Sold Date: April 16, 2016
Start Date: April 9, 2016
Final Price: $26.05 (USD)
Bid Count: 7
Seller Feedback: 774
Buyer Feedback: 11

DANGER DOOM  THE MOUSE AND THE MASK  lp


RELEASED IN 2005 STILL FACTORY SEALED LONG LONG OUT OF PRINT 
SLEEVE HAS 2 SLIGHT CORNER DINGS TOP AND BOTTOM RIGHT VINYL IS ASSUMED FACTORY FRESH MINT UNTOUCHED
PLEASE SEE PICTURES FOR BEST IDEA OF CONDITION

Rapping with cartoon characters was artistic suicide until  dropped a bomb in 2001 with a platinum album and what turned out to be a surprisingly long shelf life. Next out of the box is , the stunning and welcome collaboration of two of hip-hop's most innovative artists, both of whom already have close ties to the world of animation --  not only named himself after a cartoon but is also a part-time  beatmaker, and the rapper  has imagined himself variously as a comic-book character and fire-breathing monster-movie hero (not to mention, he's rarely photographed without wearing an iron mask that makes him look like an early version of the Marvel supervillain Doctor Doom). Their partners for  are the characters of Cartoon Network's Adult Swim programming block, a cast whose creators share with  and  the same influences (obscure '70s superheroes, some making a resurgence on Adult Swim) and motivations (a parade of surrealist fantasies intersecting with real life, like the crusading happy meal that airs on Cartoon Network as Aqua Teen Hunger Force). Granted, none of these cartoon characters are rappers, and they're wisely given only backgrounds, transitions, or samples (all of them hilarious). No, it's the experts who handle nearly all of this record, and they're at the top of their game. 's dense flow and ciphered allusions have much in common with Adult Swim; both presuppose a large body of cultural knowledge to appreciate what's going on and both rely on a series of bankable eccentricities presented at light speed with high artistry and innumerable subtleties for later parsing by fans. 's productions have the same punch and catchy flair as on 's , but they're even more impressive here with the absence of 's interference and need to court a pop audience. He calls on the same type of rollerskating pianos, brassy fanfares, flutes, vibraphones, and cavernous drum loops that anyone of a certain age will recall from Fat Albert or Electric Company. It all adds up to the best album of the year in the hip-hop underground, and perhaps the best with any degree of popularity.