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33⅓ Main Series #93
Donuts
From a Los Angeles hospital bed, equipped with little more than a laptop and a stack of records, James "J Dilla" Yancey crafted a set of tracks that would forever change the way beatmakers viewed their artform. The songs on Donuts are not hip hop music as "hip hop music" is typically defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and heartbreaking the next. The samples and melodies tell the story of a man coming to terms with his declining health, a final love letter to the family and friends he was leaving behind. As a prolific producer with a voracious appetite for the history and mechanics of the music he loved, J Dilla knew the records that went into constructing Donuts inside and out. He could have taken them all and made a much different, more accessible album. If the widely accepted view is that his final work is a record about dying, the question becomes why did he make this record about dying?
Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call "late style," placing the album in a musical tradition that stretches back centuries.
Drawing from philosophy, critical theory and musicology, as well as Dilla's own musical catalogue, Jordan Ferguson shows that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist's declining health as it is an example of what scholars call "late style," placing the album in a musical tradition that stretches back centuries.
136 pages, Paperback
First published April 24, 2014
42 people are currently reading
1054 people want to read
About the author
Jordan Ferguson
6 books26 followersJordan Ferguson is a freelance culture writer. He is the author of the bestselling 33 1/3 Album Guide on J Dilla's 'Donuts', an animated manga for the Red Bull Music Academy (with Yuko Ichijo) and contributes regularly to The Same Page.
Originally from Windsor, Ontario, he currently lives and works in Toronto.
Originally from Windsor, Ontario, he currently lives and works in Toronto.
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Displaying 1 - 30 of 94 reviews
March 6, 2024
“Listen to Donuts. Do you really think the dude didn’t know what was gonna happen to him? He fully knew what was gonna happen.”
Made me feel a little something something so it should count for something, no? Dilla fans with more tender hearts might even shed a tear or two. Didn’t think I would love this as much as I do only because I still remember very clearly having read a disappointing book (published more recently, somewhat more ‘popular’ and more read definitely) on/about Dilla last year by a different author (which I couldn’t even make it through a third of—firstly the ‘tone’, and then it all just felt like a bunch of journalistic mess with tons of gossips/convos between Dilla and his associates/mates pasted in; to me that one was written with so little of ‘Dilla’ (as a human being and an artist) in mind, so lacking of ‘love’ to the extent that it felt like the writer ‘dehumanised’ the artist (reduced to a dramatised and almost perverse account of the life and death a ‘celebrity’).
‘—Donuts is a game of resonant emotion, a mind meld between its maker and the listener.’
This one by Ferguson is entirely different from the one I read last year (and don’t even have to mention the title because if you’re reading this, you’d probably already know which one). Ferguson’s writing is far from ‘perfect’, but maybe it’s perfect in its imperfections (and maybe it’s even the best ever(?), for now). All of its little ‘flaws’ makes the writing better, I feel, it makes it all more ‘real’ and ‘heartfelt’. And bearing in mind that Dilla ‘did love mistakes’ in his own work, maybe this itself is a quiet/secondary act of love/homage. A little something on the side to make it all more lovely and poignant without compromising the content/sincerity of the project. Had to take one star off because (somewhere in the middle) the writing spiralled into too deep a Kübler-Ross discourse (which another reader more interested in the ‘studies’ of grief and dying might appreciate more; but I’m only her for Dilla and Donuts so that one wasn’t for me, but I didn’t mind it—it’s still sort of relevant to the book as a whole, arguably).
‘Forget about dying for a minute. Forget about hospital beds and dialysis machines and wheelchairs. It almost seems unfair to do so, that’s how intrinsically linked they’ve become with the album. But put them aside. Imagine finding the album in a record store during that three-day window between its release and the day he died. How is one meant to listen to Donuts?’
‘J Dilla: “I used to listen to records and actually, I wouldn’t say look for mistakes, but when I heard mistakes in records it was exciting for me. Like, ‘Damn, the drummer missed the beat in that shit. The guitar went off key for a second.’ I try to do that in my music a little bit, try to have that live feel a little bit to it.”’
