Tag Archives: Red & Meth

Method Man & Redman Have Nothing To Prove But Still Go For Broke

Last Friday (December 14), Method Man released his Meth Lab Season 2: The Lithium. The Wu-Tang Clan MC’s latest catalog addition involves Raekwon, Snoop Dogg, N.O.R.E., and Cappadonna among a cast of hungry up-and-coming MCs from Staten Island, New York. That ensemble includes Mr. Meth’s longtime protege Streetlife, as well as Meth Lab series executive producer Hanz On.

For many fans, the standout track on the independent LP is “Episode 5: Wild Cats” with partner-in-rhyme Redman. The song, released six weeks ahead of December 14, now comes to video. In the visual, Meth’, Red, Streetlife, and Hanz On take their verses and charisma to a grimy warehouse club for a concert. Two of the best live performers in Rap history do what they do best. Funk Doc dons a mask for much of the video, with M-E-T-H-O-D keeping his hoodie up and cap low. Despite platinum albums, hit singles, and a legacy that’s in the top 1% of current MCs, these lyricists keep it gully, low-profile, and act as if they’re nondescript rhymers wrecking the set. They want props for their art, not their cemented celebrity.

Method Man Shows These Wack Rappers How To Rock A Trap Beat Properly

Key to my city, my G is tricky, my tree is sticky / Stairway is pissy, the crown they give me don’t even fit me / King me, it’s risky, if jiggy, get me, I plead the fiffy / They’ll never snitch me, judge’ll convict me, so just acquit me / The fuzz against me, I’m butter-slippery, they think I’m shifty / Zero to sixty, it’s just a quickie, you blink, you miss me,” spits Meth’ to open the song, announcing his place as Rap royalty. He closes his verse with as much gumption as he starts. “I’m pushin’ 50 / Can’t find your woman? She pushin’ wit’ me / Was pushin’ lifty, the family business was pushin’ piffy / That pusher in me, I did it gritty, no pretty in me / I’m pretty trendy, I had to spend me a pretty penny / One outta many, last to fend me, too many envy / Don’t gimmie-gimmie I do it Dirty, no shimmy-shimmy.” In a world of peddling dope rhyme, Method Man is Walter White pushing that lyrical blue crystal.

After a verse from Hanz, Reggie matches Meth’s energy. “Yo, when I ain’t sober, I’m bi-polar, invite me over / Doc be dumpin’ his ashes in your baby stroller / When I was young, I ate paint, lead, with quarter waters / Now Red’ red linin’ the Range Rover motor / I smoke west of the border, your bud outta order / I go ape-sh*t, I’m a Caesar with a little Koba / Tell your boss I’m the opposite of a Trump voter / Yo dude, this wild cat not from Villanova / I’m in the cut, like a buck fifty, I Tony Toca / Your side piece, I’ma poke her and then I adios her / My hood house on the block, we real estate brokers / We make it sound like Fourth of July in October / The Bricks, Tommy Motolla, yeah, I’m a high-roller / I write the crack that’ll bring back Lamar Odom / That girl got good brains, I know she got diplomas She f*ckin’ with a goodfella, Ray Liotta.” With his wordplay, the Def Squad MC/producer splashes in some politics, bragging, and some nice references to sports and pop culture. Streetlife, who made his debut on Tical nearly 25 years ago (see: “Mr. Sandman”), closes out the collabo’.

LL Cool J, DMX, Redman & Method Man Explain The Real Definition Of A Freestyle

Redman was steadfast in supporting Wu-Tang Clan’s The Saga Continues last fall. This year, he’s still with his right-hand man rollin’ up the three and lighting up any MCs that wish to step up. The video keeps that motif going, showing that two household-name rappers still fancy themselves grimy party-rockers with a crowd always eager to watch them work.

Meth Lab Season 2: The Lithium is out now. Meanwhile, Redman blessed 2018 with a host of songs and videos (including the standout “Tear It Up”). All of those moments are available at Ambrosia For Heads. Muddy Waters Too is on its way.

Last Friday (December 14), Method Man released his Meth Lab Season 2: The Lithium. The Wu-Tang Clan MC’s latest catalog addition involves Raekwon, Snoop Dogg, N.O.R.E., and Cappadonna among a cast of hungry up-and-coming MCs from Staten Island, New York. That ensemble includes Mr. Meth’s longtime protege Streetlife, as well as Meth Lab series executive producer Hanz On.

