15. Gas Drawls (1999)

“By the way, I re-up on bad dreams, bag up screams in fiftys / Be up on mad schemes that heat shop like jiffy-pop(pop) / In an instant get smoked like Winston Cigarettes / Ho’s get ripped off like Nicorette patch“

“Gas Drawls” from MF DOOM’s Operation: Doomsday is a defining track on an album that helped reshape Hip Hop in the late ’90s. Released at a time when mainstream rap was flooded with shiny suits and shallow gangsta tropes, Operation: Doomsday delivered something real, something raw. With its quirky sample from Steely Dan’s “Black Cow,” the track combines DOOM’s trademark surreal lyricism with a laid-back, jazzy beat, setting the stage for his future dominance.

The track also holds a special place as an early example of DOOM recycling his material. Originally performed under his Zev Love X alias during a 1994 Stretch Armstrong show, “Gas Drawls” evolved with DOOM’s signature, deeper flow by the time it reached the Doomsday version. The line “the supervillain, cooler than a million” encapsulates the vibe of this track and the persona DOOM would continue to develop over his legendary career—cryptic, creative, and undeniably cool.

14. Accordion (as Madvillain) (2004)

“It’s like the end to the means / F***** type of message that sends to the fiends / That’s why he brings his own needles / And get more cheese than Doritos, Cheetos or Fritos / Slip like Freudian / Your first and last step to playing yourself like an accordion…” 

“Accordion,” from the 2004 album Madvillainy, is one of the standout tracks from one of MF DOOM’s most iconic projects. Collaborating with Madlib under the Madvillain moniker, the song exemplifies the duo’s chemistry, blending DOOM’s intricate wordplay with Madlib’s unique, off-kilter production. The track’s haunting accordion loop, sampled from Daedelus’s Experience, sets the tone with a dark, brooding vibe that complements DOOM’s cryptic verses.

While Madvillainy as a whole is best experienced from start to finish—where its magic truly takes shape—Accordion encapsulates the album’s essence in a single track. The minimalist beat allows DOOM’s sharp, multi-layered rhymes to shine, making it a perfect example of his ability to weave together absurdity, wit, and complexity. This track is a crucial piece of Madvillainy‘s brilliance, even though selecting single songs from the album to represent its impact is nearly impossible.

13. The Fine Print (as King Geedorah) (2003)

“Render unto Geedorah what is Geedorah’s / Ten to one he sees ya through a beaker and a tweezers / Read the fine print and be like, “What’s the big deal?” / Spun wheels of steel since broke wheel Big Wheel…” 

The Fine Print from King Geedorah’s 2003 album Take Me to Your Leader is a masterclass in conceptual rap. Operating under his alien persona, DOOM delivers a chilling yet clever commentary on the human condition, exploring themes of power, deception, and identity. Geedorah, a space monster, provides an outsider’s perspective on the world—one that’s both critical and strangely insightful.

The track’s beat is an addictive, minimalistic loop, complemented by DOOM’s signature off-kilter flow. His verses are laced with quotables, showcasing his sharp wordplay and ability to tell complex stories in a few bars. The song’s dark, mysterious tone is further enhanced by the eerie samples that intersperse the track, lending it an almost cinematic quality.

Although the track’s beatbox-inspired backdrop might seem simple, it’s a perfect canvas for Geedorah’s alien rhymes. The song represents everything that makes DOOM’s King Geedorah project stand out—clever lyricism, unique production, and a concept that challenges conventional Hip Hop narratives.

12. Saliva (as Viktor Vaugh) (2003)

“He said broads call me Vaughny / I make sure I throws em back if they’s too scrawny / Or boney, phony MCs use a stand-in / Leave him hangin like if I ain’t know where his hands been” 

Vaudeville Villain, the 2003 album from MF DOOM under his Viktor Vaughn alias, is a standout in his discography that often gets overlooked. The album blends underground sensibilities with a raw, offbeat sense of humor, highlighting DOOM’s unmatched lyrical skill. As Vaughn, DOOM takes on a grittier, more street-level persona, diving into bizarre narratives and witty wordplay. The production is tight, with jazzy samples, lo-fi beats, and minimalistic sounds that match the complexity of the lyrics.

Tracks like Saliva capture Vaughn’s unique approach to storytelling, mixing street tales with absurd humor and creating a world that’s unpredictable and captivating. While it may not get as much recognition as some of DOOM’s other works, Vaudeville Villain is a must-listen for fans of intricate, intelligent hip hop. It blends hardcore lyricism with quirky production and proves how versatile DOOM’s approach to rap can be.

