Hip Hop News: Method Man Explains Why He Did Not Want To Do All I Need (2024)

This week (June 16), Killer Mike is preparing his first solo album in over a decade. Down to its title, Michael promises to be a highly-personal LP from the Run The Jewels cofounder who previously made R.A.P. Music, I Pledge Allegiance II The Grind, and his major label debut Monster. Within Michael, the Adamsville Atlanta MC finds a full circle moment in “Scientists & Engineers.” The song is a collaboration with one of Mike’s mentors, Andre 3000 as well as another artist from the late iteration of the Dungeon Family, Future. As Mike has cultivated an incredible career since his days of running with OutKast, the decorated veteran may steal the show amid two high-profile peers.

Moreover, the song’s production is credited to two legends: Three 6 Mafia’s DJ Paul and No I.D., as well as 3 Stacks, James Blake, and Twy Exclusive.

Outkast, Goodie Mob & Killer Mike Prove Its Still Family In The Dungeon (Video)

“Communication comin’ in / Too much that I can’t communicate with all of them / I do wish I had scientist or engineer friends / Let’s go, get out of here, petrol is cheaper than it’s ever been / And then, who’s to say when all would end? / All I know is when the portrait paintеd, better have your portion of thе rent / A dollar more and you will get upgraded when you’ve think you’ve made it, you are then- / Just tolerated, overrated, hope I’m 80 when I get my second wind,” says Andre, before painting a vivid memory. “Small potatoes all I ate before potato chips would cut my corner lips / Operator, operator, I will pray that you connect me to a sip / Of sangria, Zambia, camera cameo, hand me a handful of hips / A stamina stampede of happily happenings, dabblin’ into oblivi’ / V on, neon, be on the ambiance beyond as you promised that you would live / Do summers ever forget? Pajamas, feel like a kid / Cucumber will make her drip, do jump on her, hit a split / Hookahs don’t really do s__t, Duke Ellington in this b___h / Rebelling is like an itch, oh / I’ma, I’ma live forever.” The verse marks Andre’s first since a 2021 appearance on a deluxe edition of Kanye West’s Donda—considered among the best of that year and one of the most personal in the MC/producer/musician’s career.

Future and Eryn Allen Kane divide and conquer at the chorus, and in the second verse. In the third spot, Mike shows his fervor, and claims his mission. “Music, computers and robbers and looters / And looters with shooters, and shooters with Rugers / And shooters with Rugers, CDs with my tooters / And my tutors taught me a terrible miracle / You can lie, cheat and still kill in America / Be celebrated like Captain America / F__k it, I’m with it, let’s get it / This n___a and n____ess and Bentley valetin’ in Lenox / Man, I’m a villain with killin’ So I’m never chillin’, I gotta make millions,” spits the MC.

Here Are Ambrosia For Heads’ Top 25 Rap Albums Of The 2010s Decade

Mike continues, going all-in with a passionate autobiographical display. “I used to be dope with the dealin’, but that got a ceilin’ / And we know the usual endin’ / N____s get rich and go b___h, and go fail and go snitch / And then f__k up they family and friends / Me, I go to Germany, earn me a couple of millions, return with a couple of Benzes / Or go to Brazil and just kick it and chill ’til I’m over the hill and still f___in’ on women / The world got no mercy, so I had to show ’em / Like Percy with me, it just can’t be no limit / A hundred percentage authentic, see I got no gimmicks, so I ain’t protectin’ no image / My style original, pivotal, it’s goin’ digital, n___as you like is a mimic / I’m a menace that’s movin’ on vengeance / I promise my opp that my anger is endless / It ain’t enough that I took out my opp and his block / We burned down his whole f___in’ village / Did it with smile, not a grimace, it was my pleasure to see that this f__k-n___a finished / You get offended, then f__k it, my n___a.” Moments later, he chides,  “They should be bookin’ me, know that they won’t / I am Theolonius Monk in a donk / Kickin’ that Jazz, collectin’ my bag / I’m talkin’ milli’, ain’t talkin’ Vanilli / Had to get that hatin’ n___a from near me / I do not move like a regular Joe / I am not moved by no regular h_e / I do not wish for no regular life / I did not marry a regular wife / You think that I’m losin’? You smokin’ a pipe.”

The student goes bar for bar with the teacher for a song that’s elevated and shows that the artists from the Dungeon are still family.

