M.E.D. claims Stones Throw has only paid him $500 for his verse on Madvillainy

M.E.D. claims Stones Throw has only paid him $500 for his verse on Madvillainy
The label “lied and tricked me out of royalties and publishing,” the rapper claims.

By Jordan Darville

March 15, 2023

M.E.D., an Oxnard, California-based rapper with a verse on Madvillainy, one of the most acclaimed hip-hop albums ever, has claimed in a tweet that Stones Throw, the label behind the project, has only paid him $500 since the album’s release in 2004. M.E.D. can be heard on “Raid,” the album’s fourth track; Madvillainy was the first and only studio album released from MF DOOM and Madlib.


In his post, shared on Tuesday (March 14), M.E.D wrote that Stones Throw and its co-founder Peanut Butter Wolf “lied and tricked me out of royalties and publishing.” The statement is written over a text message conversation with the title “Madvillan Record Sales” with purported sales of 342,648 physical LPs and 59,562 digital sales (it’s unclear if these unconfirmed numbers refer solely to the Madvillainy album or Madvillain’s entire catalog).


The pursuit for fair payment has been ongoing for over a decade, M.E.D. claimed. During this time, he says that he learned that Daedalus, a musician who was sampled on the Madvillany song “Accordion,” was compensated. “After 15 years of trying to get it back w no success I found out the[y] Gave @daedelus his.” See the post below.

The battle for whats right continues. @stonesthrow pic.twitter.com/MRBjDdnqZn

— M.E.D. (@MEDa4OX) March 14, 2023


The accusation comes as a prominent former employee of Stones Throw is being directly accused by the estate of MF DOOM of hoarding the late rapper’s property. Eothen Alapatt, general manager of Stones Throw from 2000-2011, is believed by DOOM’s estate to be in possession of his old rhyme books; Alapatt has not publically addressed the allegations. On March 1, DOOM’s Twitter account called out Alapatt once more, sharing emails from 2016 and 2017 requesting their return.

Egon Give The Notebooks Back. @nowagain pic.twitter.com/hCWYwcdI2k

— DOOM (@MFDOOM) March 1, 2023

The FADER has reached out to Stones Throw and M.E.D. for more information.


Pearl & The Oysters announce Stones Throw signing with new song “Pacific Ave”

Pearl & The Oysters announce Stones Throw signing with new song “Pacific Ave”
The groovy electro-lounge cut comes with a vintage visual treatment courtesy of Sean McGuirk.

By Raphael Helfand

November 02, 2022

The iconic L.A. label Stones Throw has announced Pearl & The Oysters — the newly Californian duo of singer-songwriter Juliette Pearl Davis and multi-instrumentalist/composer Joachim Polack (by way of Paris, France and Gainesville, Florida) — as its newest signees. In celebration of their new contract, Davis and Polack have shared a song called “Pacific Ave.” It’s their first standalone single since the arrival of their third album, Flowerland, last fall. (They contributed two French-language tracks to a split cassette with the Parisian band Biche, released in June via Feel Trip Records.


“Pacific Ave,” a nostalgia bomb inspired by the analog/digital blending of classic Japanese fusion acts like Casiopea and Yellow Magic Orchestra, features Alex Brettin (Mild High Club) on guitar and comes with a video by Sean McGuirk in the same vintage vein. The track details P&TO’s second move west in early 2020, with Davis describing the ill-timed trip in her sugary soprano above a lattice of synths and traditional instruments. The end result occupies a similarly dreamy electro-lounge space to the songs of the visionary ’90s groops who paved the duo’s path.

“‘In January 2020, we settled in L.A. full of hope for the future of the band,” Davis and Polack write in a press release. “‘Pacific Ave’ was a cryptic attempt to allude to our first steps in this new environment being a little alienating, as we were discovering a megalopolis turned ghost town. Because we were physically confined, it really felt like the only avenue to escape was a mental one. For us, it meant a lot of daydreaming and fantasizing about L.A. itself or what it could represent. The song is inspired sonically by AOR [(album-oriented rock)] and jazz-pop records of the late 1970s.”


