Method Man - The Meth Lab (Discussion Thread)
- Thread starter JordanWearinThe45
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Can't wait for tomorrow. Flukely I found a review on consequence of sound
Yeah, I love Meth and was really looking forward to this shyt dropping. I honestly only like 3-4 tracks.
Stream it here
Method Man - The Meth Lab (Album Stream & Download) | MelodySpots.com
all them Hanz On features, dudes voice makes my ears cry
Method Man - The Meth Lab (Album Stream & Download) | MelodySpots.com
all them Hanz On features, dudes voice makes my ears cry
METHOD MAN ON NEW ALBUM 'THE METH LAB': 'WE COOKIN' UP RHYMES'
Wu-Tang Clan loves the kids, but Method Man loves Fifties film noir. The rapper is thumbing the screen on his iPad and recounting the entire plot of Billy Wilder's Sunset Boulevard. It's the most animated he's been all afternoon. "It went from amusing at first to grotesquely sad [with] how it ended, you know?" he says of the film, which he saw recently on Netflix. The 44-year-old sits at the head of a conference table at Tommy Boy Entertainment's offices on 23rd Street. He's wearing a black T-shirt and black baseball cap with what appears to be a red, yellow, and green hairnet underneath. The room smells faintly of marijuana, but Meth isn't smoking. A bottle of Hennessy cognac sits on the table, but he isn't drinking, either.
It's press day for The Meth Lab — his first solo project in almost a decade, slated for an August 21 release — but it all seems desultory. The rapper answers many questions vaguely, or circuitously. He refuses to pose for our photographer. It's not altogether surprising. His relationship with the media has been fraught of late, and he's garnered a reputation for being evasive, suspicious of journalists. Is this characterization accurate? "Yeah. I guess. I don't know. It's up to you guys."
Born Clifford Smith, Method Man has been a hip-hop staple since Wu-Tang Clan's breakthrough Enter the Wu-Tang (36 Chambers) was released in 1993. His emotive flow and smooth delivery made him a star among the cadre and earned him prime placement on standouts "Method Man" and "C.R.E.A.M." His 1994 solo debut, Tical, was an instant classic. Bolstered by "Bring the Pain" and the "All I Need" remix (featuring Mary J. Blige), the work earned props from hip-hop heads and mainstream fans alike. He was that rare combination of venerable skill and boyish, 'round-the-way charm; it was only a matter of time before Hollywood came calling. Meth has racked up an impressive résumé of film and television credits since the Nineties, including roles in The Wire, How High, CSI, Garden State, and, most recently, Trainwreck.
The Meth Lab ostensibly borrows from television's Breaking Bad, but Method Man is no Walter White. Or actually maybe he is, depending on how you follow his trail of logic. "It didn't inspire the record," he says of the show. Then he offers, "It's not even a coincidence, it's just like, 'Yeah, why not have references to that?' It would be doing it a disservice, this record I mean, to not have a few Breaking Badreferences in there. You know, keep it gully." I actually have no idea what he means. Meth hasn't made eye contact with me and doesn't do so for the 35-minute duration of the interview. Instead, he bores his eyes into my iPhone (which is recording our conversation) and occasionally sips from a bottle of pressed green juice. "The whole idea of The Meth Lab wasn't to promote smoking meth," he continues. "Let's be real about this shyt. We cooking up rhymes."
The rapper returns to his stomping grounds on Staten Island for the cook-up. "The feel of the album is more coming home," he says. "Something you may hear when you and your boys are on the block." The album's title track has an indelibly gritty vibe. "Welcome to the meth lab, listen, it's time to cook/Not confessions of a video vixen, we by the book/Start the fire, I can tell what you thinkin' just by a look/I'm a crook, like some fish in a barrel, I got 'em hooked," he raps. The album was recorded in Shaolin, and he sources features locally. Raekwon, Redman, Cory Gunz, and Uncle Murda join relative unknowns Meth met through so-and-so-can-rap hearsay. "It doesn't sound like everything we're hearing today. I'm not saying that stuff is bad. It's just sounding like something I came home to."