For many fans, the standout track on the independent LP is “Episode 5: Wild Cats” with partner-in-rhyme Redman. The song, released six weeks ahead of December 14, now comes to video. In the visual, Meth’, Red, Streetlife, and Hanz On take their verses and charisma to a grimy warehouse club for a concert. Two of the best live performers in Rap history do what they do best. Funk Doc dons a mask for much of the video, with M-E-T-H-O-D keeping his hoodie up and cap low. Despite platinum albums, hit singles, and a legacy that’s in the top 1% of current MCs, these lyricists keep it gully, low-profile, and act as if they’re nondescript rhymers wrecking the set. They want props for their art, not their cemented celebrity.

Method Man Shows These Wack Rappers How To Rock A Trap Beat Properly

Key to my city, my G is tricky, my tree is sticky / Stairway is pissy, the crown they give me don’t even fit me / King me, it’s risky, if jiggy, get me, I plead the fiffy / They’ll never snitch me, judge’ll convict me, so just acquit me / The fuzz against me, I’m butter-slippery, they think I’m shifty / Zero to sixty, it’s just a quickie, you blink, you miss me,” spits Meth’ to open the song, announcing his place as Rap royalty. He closes his verse with as much gumption as he starts. “I’m pushin’ 50 / Can’t find your woman? She pushin’ wit’ me / Was pushin’ lifty, the family business was pushin’ piffy / That pusher in me, I did it gritty, no pretty in me / I’m pretty trendy, I had to spend me a pretty penny / One outta many, last to fend me, too many envy / Don’t gimmie-gimmie I do it Dirty, no shimmy-shimmy.” In a world of peddling dope rhyme, Method Man is Walter White pushing that lyrical blue crystal.

After a verse from Hanz, Reggie matches Meth’s energy. “Yo, when I ain’t sober, I’m bi-polar, invite me over / Doc be dumpin’ his ashes in your baby stroller / When I was young, I ate paint, lead, with quarter waters / Now Red’ red linin’ the Range Rover motor / I smoke west of the border, your bud outta order / I go ape-sh*t, I’m a Caesar with a little Koba / Tell your boss I’m the opposite of a Trump voter / Yo dude, this wild cat not from Villanova / I’m in the cut, like a buck fifty, I Tony Toca / Your side piece, I’ma poke her and then I adios her / My hood house on the block, we real estate brokers / We make it sound like Fourth of July in October / The Bricks, Tommy Motolla, yeah, I’m a high-roller / I write the crack that’ll bring back Lamar Odom / That girl got good brains, I know she got diplomas She f*ckin’ with a goodfella, Ray Liotta.” With his wordplay, the Def Squad MC/producer splashes in some politics, bragging, and some nice references to sports and pop culture. Streetlife, who made his debut on Tical nearly 25 years ago (see: “Mr. Sandman”), closes out the collabo’.

LL Cool J, DMX, Redman & Method Man Explain The Real Definition Of A Freestyle

Redman was steadfast in supporting Wu-Tang Clan’s The Saga Continues last fall. This year, he’s still with his right-hand man rollin’ up the three and lighting up any MCs that wish to step up. The video keeps that motif going, showing that two household-name rappers still fancy themselves grimy party-rockers with a crowd always eager to watch them work.

Meth Lab Season 2: The Lithium is out now. Meanwhile, Redman blessed 2018 with a host of songs and videos (including the standout “Tear It Up”). All of those moments are available at Ambrosia For Heads. Muddy Waters Too is on its way.

Source: AmbrosiaForHeads.com

Click Here to Discuss in the Forums

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LL Cool J, DMX, Redman & Method Man Explain The Real Definition Of A Freestyle

Twenty-one years ago this month, LL Cool J released his “4, 3, 2, 1” single. Not unlike “I Shot Ya” two years prior, one of the most respected figures in Rap recruited a team of ferocious MCs to share the mic. In addition to Canibus, whose early career appearance and its relationship to LL took on a legend of its own, the 1997 Phenomenon cut involved L’s Def Jam Records label-mates Method Man, Redman, and DMX.