‘Everyone ultimately faces their end alone, there’s no prescription or rulebook for processing it, everyone faces it in their own way. Dilla faced it through music. As Donuts ends, one gets the sense he was coming to terms. That is, if Donuts even really ends. Play the CD on “repeat all,” and the end of “Welcome to the Show” feeds directly into the start of “Donuts (Outro).” The end is the beginning, the first is the last, and some things go on forever, like a circle. Like good music. Maybe like the human soul. Dilla being Dilla, though, he couldn’t let the ends of the album sync up perfectly: the transition between the two jerks and stutters just slightly as the album restarts. He always did love mistakes.’
‘Death is the great universal, the thread that connects me, you, Dilla, every living thing on this planet. We are all going to die. This is not something most individuals care to consider. Existence, consciousness itself, is an industry designed to distract us from that fact, the “screen,” Tolstoy wrote of in “The Death of Ivan Ilyich.” The story’s titular character, slowly succumbing to injuries sustained in a fall, tries to distract himself from that truth, but can never outrun it fully: “Suddenly it would flash from behind the screen, he would see it. It flashes, he still hopes it will disappear, but he involuntarily senses his side—there sits the same thing, gnawing in the same way, and he can no longer forget it.”
For many listeners, especially those with at least a passing familiarity with the album’s origins, Donuts rips down that screen, its music and messages a stark representation of one man confronting the truth of his mortality, which, while true, is a bit of a facile interpretation. Yes, the record is concerned with such matters, but it expresses that concern in a more nuanced and complicated manner, part of a conversation humanity has been having with itself for centuries.
From the moment humans learned how to think critically, they’ve been thinking critically about death, and most of that thinking centres on whether death is essentially good or bad. The idea is that if one can prove philosophically that death is not harmful, it doesn’t merit the fear and panic so often associated with it.’
‘Ask even the most stoic man if he’s prepared to die and he may say yes; tell him he’ll die in an hour and his response may be different. What does death really mean to the dying? What does it mean to sit there, as Dilla did, performing from a wheelchair on the other side of the world and face the thing we’re all trying to avoid, to have Ivan Ilyich’s screen torn down in front of you? What then? How do you process it, in life and in art?’
“(Egon) I think you know, in some weird way—he probably thought we were all sort of misfits in one way or another, but then again he didn’t necessarily fit in where he was. And he loved Los Angeles, he loved hanging out in the sunshine, and he loved kicking it with Madlib—You know it was just like, one of those things, man. We were just fucking there at the right time, and it was very unfortunate because it was the wrong time, too.”
Can't say if these two are truly my favourites from 'Donuts' per say, but according to Spotify at least, I've listened to 'Last Donut of the Night' and 'Gobstopper' the most. But listening to the entire album after having read this book, hits different, without a doubt. Would be strange if it didn't to be fair.
‘Donuts was never meant for you. It was never meant for me. It’s a private and personal record, a conversation between an artist and his instrument, which just happens to be the history of recorded music. It’s the final testament of a man coming to terms with his mortality; a last love letter to his family and the people he cared about. It’s clearly a record about death; the evidence found in its rebus of samples, sequencing and song titles leaves little doubt of that.’
‘J Dilla would hate this book. I’ll never know this for a fact, and he’ll never be able to tell me himself, but everything I’ve read, everything I know about the man suggests he would not be a fan. This sort of intense examination of his older work seemed to make him extremely uncomfortable. His focus was always on forward movement.’
Read
August 6, 2016J Dilla is everything I love about hip-hop. Donuts is his gift to the hip-hop community, who’ll be rapping over this for years. Dilla reminds us: anyone with a thorough knowledge of black American music in the 20th century has a great education in music. A golden age, which hip-hop, by recognising and celebrating it as such, manages to repurpose and perpetuate. Donuts is a genius curation: 1-2 minute potent edits, exquisite in themselves, that (a) suggest a future, and (b) send us back to the past. At it’s best (“Two Can Win”, “Stop”, “Last Donut of the Night”) it’s thrilling, heartbreaking, exhilerating. This happened – the grassroots uprising of soulful virtuosity that brought us jazz, blues, soul, funk – it flourished and passed. But Donuts, a time machine, gives it back.