But while Method Man has been gone ("touring and raising kids"), home has changed considerably. The local sound is pan-regional: Rappers borrow from Southern drums and trap loops and West Coast flows. Meth waxes poetic on musical gentrification. "I been around the world. I been to a lot of different clubs and festivals and things like that. It's like, if I'm at a festival and they're playing EDM music, even if I'm not into EDM music — at all — I could find myself grooving to some of the joints. Same with, uh, trap music. I find myself grooving to some of the joints every now and then. It just comes with the territory. When I'm in the club, my preference in the club? I don't wanna hear hip-hop music in the club. I wanna hear dancehall. That's just my preference right there. Something about that music in the club atmosphere that makes everything feel, for lack of a better word, irie." He smirks, still avoiding my gaze. "And I like the way the girls dance to it."
The veteran keeps attuned to what's trending outside of his wheelhouse in part because of his teenage children. He credits his kids with putting him onto Kendrick Lamar and A$AP Rocky. "I enjoy watching kids — teens and below — do the 'Nae Nae' and the whip." He pauses and shimmies to approximate the dance from the viral track "Watch Me (Whip/Nae Nae)." "That stuff is interesting, especially if it's coordinated. My kids put me onto stuff like that. They think it's amusing."
Strangely, the highly publicized beef between Meek Mill and Drake hasn't made it onto his radar. At the time of this interview, the city's airwaves are abuzz with Meek's allegations that Drake has ghostwriters. Funkmaster Flex of Hot 97 has devoted entire time slots — and ample bomb-drops — to the battle. Method Man is oblivious. "Nah," he says when asked if he's following the controversy. But he continues: "I've never had anyone write a rhyme for me, I can say that.
'If someone tells you that they're not enjoying what they do and they're in this business, they're lying. '
"I think it started with letting people bite. People getting away with biting people's shyt and running with their words. Now there's no identity for anybody, so whatever. Whatever floats your boat. I don't care if you got a ghostwriter or not. If the music is good, it's good. When it comes down to categorizing, people categorize things to make it easier for simple-minded people to keep up. When it comes to categories like 'lyricist' and things like that, you know, the same way they do with baseball — they put an asterisk next to people who use steroids and shyt like that." So are performance-enhancing ghostwriters fair play? "Still takes a lot of skill to hit the baseball, though," he says. Then he backpedals. "I'm not a politician. I have no opinion about it."
Whether he's genuinely neutral or feigning it because he's on the record is anyone's guess; the rapper has, after all, had a rocky relationship with the media. During an interview with XXL in March, Meth felt he was misinformed about Wu-Tang's Once Upon a Time in Shaolin. He harangued the journalist and upbraided hip-hop media collectively. "This is the reason I don't like doing interviews for anything hip-hop so far as magazines go," he said. "They are the bloodsuckers of the culture, if you ask me. They are the reason why a lot of this crap that's coming out now flies, because they co-signing it." He's less impassioned when asked about the incident now. "I have no beef with media," he says coolly. "Me and the media is good. There's a lot of people out there I get along with."
Maybe he's flip-flopping. Maybe he's over this interview. After twenty years in the rap game, Method Man is in the rarefied place where he gets to say and do whatever the fukk he wants. He has carte blanche over his career — musically and otherwise. He isn't trying to keep up with the young boys or play O.G. elder statesman. He's here because he just loves to rap. "Some days are good and some days are bad, but all in all, the work? I love the work," he says. "If someone tells you that they're not enjoying what they do and they're in this business, they're lying. Because you could be doing a hell of a lot worse."
Method Man on New Album 'The Meth Lab': 'We Cookin' Up Rhymes'
Wu-Tang Clan loves the kids, but Method Man loves Fifties film noir. The rapper is thumbing the screen on his iPad and recounting the entire plot of Billy Wilder's Sunset Boulevard. It's the most animated he's been all afternoon. "It went from amusing at first to grotesquely sad [with] how it ended, you know?" he says of the film, which he saw recently on Netflix. The 44-year-old sits at the head of a conference table at Tommy Boy Entertainment's offices on 23rd Street. He's wearing a black T-shirt and black baseball cap with what appears to be a red, yellow, and green hairnet underneath. The room smells faintly of marijuana, but Meth isn't smoking. A bottle of Hennessy cognac sits on the table, but he isn't drinking, either.
It's press day for The Meth Lab — his first solo project in almost a decade, slated for an August 21 release — but it all seems desultory. The rapper answers many questions vaguely, or circuitously. He refuses to pose for our photographer. It's not altogether surprising. His relationship with the media has been fraught of late, and he's garnered a reputation for being evasive, suspicious of journalists. Is this characterization accurate? "Yeah. I guess. I don't know. It's up to you guys."