Around the time of the song, MTV News‘ Abbie Kearse spoke to LL, Red, Meth, and X together. The interview has some awkward beats but serves as a rare moment in time for four artists at different career points. As a cross-section of East Coast Rap giants from the last 15 years at the time, Kearse asks the four lyricists about the definition of a freestyle, given the cypher-style and retro chorus to “4, 3, 2, 1.” As debates linger today about what is and what isn’t a freestyle, these answers may be surprising.

Black Thought & Method Man Go Verse For Verse In A Freestyle For The Ages (Video)

“A lot of times, when people talk about freestyle, it’s interesting, because being a student of Hip-Hop and growing up on Hip-Hop, I learned that ‘freestyling’ back in the days, really, was when you write a rhyme, and then you say it,” says LL Cool J around the 2:30 mark. “What people call ‘freestyling’ now is what people used to call ‘off the top of the head.’ So it kills me when people say ‘freestyle,’ ’cause it’s the wrong definition, but it’s just taken on this ill kind of connotation.”

DMX agrees with L. “It’s just talkin’ mess, not talkin’ about any particular subject, just talkin’ about how good you are. That’s freestylin’ to me.” He adds, “Freestyle, to me, is a style—not speaking on any particular subject, just on how nice you are.” He says that it is a type of track, like a concept record, storytelling, or otherwise. Later in the conversation, DMX—who was an emerging face on MTV’s video rotation at the time, spits a verse. The bars he delivers eventually ended up on “Blackout” from 1998’s Flesh Of My Flesh, Blood Of My Blood.

Ever See This Classic Redman & Keith Murray Freestyle From the Mid-90s? (Video)

Redman describes how freestyles are a calling card for hungry MCs. “[There are] not too many artists you can catch freestyling unless you cypher with them [or] if they do a skit on [their] album or something like that. You gotta catch a freestyle artist at a party or something, when he gets the mic and airs it out,” said the Newark, New Jersey MC/producer not long after releasing Muddy Waters. “I’m takin’ it here on a business level, and the record industry level while they’re [doing it in] the streets. So what they’re freestyling about would be way different than [what you will hear from] somebody [in] the industry. So I really vibe off of up-and-coming artists.”

Funk Doc agrees with LL and DMX’s definition, but also contends that the contemporary term for off-the-dome rhymes works too. “Sometimes it’s off the top of the head, but sometimes it’s just lyrics that can be about anything. You can write a freestyle, just talkin’ about anything, any particular subject. You can jump from subject to subject. Matter of fact, a freestyle is what got me on with Biz [Markie] and EPMD. Biz Mark’ took me to Monticello Park in Queens, and I went out there and aired it out with a freestyle. People knew me underground for freestyle rapping. When I [worked on EPMD’s Business As Usual] it was the same way.”

Ever Heard This LL Cool J Freestyle From The ’80s? He’s In Ripper Mode (Audio)

Method Man admits that his first freestyle was based on the theme to Gilligan’s Island. The Staten Island, New Yorker says that it was not the best, but forced him to improve. “They was throwin’ empty crack vials at ni**as and all that sh*t. When we was up in the club, it was bad—up in the rec’ room parties [at] Park Hill.” Meth’ also brings the discussion to monetary terms and levels of respect. “I don’t like somebody to come up to me and ask me to rhyme off the top in the street like that. I don’t care if there’s a camera in my face, [if I am] on radio, whatever. If I came here to do one thing, I came here to do one thing. So when you know you’re gettin’ paid for this, and it’s a job, you’re holdin’ all your stuff.” The comment appears to also suggest to MTV News to not ask on this particular day. However, there is more to it than just disinterest. “It’s like, ‘Man, I ain’t givin’ this out for free no more.’ So when they say ‘freestyle,’ [it] gets funny at times. Freestyle? Ain’t nothin’ for free; that’s why you got pay-styles now.” Method Man adds that freestyling should always be a choice for MCs who have proven themselves. He says he enjoys listening to hungry rappers, who Meth’ has been devoted to helping for much of his career. “[After] the show is over, and you’re in the parking lot or the motel that we’re at, and [MCs are] there, and they’re starting it themselves, but they open it up enough for you to step in and listen, that’s peace right there. ‘Cause they ain’t asking you for nothing. If anything, they’re giving: ‘Check us out; this is how we get down.’ If you feel like you want to join in, join in. [As a Hip-Hop Head] I’ll be out there ’til sun-up.”