I’ll admit to getting Donuts kind of late. In England in 2010, someone I loved recommended it, but I never quite settled into it. Maybe my life was too slow; I preferred to luxuriate in Coltrane’s Crescent or Bitches’ Brew outtakes on the endless-seeming winter busrides through Wythenshawe to my job at Manchester Airport. But now, with new relationship, 3 stepkids, studies, writing, music all bubbling at once on the stove of my attention, the 2-minute salvos of Donuts suit me to the ground – little shots of love and adrenalin and wide-eyed possibility that, maybe, could only have come from a guy about to be dead. (Check his plethora of other instrumentals, mostly released since his death, and see if you can find anything that breaks the rules like this does.)
It’s a bag of seeds, barely cultivated, whatever he could gather in a hurry, but worked with skilful vigour so it suggests near-infinite outgrowths. Composed – so legend has it – in a hospital bed with a turntable, a sampler and some 45s gifted by his friends, Donuts is state-of-the-art love of music and community. Dilla, Detroit son of an opera singer and a jazz bassist, with perfect pitch at 2 and his own turntable at 4, is a musical appreciator of genius. Why did Dilla make Donuts? Love of music, plain and simple. A more authentic work of deep reverence and respect I doubt you’ll find. RIP, Jay Dee. Two Can Win. We all can.
(Re the book, it’s informative, told me a lot I didn’t know and was glad to learn about Detroit hip-hop. It didn’t say a lot about the making of Donuts but there may not be much to say. If you love Dilla I recommend it.)
I’ll admit to getting Donuts kind of late. In England in 2010, someone I loved recommended it, but I never quite settled into it. Maybe my life was too slow; I preferred to luxuriate in Coltrane’s Crescent or Bitches’ Brew outtakes on the endless-seeming winter busrides through Wythenshawe to my job at Manchester Airport. But now, with new relationship, 3 stepkids, studies, writing, music all bubbling at once on the stove of my attention, the 2-minute salvos of Donuts suit me to the ground – little shots of love and adrenalin and wide-eyed possibility that, maybe, could only have come from a guy about to be dead. (Check his plethora of other instrumentals, mostly released since his death, and see if you can find anything that breaks the rules like this does.)
It’s a bag of seeds, barely cultivated, whatever he could gather in a hurry, but worked with skilful vigour so it suggests near-infinite outgrowths. Composed – so legend has it – in a hospital bed with a turntable, a sampler and some 45s gifted by his friends, Donuts is state-of-the-art love of music and community. Dilla, Detroit son of an opera singer and a jazz bassist, with perfect pitch at 2 and his own turntable at 4, is a musical appreciator of genius. Why did Dilla make Donuts? Love of music, plain and simple. A more authentic work of deep reverence and respect I doubt you’ll find. RIP, Jay Dee. Two Can Win. We all can.
(Re the book, it’s informative, told me a lot I didn’t know and was glad to learn about Detroit hip-hop. It didn’t say a lot about the making of Donuts but there may not be much to say. If you love Dilla I recommend it.)
July 21, 2014
You can learn a bit of history of Detroit hip-hop, and a bit about J. Dilla's history, but that's about it. Most of this book is an exercise in intellectual self-gratification, using the Donuts album as fodder. Lots of pages that try to draw from philosophy, literature, psychology, and other fields in an attempt to explain Dilla's work . The author spends an entire chapter writing about himself, as he tries to justify writing a book like this.
If you're seeking to learn about J. Dilla's approach to sound and music, I don't recommend reading this book.
If you're seeking to learn about J. Dilla's approach to sound and music, I don't recommend reading this book.
January 27, 2015
The 33 1/3 books have always struck me as a brilliant idea with somewhat spotty execution. The books generally follow the same formula: analyzing a seminal album in 100-200 pages of insight, interpretations, and/or the historical context of the work. Each book is penned by a different author with a different approach, so naturally there is considerable variation in quality. As someone who really likes to dig into albums deserving of such mental exertion, I much enjoyed the books where everything works (like Ben Sisario's excellent take on Doolittle) and was considerably disappointed by some of the more needlessly abstruse (OK Computer) or autobiographical (Wowee Zowee) installments. Thankfully, Toronto freelance journalist Jordan Ferguson's examination of J Dilla's 2006 album Donuts is a well-organized and illuminating read on one of the best instrumental hip-hop albums ever.