Born Clifford Smith, Method Man has been a hip-hop staple since Wu-Tang Clan's breakthrough Enter the Wu-Tang (36 Chambers) was released in 1993. His emotive flow and smooth delivery made him a star among the cadre and earned him prime placement on standouts "Method Man" and "C.R.E.A.M." His 1994 solo debut, Tical, was an instant classic. Bolstered by "Bring the Pain" and the "All I Need" remix (featuring Mary J. Blige), the work earned props from hip-hop heads and mainstream fans alike. He was that rare combination of venerable skill and boyish, 'round-the-way charm; it was only a matter of time before Hollywood came calling. Meth has racked up an impressive résumé of film and television credits since the Nineties, including roles in The Wire, How High, CSI, Garden State, and, most recently, Trainwreck.
The Meth Lab ostensibly borrows from television's Breaking Bad, but Method Man is no Walter White. Or actually maybe he is, depending on how you follow his trail of logic. "It didn't inspire the record," he says of the show. Then he offers, "It's not even a coincidence, it's just like, 'Yeah, why not have references to that?' It would be doing it a disservice, this record I mean, to not have a few Breaking Badreferences in there. You know, keep it gully." I actually have no idea what he means. Meth hasn't made eye contact with me and doesn't do so for the 35-minute duration of the interview. Instead, he bores his eyes into my iPhone (which is recording our conversation) and occasionally sips from a bottle of pressed green juice. "The whole idea of The Meth Lab wasn't to promote smoking meth," he continues. "Let's be real about this shyt. We cooking up rhymes."
The rapper returns to his stomping grounds on Staten Island for the cook-up. "The feel of the album is more coming home," he says. "Something you may hear when you and your boys are on the block." The album's title track has an indelibly gritty vibe. "Welcome to the meth lab, listen, it's time to cook/Not confessions of a video vixen, we by the book/Start the fire, I can tell what you thinkin' just by a look/I'm a crook, like some fish in a barrel, I got 'em hooked," he raps. The album was recorded in Shaolin, and he sources features locally. Raekwon, Redman, Cory Gunz, and Uncle Murda join relative unknowns Meth met through so-and-so-can-rap hearsay. "It doesn't sound like everything we're hearing today. I'm not saying that stuff is bad. It's just sounding like something I came home to."
But while Method Man has been gone ("touring and raising kids"), home has changed considerably. The local sound is pan-regional: Rappers borrow from Southern drums and trap loops and West Coast flows. Meth waxes poetic on musical gentrification. "I been around the world. I been to a lot of different clubs and festivals and things like that. It's like, if I'm at a festival and they're playing EDM music, even if I'm not into EDM music — at all — I could find myself grooving to some of the joints. Same with, uh, trap music. I find myself grooving to some of the joints every now and then. It just comes with the territory. When I'm in the club, my preference in the club? I don't wanna hear hip-hop music in the club. I wanna hear dancehall. That's just my preference right there. Something about that music in the club atmosphere that makes everything feel, for lack of a better word, irie." He smirks, still avoiding my gaze. "And I like the way the girls dance to it."
The veteran keeps attuned to what's trending outside of his wheelhouse in part because of his teenage children. He credits his kids with putting him onto Kendrick Lamar and A$AP Rocky. "I enjoy watching kids — teens and below — do the 'Nae Nae' and the whip." He pauses and shimmies to approximate the dance from the viral track "Watch Me (Whip/Nae Nae)." "That stuff is interesting, especially if it's coordinated. My kids put me onto stuff like that. They think it's amusing."
Strangely, the highly publicized beef between Meek Mill and Drake hasn't made it onto his radar. At the time of this interview, the city's airwaves are abuzz with Meek's allegations that Drake has ghostwriters. Funkmaster Flex of Hot 97 has devoted entire time slots — and ample bomb-drops — to the battle. Method Man is oblivious. "Nah," he says when asked if he's following the controversy. But he continues: "I've never had anyone write a rhyme for me, I can say that.
