METHOD MAN speaks with Insomniac, interview by Dirty Angel

DEF JAM QUIETLY DROPS METHOD MAN’S BEST ALBUM IN YEARS, “4:21… THE DAY AFTER”

By Khalid J. Strickland a.k.a. Dirty Angel

Haters, he’s not trying to be your friend this time around.

     In an effort to appease the MTV-bred generation of fickle rap fans, most of whom have the attention span of a goldfish, even the best record labels are prone to monumental lapses in judgment.  One glaring example is the mishandling of Wu-Tang noble Method Man’s latest album, “4:21… The Day After”, a tight piece of work covertly released by Def Jam on August 29^th, 2006.
     Engulfed by the avalanche of SoundScan numbers and multi-platinum plaques generated by rap artists from the Southern states, cynics have dismissed the music of many deserving artists in other parts of America, especially New York. One would think a rapper of Method Man’s pedigree, a respected and beloved artist with a platinum-paved track record, would have his record label roll out the proverbial red carpet with each release.  After all, Def Jam benefited greatly from Method Man’s phenomenal success over the course of his 13-year career.  After standout performances on Wu-Tang Clan’s groundbreaking 1994 debut album, “Enter the 36 Chambers”, Method Man signed a historic solo deal with the powerhouse record label, a union that culminated four best-selling albums.  One of those LPs was a collaborative effort between Method Man and his close friend and label mate, the ever-popular Redman. The pair went on to star in the 2001 stoner-movie “How High” and the now-defunct television series, “Meth and Red”.  Meth’s acting resume has been beefed-up by appearances in films that range from Hype Williams’ 1998 gangster flick “Belly” to the 2004 comedy “My Baby’s Daddy”.  Needless to say, after classic collaborations with a diverse slew of artists such as Mary J. Blige, LL Cool J, Notorious B.I.G. and Limp Bizkit, a proven winner like Method Man should have no problem rallying his record label’s support.
     Not to mention the fact that “4:21…The Day After” is an exceptional album featuring an inspired Method Man, who sounds just as hungry and driven on this gem as he did in his “36 Chamber” debut.  As always, members of the deep Wu-Tang Clan contribute verses, including a posthumous cameo by the incomparable Ol’ Dirty Bastard on the bangin’ “Dirty Mef”.  Raekwon the Chef and Wu-Tang abbot RZA appear on the menacing “Presidential MC”, one of the albums tightest and grittiest cuts.    Empowered with beats by seasoned veterans like Erick Sermon, Scott Storch and the aforementioned RZA, “4:21” is Method Man’s best offering in years, a divine addition to an outstanding discography. 
     With that being said, Def Jam has clandestinely released the album without a lead-off video or a single.  Promotions have been meager, if any.  Taken at face value, Def Jam’s actions (or lack thereof) could be viewed as a sign that the misguided label is trying to succinctly usher Method Man to the door as it focuses attention on its Southern roster. 

     Justifiably angry at some confused pessimists in the media, who decided to pile-on in an attempt to literally (and prematurely) write him off, Method Man has had to bark on a few journalists as of late.  But despite this friction, the artist also known as Johnny Blaze graciously took a moment to answer a few questions for Insomniac Magazine regarding his new album, his lack of label support and rap from The Rotten Apple.
 

Dirty Angel:  What do you hope to accomplish with this new album?
 

Method Man:  Nothin’.  I listen to the fans and I’m letting them critique this one.  F**k a critic, man.
 

Angel: There was a time when Wu-Tang could do no wrong whatsoever, now certain areas of the press rip you and talk s**t about you.  How did you feel when you were reading these things that people were saying, the falsities and what not?
 

Meth: I felt f****d up, but then it was like, “Could it be true?”  So I went outside and walked the streets and everybody had mad love for me.  But you know, they get programmed after a while too and then that s**t starts affecting my motherf*****g pockets, then n****s got problems.
 

Angel: A lot artists are bypassing the so-called “major” route and going the so-called “indie” route.  From what I see and read, I know you’ve been going through a lot of bulls**t over there at Def Jam.  Is indie ever going to be a viable option for you?
 

Meth: Right now in my career… I don’t know, man, because I’m not built like that.  My s**t is in the media arts, like behind cameras and s**t like that, man.  This rap s**t is too fickle, B, na’mean? These n****s try and tear you apart.  Before I do something that will put myself in jail… and I’m not talking like no tough guy, I’m just talking like an emotional f*****g artist that’s sensitive about his s**t… I’m not going to let nobody just say any f*****g thing about me. So before I see these n****s face-to-face and do them some physical harm, I’mma move on, B.
 

Angel: How do you feel about certain magazines that are real cozy with major artists and corporations? ‘Cause you know, some of these magazines are in bed with these labels.
 

Meth: Well, I wish they was f*****g Def Jam right now because they ain’t giving me no love over there.  But it’s all good, man, I didn’t expect it.
 

Angel: In other parts of the world, do you feel that people have more love for Hip-Hop in general? You’ve been everywhere.
 

Meth: They’ve got a lot of love for it here, but we take it for granted.  Whereas overseas they rarely get the exclusive s**t so they eat it up like M & M’s.  So I think they show a lot of appreciation for it but the love is the same everywhere.
 

Angel: Do you feel that this new album, “4:21”, is different from your other albums?
 

Meth:  Yeah, it’s different because it’s more aggressive.  I ain’t trying to be nobody’s f*****g friend on this one.
 

Angel: People always ask when that new Wu album is gonna drop.  But aren’t all of you guys’ albums Wu-Tang albums because everybody shows up to support and do cameos.
 

Meth: Well I’m glad you said it, brother, ‘cause I’m tired of saying it, ya’heard me? I mean, it is what it is.  We did put out a Wu-Tang album called “Iron Flag” that nobody really went to go get.  It went gold and s**t, but whatever, whatever.  Wu Tang is still forever.
 

Angel: Do you feel New York even has to be brought back, and if so, why do you feel it fell off in the first place?
 

Meth: I don’t think New York has to be brought back, but since they’re saying it… I spoke to 50 (Cent) myself; I don’t know if he thought I was blowing smoke up his a** ‘cause we were at the MTV music awards.  I don’t care how anybody takes this, but right now the top-selling n***a out of New York is 50.  It’s gonna take this ni**a to start showing some New York love, start breaking bread with certain artists and s**t like that, doing songs with n****s and put us right back in the forefront.  ‘Cause we’re in the background.  We ain’t fell off, we’re just in the background.  A lot of that has to do with the politics of the industry trying to keep up with the Down South movement.  They don’t know that Hip-Hop is a culture first and foremost, and everybody’s way of life is a little bit different.  Down South, they’ve got their own sound… they’ve got their own way of doing things.  Same as West Coast, same as Midwest.  The East Coast, we’ve got our own sound, baby.  We can’t do what they do, man.  So when our radio playing most of their shit Down South and all that, so be it, that’s all gravy.  But know that there’s a difference.  And when our record labels are trying to get B.D.S.’s over credibility and SoundScans over an artist’s substance, that’s when s**t gets misconstrued and it makes it look like we’re trying to keep up with these n****s when we don’t have to.

 To hear some straight heaters from Method Man’s latest album, “4:21… The Day After”, visit www.myspace.com/methodman .
 

To read, hear and see more work by Khalid J. Strickland a.k.a. Dirty Angel, visit www.supremearsenal.com and www.myspace.com/blackpacino