Donuts is a scattershot collection of beats that jumps from one idea to the next and pulls the rug out from the listener just when they are getting comfortable. It makes for a great listen, but thankfully Donuts the book is comprehensive and fully-developed. Ferguson follows the popular 33 1/3 format of beginning with historical background and the artist's career progression leading up to the album before delving into its actual content. Much of the first half of the book consists of an extended biography of Dilla and his development as an artist. The book draws from a wide array of interviews, articles, videos, and other sources on Dilla as well as the history of the Detroit music scene. The strongest point of Donuts is Ferguson's comprehensive research. Dilla fans may already be familiar with some of the anecdotes and interviews referenced in Donuts (which is to be expected to some extent), but there is likely quite a bit of new material unless you have seen every YouTube video, Frank-N-Dank DVD extra, and read every random article on Dilla. The book greatly benefits from the fact that Dilla (and his mother, who is also featured prominently) was very revealing and engaging in his interviews. He goes into considerable detail on his craft, philosophy, and his personal history and artistic evolution. Ferguson also conducted some original interviews while writing the book. He got time with Eothen "Egon" Alapatt, the former general manager of Stones Throw Records who was instrumental in releasing Donuts as well as Stones Throw art director Jeff Jank. These provide additional insight into Dilla's personality and how Donuts came together.
Ferguson focuses on the album in the latter third of the book. He is a very attentive listener, pointing out small yet important details of the album. I've listened to the album countless times and I never realized that while the album concludes with a reprise of the introduction, there is a stutter that causes a jerky transition between the two. Fergsuon goes on to explain how this plays into Dilla's affinity for samples with "mistakes" in them. Many hip-hop reviews turn into extended lists of sample sources possibly to flex their sampling knowledge muscles/Googling proficiency, and this risk is clearly elevated when dealing with an instrumental album like Donuts. There is a point to every sample Ferguson points out, whether it is to highlight Dilla's eclectic (I had no idea he was a Stereolab fan) musical tastes or his knack for seamlessly integrating disparate sources into his beats.
While Ferguson rightfully heaps Dilla with a ton of (much-deserved) praise, especially with his gift for rhythm and drum programming, need for constant innovation, and disregard for the conventional rules of hip-hop production, Ferguson never enters mindless fawning territory, another common misstep in 33 1/3 books. He is refreshingly even-handed throughout, noting (also much-deserved) critical swipes at his rapping ability and some weaker moments in his discography. Ferguson's passion for his subject is evident throughout and he is clearly very knowledgeable about sampling and hip-hop music in general.
In Sum
Donuts is definitely one of my favorite entries in the 33 1/3 series and is a worthwhile read for any fan of the album. There are a few brief passages where Ferguson rambles a bit on critical theory but in general he held my interest throughout and offered a hefty bit of background on and more reasons to appreciate one of my favorite albums of the last decade.
8/10
Donuts is a scattershot collection of beats that jumps from one idea to the next and pulls the rug out from the listener just when they are getting comfortable. It makes for a great listen, but thankfully Donuts the book is comprehensive and fully-developed. Ferguson follows the popular 33 1/3 format of beginning with historical background and the artist's career progression leading up to the album before delving into its actual content. Much of the first half of the book consists of an extended biography of Dilla and his development as an artist. The book draws from a wide array of interviews, articles, videos, and other sources on Dilla as well as the history of the Detroit music scene. The strongest point of Donuts is Ferguson's comprehensive research. Dilla fans may already be familiar with some of the anecdotes and interviews referenced in Donuts (which is to be expected to some extent), but there is likely quite a bit of new material unless you have seen every YouTube video, Frank-N-Dank DVD extra, and read every random article on Dilla. The book greatly benefits from the fact that Dilla (and his mother, who is also featured prominently) was very revealing and engaging in his interviews. He goes into considerable detail on his craft, philosophy, and his personal history and artistic evolution. Ferguson also conducted some original interviews while writing the book. He got time with Eothen "Egon" Alapatt, the former general manager of Stones Throw Records who was instrumental in releasing Donuts as well as Stones Throw art director Jeff Jank. These provide additional insight into Dilla's personality and how Donuts came together.