'If someone tells you that they're not enjoying what they do and they're in this business, they're lying. '
"I think it started with letting people bite. People getting away with biting people's shyt and running with their words. Now there's no identity for anybody, so whatever. Whatever floats your boat. I don't care if you got a ghostwriter or not. If the music is good, it's good. When it comes down to categorizing, people categorize things to make it easier for simple-minded people to keep up. When it comes to categories like 'lyricist' and things like that, you know, the same way they do with baseball — they put an asterisk next to people who use steroids and shyt like that." So are performance-enhancing ghostwriters fair play? "Still takes a lot of skill to hit the baseball, though," he says. Then he backpedals. "I'm not a politician. I have no opinion about it."
Whether he's genuinely neutral or feigning it because he's on the record is anyone's guess; the rapper has, after all, had a rocky relationship with the media. During an interview with XXL in March, Meth felt he was misinformed about Wu-Tang's Once Upon a Time in Shaolin. He harangued the journalist and upbraided hip-hop media collectively. "This is the reason I don't like doing interviews for anything hip-hop so far as magazines go," he said. "They are the bloodsuckers of the culture, if you ask me. They are the reason why a lot of this crap that's coming out now flies, because they co-signing it." He's less impassioned when asked about the incident now. "I have no beef with media," he says coolly. "Me and the media is good. There's a lot of people out there I get along with."
Maybe he's flip-flopping. Maybe he's over this interview. After twenty years in the rap game, Method Man is in the rarefied place where he gets to say and do whatever the fukk he wants. He has carte blanche over his career — musically and otherwise. He isn't trying to keep up with the young boys or play O.G. elder statesman. He's here because he just loves to rap. "Some days are good and some days are bad, but all in all, the work? I love the work," he says. "If someone tells you that they're not enjoying what they do and they're in this business, they're lying. Because you could be doing a hell of a lot worse."
Method Man on New Album 'The Meth Lab': 'We Cookin' Up Rhymes'
gonna listen to this in the morning
Method Man – The Meth Lab
The Wu-Tang Clan is an empire. You know this, because between the occasional group album, the solo full-lengths, and the extracurricular activities, they’re always giving you a reminder. A remarkable thing about the Wu, though, is that they’ve largely kept their fundamental rawness intact, despite de facto leader RZA’s divisively progressive vision. That rawness doesn’t just show in Ghostface Killah’s recent anti-Action Bronson YouTuberant (“This fat, funky-ass nikka’s a fraud!”), though there is that. On the whole, the Wu is a persistent entity that keeps their fans’ needs in mind, and they’ve been working hard. Since last year’s group album, A Better Tomorrow, Ghostface Killah alone has released three albums: 36 Seasons, Sour Soul (with Toronto instrumental trio BadBadNotGood), and Twelve Reasons to Die II (with producer Adrian Younge). This spring, Raekwon finally came through with the alternately gleaming and grimy Fly International Luxurious Art.
Now, after making albums with the Wu, the offshoot project Wu-Massacre, and his How High partner Redman (not to mention his ever-expanding IMDb page), Method Manmounts a comeback with his first solo album since 2006’s 4:21… The Day After. Because it’s been so long since Meth’s last solo outing, The Meth Lab serves as a yardstick for measuring how the Wu has both grown and stayed grounded. It carries a purist East Coast ethos, but not in the sense that you might think. Having made friends with the likes of the A$AP Mob, it’s clear that Meth, 44, doesn’t loath today’s young rappers — he’s just faithful to the template the Wu established over 20 years ago. With few exceptions, The Meth Labis a bruiser, with crushing drums, heavy piano lines, and the same sense of imminent danger that’s been in Meth’s voice since the torture skit on Enter the Wu-Tang (36 Chambers).
Over production from executive producer Hanz On, Ron Browz, Allah Mathematics, J57, and 4th Disciple, Meth spends The Meth Lab channeling the lyrical density of his ‘90s heyday and adding notes from his journey since then. It’s more than just his usual tough talk, though the tough talk is reliably clever: “I’m here to analyze your shooter like I’m Kenny Smith,” Meth raps on the micro-thumper “2 Minutes of Your Time”. Still, individual bars mean little compared to the depth of his entire approach. “Rappers don’t really ride, they piggyback/ I’d trade them all to have 2Pac and Biggie back,” he swears on that same song. That line and others like it are reminders that Meth — who, yes, knew both Tupac Shakur and Christopher Wallace while they were still alive — is a legend worth following for his wisdom. His sheer tenacity is a bonus.