11. Rap Snitch Knishes ft Mr Fantastik (2004)

“True, there’s rules to this s***, fools dare care / Everybody wanna rule the world with tears for fear / Yeah yeah tell ’em tell it on the mountain hill / Running up they mouth bill, everybody doubting still…” 

Rap Snitch Knishes from MF DOOM’s 2004 album MM… Food is a sharp commentary on the absurdity of self-snitching in rap. Over a menacing instrumental that originally appeared in Special Herbs (renamed Coffin Nails), DOOM teams up with Mr. Fantastik for a track that feels both playful and cautionary. The song’s concept is deceptively simple: the duo dissects the dangerous foolishness of rapping about crimes that can eventually land you in court, a theme made all the more poignant through Fantastik’s vivid storytelling and DOOM’s ever-present wit.

The track’s true strength lies in its memorable chorus, where Mr. Fantastik repeatedly warns, “Rap snitches, tellin’ all their business.” DOOM’s verse complements this with trademark wordplay and a reflection on the absurdity of “informer” culture. The chemistry between Fantastik and DOOM is undeniable, making this one of the standout moments on MM… Food. While the album may not hit the same highs as Operation Doomsday, Rap Snitch Knishes is a noteworthy example of DOOM’s ability to craft a track that’s both a critique and a catchy jam.

10. Rhinestone Cowboy (as Madvillain) (2004)

“Known as the grimy limey, slimy—try me blimey / Simply smashing in a fashion that’s timely / Madvillain dashing in a beat-rhyme crime spree…”

“Rhinestone Cowboy” closes Madvillainy with a smirk and a bow, peeling back the curtain on DOOM’s villain persona without ever breaking character. Over Madlib’s dusty, off-kilter loop, DOOM unloads a single, sprawling verse that swerves between absurd punchlines, meta-commentary, and sly jabs at critics and fans alike. There’s no hook—just applause, scattered samples, and DOOM in full control.

He rhymes like he’s skipping stones across a pond, each line cracking the surface before moving on to the next. His delivery is laid-back but razor-sharp, full of internal rhymes and verbal curveballs: “We rock the house like rock ‘n’ roll / Got more soul than a sock with a hole.” It’s playful, cryptic, and weirdly confident, summing up the Madvillain persona with lines that drift between cartoon mischief and calculated craftsmanship.

As the beat fades under another round of applause, DOOM fades into the shadows again. He doesn’t explain the mask—he wears it, owns it, and disappears behind it. “Rhinestone Cowboy” isn’t a goodbye. It’s a reminder that the villain never dies.

9. Hey! (1999)

“I only play the games that I win at / And stay the same with more rhymes than there’s ways to skin cats / As a matter of fact, let me rephrase: / With more rhymes and more ways to fillet felines these days…” 

On “Hey!”, MF DOOM turns a Scooby-Doo cartoon cue into a full-blown lyrical séance. Plucked from Operation: Doomsday, this deep cut is vintage DOOM: an unbroken verse packed with references, schemes, and left-field jokes that tumble forward like a boulder in a trap room. The beat—sampling The New Scooby-Doo Movies intro—sounds like Saturday morning TV warped by insomnia and weed smoke, an eerie loop that gives DOOM the perfect haunted funhouse to roam.

He’s in rare form here, switching lanes from comic absurdity to razor-edged commentary without ever raising his voice. There’s a barely-contained chaos to the verse—rhyme patterns snapping in unexpected places, punchlines swerving mid-thought, and a narrative logic held together only by DOOM’s gravel-toned charisma. He riffs on everything from clean-shaven rappers to Green Haven prison to bad Raekwon impressions, slipping in and out of sense like a glitching villain monologue.

By the end, he’s taunting the listener: “You could have got away with it if it was not for them meddlin’ kids!” It’s as funny as it is menacing—pure DOOM.

8. The Mask (as Danger Doom) ft Ghostface Killah (2005)

“Head on straight, mask on crooked / Exit stage left, with the cash gone took it…” 

The Mask is a rare gem: two cult rap titans—MF DOOM and Ghostface Killah—trading verses like comic book panels over Danger Mouse’s eerie, cinematic beat. Pulled from The Mouse & The Mask, the track stands as a haunted theme song for the supervillain/antihero archetype both MCs embody, each in their own abstract, street-schooled way. Ghostface’s verse, wrapped in sci-fi imagery and grimy braggadocio, is one of his strangest and most vividly surreal, sliding between frozen brains and Playskool hammers without missing a beat.

DOOM opens with a crooked grin, playing the rap game like a long con. Every bar is a miniature con job—slipping in philosophy, slapstick, and a lesson in street survival. Danger Mouse’s production flips obscure Italian soundtrack cuts and 60s psych-rock into a beat that’s both off-kilter and cinematic, perfectly framing the creeping menace and cracked humor in DOOM’s delivery.

This track is a teaser for what could’ve been: DOOMSTARKS, the long-rumored, never-released joint album. Even in isolation, The Mask makes the case—these two together were something else. It’s like watching two master thieves compare notes mid-heist.