Ferguson focuses on the album in the latter third of the book. He is a very attentive listener, pointing out small yet important details of the album. I've listened to the album countless times and I never realized that while the album concludes with a reprise of the introduction, there is a stutter that causes a jerky transition between the two. Fergsuon goes on to explain how this plays into Dilla's affinity for samples with "mistakes" in them. Many hip-hop reviews turn into extended lists of sample sources possibly to flex their sampling knowledge muscles/Googling proficiency, and this risk is clearly elevated when dealing with an instrumental album like Donuts. There is a point to every sample Ferguson points out, whether it is to highlight Dilla's eclectic (I had no idea he was a Stereolab fan) musical tastes or his knack for seamlessly integrating disparate sources into his beats.
While Ferguson rightfully heaps Dilla with a ton of (much-deserved) praise, especially with his gift for rhythm and drum programming, need for constant innovation, and disregard for the conventional rules of hip-hop production, Ferguson never enters mindless fawning territory, another common misstep in 33 1/3 books. He is refreshingly even-handed throughout, noting (also much-deserved) critical swipes at his rapping ability and some weaker moments in his discography. Ferguson's passion for his subject is evident throughout and he is clearly very knowledgeable about sampling and hip-hop music in general.
In Sum
Donuts is definitely one of my favorite entries in the 33 1/3 series and is a worthwhile read for any fan of the album. There are a few brief passages where Ferguson rambles a bit on critical theory but in general he held my interest throughout and offered a hefty bit of background on and more reasons to appreciate one of my favorite albums of the last decade.
8/10
August 22, 2025
Someone needs to beat Jordan ferguson’s ass why are you quoting Epicurus and Camus in a book about J Dilla
April 26, 2016
An interesting read for any hip-hop fan. Jordan Ferguson does a good job of recalling the life of arguably the most iconic person in hip-hop's most iconic album. As a Dilla fan, I appreciate some of the insight on his life and the things that he did for the music industry. I'd recommend to any audiophile.
April 27, 2015
SIX WORD REVIEW: Play "Don't Cry". Try not to.
January 5, 2021
Last Timbit Of The Night
August 28, 2019
I love Donuts. I think it's an incredibly inspired and emotional album with sentiment and pure feeling throughout - you live the situation Dilla was in through this album.
I went into this hoping for background and analysis surrounding the album mostly. Whilst a decent portion of the end focuses on Donuts it is mostly about Dilla's trajectory and career as a producer interjected with philosophical quotes by the author - sometimes well utilised, often needless.
There are lots of interesting quotes from artists and industry people who knew Dilla and were part of his journey. Of particular notes are the rare quotes from his mum, Ma Dukes.
Whilst the book is interesting it didn't focus on Donuts the album as much as I would've liked for a book supposedly about the album - although it makes sense that his story influenced every piece of Donuts. The author seems too self-indulgent at times, but does offer interesting insights at points.
I went into this hoping for background and analysis surrounding the album mostly. Whilst a decent portion of the end focuses on Donuts it is mostly about Dilla's trajectory and career as a producer interjected with philosophical quotes by the author - sometimes well utilised, often needless.
There are lots of interesting quotes from artists and industry people who knew Dilla and were part of his journey. Of particular notes are the rare quotes from his mum, Ma Dukes.
Whilst the book is interesting it didn't focus on Donuts the album as much as I would've liked for a book supposedly about the album - although it makes sense that his story influenced every piece of Donuts. The author seems too self-indulgent at times, but does offer interesting insights at points.
December 26, 2020
Emotional. Evocative. Elegiac. A micro-biography of J Dilla through the lens of how "Donuts" was made, edited, and received - specifically in light of the artist passing only 3 days after the project was released. A profoundly tear-jerking installment of this series.
August 18, 2022
Read this while relistening to the album and i must say dilla was incredible man making this album with a giant fucking mask ober his head while in immense pain is incredible. Enough to make a grown noah cry (a lot of things do)
January 9, 2025
Nothing that would make me give it less than 5 stars ! A brilliant book about a brilliant album (to say the least). Listened to the tracks/albums as they came up throughout the book - would very much recommend this method !
September 29, 2024
RIP my king.
February 12, 2025
Nice little sample size nothing crazy
April 6, 2016
It was most appropriate reading Jordan Ferguson's "Donuts" back to back with this series' release about Miles Davis' "Bitches Brew", as both albums deal in part with the cross-genre classification of "Musique concrète", but obviously from two different and noteworthy angles.
