One of the noticeable differences between the unauthorized promo and the final burn of the album is a change in vocal tone from Doom, which has shifting from an excited, measured performance to a slower, scratchier and ultimately better-suited delivery, considering Madlib's low-key, bass-oriented production. 'Wild guess, you can say he stay sedated.'

Madvillainy is anything but: The samples are smart and never played-out, and the production and rhymes reveal a determined sense of cooperation, as Doom spouts off his most brilliant lyrical change-ups and production-conscious playoffs. The leak seemed to be a huge kick in the ass, especially for Madlib, who in the past few years has been garnering the reputation of being brilliant and prolific, but distracted: His Blunted in the Bomb Shelter mix (rumored to have been concocted in less than a day), Blue Note-sampling Shades of Blue, and even the Jaylib collaboration are fresh, but sloppy and often unfocused. Undoubtedly, Madlib and Doom felt the pressure. If 'Peeyano Keys' and 'Powerball #5' were just rough drafts, what could be expected of the completed project?

As a true testament to both fidelity's fragility and the power of file-sharing, both discs leaked a few months later, giving birth to a logical buzz, but more importantly, heightening expectations to impossible heights these demos were pretty fucking tight.

For the trip, he compiled two mix CDs of beats and unfinished tracks: one stored his collaborations with Detroit's Jay Dee the second held work with Brooklyn's Daniel Dumile (aka MF Doom). (aka Madlib) went south to Brazil on business.

Madvillainy album vinyl