7. Figaro (as Madvillain) (2004)

“The rest is empty with no brain, but the clever nerd / The best MC with no chain ya ever heard…”

On “Figaro”, MF DOOM is untouchable—an avalanche of wit, internal rhyme, and off-kilter charm packed into one uninterrupted verse. The beat, as minimal as it is hypnotic, lets DOOM stretch out and work magic with nothing but cadence and language. There’s no hook here, no filler—just one long, free-associative sprint through DOOM’s brain, where every bar flips the last on its head.

The title “Figaro” pulls double duty. On one hand, it jabs at rappers obsessed with flashy chains—figaro links as shorthand for superficiality. On the other, it nods to “Largo al factotum”, an aria infamous for its tongue-twisting delivery. DOOM’s verse lives up to the comparison: dizzying, fast-paced, and rich with layered meaning. He raps like someone trying to outwit both the beat and the listener, ducking in and out of rhyme pockets with effortless grace.

Lines like “The best MC with no chain ya ever heard” sum it up. Figaro isn’t about image—it’s about mastery. No frills, no flash, just bars so sharp they cut through the beat itself.

6. Hoe Cakes (2004)

“DOOM was always known to keep the best girls’ backs bent / Some say it’s the eyes, some say the accent…” 

On Hoe Cakes, MF DOOM flips what could’ve been a tired sex rap into something sly, surreal, and hilariously off-center. Riding a skeletal beat built from beatboxing, vocal chops, and a loop of J.J. Fad’s “Supersonic” chanting “Super!”, DOOM turns the concept of a pimp track into a performance art piece. It’s not just about women or flexing—it’s about cadence, misdirection, and how far DOOM can stretch a punchline before snapping it back into rhyme.

The title itself is a layered joke. A reference to both women (“hoes”) and hoecakes—a humble African-American dish made by enslaved people cooking pancakes on iron farming tools—it signals that this track, like much of MM…FOOD, is more nuanced than it first appears. DOOM’s lyrical gymnastics are in full effect: absurd similes, obscure references (D.B. Cooper? Foofur?), and moments of unexpected tenderness, all wrapped in verses that sound like they’re being whispered to you from under a mask.

“Hoe Cakes” is proof that no one does “funny and filthy” quite like DOOM. He’s rapping about sex, sure, but mostly he’s rapping about how he raps about sex. And that meta-layer—smart, strange, and endlessly quotable—is what makes it so super.

5. Rhymes Like Dimes (1999)

“I sell rhymes like dimes / The one who mostly keep cash but brag about the broker times / Joking rhymes, like the “Is you just happy to see me?” trick / Classical slapstick rappers need Chapstick…”

“Rhymes Like Dimes” is where the DOOM mythology really starts to crystallize—masked, mysterious, and casually untouchable. It’s early DOOM, but the blueprint’s already in full effect: dense free-associative wordplay, comic-book absurdity, and a beat that shouldn’t work but somehow does. Sampling Quincy Jones’s glossy “One Hundred Ways,” the track laces buttery smooth keys with DOOM’s gravel-dry voice, creating a strange fusion of lounge and street corner cipher.

On the mic, he’s selling verses like they’re dimebags, flipping meanings with ease—maybe it’s about hustling rhymes, maybe it’s about women, maybe both, maybe neither. What’s clear is that he’s having fun dismantling conventions, making you laugh and think mid-bar. “Keep a pen like a fiend keep a pipe with him”—his metaphors never just land, they ricochet.

The brilliance here isn’t in a big concept or a narrative arc—it’s in the overflow. Every couplet feels like it could have been its own track. It’s a standout on Operation: Doomsday, not because it tries to be epic, but because it’s DOOM at his most instinctive: relaxed, sharp, and completely in his own lane.

If you’re looking for the essence of MF DOOM distilled into one track, this might be the purest hit.

4. Fazers (as King Geedorah) (2003)

“King Geedorah, take me to your leader / Quick to claim that he not no snake like “me neither” / They need to take a breather / He been rhyming longer than Sigmund the sea creature…” 

“Fazers” crashes open Take Me to Your Leader like a meteor strike—cinematic, otherworldly, and unmistakably DOOM, though here he dons the mask of King Geedorah, his three-headed alien alter ego. The beat, a warped sci-fi loop soaked in B-movie dread, feels like a kaiju marching through fog. Over it, DOOM drops one of his sharpest verses ever: a breathless, labyrinthine monologue full of razor wit and alien swagger.

Line after line lands with surgical precision. He flips references to ZZ Top, Sling Blade, and Sigmund the Sea Monster like they were staples of ancient scripture, all while maintaining the cadence of a villain explaining his master plan mid-heist. “Catch ’em with bare hands / These same hands that make razors out beer cans”—it’s grimy, poetic, and absurd in equal measure, which is DOOM at his best.