"Donuts" became one of my favourite books in this series, but like all musical inclinations, there is probably a very subjective reason for this that at this moment I am unable to explicate beyond saying that I thought Ferguson displayed a touching sensitivity to the subject that had him talking to/interviewing some of the actual players while also deftly incorporating "high theory" or intellectual touchstones such as Kubler-Ross' "On Death and Dying".
Ferguson also gets down to it by identifying the source material (samples) for many of the tracks on "Donuts" while also detailing Jay Dee's unique production methods that set him apart (far apart) from his competitors. In fact, we see that Jay Dee was quite willing to reverse direction, break the inherent rules of Hip Hop sampling and production (which, at one point, are nicely laid out by Ferguson), and eventually back off from "the mainstream" (where he was clearly headed with its attendant financial compensations) and reattach himself to "the underground".
The book (and Jay Dee's "Donuts") also carries a heavy dose of melancholy or remorse seeing as it will forever be attached to Dilla's demise (his death from a rare blood disease). Ferguson even posits the question as to "Donuts" ultimate value given this unavoidable reference point, but again, the author does this with much sensitivity which at once acknowledges his distance from the original source while nevertheless making it clear that he is deeply influenced by the music.
"Donuts" became one of my favourite books in this series, but like all musical inclinations, there is probably a very subjective reason for this that at this moment I am unable to explicate beyond saying that I thought Ferguson displayed a touching sensitivity to the subject that had him talking to/interviewing some of the actual players while also deftly incorporating "high theory" or intellectual touchstones such as Kubler-Ross' "On Death and Dying".
Ferguson also gets down to it by identifying the source material (samples) for many of the tracks on "Donuts" while also detailing Jay Dee's unique production methods that set him apart (far apart) from his competitors. In fact, we see that Jay Dee was quite willing to reverse direction, break the inherent rules of Hip Hop sampling and production (which, at one point, are nicely laid out by Ferguson), and eventually back off from "the mainstream" (where he was clearly headed with its attendant financial compensations) and reattach himself to "the underground".
The book (and Jay Dee's "Donuts") also carries a heavy dose of melancholy or remorse seeing as it will forever be attached to Dilla's demise (his death from a rare blood disease). Ferguson even posits the question as to "Donuts" ultimate value given this unavoidable reference point, but again, the author does this with much sensitivity which at once acknowledges his distance from the original source while nevertheless making it clear that he is deeply influenced by the music.
March 1, 2017
This is not the book I expected. Though, honestly, I don't quite know what I expected.
My favorite part about the 33 1/3 series is that each one is so drastically different that it's hard to get a "bead" on how the series will work.
This one focuses quite a bit on the general context and history of the artist J Dilla, aka Jay Dee. That, of course, wraps up much of it with the history of modern hip hop, which was perfect for me. (I recently finished HIP-HOP EVOLUTION on Netflix and wished it had carried into more modern times. This book seemed to pick up, in many ways, where that series left off.)
I didn't know much about Dilla or this album. I'd tracked it down and listened to it a few times prior to reading this book, but nothing struck me as "amazing" or particularly noteworthy. However, Fergusson provided the appropriate context and discussed the life of this artist, which truly gave weight to the album itself.
That being said, there isn't much about the album itself. There are a few references here, and one of the last chapters does a nice job analyzing the mood and style of the various tracks in comparison with Dilla's life. So, if there is one complaint, it's that it really is more about the artist than the album. Those looking for a huge focus on DONUTS will be disappointed.
For those like me, though, who didn't know much about J Dilla--or, honestly, much about hip-hop's recent history--this makes for a great read about an extremely talented artist whose life was cut too short.
My favorite part about the 33 1/3 series is that each one is so drastically different that it's hard to get a "bead" on how the series will work.
This one focuses quite a bit on the general context and history of the artist J Dilla, aka Jay Dee. That, of course, wraps up much of it with the history of modern hip hop, which was perfect for me. (I recently finished HIP-HOP EVOLUTION on Netflix and wished it had carried into more modern times. This book seemed to pick up, in many ways, where that series left off.)
I didn't know much about Dilla or this album. I'd tracked it down and listened to it a few times prior to reading this book, but nothing struck me as "amazing" or particularly noteworthy. However, Fergusson provided the appropriate context and discussed the life of this artist, which truly gave weight to the album itself.