The guest list here is roughly as long as Compton’s, and there’s a reason for that. On the intro, Meth announces that The Meth Lab was purposefully “done by Staten Island, madein Staten Island.” With the Island no longer the rap hotbed it once was, that would’ve been a huge leap of faith if he were interested in making a commercial album, which, of course, he’s not. That freedom allows him to comfortably integrate these rappers and singers into the album’s arc. Aside from lethargic exceptions like Mack Wilds’ hook on the reggae-influenced “50 Shots” (“Ladies at the show singing every hook, but they finna get they panties took”), these cameos usually snap into place. Particularly notable appearances come from Redman, Hanz On, and Streetlife on “Straight Gutta”, Raekwon and Inspectah Deck on “The Purple Tape”, and Hanz On again on “Symphony”.
Across the album’s 19 tracks, Meth’s nuanced rapping, the cohesive production, and the guest rappers’ willingness to be team players cohere into an affirmation for Meth’s fans. Ever since a flood in RZA’s basement studio hampered Meth’s Tical, the first post-36 Chambers Wu solo album, he’s been making up for lost time. Fortunately, The Meth Lab gets plenty of strength from his magnetic presence and unwavering ideals. “Wu-Tang is for the children/ Go get your child support on,” he raps on “2 Minutes of Your Time”. Seventeen years after Ol’ Dirty b*stard coined the “Wu-Tang is for the children” mantra at the Grammys, The Meth Lab is as likely as any recent Wu-affiliated album to hook a new generation of fans.
Album Review: Method Man - The Meth Lab
The Wu-Tang Clan is an empire. You know this, because between the occasional group album, the solo full-lengths, and the extracurricular activities, they’re always giving you a reminder. A remarkable thing about the Wu, though, is that they’ve largely kept their fundamental rawness intact, despite de facto leader RZA’s divisively progressive vision. That rawness doesn’t just show in Ghostface Killah’s recent anti-Action Bronson YouTuberant (“This fat, funky-ass nikka’s a fraud!”), though there is that. On the whole, the Wu is a persistent entity that keeps their fans’ needs in mind, and they’ve been working hard. Since last year’s group album, A Better Tomorrow, Ghostface Killah alone has released three albums: 36 Seasons, Sour Soul (with Toronto instrumental trio BadBadNotGood), and Twelve Reasons to Die II (with producer Adrian Younge). This spring, Raekwon finally came through with the alternately gleaming and grimy Fly International Luxurious Art.
Now, after making albums with the Wu, the offshoot project Wu-Massacre, and his How High partner Redman (not to mention his ever-expanding IMDb page), Method Manmounts a comeback with his first solo album since 2006’s 4:21… The Day After. Because it’s been so long since Meth’s last solo outing, The Meth Lab serves as a yardstick for measuring how the Wu has both grown and stayed grounded. It carries a purist East Coast ethos, but not in the sense that you might think. Having made friends with the likes of the A$AP Mob, it’s clear that Meth, 44, doesn’t loath today’s young rappers — he’s just faithful to the template the Wu established over 20 years ago. With few exceptions, The Meth Labis a bruiser, with crushing drums, heavy piano lines, and the same sense of imminent danger that’s been in Meth’s voice since the torture skit on Enter the Wu-Tang (36 Chambers).
Over production from executive producer Hanz On, Ron Browz, Allah Mathematics, J57, and 4th Disciple, Meth spends The Meth Lab channeling the lyrical density of his ‘90s heyday and adding notes from his journey since then. It’s more than just his usual tough talk, though the tough talk is reliably clever: “I’m here to analyze your shooter like I’m Kenny Smith,” Meth raps on the micro-thumper “2 Minutes of Your Time”. Still, individual bars mean little compared to the depth of his entire approach. “Rappers don’t really ride, they piggyback/ I’d trade them all to have 2Pac and Biggie back,” he swears on that same song. That line and others like it are reminders that Meth — who, yes, knew both Tupac Shakur and Christopher Wallace while they were still alive — is a legend worth following for his wisdom. His sheer tenacity is a bonus.