Though Take Me to Your Leader remains one of his more slept-on projects, “Fazers” is undeniable—both a warning shot and a thesis statement. DOOM’s voice is menacing but calm, like a tyrant who knows the planet is already his. It’s not just a standout on the album—it’s one of the most technically dazzling displays in his whole discography. Keep your fazers on stun.

3. Gazillion Ear (2009)

“Villain man never ran with krills in his hand and / Won’t stop rockin’ til he clocked in a gazillion grand / Tillin’ the wasteland sands / Raps on backs of treasure maps, stacks to the ceiling fan…”

“Gazillion Ear” opens Born Like This with the force of a trapdoor springing—no warning, no windup, just raw lyricism over one of the nastiest beat switches in DOOM’s catalog. The track is a showcase in three acts: J Dilla’s eerie, stuttering groove sets the stage; DOOM obliterates it, then slides into a warped B-section, only to re-emerge even sharper in the third. It’s rap as a tightrope act, balanced between chaos and control.

DOOM spits like he’s hoarding syllables, stacking punchlines on obscure references like bricks in a collapsing wall. The CERN Hadron Collider, Ernest movies, fake prophets, masked wrestler bars—nothing’s too obscure, nothing’s off-limits. Lines like “Used to keep a full stock of work / Half rocked and half shake” hit with that perfect DOOM blend: cryptic, grimy, and absurdly clever.

What elevates “Gazillion Ear” is how mercilessly it reasserts DOOM’s genius, ten years after Operation: Doomsday. He’s sharper, more cryptic, and completely uninterested in easing the listener in. The beat fractures, the verses tangle, and through it all, DOOM remains fully in command.

2. All Caps (as Madvillain) (2004)

“Just remember ALL CAPS when you spell the man name…” 

From the first flicker of the comic book-style intro to the last warped piano note, “All Caps” feels like Madvillainy distilled—dense, stylish, and effortlessly strange. Madlib’s beat loops a buttery jazz fragment until it becomes hypnotic, all crackling drums and off-kilter mood. It’s cinematic without trying, like something pulled from a lost reel of a ’70s noir cartoon.

MF DOOM doesn’t waste time. He dives into the verse like it’s mid-thought, snapping off internal rhymes and double entendres with his usual unbothered precision. Lines like “Sometimes he rhyme quick, sometimes he rhyme slow / Or vice versa” are deceptively simple, playing with rhythm and timing like a street magician with a deck of bent cards. The message at the core—“Just remember ALL CAPS when you spell the man name”—is DOOM in essence: playful, sharp, and rooted in myth-making.

There’s no hook, no fat, no pandering. Just villain talk over a surreal groove, anchored by a flow that moves like smoke through a maze. “All Caps” works as an entry point for the Madvillainy world, but it never compromises for clarity. It’s DOOM at full power—masked, word-drunk, and entirely in control.

1. Doomsday (1999)

“I used to cop a lot but never copped no drop / Hold mics like pony tails tied in bobbalobs / Stop and stick around, come through and dig the sound / Of the fly brown 6-0 sicko psycho who throws his d*** around…”

“Doomsday,” the opening track from Operation: Doomsday, lands with quiet force. It doesn’t try to announce MF DOOM—it lets him unroll his style without warning or explanation. Built on a loop from Sade’s “Kiss of Life,” the beat drifts and glows, giving the track a strange kind of warmth. Layered with the scratch work and pieces of Boogie Down Productions’ “Poetry,” the sound feels like it’s been pulled from a radio playing in a half-lit basement, fuzzy but full of intent.

DOOM’s verses come in long, meandering chains. He weaves through boasts, jabs at corny rappers, flashes of autobiography, and obscure pop culture references. Nothing about it moves in a straight line. Instead, he piles images and rhymes until they start to vibrate. “Definition: ‘super-villain’—a killer who love children / One who is well-skilled in destruction, as well as building”—this line hits like a character reveal, but it’s also a philosophy. DOOM isn’t explaining himself. He’s laying out a world with its own rules.

There’s no clean hook or radio formula here. Pebbles the Invisible Girl’s vocal refrain gives the song a soft edge, but even that feels ghostlike—drifting in and out around DOOM’s thick delivery. The line “’Til I’m back where my brother went, that’s what my tomb will say” anchors the track in something heavier. It’s not mournful. It’s matter-of-fact. He’s writing in code, but the grief cuts through.

The beat loops on, DOOM keeps rhyming, and nothing wraps up cleanly. That’s the point. “Doomsday” moves like a signal pulled from a cracked antenna—uneven but clear in purpose. It’s DOOM talking directly, but from behind the mask. The track doesn’t ask to be understood in full. It just asks you to listen closely.