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The Lennon-McCartney dispute started after the Beatles manager Brian Epstein died in 1967, and Paul McCartney wanted his impending brother-in-law to become the new manager while all other Beatles wanted Rolling Stones manager Allen Klein.

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Continuing his attack on the quality of McCartney’s music after the Beatles broke up, Lennon calls his music as good as muzak, which is a kind of background filler music, usually played in elevators or retail stores.

Lennon goes on to imply that McCartney was the least skilled of the Fab Four, and that he must have learned something about songwriting and composition from the other three Beatles.

Lennon clearly considers himself to be the superior artist, and calls out McCartney for not having improved as a musician despite having the chance to observe him work during the Beatles' active period.

He’s also asking if McCartney paid attention to what he was doing all those years and learned anything from it, since Lennon clearly regards himself as a better musician and songwriter.

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This is the eighth track from Imagine, John Lennon’s second solo album after the Beatles broke up. A scathing result of the Lennon/McCartney feud, this song is one of pop music’s first diss tracks. Lennon actually wrote it in response to the Paul McCartney track “Too Many People.”

According to the 1981 Playboy interview this is what Lennon said about the song in 1980, just before his untimely death:

You know, I wasn’t really feeling that vicious at the time. But I was using my resentment toward Paul to create a song, let’s put it that way. He saw that it pointedly refers to him, and people kept hounding him about it. But, you know, there were a few digs on his album before mine. He’s so obscure other people didn’t notice them, but I heard them. I thought, Well, I’m not obscure, I just get right down to the nitty-gritty. So he’d done it his way and I did it mine. But as to the line you quoted, yeah, I think Paul died creatively, in a way.

The inside cover of Imagine also featured a picture of Lennon holding the ears of a pig, which ridicules the cover photo of McCartney’s May 1971 album, Ram.

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Seventh song of Fishscale, in which Ghostface meets a woman. Samples ‘Maybe’ by the Three Degrees.

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DOOM is still one to prank…

A surrealist description of how DOOM wrote a rhyme is mandatory for each album:

Could also mean he wrote this one as a “fuck you.” Writing a song and then releasing it sort of makes it permanent, just like writing something in cement.

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Vazoplex is viagra for women. Tastes like sperm, supposedly.

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Either refers to giving a girl a pearl necklace or knocking her up. (Women who are pregnant are said to glow.)

Also, Big Bank Hank and Master Gee from Sugar Hill Gang and Method Man are known to have super sperm.

A little reference to hoe cakes?

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From the ‘Occult Hymn’ EP, this song extends the Adult Swim theme of DangerDOOM’s previous album ‘the Mouse and the Mask’ and also has a lot of references to medication from the drug store.

This one is based around the very weird show ‘12 oz. Mouse’. All samples come from episode 3, season 1, where the mouse and his friend Skillet end up in corn dog land. The ending sample comes from this clip:
http://video.adultswim.com/12-oz-mouse/big-ole-fat-corndogs.html

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In 2004 Monsta Island Czars, and in particular MF Grimm felt severely affronted at the way MF DOOM ignored and even dissed them. There was a little beef over some money DOOM owed Grimm and DOOM not showing enough love for his one-time friends.

So Grimm came out with this vitriolic diss track that even makes people unrelated to the beef feel uncomfortable.

‘The Book of Daniel’ is part of the Hebrew bible, and DOOM’s real name is Daniel Dumile. So that’s where the name comes from.

DOOM and Grimm had been partners throughout the 90s. Grimm provided drug money to fund the Black Bastards album in 1993 when DOOM was still in KMD. He stood by DOOM when his brother died that same year and he left the game for five years. Grimm also helped on Operation: Doomsday and they did an EP together. Then Grimm got incarcerated and DOOM blew up. When Grimm got out in 2003, he expected some money from DOOM. They quarreled for a few years, and now the beef is over. Recently Grimm has been spending a lot of words explaining it’s all love and no hate.

Grimm is very talkative on this issue, and DOOM not at all, so it’s mostly a one-sided story. For some more information, check out:
http://pyramids2projects.blogspot.com/2006/11/village-voice-full-length.html
and
http://pyramids2projects.blogspot.com/2006/11/private-enemy-requiem-in-many.html

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Sequencing in the last section of the Madvillainy album. This is a nice song to lay back and smoke an L to. Let the song take you higher.

(The song samples “So Good” by The Whispers.)

DOOM has said he likes to put one feminine song in the second half of his albums: either sung, rapped by a woman or thematically feminine. This song is the one for Madvillainy. For other albums:

Album Year Song
Vaudeville Villain 2003 Let Me Watch
Madvillainy 2004 Eye
MM.. FOOD 2004 Guinnesses
Born Like This 2009 Still Dope
Key to the Kuffs 2012 Winter Blues

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