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Its greatness stems from being a truly great rap album even when separated from the pedigree of everyone involved.
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It isn’t even great just because of how its greatness feeds into the legends of both the metal-faced villain and Oxnard, CA’s finest producer. It isn’t just because this is the album that put Stones Throw Records on the independent music map. Danger Doom (Danger Mouse & MF DOOM) - The Mouse and The Mask (2005) Hood is a fun and breezy record that helped lay the groundwork for the villainy that was to come. Where else will a rapper chart out the chase for Little Black Sambo with Bert and Ernie from Sesame Street? Even given its content, Mr. Many of DOOM’s trademarks can be traced back to this album: his obscure sampling palette (the album’s titular narrator of sorts is culled audio from a language-learning tape), his internal rhyme schemes, and his conceptual genius. Their debut album is a walking tour of Long Beach, New York, made up of wide-eyed Afrocentric raps over sweet, tinny R&B flips. He, his brother DJ Subroc and Onyx The Birthstone Kid subscribed to the same freewheeling positive vibes that members of the Native Tongues like A Tribe Called Quest and De La Soul did. Before the mask and the mystery, there was Zev Love X, a Five-Percenter with a high-pitched voice and bars ready to unspool. Hood isn’t technically a DOOM album, there is no MF DOOM without KMD.