Big Boi Buys The Dungeon Studio That Birthed Early OutKast Albums

Other guests on Michael are reported to include Jagged Edge, Ty Dolla $ign, Curren$y, 2 Chainz, Mozzy, Blxst. Cool & Dre, El-P, Don Cannon are among the producers.

#BonusBeat: A 2019 interview between AFH and Killer Mike, on his television show, political aspirations, and issues including Black financial empowerment:

This week (June 16), Killer Mike is preparing his first solo album in over a decade. Down to its title, Michael promises to be a highly-personal LP from the Run The Jewels cofounder who previously made R.A.P. Music, I Pledge Allegiance II The Grind, and his major label debut Monster. Within Michael, the Adamsville Atlanta MC finds a full circle moment in “Scientists & Engineers.” The song is a collaboration with one of Mike’s mentors, Andre 3000 as well as another artist from the late iteration of the Dungeon Family, Future. As Mike has cultivated an incredible career since his days of running with OutKast, the decorated veteran may steal the show amid two high-profile peers.

Moreover, the song’s production is credited to two legends: Three 6 Mafia’s DJ Paul and No I.D., as well as 3 Stacks, James Blake, and Twy Exclusive.

Outkast, Goodie Mob & Killer Mike Prove Its Still Family In The Dungeon (Video)

“Communication comin’ in / Too much that I can’t communicate with all of them / I do wish I had scientist or engineer friends / Let’s go, get out of here, petrol is cheaper than it’s ever been / And then, who’s to say when all would end? / All I know is when the portrait paintеd, better have your portion of thе rent / A dollar more and you will get upgraded when you’ve think you’ve made it, you are then- / Just tolerated, overrated, hope I’m 80 when I get my second wind,” says Andre, before painting a vivid memory. “Small potatoes all I ate before potato chips would cut my corner lips / Operator, operator, I will pray that you connect me to a sip / Of sangria, Zambia, camera cameo, hand me a handful of hips / A stamina stampede of happily happenings, dabblin’ into oblivi’ / V on, neon, be on the ambiance beyond as you promised that you would live / Do summers ever forget? Pajamas, feel like a kid / Cucumber will make her drip, do jump on her, hit a split / Hookahs don’t really do s__t, Duke Ellington in this b___h / Rebelling is like an itch, oh / I’ma, I’ma live forever.” The verse marks Andre’s first since a 2021 appearance on a deluxe edition of Kanye West’s Donda—considered among the best of that year and one of the most personal in the MC/producer/musician’s career.

Future and Eryn Allen Kane divide and conquer at the chorus, and in the second verse. In the third spot, Mike shows his fervor, and claims his mission. “Music, computers and robbers and looters / And looters with shooters, and shooters with Rugers / And shooters with Rugers, CDs with my tooters / And my tutors taught me a terrible miracle / You can lie, cheat and still kill in America / Be celebrated like Captain America / F__k it, I’m with it, let’s get it / This n___a and n____ess and Bentley valetin’ in Lenox / Man, I’m a villain with killin’ So I’m never chillin’, I gotta make millions,” spits the MC.

Here Are Ambrosia For Heads’ Top 25 Rap Albums Of The 2010s Decade

Mike continues, going all-in with a passionate autobiographical display. “I used to be dope with the dealin’, but that got a ceilin’ / And we know the usual endin’ / N____s get rich and go b___h, and go fail and go snitch / And then f__k up they family and friends / Me, I go to Germany, earn me a couple of millions, return with a couple of Benzes / Or go to Brazil and just kick it and chill ’til I’m over the hill and still f___in’ on women / The world got no mercy, so I had to show ’em / Like Percy with me, it just can’t be no limit / A hundred percentage authentic, see I got no gimmicks, so I ain’t protectin’ no image / My style original, pivotal, it’s goin’ digital, n___as you like is a mimic / I’m a menace that’s movin’ on vengeance / I promise my opp that my anger is endless / It ain’t enough that I took out my opp and his block / We burned down his whole f___in’ village / Did it with smile, not a grimace, it was my pleasure to see that this f__k-n___a finished / You get offended, then f__k it, my n___a.” Moments later, he chides,  “They should be bookin’ me, know that they won’t / I am Theolonius Monk in a donk / Kickin’ that Jazz, collectin’ my bag / I’m talkin’ milli’, ain’t talkin’ Vanilli / Had to get that hatin’ n___a from near me / I do not move like a regular Joe / I am not moved by no regular h_e / I do not wish for no regular life / I did not marry a regular wife / You think that I’m losin’? You smokin’ a pipe.”

