S. H. Fernando Jr.’s The Chronicles of DOOM is a fascinating and exhaustively researched biography of masked rapper MF Doom.
Booklist wrote of the book:
“Fernando provides a comprehensive look at DOOM’s life and career, meticulously researched through interviews with the rapper’s many collaborators and those closest to the man behind the mask. His track-by-track breakdowns of DOOM’s albums will have sample spotters diving into their record collections. A perfect pairing with Dan Charnas’s Dilla Time (2022), this is an essential exploration into the world of ‘your favorite rapper’s favorite rapper.'”
In his own words, here is S. H. Fernando Jr.’s Book Notes music playlist for his book The Chronicles of DOOM:
For an artist who departed way too soon, at age 49, Daniel Dumile aka MF DOOM left behind a huge body of work for us to dissect, reflect upon, and enjoy from here ‘til eternity. Your favorite rapper’s favorite rapper may not have attained the same commercial success or recognition as some of his more well-known peers (i.e. Snoop Dogg or Drake), but he managed to carve an intrepid path on the fringe, becoming a formidable presence, who was much loved and admired. Though I never had the pleasure of knowing DOOM personally, I eagerly followed his career from afar and was just as devastated as any fan when I learned of his untimely passing. But DOOM was way too special to allow him to just fade into obscurity. Unlike the many poseurs having the gall to call themselves MCs, he proved himself a true talent—an artist and not simply an entertainer. Throughout his incredible run, he remained committed to the foundational principles of hip-hop—creativity, originality, and innovation—taking the artform and culture to new heights. Having spent a good four years working on the book, I got to know DOOM through the many friends, family members, and collaborators that I interviewed. I was also blessed to spend a lot of time simply marinating with his music, which takes center stage in The Chronicles. During a career spanning the evolution of rap, DOOM went against the grain to create his own lane. And through his art, he ensured his legacy as “the best MC without a chain that you ever heard.”
“Peach Fuzz” from KMD/Mr. Hood
Before there was DOOM, there was Zev Love X, Dumile’s first incarnation as an MC. Together with his younger brother Dingilizwe (aka Subroc), they formed the core of the group KMD, who signed to the major label, Elektra, while the brothers were still in high school. KMD thrived during the kinder, gentler era of hip-hop that kicked off the ‘90s, when a multitude of different voices burst upon the scene. They struck quickly with their first hit, “Peach Fuzz” (1991), talking about their lives as teens growing up over a laid-back bossa nova rhythm laced with some mellow piano keys. With a playful video to match, this song endeared them to the MTV generation, who got their first taste of Zev’s quirky style and humor.
“Get U Now” from KMD/Black Bastards
The follow-up to KMD’s refreshing debut could not have been more different. Following their initiation into the cutthroat music industry, they were forced to grow up fast, and their loss of innocence was reflected in their lyrics. Though raised as strict Muslims, Zev and his brother Subroc started boozing it up and getting high. In this song, Zev brags about his “Get U Now,” slang for a handgun, over a booming bassline and backbeat. Gone are the Sesame Street samples that adorned the first record. This new joint saw the brothers acting all hard, influenced by the gangsta rap that was rearing its head on the west coast. When his brother unexpectedly died during the making of Black Bastards, Zev had to finish the record himself. But after the album was shelved due to controversial artwork, and he lost his record deal (read the book to find out how it all went down), this double tragedy sent Zev back to the drawing board.
“Doomsday” from MF DOOM/Operation: Doomsday
Dumile dropped off the radar for several years during which time he admitted he was “damn near homeless.” But it was during this time of grief and introspection that he pulled himself out of his deep depression. Once again, music, a familiar friend, came to the rescue. He devised a plan to reinvent himself as MF DOOM, based on the Marvel comics supervillain, Dr. Doom. He wore a metal mask, like his namesake, so no one will know his identity and he can preserve some semblance of privacy. His reinvention was accompanied by an entirely new laid-back rhyme style and conversational delivery that sounded nothing like Zev Love X. He also started sampling stuff that no one else in hip-hop would touch at the time—for example, Sade’s “Kiss of Life,” which provided the perfect emotional underpinning for DOOM’s poignant lyrics as he waxed poetic about his late brother.
“Valerian Root” from Metal Fingers Presents Special Herbs, Vols. 5&6
Only a handful of MCs are also known for their skills behind the (mixing) boards, and DOOM ranks up there with the best. That’s why he’s had equal success as a producer, making beats for others as well as himself. Thinking outside the box, as was his modus operandi, DOOM conceived of a 10-part series of instrumental beats, named after various herbs. On this track, he borrows the haunting opening riff of New Birth’s “Do it Again” (RCA/Victor, 1974) to craft a beat that MC Paul Barman used for his 2002 song, “Anarchist Bookstore, Pt. 2.” Always one to make the most out of his music, DOOM drops the instrumental here.
