Cool, cocky, witty and smooth, Method Man has always been, for better and for worse, the most visible member of hip-hop's best-known supergroup, The Wu-Tang Clan - the one with mainstream, crossover appeal but also the one most likely to be compromised by the wiles of celebrity and record labels.
Following the release of his first official solo album, 1994's acclaimed and revered "Tical," Mr. Mef has appeared in everything from movies and sitcoms to deodorant commercials and Limp Bizkit songs.
Throughout this time, Meth's credibility as a solo artist noticeably unraveled. Although appearing in top form on Wu-Tang's group efforts "Forever" (1997), "The W" (2000), and "Iron Flag" (2001), the combination of his tendency to cater to the mainstream as well as a lack of in-house, Wu-Tang production led to the release of two lukewarm records: "Tical 2000: Judgment Day"(1998) and "Blackout!" (1999), a compilation with rapper Redman. "Tical 0: The Prequel" (2004), an album that was panned by both critics and fans, was a serious blow not only to Meth's status as a relevant rapper, but to his credibility in the eyes of rap fans and Wu disciples.
Enter "4:21...The Day After," Method Man's newest release and perhaps his best ever. Meth may not be able to carry a track on his own like he used to, but even the best rappers have trouble cooking up quality tracks with lackluster production behind them (see: Ghostface's "Bulletproof Wallets" [2001]). While "Tical 0" featured a team of mainstream rap's most mediocre producers on the boards, such as No ID, D12's Denaun Porter, Diddy and even E-40's producer Rick Rock, "4:21"'s production team is one much more capable of producing the dark, gritty beats which Meth consistently does his best work behind.
Highlighting the new and improved team of producers are Erick Sermon of seminal duo EPMD and Wu-Tang's lead producer RZA who, in a colossal return to form, delivers four of his most blunted beats in recent memory: Album standouts "4:20" and "Konichiwa Bitches" as well as Wu-bangers "Glide" and "Presidential MC," which feature verses from Wu-Tang members Raekwon and U-God as well as The Abbott himself.
Raekwon in particular delivers extremely quality verses on the latter two tracks, wetting Wu-Tang fans' appetites for his album, "Only Built For Cuban Linx II," due out later this year. Sermon also contributes to the heavy Wu-vibe on the album with a production credit on the track "Dirty Meth," which features a posthumous verse from the late O.D.B.
For the most part, even the more mainstream, Def Jam-appointed producers get the job done. The first full-length track on the album is "Is it Me," a relatively low-key beat from bloated hit-maker Scott Storch in which Meth gives the obligatory disrespect to his retractors.
The first true standout on the album is "Fall Out," an out-and-out Clipse-esque club track produced by Kwam?©, also known as K-1 Million. Rap fans may not know Kwam?©, but they have definitely heard of a few of his production credits, mainly Lloyd Bank's "On Fire" and even Will Smith's "Switch." The fact that he also contributes the cringe-worthy R&B duet "4 Ever," "4:21"'s closing track, makes "Fall Out" even more of a pleasant aberration.
So "4:21" may not be the best Wu-related album to come out this year (that would go to Ghostface's "Fishscale") or even the best rap album of the week (that would go to The Roots' "Game Theory"), but, minus a few extremely questionable guest spots (Ginuwine, Fat Joe), it is quite consistent, mostly devoid of stupid skits, and full of some quality highlights that will not only please rap fans of all spectrums, but is a must-buy for any fan of Wu-Tang.