The student goes bar for bar with the teacher for a song that’s elevated and shows that the artists from the Dungeon are still family.

Big Boi Buys The Dungeon Studio That Birthed Early OutKast Albums

Other guests on Michael are reported to include Jagged Edge, Ty Dolla $ign, Curren$y, 2 Chainz, Mozzy, Blxst. Cool & Dre, El-P, Don Cannon are among the producers.

#BonusBeat: A 2019 interview between AFH and Killer Mike, on his television show, political aspirations, and issues including Black financial empowerment:

Method Man won a Grammy Award for his Mary J. Blige collaboration “I’ll Be There For You/You’re All I Need To Get By.” The song, which originated as a track on Meth’s 1994 solo debut Tical, went on to receive a Puff Daddy remix, and become a classic in both Hip-Hop and R&B circles, along with its “Best Rap Performance By A Duo Or Group” win in early 1996. However, at the onset, Method Man did not want to do that particular song.

Speaking with The Breakfast Club, Meth spoke about the early 1990s Rap landscape. “When Wu-Tang came out, where were we at in Hip-Hop, if you really think about it?” he shared at the 13:40 mark. It wasn’t shiny suits [yet], but we were in suits, and a lot of that attributed to wanting a seat at the table—where the R&B singers [were. R&B] basically put Hip-Hop on the radar and s__t. Plus, it was hot. R&B mixed with Hip-Hop was hot. I mean, Puffy been using that for years. He [and maybe Andre Harrell] took Mary J. Blige and said, ‘You know what? I hear these Kid Capri mixtapes and s__t, and they’re doing f___g R&B songs, and he’s mixing Hip-Hop beats underneath it. Let’s do that!’ Mary blows up. ‘Okay, we got Biggie. Let’s flip it the other way: we’re gonna take the R&B track and let him rhyme on those.’ The formula works the way it should. But who are we to say, ‘F__k that R&B s__t!’? ‘F__k outta here with that,’ but it worked.’ If it wasn’t for that R&B s__t, it wouldn’t be ‘All I Need.’ There wouldn’t be a ‘One More Chance’ [or] ‘Big Poppa’ [or] Montell Jordan’s ‘This Is How We Do It,’ which is a direct bite of Slick Rick’s [‘Children’s Story’], if you ask me.” Moments later, Method Man clarified that “biting” is often actually homage—and he uses Biz Markie’s covers of 1960s and ’70s songs as an example that predates the mid-’90s. He says that when artists spit line-for-line is when it gets to be a problem.

Bad Boy’s Hitmen Justify Taking Hits From The ‘80s & Making ‘Em Feel So Good (Audio)

A minute or so later, Charlamagne Tha God asks Meth’ if he knew that “All I Need” would become a staple of wedding playlists when he made the cut. “I was scared of it,” responds the Wu-Tang MC. Charlamagne reveals that the popular remix was a song he and his wife danced to at their wedding. “I didn’t even want to put the record out,” he adds. DJ Envy asks why, and Method Man says, “‘Cause I knew what it would do…I just didn’t wanna be put in that R&B light. Remember, we had a problem with that,” he notes—alluding to his previous point. “You can paint it any way that you want to paint it—it’s still [LL Cool J’s] ‘I Need Love,’ but for another generation.” Both songs begin with a keyboard noise, though in different moods.

Envy asks how Def Jam Records eventually convinced him to share the song with the world. “I think they gave me $50,000. It was like either $25,000 or $50,000. I was supposed to buy a car with it—but I didn’t. I put that s__t right in the bank.” Method Man speaks about his lifestyle being manageable in the interview, while admitting that at times, he’s been stunned to see the sums in his bank account.

A Love Jones: Still Getting By with Method Man & Mary J. Blige 20 Years Later (Food For Thought)

During the interview, Method Man speaks about working with The Notorious B.I.G., and encouraging Dave East to portray him in his own way on Wu-Tang: An American Saga. He opines about Wu-Tang competing against the Death Row Family in the championship round of last week’s Greatest Rap Crew Of All-Time tournament, which is hosted by BET in conjunction with Ambrosia For Heads.

Recent Method collaborations alongside Lloyd Banks, Statik Selektah (alongside Ghostface Killah, Raekwon, and Inspectah Deck), and Vinnie Paz are currently on the AFH playlist. Last year, Iron Lung released Meth Lab Season 3: The Rehab, which featured Redman, KRS-One, Jadakiss, Cappadonna, RJ Payne, and others.

