So he’s working too like that, so I hardly see him, even though we’re in the same house. I’m working as fast I can without sacrificing the quality. I’m staying in LA and trying to get back to my children.
I’m trying to finish this record so I can get back home. After some negotiation DOOM came to LA and would spend his days at the house writing.ĭOOM talks about the process in this interview with Red Bull: 2002 Recording startsĪt this time Stones Throw was being run out of a house in LA with Madlib making music in a "bomb shelter" underneath the house. But in an interview with LA Times (which doesn't appear online, but is alluded to here) Madlib mentioned two artists he would be interested in collaborating with: Jay Dilla, and DOOM.Ĭoincidentally Egon, manager of Stones Throw had a friend who knew DOOM and so a package of Madlib's music was sent to DOOM in the hope of getting them together so Madlib would return to Hip Hop. Madlib had abandoned Hip Hop in favour of his Jazz projects, which were destined to be the demise of Stones Throw records. 2001 pre-MadvillainyĪround 2001 MF DOOM was living between New York and Atlanta, his album Operation: Doomsday had released in 1999 but his record label, Fondle 'Em, had now closed down.
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