The guest list here is roughly as long as Compton’s, and there’s a reason for that. On the intro, Meth announces that The Meth Lab was purposefully “done by Staten Island, madein Staten Island.” With the Island no longer the rap hotbed it once was, that would’ve been a huge leap of faith if he were interested in making a commercial album, which, of course, he’s not. That freedom allows him to comfortably integrate these rappers and singers into the album’s arc. Aside from lethargic exceptions like Mack Wilds’ hook on the reggae-influenced “50 Shots” (“Ladies at the show singing every hook, but they finna get they panties took”), these cameos usually snap into place. Particularly notable appearances come from Redman, Hanz On, and Streetlife on “Straight Gutta”, Raekwon and Inspectah Deck on “The Purple Tape”, and Hanz On again on “Symphony”.
Across the album’s 19 tracks, Meth’s nuanced rapping, the cohesive production, and the guest rappers’ willingness to be team players cohere into an affirmation for Meth’s fans. Ever since a flood in RZA’s basement studio hampered Meth’s Tical, the first post-36 Chambers Wu solo album, he’s been making up for lost time. Fortunately, The Meth Lab gets plenty of strength from his magnetic presence and unwavering ideals. “Wu-Tang is for the children/ Go get your child support on,” he raps on “2 Minutes of Your Time”. Seventeen years after Ol’ Dirty b*stard coined the “Wu-Tang is for the children” mantra at the Grammys, The Meth Lab is as likely as any recent Wu-affiliated album to hook a new generation of fans.
Album Review: Method Man - The Meth Lab
My nikka sin. 
He gave you a shout out @Billy Ocean 
I didn't think he was bad. There's a bunch a rappers that should make you feel that way before him.
He gave you a shout out @Billy Ocean I didn't think he was bad. There's a bunch a rappers that should make you feel that way before him.
It ended up sounding mostly like the compilation it was supposed to be in the first place. Lots of kinda average guys cluttering up the mic space & many weak, basic-loop-on-a-beat-tape type beats.
Still some good cuts worth checking & a few guests bring it besides Meth but, like most compilations, there's only a few tracks really worth your time.
Still some good cuts worth checking & a few guests bring it besides Meth but, like most compilations, there's only a few tracks really worth your time.
If this was full of Killa Sin features or dudes on that level, that would sway things but I'm not feeling the bulk of the beats either.My nikka sin.
I didn't think he was bad. There's a bunch a rappers that should make you feel that way before him.
Maybe I'm just in a shyt mood and should spin it again tomorrow.
1. Intro
2. The Meth Lab (feat. Hanz On, Streetlife)
3. Straight Gutta (feat. Redman, Hanz On, Streetlife)
4. Bang Zoom (feat. Hanz On, Streetlife, Eazy Get Rite)
5. 50 Shots (feat. Mack Wilds, Streetlife, Cory Gunz)
6. The Pledge (Hanz On, Streetlife)
7. 2 Minutes of Your Time
8. Worldwide (feat. Hanz On, Uncle Murda, Chedda Bang)
9. Soundcheck (feat. Hanz On, Carlton Fisk)
10. Water (feat. Chedda Bang)
11. Lifestyles (Cardi, Eazy Get Rite, Freaky Marciano)
12. The Purple Tape (feat. Raekwon, Inspectah Deck)
13. Intelligent Meth (feat. Masta Killa, Streetlife, iNTeLL)
14. Symphony (feat. Hanz On, Streetlife, Kash Verrazano, Carlton Fisk, Killa Sin)
15. What You Getting Into (feat. Streetlife, Donny Cash)
16. Another Winter (feat. Hanz On, Streetlife, Carlton Fisk)
17. Rain All Day (feat. Hanz On, Dro Pesci)
18. So Staten (feat. Hanz On, Hue Hef)
19. Outro
Wow. So there's only three tracks on here (one if the outro and intro aren't really music) that don't have a feature? This isn't a solo project as much as it's a compilation album featuring too many artists that I give zero fukks about. Streelife on a couple tracks is ok, as is a couple tracks with Wu members. That's fine, but what happened to a legitimate solo album where you held down the majority of the project down for dolo? This sh!t looks worse than those Game compilation projects where he has almost as many features as he does name-drops on a single song. I might be the only dude that feels like this but, other than Meth's debut, and maybe the Blackout joints, there's really no reason to check his discography with the exception of the Wu albums. I swear this dude has had one of the most disappointing careers, at least as it pertains to artists who were hot during the 90's to early 2G.