Redman Is The Realest. He Explains Why He Still Lives In His Famous Crib (Video)

#BonusBeat: An in-depth AFH interview with Method Man from 2015, he discusses the first Meth Lab, not cursing on a song in years, and his love of all Hip-Hop:



Method Man won a Grammy Award for his Mary J. Blige collaboration “I’ll Be There For You/You’re All I Need To Get By.” The song, which originated as a track on Meth’s 1994 solo debut Tical, went on to receive a Puff Daddy remix, and become a classic in both Hip-Hop and R&B circles, along with its “Best Rap Performance By A Duo Or Group” win in early 1996. However, at the onset, Method Man did not want to do that particular song.

Speaking with The Breakfast Club, Meth spoke about the early 1990s Rap landscape. “When Wu-Tang came out, where were we at in Hip-Hop, if you really think about it?” he shared at the 13:40 mark. It wasn’t shiny suits [yet], but we were in suits, and a lot of that attributed to wanting a seat at the table—where the R&B singers [were. R&B] basically put Hip-Hop on the radar and s__t. Plus, it was hot. R&B mixed with Hip-Hop was hot. I mean, Puffy been using that for years. He [and maybe Andre Harrell] took Mary J. Blige and said, ‘You know what? I hear these Kid Capri mixtapes and s__t, and they’re doing f___g R&B songs, and he’s mixing Hip-Hop beats underneath it. Let’s do that!’ Mary blows up. ‘Okay, we got Biggie. Let’s flip it the other way: we’re gonna take the R&B track and let him rhyme on those.’ The formula works the way it should. But who are we to say, ‘F__k that R&B s__t!’? ‘F__k outta here with that,’ but it worked.’ If it wasn’t for that R&B s__t, it wouldn’t be ‘All I Need.’ There wouldn’t be a ‘One More Chance’ [or] ‘Big Poppa’ [or] Montell Jordan’s ‘This Is How We Do It,’ which is a direct bite of Slick Rick’s [‘Children’s Story’], if you ask me.” Moments later, Method Man clarified that “biting” is often actually homage—and he uses Biz Markie’s covers of 1960s and ’70s songs as an example that predates the mid-’90s. He says that when artists spit line-for-line is when it gets to be a problem.

Bad Boy’s Hitmen Justify Taking Hits From The ‘80s & Making ‘Em Feel So Good (Audio)

A minute or so later, Charlamagne Tha God asks Meth’ if he knew that “All I Need” would become a staple of wedding playlists when he made the cut. “I was scared of it,” responds the Wu-Tang MC. Charlamagne reveals that the popular remix was a song he and his wife danced to at their wedding. “I didn’t even want to put the record out,” he adds. DJ Envy asks why, and Method Man says, “‘Cause I knew what it would do…I just didn’t wanna be put in that R&B light. Remember, we had a problem with that,” he notes—alluding to his previous point. “You can paint it any way that you want to paint it—it’s still [LL Cool J’s] ‘I Need Love,’ but for another generation.” Both songs begin with a keyboard noise, though in different moods.

Envy asks how Def Jam Records eventually convinced him to share the song with the world. “I think they gave me $50,000. It was like either $25,000 or $50,000. I was supposed to buy a car with it—but I didn’t. I put that s__t right in the bank.” Method Man speaks about his lifestyle being manageable in the interview, while admitting that at times, he’s been stunned to see the sums in his bank account.

A Love Jones: Still Getting By with Method Man & Mary J. Blige 20 Years Later (Food For Thought)

During the interview, Method Man speaks about working with The Notorious B.I.G., and encouraging Dave East to portray him in his own way on Wu-Tang: An American Saga. He opines about Wu-Tang competing against the Death Row Family in the championship round of last week’s Greatest Rap Crew Of All-Time tournament, which is hosted by BET in conjunction with Ambrosia For Heads.

Recent Method collaborations alongside Lloyd Banks, Statik Selektah (alongside Ghostface Killah, Raekwon, and Inspectah Deck), and Vinnie Paz are currently on the AFH playlist. Last year, Iron Lung released Meth Lab Season 3: The Rehab, which featured Redman, KRS-One, Jadakiss, Cappadonna, RJ Payne, and others.

Redman Is The Realest. He Explains Why He Still Lives In His Famous Crib (Video)

#BonusBeat: An in-depth AFH interview with Method Man from 2015, he discusses the first Meth Lab, not cursing on a song in years, and his love of all Hip-Hop:



The post Method Man Explains Why He Did Not Want To Do All I Need first appeared on Ambrosia For Heads.