Tag Archives: Method Man


Sometimes you’ve got to just admit it when you didn’t realize something really obvious.  Anybody else not know that this was a cover?

Lauryn Hill – So Much Things To Say

Bob Marley & The Wailers – So Much Things To Say

If you did, then maybe you at least haven’t heard this yet.

Method Man – Say

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This one takes me all the way back to my first bakery job at Cafe Plaid in Norman, Oklahoma.  Back then, the bakery was in a completely separate building from where the food was actually served, so I got to hang out by myself all morning baking bread and cookies for the inevitable lunch mob, blasting whatever music I wanted through this crappy borrowed boombox someone had left in the bakery years ago.  This was before I had any kind of mp3 player so I was burning CDs of albums and bringing them to work, so a pretty small number of albums got some really heavy rotation in those couple years and there are a few albums that to this day still feel like the soundtrack to those way too early mornings back in 2006/07.  One of those briefly but heavily used discs was the album this Method Man track came from that contains the line that gets this whole journey started.

Method Man – Is It Me?

The line I’m talking about comes right around the 2:00 mark, and I remember it distinctly being one of my favorite lines from the track, even before I knew anything about its history.

My flow’s no holds barred, Holy Jihad
It’s the head nigga in charge, Meth, back on the job
Like back in the days, back when the game was hard
And when they reminisced over Wu, my God

It’s one of those lines that perfectly punctuates the end of a verse and you just barely have enough time to grin and appreciate it before the hook drops back in.  For a while it was just one of the hundreds of memorable lines from rap songs I’d had stored away in my brain, but then Kanye‘s Graduation album came out, and the end of that third verse (around 3:15) made me do a double take.

Kanye West – Can’t Tell Me Nothin’

I never fully accepted the idea that Kanye had borrowed the line from that Method Man track, it just didn’t quite seem like something he’d do.  But I never took the time to explore the issue deeply until yesterday when I heard Common drop the exact same line in this song!

Common – I Want You

Even though Common and Kanye have worked together plenty, it still didn’t feel like the kind of line that Common would have lifted from Kanye after he lifted it from Method Man, I knew there had to be a single source they were all drawing from.  Now that I’ve taken the time to root out the source of this beautiful turn of phrase, I feel foolish that I never took the time before; it’s truly one of the most disarmingly sincere, heartfelt rap songs I’ve ever had the pleasure of listening to.

Pete Rock & C.L. Smooth – They Reminisce Over You (T.R.O.Y.)

Some of you may be familiar with this track from that weird controversy that cropped up this past May.  If you’re lucky, you just know it because of its beauty.

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this guest post written by Matt Hall (@mattisonherenow)

Those of you that know me probably know that I’m about to turn thirty. Thinking about that upcoming milestone has led me down more than a couple of retrospective paths, which more often than not end up focusing on the music that’s been important during different stages of my life. To be honest, I don’t remember the first time I drove a car, and no offense to the girl in question, but my first kiss is a total blur, but I can vividly remember the first punk rock show I saw, the first time I heard Illmatic, and the first time I landed a kickflip like it was yesterday.

Skateboarding hasn’t always been as super prevalent with both established and imminent young rappers as it has been in the past few years, but rap has certainly been integrated into skate culture for over 2 decades. I don’t know if you hung out with skateboard dudes at all when you were younger, but I was pretty into that whole scene, and it’s really the reason that I ever got into rap music. I got into punk rock pretty young, but it was really skate videos and magazines that made me more interested stuff like Gang Starr (who I wrote about in my previous post),

Gang Starr – Above the Clouds (feat. Inspectah Deck) [from Steve Olson in Fulfill the Dream]

early Wu-Tang solo cuts,

Method Man/Ghostface Freestyle [from Harold Hunter in Zoo York’s Mixtape no. 1]

and eventually even earlier videos with dudes like Fu-Schnickens.

Fu-Schnickens – La Schmoove [from Sean Sheffey in Plan B Questionable]

Anyway, my favorite skate video of all time is from a company called Girl. The video is Mouse. If you’re interested, you can watch it in its entirety here. I promise it’s worth it. [editor’s note: he’s right]

Mouse was directed by Spike Jonze back before anybody really knew who he was, and the soundtrack is amazing. As far as I know, it’s the only skate video ever that has a (mostly) soul/R&B soundtrack instead of punk rock and/or hip hop. I can remember going to the record store at the mall (that used to exist!) to order a Cymande CD when I was 14 because of this video.

Among skateboarders, it’s mostly remembered because it helped to usher in a new era of style-heavy technical skating, but I really like it because it made me interested in music that was totally unfamiliar to me at the time. Even if you don’t feel like watching the whole thing, at least check out the soundtrack, it’s a pretty solid collection top to bottom, and every track on it still makes me more than a little nostalgic.

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I judge records by their covers all the time.  When I saw this one, there’s no way I couldn’t check it out.

Baby Huey – Hard Times

Little did I know I’d find the source for a track from one of my favorite Ghostface albums, Supreme Clientele.

Ghostface Killah – Buck 50 (feat. Method Man, Redman, & Cappadonna)

I really love the formless determination of this track.  That horn loop just hits so hard over and over again, I feel like I can accomplish anything while I’m listening to that shit.  There’s also no chorus in the whole thing, and the closest thing to a hook is the little “there’s no love to be found…” sample that pops in every now and then between the totally irregularly-lengthed verses, and different dudes keep popping in to talk for a little bit.  Method Man starts sounding like he’s trying to make a chorus happen for a second around 2:30, but it just kinda fades out into another Ghostface verse and continues.  I’ve always loved that track, and it’s cool to know where that sweet loop came from.  Good thing that Baby Huey cover is so amazing.

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