Method Man Albums (8)
What The Critics Say
With each having individual obligations all over the place, it took ten years for Method Man and Redman to record a follow-up to 1999's beloved Blackout!, but one listen and you'd think it had only been ten days. Interplay during the intro proves that none of the chemistry is lost, then the slow-grinding "I'm Dope Ni**a" declares that happy and horribly high days are here again, with mentions of Club Nouveau plus Tango & Cash putting a date stamp on the duo. Their fine vintage is displayed two tracks later when "Dangerous MCees" spits "Even Herbie Hancock know where to Rockit" over a beat that's identifiably Erick Sermon. It's topped by the Phyllis Hyman loop Pete Rock cuts for the preceding track, "A-Yo," a superior weekend anthem featuring Saukrates from Redman's Gilla House group. With the sound of the South having exploded since the first Blackout!, the hypnotic highlight "City Lights" with guest Bun B plus a UGK sample is identifiable as post-2000. Also of its time is the dreaded Auto-Tune device, which corrects some pitch here and there, although its polish is negated on "I Know Sumptn" by the very Redman lyric "Check my bowel baby/This is the mother load." Mentions of riding jet skis on land and all sorts of other absurdities sit next to innovative viewpoints on sleaze, then "Dis Iz 4 All My Smokers" does the weed song right as the blunt brothers roll over a DJ Scratch track that sounds heavily influenced by RZA. Speaking of Wu-Tang members, Raekwon and Ghostface appear on the key cut "Four Minutes to Lock Down," an intense barrage of Shaolin lyrics that helps anchor an album that's often just a party on wax. The original deserves the top spot, but think of this as the Godfather Part II of reckless boom-bap rap and you've got an idea of how well this Blackout! satisfies. ~ David Jeffries, All Music Guide
'Back to Back: Raw & Uncut'
Release Date 5/13/2008
Tracks 37
Label RBC
See Album Tracklist and Review
'4:21... The Day After'
Release Date 8/22/2006
Tracks 20
Label Def Jam
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What The Critics Say
Ever since the release of the somewhat disappointing Tical 0: The Prequel, Method Man has been trying to prove that he really is the MC he was on his fantastic 1994 solo debut. So maybe the fact that he decided to name his fourth record 4:21...The Day After has less to do with marijuana (though of course that is never completely forgotten) and more to do with moving away from all the comparisons to his first album, Tical (and the subsequent Tical-themed titles that came after). And while 4:21 may be an improvement over his previous releases, Method Man's not quite the funny yet insightful rapper he was on his debut. To his credit, however, there are still some pretty good tracks on the album, including "Say," with a Lauryn Hill-covering-Bob Marley sample; "Dirty Mef," which has a verse from deceased Clansman Ol' Dirty Bastard; and "Walk On" featuring cohort Redman, and when Method Man spits out "Me and my soldier, we're taking over/taking payola from all those stations and record labels" over a beat by RZA and Erick Sermon (both of whom appear multiple times), you almost believe that he's going to make a comeback. Unfortunately, there are enough songs on 4:21 that are so utterly boring that the claim of redemption can't be made quite yet. "Got to Have It" is trite and almost hypocritical; the balladic "Let's Ride," which features a chorus from Ginuwine, is completely uninventive; and the closer, "4 Ever," with labelmate Megan Rochell, sounds as if it's trying to capture the energy he and Mary J. Blige had on "I'll Be There for You/You're All I Need to Get By," but ends up seeming more like an empty radio track. There is some good production on the album (besides RZA and Erick Sermon, Scott Storch, Kwamé "K1Mil" and Mathematics all contribute beats), and there are some decent verses as well, both from Method Man and his myriad of guest stars, but they're lacking some of the punch and ingenuity of Tical. Longtime fans should be happy to hear that he's sounding better, but he's going to have to keep making improvements if he wants to win over many new ones. ~ Marisa Brown, All Music Guide
'Tical 0: The Prequel'
Release Date 1/1/2002
Tracks 17
Label Polygram
See Album Tracklist and Review
What The Critics Say
