In the Beginning Vol. 1 (2021)

Madlib/Declaime

As he has perfected his trademark ‘loop digging’ sampling technique, Los Angeles-based producer Madlib has become one of the most admired people in hip-hop. Over the past thirty years, the lo-fi sample mastermind has evolved from his Southern California beginnings recording with his childhood friends to making iconic records with MF DOOM, J Dilla, and more recently, Freddie Gibbs. Among his massive discography are two full-length albums that he produced for the funky and eccentric Dudley Perkins. Perkins grew up alongside Madlib in Oxnard, and has rapped extensively over Madlib’s production under the alias Declaime. On In the Beginning Vol. 1, Madlib & Declaime compile thirteen of their earliest unreleased collaborations that serve as an archetype for each of their historic careers.

(Pictured Above: Madlib (Left), Declaime (Right)

The previously unheard record arrives through SomeOthaShip, a small label owned by Perkins and his former partner, Georgia Anne Muldrow. When the duo recorded these demos, it was long before any idea of a long-term career in music, and this is evident in how both of these artists thoroughly enjoy themselves throughout each track. Madlib’s early work with Declaime and other affiliates helped him master the art of sampling, but also laid the foundation for an entire era of early 2000s hip-hop. His first group, Lootpack, released the similarly billed The Lost Tapes (2004) b-sides compilation after they disbanded, and with Declaime rapping instead of the former’s Wildchild, this collection provides a fresh perspective on a crew that helped pioneer underground hip-hop.

In the Beginning Vol. 1 predates the multi-layered sample-based beats that have defined Madlib’s recent work. Instead, the production on this record primarily relies on simple loops with a bass boosted EQ and detuned drums that similarly reverberate across Lootpack’s only studio album, Soundpieces: Da Antidote (1999). This stripped down production style is complementary to Declaime’s condensed verses. During their Oxnard years, Declaime, Madlib & Wildchild all had similar vocal melodies that were often overcrowded with syllables, but still delivered their bars with grace. On the “One on One Remix” (above), Declaime demonstrates this breath control when he recites,

“Cause there’s nothing that can save you/from this knockout blowing punch just gave you/Cause I hate to lose the booze/From the fools, who don’t understand/Unless P-Funk’s the band”

The way Declaime spits is closer to spoken word than traditional rapping, while his lyrics unfold like a freestyle. His lines do not follow a linear thought process, but the recording of this entire album was more likely a series of casual cyphers than organized songwriting sessions.

Declaime has moments where he showcases a sharp sense of lyricism. On “Madman” (above), Madlib provides an instrumental for the hardest hitting bars on the record using a minimal drum beat and a shaking bassline. Declaime is at his energetic peak with lyrics like,

“Layback abuse, no need for harsh languages/Cause when I’m done, all there is is bloody red bandages”

Given that this record was recorded between 1993-1996, “Madman” plays like a west coast answer to Enter the Wu-Tang (36 Chambers) (1993), with Perkins proving that Los Angeles may have an alternate approach to battle rap than New York, with more potent punchlines.

The album highlight is the MED-featured “All Over the World” (below), which is one of the later chronological recordings on the album (1996). Over his career, Madlib has frequently collaborated with MED, another integral member of the Oxnard collective. The production on this track reflects a gradual progression between ‘93-’96, and they sound more compatible together than any previous songs. Madlib also layers additional samples on top of the beat, including a vocal scratch during the chorus. Meanwhile, Declaime raps with an intense focus on this cut, making this most well-structured songs on the record. It’s a typical ‘90s hometown anthem, and even though the trio still performs with a youthful exuberance, their chemistry sounds effortless after years of recording demos together.

Madlib is nearing fifty years old, and his unquestionable status in hip-hop was cemented over a decade ago. The music he has made since 2005 continues to reinforce his sound, even when it edges different forms of experimentation like on this year’s unexpected Four Tet collaborative LP. Dudley Perkins is an underground staple, and both of these artists are key figures amid Stones Throw Records’ beloved and influential catalog. The record concludes with Madlib’s “Outrose” instrumental, and it’s the only beat on the compilation that could pass as one of his popular recordings, almost like an alternate version of his Quasimoto fan favorite, “Low Class Conspiracy” (2000). Even with the casual and care-free energy at the core of this compilation, In the Beginning Vol. 1 foreshadows a career with an unmatched impact on the history of hip-hop.

©Total Trash Ltd, 2021