Twenty years after this segment, Method Man, joined by his The Deuce co-star Black Thought, showed cameras what it looks like when the spirit moves him. Both legendary MCs went back-to-back with freestyles on Sway In The Morning.

Method Man Shows These Wack Rappers How To Rock A Trap Beat Properly

LL Cool J builds upon what his collaborator is saying. He likens it to sports. “As good as Michael Jordan is at a playground, the reality is that he probably wouldn’t stop at a playground and risk [his career by] dunking around and soaring over cracks in the asphalt. There’s just certain levels to it.” Years before YouTube, these Rap stars knew that freestyling has casualties. A rapper can be bested by a hungry competitor, which according to many, is what Canibus attempted to do to LL Cool J on “4, 3, 2, 1.” The Rap star can make a public mistake on the big stage when they’ve already proven themselves and arguably should not have to. Meanwhile, as Method Man says, styles can be taken and game can be soaked up for free.

Thirteen years after his first 12″ single, LL continues, “I think freestyling is very important, ’cause it keeps you on your P’s and Q’s, and it makes sure that you are sharp in terms of the way that you articulate what you’re feeling. The reality is, I think you have to constantly grow. There has to be growth there.”

Parrish Smith Discusses LL Cool J Dissing EPMD ON THEIR OWN SONG (Video)

DMX asserts that he is not a new artist, but a new act on the label. Still, as the least familiar face to MTV News in 1997, X delivers the freestyle for the camera. He asks if he can curse, and then spits an incredibly raw and very trademark Dark Man X type of rhyme. It is the perfect moment to show new viewers just what the would-be superstar is about.

The rest of the discussion in the segment deals with the song, embedded below:

Twenty-one years ago this month, LL Cool J released his “4, 3, 2, 1” single. Not unlike “I Shot Ya” two years prior, one of the most respected figures in Rap recruited a team of ferocious MCs to share the mic. In addition to Canibus, whose early career appearance and its relationship to LL took on a legend of its own, the 1997 Phenomenon cut involved L’s Def Jam Records label-mates Method Man, Redman, and DMX.

Around the time of the song, MTV News‘ Abbie Kearse spoke to LL, Red, Meth, and X together. The interview has some awkward beats but serves as a rare moment in time for four artists at different career points. As a cross-section of East Coast Rap giants from the last 15 years at the time, Kearse asks the four lyricists about the definition of a freestyle, given the cypher-style and retro chorus to “4, 3, 2, 1.” As debates linger today about what is and what isn’t a freestyle, these answers may be surprising.

Black Thought & Method Man Go Verse For Verse In A Freestyle For The Ages (Video)

“A lot of times, when people talk about freestyle, it’s interesting, because being a student of Hip-Hop and growing up on Hip-Hop, I learned that ‘freestyling’ back in the days, really, was when you write a rhyme, and then you say it,” says LL Cool J around the 2:30 mark. “What people call ‘freestyling’ now is what people used to call ‘off the top of the head.’ So it kills me when people say ‘freestyle,’ ’cause it’s the wrong definition, but it’s just taken on this ill kind of connotation.”

DMX agrees with L. “It’s just talkin’ mess, not talkin’ about any particular subject, just talkin’ about how good you are. That’s freestylin’ to me.” He adds, “Freestyle, to me, is a style—not speaking on any particular subject, just on how nice you are.” He says that it is a type of track, like a concept record, storytelling, or otherwise. Later in the conversation, DMX—who was an emerging face on MTV’s video rotation at the time, spits a verse. The bars he delivers eventually ended up on “Blackout” from 1998’s Flesh Of My Flesh, Blood Of My Blood.

Ever See This Classic Redman & Keith Murray Freestyle From the Mid-90s? (Video)

Redman describes how freestyles are a calling card for hungry MCs. “[There are] not too many artists you can catch freestyling unless you cypher with them [or] if they do a skit on [their] album or something like that. You gotta catch a freestyle artist at a party or something, when he gets the mic and airs it out,” said the Newark, New Jersey MC/producer not long after releasing Muddy Waters. “I’m takin’ it here on a business level, and the record industry level while they’re [doing it in] the streets. So what they’re freestyling about would be way different than [what you will hear from] somebody [in] the industry. So I really vibe off of up-and-coming artists.”