Method Man's third solo work, following 1998's uneven Tical 2000 (and released a month after Ghostface's Pretty Toney Album), arrived with many conflicting rumors and circumstances attached to it. On the M2 program Spoke 'n' Heard, Meth informed journalist/host Touré that Tical 0 is his best record, and alluded to being boxed in when working with one producer and one sound. Around the same time, the official Wu-Tang website reported that the MC was not pleased with the version Def Jam opted to put out, due to its scant number of RZA productions -- one single cut, when an entire record's worth was allegedly put together throughout the past couple years. Whatever the circumstances might be, there's no doubt that Tical 0 is less penetrating than Tical 2000, a record that had its ambitions to retain interest during the lulls. This one offers brief bursts of okay-to-decent tracks. The most energizing moments typically come when Meth's supported by the likes of Busta Rhymes ("What's Happenin'") and Ludacris ("Rodeo"), but the productive conveyor belt of guest spots -- which chucks out well over a dozen of them, including Missy Elliott, Raekwon, Kardinal Offishall, Chinky (not Chingy), and soon-to-be fellow sitcom star Redman -- also weighs down the whole process. Likewise, the list of producers comes pretty close to being lengthier than the list of guest MCs; this makes the record seem unfocused and disjointed, not diverse and well-rounded. Meth seems more clear-headed than ever, possibly a result from his cleaned-up, family-oriented lifestyle. (The lyrical matter, however, does nothing to reflect this change.) His throaty rasp isn't nearly as doped out as it was a decade prior, but his personality remains an attraction. As an MC, he's had nothing to prove for quite some time. Give or take a couple hot tracks, this release is not likely to play a significant role in his legacy. ~ Andy Kellman, All Music Guide
What The Critics Say
Hip-hop fans have known for years that Method Man and Redman are two of the top MCs in the field, and their tour together not only proved the fact, but also showed they rap incredibly well together. Their deliveries are similar and the flow never falters, but the hint of gravel in Meth's voice makes them easily distinguishable. Now, with Blackout!, the duo's first album together (though both guested on each other's 1998 LPs), listeners have the proof on wax. Skating on top of spare, hard-hitting productions by Erick Sermon, Wu-Tang's RZA, Mathematics, and Redman himself -- under his Reggie Noble alias -- Meth and Redman trade off on hardcore rhymes and freestyle over each other. There's barely room for breath, but the rhymes are tight and inventive throughout. There are only two guest appearances (for Ja Rule & LL Cool J on "4 Seasons" and Ghostface and Street on the hilarious Blair Witch Project send-off "Run 4 Cover"), and the focus on just Meth and Redman makes for an even tighter, more combustible LP. Even with the high expectations that come along with a project of this magnitude, Blackout! rarely disappoints. ~ John Bush, All Music Guide
'Tical 2000: Judgement Day'
Release Date 11/10/1998
Tracks 28
Label Def Jam
See Album Tracklist and Review
What The Critics Say
Method Man's second solo recording is a harder album than his debut, much more focused on rap than the frequent R&B excursions that hit the pop charts on the original Tical. Though the emphasis on the hardcore makes for a better album, Method Man's own raps are often diluted by the staggering number of collaborations; as usual, almost all of the songs have guests, including Raekwon, Masta Killa, Inspectah Deck, Mobb Deep, Redman, Left Eye (from TLC), Streetlife, Cappadonna, Ed Lover and D'Angelo. Between the skits, intros, outros and cameos is an excellent album just waiting to be pruned down. ~ John Bush, All Music Guide
What The Critics Say
The first Wu-Tang Clan solo album to follow the seismic impact of Enter the Wu-Tang, Method Man's Tical similarly delivers an otherworldly wallop, one that instantly sets the madcap MC apart from his clansmen as the collective's shining star. Not only is Meth madcap, both in terms of mentality and delivery, he's also incredibly witty and wordy. Here he inspires hilarity as well as astonishment, and the way that he fires off his rhymes with such seemingly spontaneous ease compounds this sense of wonder. Just as Meth is quite clearly leagues above practically every other rapper in 1994 sans a small handful, if that, so is his producer, Wu-Tang abbot RZA, who produces the entirety of Tical: from the antiquated flutes and kung fu flick samples that open the album, to the pulse-accelerating beats of "Bring the Pain" and the fist-pumping ones of "All I Need" (the b-boy version rather than the radio-geared one featuring Mary J. Blige), to the rallying, warlike horns of "Release Yo' Delf." Despite a few outside contributions, most notably from Raekwon on the rowdy spar-fest "Meth vs. Clef," Tical is strictly a two-man show, Meth bringing da ruckus and RZA the swarming soundscapes, and that's precisely what further makes this album such a treasure amid the many Wu-Tang gems. Where most of Meth's clansmen delivered guest-laden albums that sounded more like group efforts than solo ones, Tical strictly spotlights the group's two stars and does so with refreshingly straightforward flair. There's none of the epic overreaching that mars so many rap albums of the era; rather, there's just over a dozen tracks here, and they're filled to the brim with rhymes and beats and little else -- no pop-crossover concessions nor any heady experimentation for the sake of experimentation, just good ol'-fashioned hip-hop, albeit with a dark, dark deranged twist. ~ Jason Birchmeier, All Music Guide
