Back in 1998, Method Man released his second LP (Tical 2000: Judgment Day). Not long after it dropped, Meth was telling anyone who’d listen that his next solo joint would be on store shelves by the end of 1999. And as any rap fan can tell you, the only thing less certain than an official release date, is an unofficial one that only the artists themselves are hyping.
So, instead of a summer ’99 due date (back when the word “prequel” – thanks to Star Wars: Episode One – was briefly a part of pop culture jargon), Meth went another direction. He teamed up with his boy Redman to drop the acclaimed Blackout LP in 1999. From there he made a slew of cameos on several high-profile releases, including several Wu-Tang solo projects, and even dabbled in acting.
Finally, after all the delays and false starts, Method Man returns with the release of this, his third solo album. Right off the bat, it should be noted that there were rumblings that Meth was not pleased with the final product. And, it’s easy to share his opinion even before listening to one track.
A quick look at the back of the CD case reveals a ponderous roll call of guest artists. That usually means one of two things: the lead artist isn’t very good or the source material wasn’t complete or strong enough to stand on its own.
Go ahead and mark the second choice on your Scan-Trons, kids.
After a brief RZA-tinged intro, Meth goes to work on the title track. It runs at just a little over 2:00, but serves as a decent enough re-introduction of sorts and the Rick Rock beat is pretty damn nice. Things get decidedly messier after that, however.
Missy Elliott returns the favor for Meth’s work on her Under Construction with an appearance on the simplistic Say What. P. Diddy helps out with the production chores, but only serves up a tired loop that’s married to one of his surplus drum claps. Busta Rhymes pops in on the so-so What’s Happenin’, spitting a 100 mph flow that threads well with one of Meth’s more inspired efforts. Unfortunately, the track relies on a slew of played-out clichés, like the standard five boroughs shout out on the hook.
Ludacris and Snoop Dogg lend a hand on separate tracks, but neither offers anything more than some name value and sixteen bars of nothing. On Rodeo, Luda cuts and pastes one of his generic raunchy snippets that sounds like an outtake from the Chicken & Beer LP. This one features an oddly stilted flow from Method Man, as well as the words “do-si-do” in the hook. We Some Dogs is only slightly better, primarily because Redman steals the cut from a lethargic Meth and Snoop.
One of the most frustrating aspects of Tical 0 is that there are actually a few pieces of a decent album scattered throughout all the uninspired indifference. The Turn uses an old sample from The Miracles that works well with guest-star Raekwon, who probably has the best cameo on here. Ghostface isn’t as tight on Afterparty, but he gets points for at least trying to sound like he’s not just there for the paycheck.
The vintage Method Man sound is hard to find here, but it’s all over Act Right which feeds off a Rockwilder beat and Meth’s trademark eccentric and electric style.