Funk Doc agrees with LL and DMX’s definition, but also contends that the contemporary term for off-the-dome rhymes works too. “Sometimes it’s off the top of the head, but sometimes it’s just lyrics that can be about anything. You can write a freestyle, just talkin’ about anything, any particular subject. You can jump from subject to subject. Matter of fact, a freestyle is what got me on with Biz [Markie] and EPMD. Biz Mark’ took me to Monticello Park in Queens, and I went out there and aired it out with a freestyle. People knew me underground for freestyle rapping. When I [worked on EPMD’s Business As Usual] it was the same way.”

Ever Heard This LL Cool J Freestyle From The ’80s? He’s In Ripper Mode (Audio)

Method Man admits that his first freestyle was based on the theme to Gilligan’s Island. The Staten Island, New Yorker says that it was not the best, but forced him to improve. “They was throwin’ empty crack vials at ni**as and all that sh*t. When we was up in the club, it was bad—up in the rec’ room parties [at] Park Hill.” Meth’ also brings the discussion to monetary terms and levels of respect. “I don’t like somebody to come up to me and ask me to rhyme off the top in the street like that. I don’t care if there’s a camera in my face, [if I am] on radio, whatever. If I came here to do one thing, I came here to do one thing. So when you know you’re gettin’ paid for this, and it’s a job, you’re holdin’ all your stuff.” The comment appears to also suggest to MTV News to not ask on this particular day. However, there is more to it than just disinterest. “It’s like, ‘Man, I ain’t givin’ this out for free no more.’ So when they say ‘freestyle,’ [it] gets funny at times. Freestyle? Ain’t nothin’ for free; that’s why you got pay-styles now.” Method Man adds that freestyling should always be a choice for MCs who have proven themselves. He says he enjoys listening to hungry rappers, who Meth’ has been devoted to helping for much of his career. “[After] the show is over, and you’re in the parking lot or the motel that we’re at, and [MCs are] there, and they’re starting it themselves, but they open it up enough for you to step in and listen, that’s peace right there. ‘Cause they ain’t asking you for nothing. If anything, they’re giving: ‘Check us out; this is how we get down.’ If you feel like you want to join in, join in. [As a Hip-Hop Head] I’ll be out there ’til sun-up.”

Twenty years after this segment, Method Man, joined by his The Deuce co-star Black Thought, showed cameras what it looks like when the spirit moves him. Both legendary MCs went back-to-back with freestyles on Sway In The Morning.

Method Man Shows These Wack Rappers How To Rock A Trap Beat Properly

LL Cool J builds upon what his collaborator is saying. He likens it to sports. “As good as Michael Jordan is at a playground, the reality is that he probably wouldn’t stop at a playground and risk [his career by] dunking around and soaring over cracks in the asphalt. There’s just certain levels to it.” Years before YouTube, these Rap stars knew that freestyling has casualties. A rapper can be bested by a hungry competitor, which according to many, is what Canibus attempted to do to LL Cool J on “4, 3, 2, 1.” The Rap star can make a public mistake on the big stage when they’ve already proven themselves and arguably should not have to. Meanwhile, as Method Man says, styles can be taken and game can be soaked up for free.

Thirteen years after his first 12″ single, LL continues, “I think freestyling is very important, ’cause it keeps you on your P’s and Q’s, and it makes sure that you are sharp in terms of the way that you articulate what you’re feeling. The reality is, I think you have to constantly grow. There has to be growth there.”

Parrish Smith Discusses LL Cool J Dissing EPMD ON THEIR OWN SONG (Video)

DMX asserts that he is not a new artist, but a new act on the label. Still, as the least familiar face to MTV News in 1997, X delivers the freestyle for the camera. He asks if he can curse, and then spits an incredibly raw and very trademark Dark Man X type of rhyme. It is the perfect moment to show new viewers just what the would-be superstar is about.

The rest of the discussion in the segment deals with the song, embedded below:

Source: AmbrosiaForHeads.com

Click Here to Discuss in the Forums

Spread the love