That being said, there isn't much about the album itself. There are a few references here, and one of the last chapters does a nice job analyzing the mood and style of the various tracks in comparison with Dilla's life. So, if there is one complaint, it's that it really is more about the artist than the album. Those looking for a huge focus on DONUTS will be disappointed.
For those like me, though, who didn't know much about J Dilla--or, honestly, much about hip-hop's recent history--this makes for a great read about an extremely talented artist whose life was cut too short.
June 27, 2014
somewhat surprisingly, given my propensity towards arcane trivia about the music i love, this is the first 33 1/3 book i've actually read, despite being aware of the series for some time now. the simple, defining factor of the series is that anyone can submit a proposal - all you need to show is that you have the knowledge and critical skill to deal with a great piece of music. and, obviously, as a result all the books are written by different people. all i can say is that if they're all as comprehensive, well-researched and critically intelligent as jordan ferguson's take on dilla, then i need to pick up some more of these.
the book is nominally about "donuts", and whilst ferguson does an excellent analysis of the record itself, examining it as a response to dilla's illness and in the context of his peers, it's just as much a potted history of j dilla. and by extension, a brief look at the artists and detroit culture that nurtured him. the handling of the musical analysis itself is deft, pithy - it would be so easy to slip into purple prose, to make it about ferguson, but he never threatens to cross that line. it's tactful and honest.
ferguson just absolutely nails it, a perfect balance of meticulous backstory and analysis, acknowledging the fact that the man himself would never look back in this manner, but all the same - what if?
the book is nominally about "donuts", and whilst ferguson does an excellent analysis of the record itself, examining it as a response to dilla's illness and in the context of his peers, it's just as much a potted history of j dilla. and by extension, a brief look at the artists and detroit culture that nurtured him. the handling of the musical analysis itself is deft, pithy - it would be so easy to slip into purple prose, to make it about ferguson, but he never threatens to cross that line. it's tactful and honest.
ferguson just absolutely nails it, a perfect balance of meticulous backstory and analysis, acknowledging the fact that the man himself would never look back in this manner, but all the same - what if?
May 6, 2014
Hopefully, this will be the first of many books to celebrate and discuss this album.
For anyone who is not familiar with who J Dilla is and wishes to start exploring one of the genius hip hop producers of all time, Ferguson's book is a great primer.
I'm always used to reading about music which I did not live at the time it came out so to read this book, for me, was pretty surreal. Ferguson does a great job on giving you background on who J Dilla is, where he came from and why his music touched so many. As with all works of genius, you will probably learn some new things regarding the making of "Donuts". Like with all people who are so talented, there's so much more to discuss, but I really do hope this gets the ball rolling for more scholarship and more in depth info on him.
I've been a big fan of Dilla for a long time, so this for me a great tribute. I read this in a couple of hours. I couldn't put it down. One my favorite from the 33 1/3 series so far.
For anyone who is not familiar with who J Dilla is and wishes to start exploring one of the genius hip hop producers of all time, Ferguson's book is a great primer.
I'm always used to reading about music which I did not live at the time it came out so to read this book, for me, was pretty surreal. Ferguson does a great job on giving you background on who J Dilla is, where he came from and why his music touched so many. As with all works of genius, you will probably learn some new things regarding the making of "Donuts". Like with all people who are so talented, there's so much more to discuss, but I really do hope this gets the ball rolling for more scholarship and more in depth info on him.
I've been a big fan of Dilla for a long time, so this for me a great tribute. I read this in a couple of hours. I couldn't put it down. One my favorite from the 33 1/3 series so far.
February 25, 2021
See, these are the ones I like the most in the series. I knew nothing about J Dilla or Donuts, and the author did a great job explaining who Dilla was, what his relevance is, what his triumphs and trials were like, and tying it all together with an amazing explanation of tracks on an instrumental record.
When I listened to Donuts for the first time while reading this, I immediately recognized Time: The Donut of the Heart as the beat from Can't Stop This by the Roots, and thought "J Dilla sampled the Roots?" and then I remembered what I was reading and the ah ha moment hit me... the Roots sampled Dilla and the song was a tribute. That revelation alone is enough to make me love this volume in the series.
Tip of the hat to the last of the red hot, lovin' emcees
When I listened to Donuts for the first time while reading this, I immediately recognized Time: The Donut of the Heart as the beat from Can't Stop This by the Roots, and thought "J Dilla sampled the Roots?" and then I remembered what I was reading and the ah ha moment hit me... the Roots sampled Dilla and the song was a tribute. That revelation alone is enough to make me love this volume in the series.