Real talk, take away his debut album, and he's basically U-God status as it pertains to his solo records. I can't believe this sh!t. I'm really disappointed with this track list. What happened to the Crystal Meth project? Why can't Rza connect with these dudes and give us what we want? Why is it that Ghost and to a lesser extent Rae, are the only members of the Wu who attempt to actually take their craft seriously? This sh!t is disgusting. Wow. Fukkin pathetic brehs. Like if you were to compare Wu Tang to a rotiserie chicken, Meth would be a gizard at this point. His career to me is like the object that you thought the vacuum would sweep up from the carpet and when it doesn't you pick up the object and throw it back down to try and sweep it again. You might do that twice at the most, and then your common sense kicks in and you turn the vacuum off and walk to the garbage can and throw the object in the can. That's how I feel about Meth's discography, hoping and praying that some day, one day, somewhere down the line, he'll drop a true followup to his debut. Nope, just more half azzed projects. Fukkin ridiculous. Wow.
2. The Meth Lab (feat. Hanz On, Streetlife)
3. Straight Gutta (feat. Redman, Hanz On, Streetlife)
4. Bang Zoom (feat. Hanz On, Streetlife, Eazy Get Rite)
5. 50 Shots (feat. Mack Wilds, Streetlife, Cory Gunz)
6. The Pledge (Hanz On, Streetlife)
7. 2 Minutes of Your Time
8. Worldwide (feat. Hanz On, Uncle Murda, Chedda Bang)
9. Soundcheck (feat. Hanz On, Carlton Fisk)
10. Water (feat. Chedda Bang)
11. Lifestyles (Cardi, Eazy Get Rite, Freaky Marciano)
12. The Purple Tape (feat. Raekwon, Inspectah Deck)
13. Intelligent Meth (feat. Masta Killa, Streetlife, iNTeLL)
14. Symphony (feat. Hanz On, Streetlife, Kash Verrazano, Carlton Fisk, Killa Sin)
15. What You Getting Into (feat. Streetlife, Donny Cash)
16. Another Winter (feat. Hanz On, Streetlife, Carlton Fisk)
17. Rain All Day (feat. Hanz On, Dro Pesci)
18. So Staten (feat. Hanz On, Hue Hef)
19. Outro
Wow. So there's only three tracks on here (one if the outro and intro aren't really music) that don't have a feature? This isn't a solo project as much as it's a compilation album featuring too many artists that I give zero fukks about. Streelife on a couple tracks is ok, as is a couple tracks with Wu members. That's fine, but what happened to a legitimate solo album where you held down the majority of the project down for dolo? This sh!t looks worse than those Game compilation projects where he has almost as many features as he does name-drops on a single song. I might be the only dude that feels like this but, other than Meth's debut, and maybe the Blackout joints, there's really no reason to check his discography with the exception of the Wu albums. I swear this dude has had one of the most disappointing careers, at least as it pertains to artists who were hot during the 90's to early 2G.
Real talk, take away his debut album, and he's basically U-God status as it pertains to his solo records. I can't believe this sh!t. I'm really disappointed with this track list. What happened to the Crystal Meth project? Why can't Rza connect with these dudes and give us what we want? Why is it that Ghost and to a lesser extent Rae, are the only members of the Wu who attempt to actually take their craft seriously? This sh!t is disgusting. Wow. Fukkin pathetic brehs. Like if you were to compare Wu Tang to a rotiserie chicken, Meth would be a gizard at this point. His career to me is like the object that you thought the vacuum would sweep up from the carpet and when it doesn't you pick up the object and throw it back down to try and sweep it again. You might do that twice at the most, and then your common sense kicks in and you turn the vacuum off and walk to the garbage can and throw the object in the can. That's how I feel about Meth's discography, hoping and praying that some day, one day, somewhere down the line, he'll drop a true followup to his debut. Nope, just more half azzed projects. Fukkin ridiculous. Wow.
Animal House
Superstar
H4voc
Been here a long damn time...
His solo Album is Crystal Meth.. He said in an interview somewhere this is just a prequel to that with his Staten Island peoples on it...
Still not feeling it..
Still not feeling it..
Animal House
Superstar
And why nikkas tripping he already said its a comp
Edit: wow the coli really dont like tical 2000?
Edit: wow the coli really dont like tical 2000?
Meth gonna be like 50 the time Crystal Meth drops.
Would be interested to see the production credits for the meth lab. I thought he was in the lab with 4th for this but I didn't hear no evidence of that.