“No Snakes Alive” from King Geedorah/Take Me to Your Leader
DOOM further demonstrates his production prowess on this one-off album credited to another one of his zany aliases, King Geedorah. Misspelling aside, one might recognize the name as the three-headed dragon from outer space, who emerges every now and then to battle his archnemesis, Godzilla. Since DOOM defined himself as a writer, he proves his versatility, fully inhabiting the character–though with tongue planted firmly in cheek. “The Three-Headed set it, never get busted,” he raps, “He’s a man of his word, who’s not to be trusted.” The unorthodox backing track, which changes time signatures, is jacked from Godzilla Vs. Megalon (1973), while, lyrically, DOOM is accompanied by long-time collaborators Jet Jaguar (aka MF Grimm) and Rodan.
“Modern Day Mugging” from Viktor Vaughn/Vaudeville Villain
Expanding his cast of aliases, DOOM develops the character of Vik Vaughn, an allusion to Victor Von Doom, who grows up to become Dr. Doom in the comics. On Vaudeville Villain, an album he was working on simultaneously as Take Me to Your Leader, he also takes a break from production, turning over beat-making duties to a group of unknown newcomers, while focusing solely of rhyming. The result is a collection of cutting-edge beats like this one, which sounds like a proper fusion of hip-hop and electronic music. Meanwhile, DOOM is freed up for more mythologizing, taking us along on a crime spree where he mugs people with an unloaded gun. The twist is that he almost gets shot by an old lady who’s packing, a reversal that is vintage DOOM.
“Rapp Snitch Knishes” from MF DOOM/Mm..Food
A common denominator in much of DOOM’s lyrics is laugh out loud humor. When looking for something to rhyme with ‘knish’ he comes up with ‘snitch,’ developing a whole story about how ignorant drug dealers-cum-rappers are always incriminating themselves in their rhymes. Of course, it wouldn’t be as funny were there not so many examples of life imitating art. DOOM and partner in rhyme Mr. Fantastik go to town on this subject over an infectious sample they rescue from the cheese monger. It helps that the song features one of the funniest hooks ever: “Rap snitches, telling all their business, going to court they be their own star witness/Do you see the perpetrator? Yeah, I’m right here/Fuck around get the whole label sent up for years.” This song highlights part of the genius of DOOM, which is keeping us all in stitches.
“All Caps” from Madvillain/Madvillainy
The Madvillainy album, a collaboration with west coast producer Madlib, represents a major breakthrough for both artists, and stands as a benchmark in independent hip-hop. The universally popular release, which won raves from fans and critics alike, spawned this track, which skillfully appropriates elements of the opening theme to the hit 70s cop show Ironside. It doubles as DOOM’s musical calling card (as in “all caps when you spell the man’s name”). Cascading minor piano chords give depth and urgency to the Villain’s lyrical attack as he raps, “And he won’t stop until he got the masses/And show ‘em what they know not through flows of hot molasses.” After years of struggling as the underdog, DOOM finally realized his vision for domination with this album.
“Cellz” from DOOM/Born Like This
Since DOOM has always considered himself a writer first and foremost, it only makes sense that his third solo release would pay homage to fellow literary talent and celebrated lush, Charles Bukowski. In fact, he opens this apocalyptic track with a sample of Bukowski reciting from “Dinosaura, We,” taken from the documentary Born Like This. As a cartoon and comic book fiend, DOOM digs into his old bag of tricks, borrowing various elements from Hanna-Barbera’s Superfriends cartoon to craft a chilling soundscape. He sounds dead serious on this one, even taking a jab at his fans when he raps, “Metal Face Finster, playin’ with the dirty money/Sinister, don’t know what he sayin’ but the words be funny.” As this track illustrates, there is always a darkness to DOOM lurking below the surface.
“Retarded Fren” from JJDOOM/Key to the Kuffs
Returning from only his second European tour, the British-born DOOM, who had never sorted out his US immigration status, found himself on a plane back to London. Deported and separated from his wife and five children, he was suddenly forced to make a new life for himself there on the fly. Luckily, he had recently inked a deal with the British label, Lex. So, to support himself, he immediately went to work on a new project. Following successful collaborations with Madlib and Danger Mouse, he decided to join forces with American producer Janeiro Jarel, his tour deejay, also signed to Lex. Known for his avant-garde beats, Jarel provides the backing track for this banger, which sounds downright haunting and dark. DOOM’s stream of consciousness flow rises to the occasion with lines like, “What happens when the poles shift? /Won’t matter for shit who you roll with.” The mysterious track title, like many of DOOM’s titles, is a throwaway line that appears at the end.
S. H. Fernando Jr., SKIZ, is a writer/journalist whose byline has appeared in The New York Times, Rolling Stone, and The Source. He currently lives in Baltimore, MD.