There are rare moments in musical history when an artist or group will produce an album, which not only stands the test of time, but revolutionises how we think about music, how its produced, and how much further back the boundaries of acceptability have been pushed.
Like the Beatles' Sgt Peppers Lonely Hearts Club, or Marvin Gaye's Whats Goin On, Donuts by Dilla is one such album guaranteed to have people talking in years to come (as it is now) about where they were when they first heard it, and how ground breaking they found it at the time.
The thing with Donuts is that you have to forget about the conventional. Jay Dee is not about the conventional. Donuts (and I might be wrong but I doubt it) may well be a prophetic glimpse into the future of a stagnated genre dominated by big corporate interests, which is perpetuating the current superfluous mediocrity masquerading as Hip-Hop.
As for the meat of the album itself, crate diggers and beat junkies will revel in the tantalising sample-fest Dilla serves up.
Donuts is a statement. A commentary on post WW2 black American music; an analysis of the various genres and a schizophrenic reinterpretation of them.
All in all, Donuts is one of the most creative montages of sonic art this side of the millennium, and arguably of the 20 years prior to it.