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It was released on March 23, on. The album was recorded between and and was produced entirely by Madlib, with the exception of 'The Illest Villains' which was produced by both Madlib and DOOM. Madlib created most of the album's instrumentals during a trip to, where the production was composed in his hotel room using minimal amounts of equipment. Fourteen months before the album was officially released, an unfinished demo of the album was stolen and leaked onto the internet.

Frustrated over the leak, the duo stopped working on the album and returned to it only after they released other solo projects. While Madvillainy achieved only moderate commercial success, it still became one of the label's best-selling albums. The album peaked at number on the US, and attracted much attention from media outlets not usually covering, including. Madvillainy received rave reviews from most music critics, who praised both DOOM's lyricism and Madlib's production.

The album has appeared in various publications' lists of the best albums, including magazine's list of. In , he released his debut solo album on. According to of, the album 'has attained mythic status; its legend has grown in proportion to its relative unavailability'. Soon after release of the album, in an interview with the, Madlib stated that he wanted to collaborate with two artists: and DOOM.

During that time, he lived between,, and the suburb of,. Coincidentally, Eothen 'Egon' Alapatt, who was the manager of Madlib's label, had a friend in Kennesaw. Three weeks later, the friend called back, telling him that DOOM loved the instrumentals and wanted to work with Madlib. Despite the fact that label didn't have enough money after buying the tickets, they immediately agreed. According to Egon, soon after arrival, the manager went to him demanding money, while DOOM visited Madlib: The first thing his manager did was get me in my bedroom, which was also the office, and corner me about the 1, bucks.

Soon after, Stones Throw Records managed to collect the money necessary to pay DOOM and a contract to the label was signed, which was written on a paper plate. Madlib created one hundred beats in a matter of weeks, some of which were used on Madvillainy, some were used on his collaboration album with J Dilla, while others were used for 's and ' albums.

When the duo wasn't working on the album, they were spending free time together, drinking beer, eating,, and taking. In November , Madlib went to to participate in a lecture, where he debuted the first music from the album by playing an unfinished version of 'America's Most Blunted'. Madlib also went crate digging during his time in Brazil, searching for obscure he could later, with fellow producers,, and J.

According to Madlib himself, he bought multiple crates full of vinyl records, two of which he later lost. He used some of these records to produce beats for Madvillainy. Most of the album, including beats for 'Strange Ways', 'Raid', and 'Rhinestone Cowboy', was produced in his hotel room in, using a portable, a cassette deck, and a sampler.

While Madlib was working on the album in Brazil, the unfinished demo was stolen and leaked on the internet, 14 months before its official release.

Jeff Jank, Stones Throw's art director, remembers the leak in the interview with: Those were the early days of internet leaks, and we thought it would completely ruin sales. Madlib started on other stuff, and DOOM, well, you never know what he's doing. DOOM and Madlib decided to work on different projects. Nevertheless, after the release of these albums, they decided to return to Madvillainy. For the final version of the album, DOOM altered his voice, described by as going from 'really hyper, more enthusiastic' to 'a more mellow, relaxed, confident, less abrasive', and changed some lyrics to coincide with this change.

Madlib was also asked by the label to change some instrumentals, but told them that he forgot the samples he used, in order to allow for them to remain on the album. Additionally, the label also requested the duo make a proper ending for the album, forcing them to rent a studio for the recording of 'Rhinestone Cowboy'.

The beat used, however, was produced in Brazil. Production [ ]. Madlib pictured in , producer of the album and half of the duo Madvillainy was produced almost entirely by Madlib, except the first track, which he produced in collaboration with DOOM. On the album, Madlib incorporates his distinctive style, based on using, mostly obscure, from albums recorded in different countries. The album consists of 22 songs, most of which are short, under 3 minutes, and contain no.

Sam Samuelson of compared the album to a comic book, 'sometimes segued with vignettes sampled from s movies and broadcasts or left-field [marijuana]-toting skits'. He also noted that some instrumentals on the album '[seem] to be so out of time or step with a traditional hip-hop direction'. Compared the album to a buffet, where 'Madlib and Doom are interested in throwing out ideas as fast as they have them, giving them as much attention as they need, and moving on to the next thing'.

Tim O'Neil of praised Madlib's instrumentals and said that they 'make the album a sonic feast'. A sample of 'Meat Grinder', described by as 'a tongue twister, with multiple contrasting internal rhymes and almost nonsensical verses jammed together in a way that almost sounds silly but doesn't'.

Problems playing this file? DOOM's lyrics on Madvillainy are. According to, the album 'is about using sound to craft semi-indecipherable vignettes that are situated somewhere between the real and the mythical'. Despite originally featuring a more enthusiastic, excited, the leak prompted DOOM to go with a slower and more relaxed flow on the final version of the album. This move has been praised by various publications, including, which said that it was 'ultimately better-suited' than the original.

Throughout the album, DOOM uses a number of, including,,,, and. Music critics also noted extensive use of and. Stated that 'the densely telegraphic lyrics almost always reward closer inspection' and that DOOM's 'rhymes miss beats, drop into the middle of the next line, work their way through whole verses' allows for a smooth listen.

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