November 15, 1994
Def Jam Recordings/ BMG/ SME
1. Tical // 2. Biscuits // 3. Bring the Pain // 4. All I Need // 5. What the Blood Clot // 6. Meth vs. Chef (feat. Raekwon) // 7. Sub Crazy // 8. Release Yo’ Delf (feat. Blue Raspberry) // 9. P.L.O. Style (feat. Carlton Fisk) // 10. I Get My Thang In Action // 11. Mr. Sandman (feat. RZA, Inspectah Deck, Streetlife, Carlton Fisk & Blue Raspberry) // 12. Stimulation // 13. Method Man [Remix]
Considering that Shyheim wasn’t a Clan-member and that AKA the Rugged Child didn’t really have that much Wu-involvement, and that Words from a Genius and Ooh I Love You Rakeem were released before the Clan even existed, Method Man’s solo debut Tical gets the honour of being the first Wu-offshoot project. An honour indeed since the Wu’s debut album Enter the Wu-Tang (36 Chambers) was instrumental in bringing the focus of the hip-hop community back to the east-coast after the west had dominated for a while, and helped to redefine the east coast hardcore sound for the mid-’90s (and went platinum to boot).
Off course these are the kinds of critical acclaims that create unreasonably high expectations for subsequent work, expectations that are impossible to fulfill, even if more material of the exact same quality is dropped. (If an artist sticks to the sounds of his last album he’s accused of not going along with his time and if he chooses to emply new sounds he’s oft accused of not catering to his own fanbase, or even worse; selling out.) But with the aid of hindsight it is safe to say that Tical, while falling short of 36 Chambers‘ greatness is in all likelyhood as good as it could’ve been, and most definitely a must-listen for those who loved that album.
Due to the Clan’s contract, which signed them to Loud records, every individual Clan-member was able to get signed to whatever record label they wanted, Meth chose Def Jam.
RZA produces every track on here, and supplies more of the same minimalistic, ominous beats that made 36 Chambers such a critical and commercial success. Meth puts them to good use, and brings the ruckus with his unmistakable husky, low, cotton mouthed vocals delivering his grimy street-raps.
A Raekwon duet, allegedly created as a friendly rap-battle over who got to keep the RZA beat for his own album, (which would imply that Meth won) brings some of the lyrical chemistry to Tical that made 36 Chambers a texbook classic, as does the posse cut Mr. Sandman with RZA, Deck and Clan affiliates Carlton Fisk and Streetlife.
But most of these songs consist of only Meth’s rhymes and RZA’s beats, making this album mostly a two-man show, which is a mixed blessing. On the one hand it was the group’s vocal chemistry that was a considerable amount of their appeal, and perhaps an ODB verse on for instance I Get My Thang In Action could’ve made the proceedings even more enjoyable than they already are. Tical shares this aspect with the first solo-album by an N.W.A member: Eazy-E’s Eazy-Duz-It.)
“What if”-bullshit aside though, Method Man gets to hold his own really well over the course of these thirteen tracks, with or without company and create a true solo-album, which is something for instance Raekwon never got to do since his textbook classic album Only Built 4 Cuban Linx… has so much Ghostface Killah on it that Pretty Toney gets “guest starring” billing on the front-cover. RZA and Meth made a choice there how to go about with Tical and this decision has its merits. Also Tical is a solid effort that gives Wu-fans exactly what they wanted to hear sonically (as opposed to pushing the boundaries and introducing new sounds, again this is not a straightforward criticism, like the paragraph about few guests being included, this is just a reviewer noticing a choice having been made, which is a necessary thing to do in order to create good, succesful music.)
Meth shines particular on Bring the Pain, the album’s lead single, Method Man’s signature song and a classic hip-hop song in general, with his inescapable hook and RZA’s eerie beat.
All I Need is a ghetto lovesong that needs nothing but a hardcore RZA beat and Meth’s rhymes to get by (although it most certainly did need a Puff Daddy/ Trackmasters polish and an added Mary J. Blige contribution on the hook to make it one of the best-selling hip-hop singles of all time, the kind that has such an universal appeal your parents could dance to it on a fucking wedding party.)
Release Yo’ Delf manages to interpolate Gloria Gaynor’s I Will Survive while almost completely bypassing the queso, which is an admirable feat in any genre, let alone hip-hop, keeping in mind the direction the genre would go into a few years later with the rise of P. Daddy and Ma¢e.
Tical is a grimy, thugged-out release from start to finish from a bygone era in which there was an actual demand for non-gimicky street-rap undiluted by genre mixing. That’s not an automatic dismissal of whatever came after its late-’94 release date. Even Puff Diddy and Nelly have their moments, and when one is in the club one wants to hear club-bangers, but nevertheless one doesn’t have to be a hip-hop purist to start feeling nostalgic listening to it, the mid-’90s were golden years for hip-hop and Tical is a jewel.
Bring the Pain
All I Need
Meth Vs. Chef
Release Yo’ Delf
I Get My Thang In Action
Buy this album, and find the single version of All I Need titled I’ll Be There for You/You’re All I Need to Get By off iTunes. It would be a horrible fit if it were included on this album what with it’s shiny, radio friendly sound, but it didn’t sell all those copies and win a grammy without a good reason. Judged out of Tical‘s context, it is not only accessible, but pretty good as well.