Tip of the hat to the last of the red hot, lovin' emcees
September 17, 2015
The story of J Dilla is one that will continue to be told as future generations continue to be inspired by the unique touch he brought to the art of sampling, hiphop, and production. This book takes you on a lovely journey through dilla's life showing his powerful spirit and what his music did to others in this world. Great looks at detroit and los angeles music communities - Stones throw is all over this and it is great! Helped me to gain a deeper understanding over why the music moves me which is a tall order for writing.
April 16, 2018
This is one of the better entries in this series that I've read in some time and I give major kudos to Jordan Ferguson for writing so eloquently about a record for which that is very difficult to do. With no lyrics to focus on, Ferguson still manages to do a fantastic job discussing how this plays. Even better is the context he delves into - not just Yancey's illness and death, but his troubled relationship with Detroit, the numerous label struggles he had and how Dilla managed to chance the production game completely.
December 31, 2018
It's possible if I'd come to this knowing more of the details about Yancy's life, career, and art, or about Donuts specifically, this might have been four stars for me. But knowing just the basics it felt like a complete home run, a lovely tribute and reaffirmation of his genius, hard work, and (well deserved) status. Ferguson absolutely does not avoid the fact that his story had the kind of end that feels pointlessly cruel, but this still felt much more like a celebration of life and art than any sort of lamenting.
May 24, 2014
Easily my favorite book in the 33 1/3 series. Donuts is one of my favorite albums, and Jordan Ferguson gives an informed, critical interpretation of the work as a whole by placing it in the late style and draws fascinating parallels between various samples and J Dilla's state of mind during the last year of his life through his deteriorating health. Although I love 33 1/3, this book has been the only one that has actually enhanced my appreciation for an album.
October 23, 2014
Definitely one of my favorites from the series. It's a perfect introduction to Dilla's music, for those who weren't familiar before picking up the book, and brings Donuts into a number of different thought-provoking thought processes. I never thought about Donuts as a testament of dying and death (described as two different entities in the book), and now, I'm ecstatic to dive back into the album and think about it differently.
A huge success for 33 1/3. Read this guy.
A huge success for 33 1/3. Read this guy.
November 6, 2014
One of the finer books (and albums) of the series. This is coherent history and analysis that benefits from its informal tone and is, above all, curious about the musician and work. The book is a touch too hagiographic for my tastes, enough to deduct a star, but I don't want to oversell it. This is a great example of what good music criticism can do, equal parts biography and original thinking. Recommended.
June 4, 2015
As a native Detroiter, it was great to read about so many places and names that are familiar to me and that were staples in my childhood and adolescence. There are some nice, colorful quotes in here from people who knew Dilla well. I found myself skimming some parts though. Some of the bits about psychology and philosophy felt like filler...uninteresting filler. That sounds harsh, but this book was still a mostly enjoyable read.
April 29, 2018
I like reading 33 1/3 books because they’re never straightforward, and just like the others I’ve read, this one took a roundabout way to get to this album. The first about 50 pages is a history of J Dilla, preceding a second half that has more to say about death and life and how Donuts related to that. There’s also a great portion about the relationship between listener and creator that I thought was extremely relevant and interesting.
November 4, 2014
This is a great book, a must-read for any Dilla fan, and for any creative in general. The book serves as a biography of his life and career, an interpretation of Donuts, and surprisingly, a summation of different philosophical ideas of death, and how those ideas may have been manifested throughout Donuts. The book is a short but powerful read.
March 19, 2015
This short book serves as an excellent exploration of J Dilla's masterpiece Donuts. Ferguson blends biography with criticism, describing the circumstances of Dilla's life and career, the making of this album during his protracted illness, and then mining the work for insight into Dilla's mindset at the end of his life. This is a sensitive work of scholarship, and a very engaging read.
November 1, 2015
Finally. I'd been waiting for this series to get back on track, and finally Ferguson accomplishes just that. And, I honestly care very little for J Dilla, aside from acknowledging his work. Still, there was a narrative, tightly wound around the story of Donuts, illustrating that one doesn't have to simply toss around their vocabulary to display the love of a great album. Well done.
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