, all right, I'm going to just burn it down. If you burn it down back like how we was burning it down when everything first started, where you could, you know, any corner in Queens, you can't catch spitting and somebody would be real nasty hitting it. Da-da-da-da-da-da-da-da-da. Probably for 20 minutes straight with no choruses over a beatbox. You know what I mean? I said, all right, if we can bring it to that level, then that's different enough to where I think the character would stand out you know what I mean at the same time bring the game back to what is you know how I remember it