Watch the video for “Pacific Ave” above and view the schedule for Pearl & The Oysters’ brief upcoming tour of the American West below.

Pearl & The Oysters tour dates

November 8 – Duffy’s Tavern – Chico, CA
November 10 – Lollipop Shoppe – Portland, OR
November 11 – Freakout Festival – Seattle, WA
November 12 – Neurolux – Boise, ID
November 13 – Quarters SLC – Salt Lake City, UT
November 15 – Harlow’s – Sacramento, CA


Stik Figa – James Lemonade (feat. Homeboy Sandman & Quelle Chris) (Central Standard Time Album)

Rap like this rap like this
Nope, they can’t rap like this
Rap like this I rap like this, yup, no they can’t rap like him
Rap like this can’t rap for free
Rap for free? need cash to eat
So, I, tax a fee, can’t rap for free no

[Homeboy Sandman]
Dehydrated from crocodile tears
I’m on Stones Throw, peace to Mello and Rhymesayers
We the best, this Stik and Quelle place I be the guest
Broadcasting from a depth that’s anybody’s guess
My arms are yet against, these tricks are things I learned in special ed
Delivered into a special blend and laid out in a never-ending spread
That started with the slice of a mosquito bite I scratched until it bled
Don’t say ‘yuck’ say ‘what’s up!
I write off ancient histories and mix three different teas
And known for harmonizing different tones and different keys
And finding missing seeds
I spotted on a milk carton to proud to beg pardon
If you don’t get it you don’t get bargains. I leave a carbon footprint the shape of a woodwind instrument
No event where I’m around ever went down without incident

Rap like this rap like this
Nope, they can’t rap like this
Rap like this I rap like this, yup, no they can’t rap like him
Rap like this can’t rap for free
Rap for free? need cash to eat
So, I, tax a fee, can’t rap for free no

[Quelle Chris]

You trap like the A, lean like the H bang like LA
You visit the Bay now Mac Dre was the greatest to do it
On Dilla Day you claim the first nigga banging his music
Before it was cool, you dont even rap
Your ghostwriter rap, and he rap your raps better than you
You got no style, you say you the future, you sound like now, you sounding like Future
You ripping off styles, that MLK Ultra who shot ya?
What type of camera for what publication?
The hairstyles buggin’ the press is amazing
Don’t ask bout the music, who cares bout the music?
We push it they play it we keep the shit moving
What’s poppin’ my paparazzi, cracking my crack baby?
What’s trending my minion? What’s happenin’? old re-runs I get it
You hot for the minute cause you copy what’s hot for the minute
Trying to hop to the top of the popular charts. I dig it
Don’t rap like this, ho!
You rap like this stay in your lane, bro
Write with the lames you used to be dope, what changed?
Guess to eat you gotta bite is the name of the game
Keeping it G, keep nig-a-ro please on tap
That Savion Glover turn Man Tan money no lack
We gas face fellas like dust to umbrella’s you wish
To rap like this go backpack this
Can’t rap like this, please

[Stik Figa]

Might make a masterpiece with Master P
On Mello Music Group package it for mass release
Massive reach, each atom in my anatomy
Was pulled in Adam’s eve, I walk a path no man can lead
They asking me "Brodie, what’s the strategy?"
Or "Homie, what’s happening when you catch the beat?"
The game to be sold without the batteries
If I say anymore that’d be a data breach
I make a racket cause cats is half asleep judging books by covers, even the graphic tee
I’d rather have me a ratchet with a tacky weave than a pageant queen that was in a fashion magazine
Now hand me the cash don’t try and flatter me
I’m just staying active hardly past my peak
You lack a leg to stand on, I had to speak
Laughing at theses amputee’s saying that they ran the streets